Everybody loves Oreos. Bust out a secret pack of Oreos around hungry middle-schoolers on a hike and the excitement is tangible. Nothing is as interesting as those cookies you're holding in your hand. After the initial excitement is pacified with promises of cookies for all, everyone's eyes are on the tasty treat you're holding in your hand. It's that moment, with their eyes on the prize and silence in the group, you can use that tasty treat to demonstrate the thrilling topic of plate tectonics.
This is probably a way better example of a hook, or bargaining for attention with tasty rewards- but it's what comes to mind when I think of telling a tale.
Similar to Eric I have used the A-B-T framework in educational setting to offer information in a way that is accessible and interesting to kids. Plate tectonics are not always the most interesting to everyone, but with some help from an Oreo I've used the A-B-T framework to tell this tale of how the earth is covered with plates, and they have different densities (cookie vs. filling), but this means they move in different ways, therefore we have mountains and you get a cookie! Or something along those lines.
Also I really appreciate Biz's point climate futurism, and that narrative stories with an arc that people can follow are more powerful for inspiring action.
A large part of my environmental education background involved telling stories; partially to keep kids interested but mostly to help connect them to the subject matter I taught. The A-B-T framework is a necessary concept for storytelling, especially educational storytelling, because it requires a "therefore", a "why this matters" or "why this connects to me".
The stickiest stories for me always have a "therefore", or in other words some sort of opportunity for reader, listener, etc. growth. The film Everything Everywhere All At Once has an incredible "therefore" moment at the finale, which touches on the themes of family expectations, breaking cultural tradition, and personal growth in a way that felt incredibly relatable because it showed a very raw and emotional scene of growth for the main characters. The "Ands" and "Buts", the story connections led them to this point, but the "therefore" brought it all together because it showed a particular kind of value to the experiences the characters had in that they ended the film with a different understanding of themselves and their relationships than what they started with.
How does the A-B-T framework fit (or not fit) with the stickiest stories you can remember? This doesn’t have to be science … it could be a movie or a play or a book (fiction or nonfiction) that was particularly sticky for you.
If questions 1-2 are particularly challenging for you to answer from your own experience (i.e. nothing comes to mind), no worries, please just post a question here instead!
Coming from an art/film background, I have had this concept drilled into me when it comes to storytelling. I’ve not only applied it to my creative endeavors but to my personal life, when I’m recounting a story to my friends and family.
I think this framework is so common that it is easier for me to think of examples when this wasn’t used. In the creative space, people like to challenge prescribed frameworks, especially in fine art. I remember seeing a film that did not follow the ABT framework and instead took creative license to take the viewer on a confusing journey with no conflict or resolution. In general, I find that this approach leaves the audience confused or wanting more (like when a movie just abruptly ends). I always appreciate people who think outside of the box but the framework does exist for a reason, because it is usually the most compelling way to tell a story. Though, I do think there can be certain situations where breaking this mold can be impactful if done well.
Nicky, your comment resonated with me as I also come from an art background. Specifically, having experienced postmodern art school where traditional narratives and structures are questioned, I tend to view many stories/films with a critical eye. However, I have seen more and more folks calling for a post-postmodern framework in light of climate change and other global crises. In order to imagine new power structures and adapt to a changing world, we should return to existing frameworks like A-B-T but with an intersectional lens. The constructions of oral histories persisted for generations because they resonate with folks; there is a simple human truth to them. I have found climate futurism to be an instructive framework. By telling stories, we can begin to understand, and through understanding, we can create solutions.
I remember one of the episodes of my podcast that I produced because a coworker that listens to it came up to me and mentioned how in awe he was about how well I had demonstrated a particular point. After the fact, I realize it is because I had utilized ABT, or at least, a variation of it. I was talking about the deep sea dragonfish in that particular episode, and up until that point had been discussing the deep sea as a kind of light-less environment, where the slightest bits of bio-luminescence could reveal an animals position and subject them to danger by predation. I had accomplished the And - taking the listeners through something new to them. I then mentioned that the dragonfish I was talking about used a flashlight of bioluminensence to hunt for its own prey - and immediately "called myself out" for such a statement. It was the "but" - bioluminescence puts your in danger BUT... the dragonfish needs light to hunt and lure prey! In interesting conundrum (that also hits the Unexpected part of the SUCCESs framework!). The therefore went into the reasons how and why - the use of red light, as it is invisible to most deep sea critters. It was a variation on the ABT framework, but the bones were there, and my colleague found it particularly enlightening and sticky.
In my previous work at an experiential marketing agency, it was always our goal to create ‘story-driven experiences’ - which could include everything from interactive digital content like a VR game or a physical pop-up or booth space at a conference. The ABT framework showed up in the way we told client success stories (often set up as industry landscape, business challenge, solution), or the way we laid out a journey through a physical space — which, for example, could start with a cool installation that acted as an ‘attract’ to set the stage (AND), followed by case studies that acknowledge the audience’s business challenges (BUT), then an introduction to the product we’re marketing paired with an opportunity to consult an expert, wrapping up the experience with ‘THEREFORE, you should buy this tech product.’
In addition to the ABT framework itself, I think sticky stories also need some type of 'character' for the audience to follow or relate to. It doesn't necessarily have to be an individual - especially for scientific or technical presentations - as it could be a community, place/environment, or even an inanimate object that's 'personified.' Stories about specific species, for example, are often told through the lens of a single/individual animal and their journey through life/challenges as a representative of its population (nature documentaries do this a lot). Zooming into a 'character' makes the story more concrete, easier to follow, and more emotive and relatable - than keeping it high level or all-encompassing.
In my experience, applying the A-B-T framework to scientific presentations leads to the most engagement from the audience. However, I think it is also crucial to recognize that when used effectively, the A-B-T framework can go beyond engagement and can lead to action, inspiration, and a deeper curiosity. As aspiring scientists, we recognize that our work is never done after one story or one presentation. We rely on the scientific community as a whole and new ideas from outsiders with fresh observations to continue to expand upon the science and drive the work forward. When the A-B-T framework is used to its full potential, the information not only sticks with the audience, but it evokes an emotional response and connects with the audience. The audience is compelled to revisit the information or expand on it in their own terms.
Within the science lens, some of the most effective uses of the A-B-T framework that I have seen start the story with the "But." The conflict is introduced immediately. Depending on the audience's familiarity with the material, this lets the audience know exactly where the story is heading right from the start. Their attention is captured by the conflict immediately, and the story is then told to explain how we got to the conflict and how we move forward. The best way to do this is by having a powerful "Therefore" which connects directly to the original conflict. The "therefore" must provide resolution, which does not necessarily mean solving the scientific problem, but providing a path to understanding the problem. By presenting the information in this way, the audience is taken on the scientific journey with the presenter. They can experience everything that the presenter did to arrive to this resolution, and they can feel as if they were part of the process, and eliciting feeling and emotion is the most powerful way to have information stick with an audience and inspire action. They may not recall a specific fact that was given in the inspiration, but they will recall how they felt about a particular issue.
Nothing came to mind for me with questions 1 & 2 so my question is regarding the dot points in your blog post about stories relating to emotions and concrete relating to credibility - to me it seems that concrete-ness is more related to simplicity and relating to the audience, whereas I see stories leading to credibility. I was more trained in this way via organizing - you do introduce yourself, not just with basic stats but a story that helps your audience place you into context. This is different, of course, than listing your "professional resume". Why would an "audience" (really don't like that separative word, but your community, the potential in the room to be organized) believe that you're an "expert", or really, generally trust and listen to you, particularly if you're not "status quo credible"? What if you're not a social media influencer, or celebrity, big-time author, or have a billion letters after your name? What if you dress "unprofessionally"? Or look (too) young (to know)? The story helps break these schemas and offers your credential, as organizers might call it. All this to say, how do you see the relationship with concreteness and credibility?
In my last role I was working at non-profit venture fund that invested in anywhere between 40-70 startups every year. The startups were varied in tech ranging from healthcare to software IT, to robotics and everything in between. We were able to do this through state funding with the goal of driving innovation throughout the region. In order for a company to receive investment from our organization they had to go through a number of steps, one of which was their pitch. And while each startup was different in terms of what they did, most of their pitches followed a similar format to the one described here. They had to convey their core value add and what they did in a short and easy to understand story. This story arc often followed the following format:
- issue in society
- stats or facts about the problem/issue (conveying the need for a solution)
- company solution
- why they were the ones to do it
Typically most successful pitches did a variation of these in creative and engaging ways. It was often the simplest ones that hit the mark not because it was easy but because they spent a lot of time thinking about how their solution fit a market problem.
While I haven't heard of this particular framework, I have seen it played out in different ways without knowing it had a formal name. What comes to mind most recently is one of the books we had to read prior to starting this program, Merchants of Doubt. This book talked about how the controversy around climate change science was born and showed how it was driven by the same tactics used to convince people that tobacco smoking was not unhealthy. They used the idea that there was doubt in the science around these topics leading and unsettled answers, when in reality the facts were already proven. These tactics and they way they tried to convince people there was doubt followed this format as they worked to convince people there was uncertainty in these truths. They would start with something that was true and observable, and then go on to point out there were scientist who disagreed with the data, to conclude there was uncertainty in the science.
Being a foreigner and also not from an educational background, I had never actually heard of this ABT framework, but it sounds very familiar to how communications narratives were constructed in different UN agencies I’ve had a chance to work with. In my last job, one of the main parts of my work involved researching and telling success stories from community-based environmental projects we supported all over the world. The platform we used for this was Shorthand, one of those multimedia storytelling platforms that heavily emphasizes photos and videos as you’re scrolling down and reading a story. We were usually able to get some pretty nice images to make the story attractive, but then when it came to actually building the narrative and drafting the text, the framework we used was designed to show how these very specific human-centered stories about people so different and far away from the reader were actually directly connected to them.
I tried to do this by:
- starting with the strongest human interest element to draw readers in, usually with strong quotes or specific descriptions of events that illustrated something about the main character(s) lives;
- once we set the stage by introducing the main character(s), who they were, where they lived and what problems they were facing, the next point was to connect their local issue with a global problem that affects everyone, including the reader (for example, introducing a community in an island nation in the Caribbean and explaining how they have been suffering from worst droughts, and then explaining that this is happening because of climate change, which affects everyone in the planet);
- the next step would be to explain how the local community was addressing the issue in their specific context, and this is where I would introduce the project we supported, what exactly it did and what it achieved;
- at the end, I would again make an effort to connect the local level with the global level, by explaining how the successful elements of that particular project could be scaled up and serve as lessons for projects in other places (and this scaling up was something that our program actively focused on trying to do).
This formula seemed to work well to build these stories when the time and amount of information we had was very limited, but I’m interested in seeing how I could incorporate more of the ABT framework in the future.
Everybody loves Oreos. Bust out a secret pack of Oreos around hungry middle-schoolers on a hike and the excitement is tangible. Nothing is as interesting as those cookies you're holding in your hand. After the initial excitement is pacified with promises of cookies for all, everyone's eyes are on the tasty treat you're holding in your hand. It's that moment, with their eyes on the prize and silence in the group, you can use that tasty treat to demonstrate the thrilling topic of plate tectonics.
This is probably a way better example of a hook, or bargaining for attention with tasty rewards- but it's what comes to mind when I think of telling a tale.
Similar to Eric I have used the A-B-T framework in educational setting to offer information in a way that is accessible and interesting to kids. Plate tectonics are not always the most interesting to everyone, but with some help from an Oreo I've used the A-B-T framework to tell this tale of how the earth is covered with plates, and they have different densities (cookie vs. filling), but this means they move in different ways, therefore we have mountains and you get a cookie! Or something along those lines.
Also I really appreciate Biz's point climate futurism, and that narrative stories with an arc that people can follow are more powerful for inspiring action.
A large part of my environmental education background involved telling stories; partially to keep kids interested but mostly to help connect them to the subject matter I taught. The A-B-T framework is a necessary concept for storytelling, especially educational storytelling, because it requires a "therefore", a "why this matters" or "why this connects to me".
The stickiest stories for me always have a "therefore", or in other words some sort of opportunity for reader, listener, etc. growth. The film Everything Everywhere All At Once has an incredible "therefore" moment at the finale, which touches on the themes of family expectations, breaking cultural tradition, and personal growth in a way that felt incredibly relatable because it showed a very raw and emotional scene of growth for the main characters. The "Ands" and "Buts", the story connections led them to this point, but the "therefore" brought it all together because it showed a particular kind of value to the experiences the characters had in that they ended the film with a different understanding of themselves and their relationships than what they started with.
How does the A-B-T framework fit (or not fit) with the stickiest stories you can remember? This doesn’t have to be science … it could be a movie or a play or a book (fiction or nonfiction) that was particularly sticky for you.
If questions 1-2 are particularly challenging for you to answer from your own experience (i.e. nothing comes to mind), no worries, please just post a question here instead!
Coming from an art/film background, I have had this concept drilled into me when it comes to storytelling. I’ve not only applied it to my creative endeavors but to my personal life, when I’m recounting a story to my friends and family.
I think this framework is so common that it is easier for me to think of examples when this wasn’t used. In the creative space, people like to challenge prescribed frameworks, especially in fine art. I remember seeing a film that did not follow the ABT framework and instead took creative license to take the viewer on a confusing journey with no conflict or resolution. In general, I find that this approach leaves the audience confused or wanting more (like when a movie just abruptly ends). I always appreciate people who think outside of the box but the framework does exist for a reason, because it is usually the most compelling way to tell a story. Though, I do think there can be certain situations where breaking this mold can be impactful if done well.
I definitely relate to and agree with this thinking too. When you experience a good story, the framework itself feels unpredictable or even invisible.
Nicky, your comment resonated with me as I also come from an art background. Specifically, having experienced postmodern art school where traditional narratives and structures are questioned, I tend to view many stories/films with a critical eye. However, I have seen more and more folks calling for a post-postmodern framework in light of climate change and other global crises. In order to imagine new power structures and adapt to a changing world, we should return to existing frameworks like A-B-T but with an intersectional lens. The constructions of oral histories persisted for generations because they resonate with folks; there is a simple human truth to them. I have found climate futurism to be an instructive framework. By telling stories, we can begin to understand, and through understanding, we can create solutions.
I remember one of the episodes of my podcast that I produced because a coworker that listens to it came up to me and mentioned how in awe he was about how well I had demonstrated a particular point. After the fact, I realize it is because I had utilized ABT, or at least, a variation of it. I was talking about the deep sea dragonfish in that particular episode, and up until that point had been discussing the deep sea as a kind of light-less environment, where the slightest bits of bio-luminescence could reveal an animals position and subject them to danger by predation. I had accomplished the And - taking the listeners through something new to them. I then mentioned that the dragonfish I was talking about used a flashlight of bioluminensence to hunt for its own prey - and immediately "called myself out" for such a statement. It was the "but" - bioluminescence puts your in danger BUT... the dragonfish needs light to hunt and lure prey! In interesting conundrum (that also hits the Unexpected part of the SUCCESs framework!). The therefore went into the reasons how and why - the use of red light, as it is invisible to most deep sea critters. It was a variation on the ABT framework, but the bones were there, and my colleague found it particularly enlightening and sticky.
In my previous work at an experiential marketing agency, it was always our goal to create ‘story-driven experiences’ - which could include everything from interactive digital content like a VR game or a physical pop-up or booth space at a conference. The ABT framework showed up in the way we told client success stories (often set up as industry landscape, business challenge, solution), or the way we laid out a journey through a physical space — which, for example, could start with a cool installation that acted as an ‘attract’ to set the stage (AND), followed by case studies that acknowledge the audience’s business challenges (BUT), then an introduction to the product we’re marketing paired with an opportunity to consult an expert, wrapping up the experience with ‘THEREFORE, you should buy this tech product.’
In addition to the ABT framework itself, I think sticky stories also need some type of 'character' for the audience to follow or relate to. It doesn't necessarily have to be an individual - especially for scientific or technical presentations - as it could be a community, place/environment, or even an inanimate object that's 'personified.' Stories about specific species, for example, are often told through the lens of a single/individual animal and their journey through life/challenges as a representative of its population (nature documentaries do this a lot). Zooming into a 'character' makes the story more concrete, easier to follow, and more emotive and relatable - than keeping it high level or all-encompassing.
In my experience, applying the A-B-T framework to scientific presentations leads to the most engagement from the audience. However, I think it is also crucial to recognize that when used effectively, the A-B-T framework can go beyond engagement and can lead to action, inspiration, and a deeper curiosity. As aspiring scientists, we recognize that our work is never done after one story or one presentation. We rely on the scientific community as a whole and new ideas from outsiders with fresh observations to continue to expand upon the science and drive the work forward. When the A-B-T framework is used to its full potential, the information not only sticks with the audience, but it evokes an emotional response and connects with the audience. The audience is compelled to revisit the information or expand on it in their own terms.
Within the science lens, some of the most effective uses of the A-B-T framework that I have seen start the story with the "But." The conflict is introduced immediately. Depending on the audience's familiarity with the material, this lets the audience know exactly where the story is heading right from the start. Their attention is captured by the conflict immediately, and the story is then told to explain how we got to the conflict and how we move forward. The best way to do this is by having a powerful "Therefore" which connects directly to the original conflict. The "therefore" must provide resolution, which does not necessarily mean solving the scientific problem, but providing a path to understanding the problem. By presenting the information in this way, the audience is taken on the scientific journey with the presenter. They can experience everything that the presenter did to arrive to this resolution, and they can feel as if they were part of the process, and eliciting feeling and emotion is the most powerful way to have information stick with an audience and inspire action. They may not recall a specific fact that was given in the inspiration, but they will recall how they felt about a particular issue.
Nothing came to mind for me with questions 1 & 2 so my question is regarding the dot points in your blog post about stories relating to emotions and concrete relating to credibility - to me it seems that concrete-ness is more related to simplicity and relating to the audience, whereas I see stories leading to credibility. I was more trained in this way via organizing - you do introduce yourself, not just with basic stats but a story that helps your audience place you into context. This is different, of course, than listing your "professional resume". Why would an "audience" (really don't like that separative word, but your community, the potential in the room to be organized) believe that you're an "expert", or really, generally trust and listen to you, particularly if you're not "status quo credible"? What if you're not a social media influencer, or celebrity, big-time author, or have a billion letters after your name? What if you dress "unprofessionally"? Or look (too) young (to know)? The story helps break these schemas and offers your credential, as organizers might call it. All this to say, how do you see the relationship with concreteness and credibility?
In my last role I was working at non-profit venture fund that invested in anywhere between 40-70 startups every year. The startups were varied in tech ranging from healthcare to software IT, to robotics and everything in between. We were able to do this through state funding with the goal of driving innovation throughout the region. In order for a company to receive investment from our organization they had to go through a number of steps, one of which was their pitch. And while each startup was different in terms of what they did, most of their pitches followed a similar format to the one described here. They had to convey their core value add and what they did in a short and easy to understand story. This story arc often followed the following format:
- issue in society
- stats or facts about the problem/issue (conveying the need for a solution)
- company solution
- why they were the ones to do it
Typically most successful pitches did a variation of these in creative and engaging ways. It was often the simplest ones that hit the mark not because it was easy but because they spent a lot of time thinking about how their solution fit a market problem.
While I haven't heard of this particular framework, I have seen it played out in different ways without knowing it had a formal name. What comes to mind most recently is one of the books we had to read prior to starting this program, Merchants of Doubt. This book talked about how the controversy around climate change science was born and showed how it was driven by the same tactics used to convince people that tobacco smoking was not unhealthy. They used the idea that there was doubt in the science around these topics leading and unsettled answers, when in reality the facts were already proven. These tactics and they way they tried to convince people there was doubt followed this format as they worked to convince people there was uncertainty in these truths. They would start with something that was true and observable, and then go on to point out there were scientist who disagreed with the data, to conclude there was uncertainty in the science.
Being a foreigner and also not from an educational background, I had never actually heard of this ABT framework, but it sounds very familiar to how communications narratives were constructed in different UN agencies I’ve had a chance to work with. In my last job, one of the main parts of my work involved researching and telling success stories from community-based environmental projects we supported all over the world. The platform we used for this was Shorthand, one of those multimedia storytelling platforms that heavily emphasizes photos and videos as you’re scrolling down and reading a story. We were usually able to get some pretty nice images to make the story attractive, but then when it came to actually building the narrative and drafting the text, the framework we used was designed to show how these very specific human-centered stories about people so different and far away from the reader were actually directly connected to them.
I tried to do this by:
- starting with the strongest human interest element to draw readers in, usually with strong quotes or specific descriptions of events that illustrated something about the main character(s) lives;
- once we set the stage by introducing the main character(s), who they were, where they lived and what problems they were facing, the next point was to connect their local issue with a global problem that affects everyone, including the reader (for example, introducing a community in an island nation in the Caribbean and explaining how they have been suffering from worst droughts, and then explaining that this is happening because of climate change, which affects everyone in the planet);
- the next step would be to explain how the local community was addressing the issue in their specific context, and this is where I would introduce the project we supported, what exactly it did and what it achieved;
- at the end, I would again make an effort to connect the local level with the global level, by explaining how the successful elements of that particular project could be scaled up and serve as lessons for projects in other places (and this scaling up was something that our program actively focused on trying to do).
This formula seemed to work well to build these stories when the time and amount of information we had was very limited, but I’m interested in seeing how I could incorporate more of the ABT framework in the future.