How mas­ter­ing the art of sto­ry­telling can lead to your next great job

The Denver Post - - BUSINESS - By Anne Fisher

too!’ from the per­son lis­ten­ing.” and describe what you were about how! If and when they Q. From a sto­ry­telling per­spec­tive,

In her new book, “Let the deal­ing with and what you did. ask, that’s your cue to ex­plain a how im­por­tant is it to We all like to think that our Story Do the Work: The Art The end­ing ties it all to­gether, lit­tle more fully. know some­thing about a hir­ing de­ci­sions, es­pe­cially in busi­ness, of Sto­ry­telling for Busi­ness and it’s what peo­ple usu­ally Q. What if the story you want man­ager’s back­ground be­fore are based strictly on fact, not Suc­cess,” Choy ex­plains how to re­mem­ber best about any story. to tell has a lot of fig­ures in it? an in­ter­view? emo­tion, but the truth is, emo­tion turn even the most bor­ing sit­u­a­tions So, in a job in­ter­view, you want Is there a se­cret to keep­ing it A. Very! De­cid­ing what story, plays a key role in ev­ery into fab­u­lous anec­dotes. your end­ing to show why you’re in­ter­est­ing? or sto­ries, you want to tell from choice we make. Mon­ster re­cently spoke with the best can­di­date. A. There is! The se­cret is, your ca­reer is one of the best

That’s where sto­ry­telling Choy about how us­ing sto­ry­telling Q. That sounds like a lot pic­ture a see­saw — one end is rea­sons for re­search­ing your comes in, says Es­ther Choy, can help you get hired. to squeeze into an “el­e­va­tor cu­rios­ity, the other is cer­tainty. in­ter­viewer on Google, so­cial whose Chicago firm, Lead­er­ship Q. You write in the book that pitch” at a net­work­ing event. If you must con­vey a lot of me­dia, and the com­pany web­site. Story Lab, coaches man­agers in ev­ery good story has a be­gin­ning, How do you de­cide what to nu­mer­i­cal in­for­ma­tion in a job Try to find out enough sto­ry­telling tech­niques. Choy mid­dle and an end. Could leave out? in­ter­view or any other set­ting, about them to make a rea­son­able says peo­ple of­ten feel like they you tell us a bit about that? A. A good rule of thumb is, keep that see­saw going back guess as to which of your don’t have any in­ter­est­ing sto­ries A. Yes, it’s re­ally the same if you need to keep it short, tell and forth. Raise a ques­tion that own sto­ries is likely to res­onate. to tell. “But an ef­fec­tive struc­ture that keeps us what you did and maybe why, piques your lis­tener’s cu­rios­ity, Learning to draw your lis­tener story isn’t re­ally about you,” en­thralled by a novel or a and leave out how. For in­stance, and, use num­bers to an­swer in and cre­ate con­nec­tion is as she says. “It’s about draw­ing movie. The be­gin­ning should let’s say you made a change that that ques­tion. Then, move on much a process as a des­ti­na­tion. your lis­tener in and cre­at­ing be in­trigu­ing and arouse your cut your em­ployer’s costs, or to your next point, and do the

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a sense of shared ex­pe­ri­ence. lis­tener’s cu­rios­ity about what you won over a tough client. same thing. That back-and­forth

or dis­trib­ute this ar­ti­cle without the prior writ­ten

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Sto­ry­telling is about elic­it­ing will hap­pen next. The mid­dle is Skip­ping the de­tails will prob­a­bly is the struc­ture of lots of per­mis­sion of Mon­ster World­wide. To see other ca­reer-re­lated ar­ti­cles, visit ca­reer-ad­vice.

a ‘Yes, that’s hap­pened to me, where you frame the sit­u­a­tion spark your lis­tener’s cu­rios­ity great sto­ries.

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