Secrets of Great Speech Design

You want to know the secrets of great speech design?  There’s really only one.  It’s what you know.  To stand in front an audience and deliver a cracking speech that leaves them asking for more – you need to know … well what exactly?

Know Your Audience

Your audience is the great unknown.  It’s the hardest to know but the most important.

Imagine you’re asked to stand in as a speaker at the last minute.  You know nothing about your audience, walk into the room and …

You could deliver your proven keynote.  Is that really for the best?  The chance you’ll connect with your audience is low.

Why not take time getting to know your audience?  They could discuss a question in pairs and share conclusions.  This need not take long. It offers you an opportunity to find out what they know and to gauge mood and responsiveness.

Usually, you have more information but it is still helpful to gauge your audience’s mood.  There are many ways to build a positive relationship with your audience, even where you already know a lot about them.

Your audience could be people you know well. Your hosts may provide information. Can you rely upon this knowledge?  Pre-meeting research may be as valuable as direct observation at the meeting, eg if you know they are people in the same profession.

Know Your Business

You deliver your speech as a business owner.   So, you need to know your business.  Most business owners know aspects of their business but have blind spots.  What do you know about your branding, products and services, proposition, problem and market?

Be clear about the basics.  What business are you in?  I coach business owners in local marketing.  I position myself as a coach but I could be a marketer or storyteller.  Because I talk about marketing and storytelling, some people believe I do one or both.  You see the potential for confusion?

When you deliver a speech as a business owner, keep your business in mind.   You aim to do justice to yourself and your business.  Your speech should leave your audience hungry to know more.  You can do this without spending a lot of time describing your business.  Be in command of your material, particularly as it relates to your business.

Know Your Topic

Research your topic.  One frequent mistake is to focus solely on one type of raw material, so here is an overview of possible sources.

You see the range of skills you can bring into play, to compile a compelling talk.

Know Your Desired Outcome

Be clear about what you want from your audience.  If you sell from the stage, you are clear.  Your problem is how, not what.  You are likely too, to be in a minority.  Many people dislike the idea of selling from the stage.

If you seek significant commitments of time, money or energy, learn how to sell from the stage.  “Buy from me because I’m brilliant” is unlikely to be effective.  Use a narrative that brings some in the audience to the point where they’re ready to buy.  Your narrative shows you understand their problem and offer a solution.

For smaller commitments, selling from the stage is easier.  You may have a story to tell and your speech from the stage whets appetites for your book.  The challenge is not persuading people to buy so much, as suggesting what they might do if they buy the book.  Is there a next step and if so, what is it?

Sometimes it’s better to find interested people and offer a smaller step.  This helps where your offer may not suit everyone.  Arrange to meet face-to-face and find out whether there is a good fit, to tailor your offer to each need.  Coaches often use this approach.

You don’t want to make a sale or get the audience to do anything?  Think again!  Why deliver this talk?  What change do you seek in your audience’s thinking?  What new insights do you want them to take away?  It’s your responsibility to guide their thinking.  Could you offer a question to discuss or think about at home?  How can they follow up your talk?  Your keynote is not an information dump, get your audience to take action.  Otherwise, what is the point?

Conclusion

To deliver a brilliant keynote, understand your audience, know what your business offers, assemble material to use during your talk and decide what change you want to see.

As you dig deeper into one, it implies changes in all four.  You may find you circle around these four several times.  When your plans are good enough, try your keynote with a real audience.

Maybe you need a step-by-step plan? Come back next week to find steps to create a brilliant keynote.

Basic Plots 7: Rebirth

One version of the tragic story type is close to the seventh and final common basic plot, Rebirth.  It is where the hero repents at the last minute .  They are too late, nemesis consumes them, all too aware of the mistake they made.

But what happens where it isn’t too late?  What if such a hero lives?

Summary

Just like all but one of the seven basic plots, this story develops in five stages.  At first glance you may think the middle sections are very similar.  Although on one level a lot happens, stasis marks this story-type.  Nothing much happens for years or decades.  Frustration is absent until something precipitates a crisis.

1. The hero falls under a shadow. Sometimes the hero is innocent until something happens that causes this first change of heart.
2. The poison takes time to take a hold and perhaps things seem to go well at first. Gradually it takes hold and shows its full effect.
3. With darkness full on, the hero experiences total isolation, imprisonment, a living death.
4. Something precipitates a nightmare crisis.
5. The power of love liberates the hero, who experiences a second change of heart.

From Innocence to Egocentric Obsession

There are three variants at the start of this story-type.  They influence the outcome and perhaps our feelings for the hero.

In the first, the hero remains innocent throughout the story.  They labour under a dark power that immobilises them.  This is common in children’s stories, eg Sleeping Beauty and Snow White.  Both these heroes are held in stasis until some external influence brings about change.  There are adult versions.  One such is Florestan, the hero of Beethoven’s opera, Fidelio.  He is imprisoned and Leonora, his wife, takes action to free him.  He needs to be released and has no need to repent.  Nevertheless, his release is a rebirth.

The second type is where the dark power springs from within the hero’s personality.  We meet Scrooge at Christmas, well into stage 3 or 4.  We learn during the story the reason why he became a miser.  This is the most realistic of the three variants and one businesses should study.

The third variant is where the dark power takes over the hero and turns the hero into a dark figure.  Peer Gynt is a well-known example, where he discovers late in life he never escaped the magic of the trolls. Kay, from the Snow Queen, is another example.  Neither of these heroes is particularly malevolent, they lead pointless lives.

One constant is the sense of a life lived to no purpose.  The hero often looks back to a time of innocence.  Perhaps a story on the cusp of tragedy and rebirth is Citizen Kane.  He dies with the word “Rosebud” in his lips.  We learn as the film progresses that Rosebud represents the last time he experienced happiness.

Slow Build

The point is the sense of constriction.  The hero is not necessarily a villain, typically he or she shows little malice towards others.  Others may fear or avoid them because they are cold, hard, inured to the feelings of others.  They see the world from a mechanistic perspective, they calculate and measure.  They don’t appreciate or delight in life.

On one level, they may be successful.  Perhaps like Kane, they build a business empire.  They pursue pleasure but see no beauty or purpose in what they accumulate.  From outside, they appear successful.  Within though nothing changes.  They care for no-one, not even themselves.

That one word, Rosebud, is the only clue we have that Kane appreciates he took the wrong road and could not find his way back.

Darkness, Isolation and Nightmare

Typically, we encounter this person without feeling at the height of their power.  It is not that Scrooge hates Bob Cratchit, he simply doesn’t care, he lacks sympathy or compassion.

Some of these heroes are monsters and do terrible things.  But the thing that separates them from the villain in other stories is their lack of malice.  They don’t care.

We baulk at Shahryar’s brutal rule.  He has power and uses it to rape and murder young women.  But we are given his back-story and see what caused darkness to overwhelm him.  Modern people perhaps want to see him punished but the story goes in an unexpected direction.  If we want to see him punished, if we don’t care what happens to him, does that not make us just like him?

In the end it is just a story and it is what it is.  It raises issues for us, it does not tell us what to think.  Scherezade could have run him through with a sword.  But perhaps her strategy was the only one available to her.

Liberation Through Love

Love precipitates rebirth.  Frequently love for a child, a young woman or a dashing young prince.  The hero is incomplete until they feel something for someone outside of the world they created for themselves.  Scrooge falls for Tiny Tim, who does not die.

Of these three the most interesting is the young woman.  A child can make a big difference but is essentially passive.  The hero must choose to take care of the child.  The young prince belongs solely in fairy stories as far as I am aware.  The young woman (who may grow old during the story) is not always passive.  Sometimes she takes action to rescue the hero.  Indeed, perhaps she becomes the hero.  She is the one prepared to love the hero.  Think of Gerda in The Snow Queen or Sonia in Crime and Punishment.

Scherezade

Scherezade is a frame story and so gets lost in 1001 other stories.  Unlike Gerda and Sonia, she does not know Shahryar.  She loves him but cannot possibly feel that way from the start.  What is different about her?

She is a young woman and so are all Shahryar’s other victims.  How is Scherezade different?  She determines not to follow her sisters but to put an end to Shahryar’s reign of terror.  We assume his other victims tried every conceivable seductive charm to no avail.  Scherezade could see this was not about sex.  She was a scholar and so used scholarship to help him rediscover his true self.

She has a plan, assisted by her little sister, who asks for a bedtime story.  Maybe the child’s presence made a difference.  Maybe Shahryar let Scherezade live out of sympathy for the child and found he was gradually drawn into a world of stories and there rediscovered his true self.

Work-Life Balance

The rebirth story is an arrow aimed at the heart of business.  It challenges all business owners to be true to themselves.  To remember who they are, as they contemplate their figures and plan the next sale.

It challenges those who know the price of everything and the value of nothing.  To ask, what is it that is truly important?

A business person spends 15 years building a successful business, takes early retirement and returns home to a splendid house with a spouse who barely remembers him and a brood of moody Goths.  Yes, he provided for them, made sure they could do anything they wished.  But is that all his family wanted from him?

It is easy in business to lose track of reality.  Seasons come and go and suddenly you are a lot older, wondering what happened to all that time.  Success may have happened but under the surface, everything else has been on hold.  The faithful spouse complains “we had it all planned, we were going to do so much together but he died.”

How many business people die with “Rosebud” on their lips?

Some business owners tell how they realised time was passing and they no longer wanted to work for others.  They longed for freedom to live their lives to the full. Business itself can be a story of rebirth.

Conclusion

These seven common basic plots are not the only story-types but they open up models for stories that work.  There’s no need to force your story to fit one of these plots but if you can, find a story that resonates, a story you like, that has meaning. Your story will benefit from the dialogue.

If the rebirth story-type shows us one thing, it is the technical side of business is not on its own enough to bring satisfaction to us or our customers.  Remember no-one did business with Scrooge because they wanted to.

Basic Plots 6: Tragedy

The word tragedy is from the Greek for goat: tragos!  It is rooted in the idea of the scapegoat, the person who dies for the sins of the community.  Frequently the innocent suffer and die in a tragic story.  Even the central character can be innocent.

This is the only story-type that does not have a happy ending.  All other types show the hero somehow prevailing but in these stories the hero fails.  Does this mean this story-type is less applicable to business?  Who would trade with a tragic business?

Actually, this story-type is really important to businesses but to see why we need to understand how the tragic story works.

Summary

Just like most story-types, the tragic story passes through 5 stages.  I shall illustrate it with a simplified business story.

1. Anticipation – an incomplete hero has a desire that focuses his energies. The new business owner decides his priority is to overcome his competition and make more money than anyone else.  He comes up with a “harmless” scam.
2. Dream – the hero commits to a course of action that initially goes well. The hero finds his scam goes down well with the public and he establishes himself as a leader in his market.
3. Frustration – things start to go wrong and the hero has to cheat even more to stay ahead. Our hero must add more lies to the ones he already tells from fear of being found a fraud.
4. Nightmare – things get out of control, mounting threat and despair. A co-ordinated opposition begins to close in.  More people are suspicious and report their suspicions to the authorities.
5. Destruction or deathwish. A final act of violence, murder or suicide, precipitates the hero’s death.  The hero is unmasked and condemned to bankruptcy or worse.

This is a complex story type and so the summary should be seen as one possible pathway.  There are several routes to the tragic ending and the threat is not always from the hero.

The Tragic Ending

These stories end in ultimate defeat, namely death.  Fortunately business people rarely kill anyone or commit suicide.  The tragic ending as a final defeat with no hope of reconciliation or rebirth.  It does not have to be death in a real life story.  Clearly, if someone does die, it is not them telling the story!

To understand the scope of this story better, let’s look at the hero.  There are several ways the hero works in tragic stories.  There are dark and light heroes.  Where the hero is dark, they are a threat to society.  Where the hero is light, society is a threat to them.

Four Subtypes Illustrate the Scope of Tragic Stories

1. Here the hero is an out-and-out villain,  for example Richard III.  This play is an overcoming the monster story, from the point of view of the monster!  “The best lack all conviction, while the worst are filled with passionate intensity.”  He does well because determined and few have the courage or convictions to stand up to him.  Out of sight, the opposition grows and in time is strong enough to overthrow the monster.
2. Here the hero makes a foolish decision. They make a bad decision for the wrong reasons and pay the price for their decision.  Often the outcome arises naturally from the decision, eg Faust condemned to hell or Jekyll overwhelmed by Hyde.  Some of these heroes are also victims of society and common examples are women heroes, such as Anna Karenina or Madame Bovary.
3. Here our sympathies are completely with the hero. A good person drawn into an external conflict against their own better judgement.  Romeo kills Tybalt because Tybalt kills Mercutio.  He has succumbed to the violence around him and so must pay the price.  He and Juliet are clear examples of the scapegoat, their death brings the warring families to their senses.
4. Finally, the hero appears monstrous but is actually good. Victor Hugo offers us the Hunchback of Notre Dame and Jean Valjean from Les Miserables.  The latter is hunted as a criminal and yet all he does is motivated by love for his daughter and general humanity.

The Deadly Focus

The 5 stages describe a journey from hubris to nemesis.  When we think about tragedies, we tend to focus on nemesis.  But from a business perspective perhaps we should focus on hubris.

Hubris is to step over the mark.  You might find a law irksome.  You decide to break it and at first it’s exhilarating.  But then …

Last time when I wrote about comedy, I suggested a typical business comedy might be where the boss is immortal.  The person who identifies with the business to such an extent that they are a single entity.  I’ve seen this several times in my working life and it is always painful and difficult to move on.  In a comedy, eventually they come to their senses; what happens when they don’t?

What is the nature of hubris?  It can be infectious, whole populations can succumb to it, usually out of fear.  What exactly is it?

Some Examples of Hubris

It is a decision to focus on something that challenges the status quo.  We find this often in modern politics where the so-called liberal establishment is the target of so-called radical challenges from the right, eg Brexit and President Trump.

As far as it goes such challenges may be based on a degree of truth.  There is a lot wrong with the establishment.  However, they don’t understand the problem and reach for the easiest solution to hand.

What is the problem Brexit solves?  Is it immigration, loss of sovereignty, too many regulations, austerity …?  Each of these could be solved in several ways and Brexit is proving not to be one of them.

Hubris is where the wrong solution is found to a poorly understood problem.  The hero is bored or frustrated in some way and an apparent solution presents itself.  It can be very seductive and is sometimes called a temptation.

The hero commits to the wrong path and then because of their immediate success becomes more committed to the path.  We don’t know what story-type Brexit will prove to be but we saw the dream stage for the Brexiteers after the referendum result and now frustration and nightmare are setting in.  The opposition is rallying (perhaps) and we may see a final battle.

The thing to note is how positions on both sides become increasingly entrenched.  Focus has shifted from the problem to a badly formed solution that bewitches political discourse.

We even have a saying: “Jumping to conclusions” which means coming up with an ill-conceived solution, most likely to the wrong problem.  Businesses are familiar with this and so are community and voluntary organisations.  Religious organisations too are not immune.

Repentance

Take any of the four subtypes I listed above and there is another possible outcome.  The hero repents.  They see clearly what is happening.  Number 4 already will have a good sense of reality, which puts them out of step with everyone else.  For subtype 1, the change is likely to be cataclysmic, for 4 less so or perhaps there’s no need for it.

In a tragic story the change of heart is too little or too late to effect the outcome.  The hero contemplates their folly and the disaster they have brought down on their own heads and for their loved ones.

The truth is folly has implications for not only the hero but for those around them.  Too late they see what has happened to those they love. They repent and the full horror of what they have done comes home to them. They die with regret on their lips.

This is important because to make the wrong decision is likely to cost in terms of turnover, relationships, work-life balance and maybe legal proceedings.  These stories paint the picture in an extreme light but the point they make is highly relevant.  The choices we make matter.

Looking Forwards

Tragedy shows us what happens when repentance is too late.  But what happens when the villain’s repentance allows them time to make amends?  This opens the way to perhaps the deepest, most meaningful story-type: Rebirth.

Using Elements of Value

Over the last 30 weeks, I have posted about elements of value.  There are probably many more but the point is: what are the things your customers value?  Do you provide them?  Do you market them?  How can you use elements of value?

Can you break down the elements of value in your business for your customers?  Perhaps an overall benefit and several lesser benefits.  Here’s a brief recap.  You can find a full list of the 30 elements of value at the end of this post.

Functional Value

These are perhaps foundational values and for most offers, several apply.  One of these may be your overall benefit, if you offer something like accountancy or insurance.  However, look at the higher levels if you work in these industries, for example an accountant or insurance broker might reduce anxiety.  The work of an independent financial advisor might even be life changing!

For others, you sell something that maybe saves time and reduces risk.  Loads of things do this and so these are your lesser benefits.

In what sense are they foundational?  If your offer does not meet at least one and preferably several, then perhaps you don’t have a fully developed offer.

You may not have noticed some of these elements of value.  This is where this list of values comes into its own, it helps you name existing elements that add value to your offer.

Emotional Value

These elements address substantial needs in areas people are anxious about.  People worry about, eg health, attractiveness, community.

Some offers focus on these values and you may find your overall benefit belongs here.  A hairdresser for example might focus on attractiveness as their overall benefit.  You can of course offer several emotional values.

You may find many people cannot meet these values because they need to carry out life changes.  This implies you need to set your overall benefit at a higher level.  You should aim to set your overall benefit at the highest possible level.

Life Changing Value

These values make a substantial change to peoples’ lives.  The person seeking to become more attractive may need help with self-actualisation, for example.

At this level, choose one value as your overall benefit.  Your other benefits will be from emotional and functional value sets.

Social Impact Value

This value may be common but of course your offer should be very different from anyone else’s.  As we climb up the levels, the scope for variations in the detail of offers increases.  People seeking progress at this level will often need to build on values at the lower levels too.

Elements of Value Completed

The posts in this sequence can be accessed below:

Basic Plot 4: Voyage and Return

In some respects, Voyage and Return is like The Quest.  Both involve a journey but beyond that they could not be more different.

Summary

Let’s start with a summary of the story structure.  Note it has the 5-fold structure of all the story types we’ve explored so far.

1. Anticipation and fall into another world.  The circumstances of the hero or group of heroes is often relevant.  They lack something and usually they are not aware of what they lack.  And note the journey out is usually not significant, often effectively instantaneous and in any event, little significant happens during the journey.
2. Initial fascination or dream. They find themselves in a new world and at first they are intrigued maybe excited by it.
3. The experience feels unreal but because the rules are unknown, the experience becomes more frustrating.  Sometimes they make enemies.
4. Nightmare or serious threat. Their presence triggers a real threat and things come to a crisis.
5. Thrilling escape and return. The return is important because it poses the question: what difference has the voyage made?

Story Types

Voyage and Return is a common story type, often haunting and mysterious.  It takes several forms.  There are at least 4 main types:

1. Marooned somewhere in our own world, eg Robinson Crusoe.
2. A strange civilisation in an imaginary world, eg Alice, Narnia
3. Social, where the hero finds themselves in a different social setting, eg Brideshead Revisited
4. Switched identities or transformation, eg Kafka’s Matamorphosis, Freaky Friday (film and novel).

Three Questions

To understand the nature of this story type, we need to answer three questions.

How Do They Get There?

Unlike The Quest, the hero or group of heroes have no purpose in making the voyage.  The voyage is usually involuntary.  Even where the hero plans the voyage, there is no aim other than to see what’s there.  Usually they stumble upon it; there is rarely significant planning.

However, the hero is often psychologically ready for something to happen.  They may be frustrated by their life or job and ready for a change.

Whereas the journey in The Quest often takes up about half the story, preparing the hero for the challenge to come, the Voyage is often just a means to effect a transition to a different world.

What is The Nature of the Other World?

The hero or heroes are trapped in an unfamiliar world, perhaps where their inability to interpret what’s going on makes it more threatening.  Encounters with the inhabitants gradually lead to a sense of increasing threat.

The early stages are often quite pleasant.  The hero makes contact with the inhabitants.  In many stories this includes bonding with a sympathetic character of the opposite sex.  However, the outcome of this relationship is not the same as it is for The Quest.

What Happens to Them?

This is the crucial question for this story type.  They return transformed or not transformed.  Occasionally, the untransformed are left trapped in the other world.

The transformation often leaves them chastened, repentant or visionary.  They return as a different person, able to deal with the issues they face in their own world.  Consider the five stages from the point of view of such a hero:

Telling this story-type may help coaches find clients who are somewhere in this story.  The threat they must overcome is internal and often they are not clear what they are up against.

Looking Forwards

There is another story type that takes this same concern, of overcoming inner darkness, in a different direction.  What do we do when someone close to us is trapped in their inner darkness?  What if we don’t understand what is happening to them?

Maybe the best solution is to resort to Comedy!

How to Make an Offer that Informs Your Clients

Do you have a business that informs; provides reliable and trusted information?

What is It?

A business must provide reliable information.  If your information is wrong or deceives, you risk losing trust.  In these days of social media, you cannot guarantee an undamaged reputation.

Distinguish between information and opinion.  Context does not change information.  Advances in research occasionally supersede something we thought true.  We can cite sources so clients can check facts.

Opinions vary with context.  We may believe some group of people wrong, while others believe them.  You can never prove political beliefs, for example.

Value to the Customer

Information is valuable to customers in two ways : recreation and utility.

Sometimes a particular topic interests a client.  Even though they do not use the information for business purposes, they find it helps them grow as human beings.

Utility is where information has short or long-term business use.  It helps us advance in the business world and may be paid for by the customer or their employer.  There are three basic approaches:

How to Get There

What information does your customer need or want?  Too little information and the customer may feel short-changed.  It’s not only about operating instructions, you may find there is other information they appreciate, perhaps about other user’s experiences.  A blog may be a good way to explore other dimensions of the work.

Too much information and the customer may become bored or impatient.

Your Offer

Turn this element of value to your advantage by being clear about the information on offer and how to access it.  Offer guidelines so people can find the degree of information they seek.  Offer more information to those who express interest.

This is the thirty-first of 31 posts about elements of value.  Make sure you don’t miss any by signing up for the offer below.  The posts in this sequence can be accessed below:

Basic Plots 3: The Quest

This third basic story-type, may be suitable for many businesses, when it is about business origin and development.  However, quest stories are usually very long, eg The Lord of the Rings or The Odyssey.

5 Stages of The Quest

As you read the five stages of The Quest, you see parallels with Overcoming the Monster and Rags to Riches.  You see also why quests take a lot of telling.  For this reason, I have adapted a real-life story of a business origin. It shows how to cover a quest in 10 or fewer minutes.  The business story is in red type.

1. The story begins with a call to action. There is some problem in the world of the hero and she sets out to find the remedy.  Alternatively, the hero hears of lost treasure and sets out to make her fortune.  The hero as a child watched a video about a wedding organiser many times and decided she wanted to be an event organiser.
2. The next stage is the journey. The hero usually has companions on the journey and encounters obstacles as well as help on the journey.  The hero studied and eventually got a job in New York.  She went there and found an amazing opportunity.
3. When the hero arrives at their destination, they are frustrated because things are not straightforward. The hero was not doing what she really wanted to do but took advantage of opportunities in New York.  Then she was offered an opportunity to organise a several hundred-dollar event.
4. The hero and companions have to face a series of final ordeals. These are often three-fold and there are tests only the hero can pass.  The hero was able to create a fantastic event by overcoming many obstacles to create something only she was able to achieve.
5. Eventually, the hero achieves their goal and returns home with the treasure or the threat resolved. The hero has achieved her childhood ambition and returns home with an assured career as an event organiser.

Notes

The Quest often divides into two roughly equal parts, the journey (stage 2) and the final ordeals (4).  This story is a journey with a purpose and so most of the story is about achieving the purpose.  Often the hero and companions have no idea about the final ordeals until they reach the end of the journey.  Here their first goals are usually radically modified.

The business story does not necessarily share the jeopardy of the traditional story.  The hero journeyed to further her second best career.  The final ordeal was really a great opportunity.  The traditional story offers an underlying structure for a story that could become pointless.  We’re on the side of the little girl with a dream, who achieves it in a few years.  The story is more satisfying when presented this way and not as a simple account of what she did in New York.  The person who told this story had already sensed this underlying shape to her story.

The Treasure

Let’s begin with the treasure.  What the hero sets out to do or find is not necessarily what they do or find when they get to their destination.  But their first promise sets their feet on the road and so it is important.  Typically, it is one of these:

Business and personal stories have their share of competitors or other obstructive people, distractions, the need to find the right path between two equally bad options and giving up the entire enterprise.

The Final Ordeal

Key to understanding the quest is the final ordeal.  The hero reaches journey’s end with all or some of their companions.  They discover things are not as they expected.  There is some final, apparently insurmountable barrier.

This part of the story can take as long to tell as the journey.  The journey equips the hero and companions with knowledge and experiences they need to overcome this final obstacle.  The reward at this stage is to secure the original goal.

The ordeal is often three-fold and the test is one only the hero can pass.  At the beginning of the journey they had little or no hope and now they can work out how to overcome the ordeal.

The little girl who watched The Wedding Planner many times over, would not have been able to organise the big event on New York.  She needed training and experience as well as to travel a long way!

Life Renewing Goal

The outcome depends on the goal of the quest.  The goal changes because things rarely work out exactly as planned.  However, we recognise the goal is achieved.

There is a sense of renewal in many quest stories.  The typical marriage of the hero and her partner and their benevolent role in their kingdom is likely.  But there is a strong sense of renewal for everyone because some threat is overcome and people can live in peace.

Looking Forwards

This is the third of Booker’s seven plot types.  Remember the aim is not to put your story into a straitjacket but to help structure your marketing story in a way that resonates with your market.

Next time we’ll look at a plot that on the surface is similar to the Quest.  Voyage and Return is the second about journeying and presents some very different challenges.