The sign of a good story: it is absorbing. While the story is being told we are immersed in a different conception of reality.
While we are “really into” the story we not only suspend disbelief in facts and accept what we are hearing as truths within the scope of the story — we also suspend our customary perspective on life and begin to experience the events, the characters and the images of the story in a strangely shifted way that is impossible to describe to a person who has never experienced it.
So, a story deals not only with objective facts (real or fantastical) — it also imparts a subjective ordering of those facts that gives these facts meanings that can be quite different from the meaning they would have out of the context of the story. In a sense, the story uses them to project a different “story-world” around the reader that envelopes the reader and the events, the characters, and the setting of the story. When someone gives a Cliff’s Notes synopsis of a story or when someone attempts to relate something that happened, and gives up saying “You just had to be there,” this story-world is what is what is missing and makes the experience feel flat.
In exceptionally good stories even when we are pulled away from your book, back into reality — the world of actual facts — the story-world lingers and influences our experience of reality. Previously unnoticed details of our environment stand out. We see subtle details in stranger’s behavior as somehow more significant, and we feel a sympathetic connection. Sometimes life as a whole is infused with a mood that seems to belong to the story. We might even hear ourselves say things, and it strikes our ears as resembling the voice of one the characters in the story. When the story ends, we are sad, not only that the entertainment has come to an end, but also because we know our own lives will fade back to its usual colors .
Literature is a special class of story that supplies the reader with devices to preserve the story’s influence on the reader’s world. Literary symbols become tangible reference points to the reader, serving the function of stars to a navigator, helping the reader orient himself and make sense of where he is and where he might want to go. Certain vivid events or bits of dialogue can become anchoring structures, and give form and voice to situations that might otherwise seem hopelessly formless and indescribable. Literary characters also tend to have almost archetypal qualities and become part of one’s typological vocabulary. Finally, literature can contain parable-forms, which exhibit abstract structures that that can order aspects of reality that might not even have been recognized as existent at all if one had not learned the structures and had them available as paradigms.
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The difference between a really engaging experience sponsored by a brand, and a really engaging brand experience is analogous to the difference between story and literature. An engaging experience absorbs a customer for a time, but when the customer leaves the experience, it is forgotten. There are ways to work around this, like figuring out clever ways to keep reminding the customer to come back, but these tactics are signs that perhaps the experience itself is wanting. The effective brand experience on the other hand, leaves behind its own offerings and its own brand artifacts as a means to integrate the story into the customer’s own life, like literature leaves its symbols, archetypes and structures.
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The “objective” elements that constitute a story are only the vehicle of a story whose essence is actually between the facts and makes the facts meaning, and makes them a story. What makes a story a story, and what breathes life into the facts is subjective truth. Without it, a story does not engage us, will not absorb us, will not immerse us in a new world, will not touch our sense of reality. It will just be a series of causally connected, stylistically unified moments and elements. Exactly the same thing can be said for brands. Some brands are just lists of statements about and attributes of an organization or product with no resonance or significance beyond its object. That’s fine for some brand problems, but it won’t do if a brand aspires to really connect with people.
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A note about objectivity and subjectivity: What can be comprehended (com- ‘together’ + prehendere ‘lay hold of.’) in a story — what our mind can wrap its fingers around — is precisely what the story is not. The story wraps itself around us, and we become participants in it.
It is deeply uncomfortable to try to think about this. We cannot think in the usual way in coming to terms with it. We cannot comprehend it, because it comprehends us, in the sense that it grips us, involves us and holds our experience of the story together. Trying to grasp it is like trying to pick up a room we are inside. We can only touch it with our fingertips, but our fingers cannot wrap around it to grasp it. The edges are too big for our hands. Rather we apprehend (ap- ‘toward’ + prehendere ‘lay hold of.’) our involvement, and try to orient ourselves in it.
The same can be said about brands. What the brand is can only be pointed to or evoked, not contained in any document. Or at least that is the case for engaging immersive brands. Many brands like many stories lack subjective truth. They’re just not very good, but the problem is not one that can really be characterized in objective terms.
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A brand is the subjective truth about who and organization is and what it does. A story is the most effective way to share such truths.
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Objective truth is a style of thinking suited to objects, things with defined shapes that we can grasp with our minds like a like a stone or a piece of fruit — things we can observe, count, possess and control. Subjective truth is shaped like a world, and we know it only by being in it and participating in it.
To equate knowledge with objectivity is to reject the most important shared truths of life, the very foundation of genuine community.