Jerry "The King" Lawler with Jim Ross.; Credit: WWE

Jim Ross is the most famous pro wrestling play-by play commentator of all time. He's a native Californian, but grew up in Oklahoma and took his trademark drawl into doing commentary. He's worked in wrestling for more than 40 years, calling matches on shows seen by millions of people around the world.

This weekend, he's in the Bay Area for Wrestlemania weekend (the first Wrestlemania in Northern California, and the first in California in 10 years). Ross no longer commentates for WWE, but he's still a storyteller, online and in person. He hosts regular live storytelling shows with stories from his decades-long career and a bit of comedy, along with a live guest, and he also has a huge online presence including a podcast that went to number one in sports its first week out.

Ross has been watching wrestling since he was a kid.

"My dad wasn't a big fan of it. He missed the point. The point is not whether it's real or if it's staged. The point is, are you entertained by it, or not? And I was," Ross said.

He's been at ringside for numerous historic matches, helping the wrestlers to tell their stories ever since he got his first job in wrestling out of college at 22.

"The greater the star, the easier it is to tell their story," Ross said. "Those participants make music. They make different kinds of music, and the announcers, the broadcasters, have to be able to provide the adequate lyric to the competitors' music."

Ross's voice is so powerful that it's become a meme online to pair his voice with another dramatic footage, from sports and beyond — you can even find it paired with dramatic moments from shows like "Breaking Bad" and "Game of Thrones." Ross says that the first time he saw someone do that was with a hit by Michigan running back Jadaveon Clowney, a video which went viral and sparked others to do likewise.

The JR Treatment

"I get sent these memes all the time. 'Hey JR, check this one out.' Or people will say, somebody will make a great dunk at an NBA game, and somebody will say 'I can't wait to see this get the JR treatment.' And now there are major sports websites that will send out a tweet, 'Here's a great play from Sunday's 49er-Charger game that's got the JR treatment.' So now it's got a name. 'The JR Treatment.'"

Those viral videos have even helped him land new commentating roles since leaving WWE. He did a call of a fight between NASCAR drivers for the Daytona 500 for a special pre-show video, and it's led to him having opportunities in traditional sports.

"It's been done in boxing, and MMA. Believe it or not, I've gotten feelers that we're entertaining now from a variety of combat sports entities that actually heard what my call would sound like doing their product," Ross said. "It had my tone, had my inflection, had my level of enthusiasm."

Ross also played a huge role behind the scenes, working as WWE's executive vice president of talent and signing future stars like the Rock, Mick Foley and more. He says that Mick Foley's match against the Undertaker in 1998's Hell in a Cell match was his most memorable to call.

"I have people walk up to me and start quoting my commentary when Undertaker threw Foley off the Hell in a Cell, this massive cage with a roof on it, that was about 17 feet high from the roof to the floor," Ross said. "It looked like no human being, quite honestly, could survive that fall. You don't practice falls like that in wrestling school."

Ross has managed to stay relevant with the help of a popular podcast and 1.3 million followers on Twitter, where he regularly dispenses his thoughts on wrestling and beyond. He started doing that podcast after being lobbied to do it by "Stone Cold" Steve Austin, and continues to try new things.

"I was very reluctant to engage in social media, and primarily because we sometimes get set in our ways, especially the older we get," Ross said. "But change, for any of us, in any walk of life, whether it's your diet, it's your relationships, the way you approach your job, or any changes that you need to affect, whether it's on doctor's orders, your significant other's suggestions — change is not always a negative thing. So I got on Twitter, and then Twitter connected me to so many people."

While some may feel that pro wrestling, given its predetermined results, doesn't need real athletes, Ross disagrees and says there are plenty of reasons to want real athletes.

"They're competitive. They don't want to be on the second team. They want to be in the game. And they've been in that mindset since some of them were in little league, or Pop Warner football, or elementary school wrestling, or whatever it may be."

He says they also understand how to be coached and how to play well with others, as well as handling the bumps and bruises that come with the territory and the difficult travel schedule.

"I don't know that anybody in any entity, unless you're the most well-traveled comedian or entertainer, has that. Because the thing about pro wrestling is it doesn't have an off-season, so you don't get a chance to really go recharge your batteries. You've got to maintain that competitive edge to survive."

Ross says there's one match he wishes he had another shot at calling: Ric Flair's retirement match against Shawn Michaels at Wrestlemania 24 in Orlando at the Citrus Bowl. While Ross has traditionally been a play-by-play commentator, that night he was assigned to be a color commentator, which gave him some different challenges.

"I thought I had great stories to tell because of my relationship with Ric — I've known him for 25 years — and I didn't think that I contributed as much to that match from an emotional standpoint as I could. I was obligated to get in soundbites and get in, get out," Ross said. "That's the biggest match at the biggest stage, and I love both those guys, and I really wanted to be extra special that night, and I just don't know in my heart that we got there."

He says California has its own wrestling legacy to be proud of. The California Wrestlemania match that Ross says he'll always remember: Bret Hart versus Shawn Michaels at Wrestlemania 12 in Anaheim, where two now wrestling legends wrestled for more than an hour.

He also thinks the economics of Wrestlemania make a lot of sense for whichever city hosts it, thanks to the travelers it draws in from around the world. Cities now bid to try to bring in Wrestlemania, Ross says. With Los Angeles gearing up to build a new stadium, Ross has a Wrestlemania prediction for that stadium.

"I will bet you money — I will bet you some of my barbecue sauce — if L.A. builds a stadium, that Wrestlemania will be one of the first non-football events in that stadium. And they will sell it out. They'll fill every seat. And it'll be great for the city, and the businesses of Los Angeles.

Ross says that what made him a great broadcaster is the same thing that can make someone a success in wrestling or anywhere else — most importantly, don't talk down to your audience.

"You have to be a fan of the genre, or a fan of the game, and you have to be willing to prepare and be ready for your broadcast," Ross said. "You have to be willing to tell the story that the average fan — not the hardcore fan, but the average, casual fan can understand and relate to. ... You know, we're storytellers, and some people are just natural-born storytellers."

Ross plans to continue telling stories for the foreseeable future, on stage, online, calling matches in the legit sports world and wherever else his life takes him. He's even gotten into acting — you can see him in the new film "What Now."

"I think retirement is overblown. How many days can you go fishing? How many rounds of golf can you play?" Ross said. "I had the idea when I left WWE after 21 years, I'm going to reinvent myself. I'm not going to become a trivia answer. ... I don't think you're going to read anywhere, anytime soon, that Jim Ross has finally retired — until you read my eulogy."

Listen to the audio for the full hour-long interview with Jim Ross, talking his career past, present and future — along with the origins of his signature barbecue sauce.

This content is from Southern California Public Radio. View the original story at SCPR.org.

I presented "Digital Storytelling For Brands" at Brand Camp University during Internet Week in New York. Digital Storytelling For Brands from Lynne d Johnson I spoke more about an approach to digital storytelling, instead of exactly how to do it....

Join Fr. Anthony as he talks with Dn. Timothy Kelleher about his roles on Independence Day and Star Trek: The Next Generation (he was also on Voyager and Enterprise) and how good storytelling is always evangelical. Enjoy the show!

Immigrant students face a multitude of problems, among which are poor social adaptation and school integration. On the other hand, although digital narrations are widely used in education, they are rarely used for aiding students or for the resolution of complex problems. This study exploits the potential of digital narrations towards this end, by examining how the development and presentation of an autobiographical digital narration can assist immigrant students in overcoming their adaptation difficulties. For that matter, a female student presenting substantial problems was selected as the study’s subject. Data was collected from all the participating parties (subject, teacher, classmates) using a variety of tools, before, during, and after the intervention. It was found that through the digital narration she was able to externalize her thoughts and feelings and this, in turn, helped her in achieving a smoother integration in the school environment. In addition, the attitudes and perceptions of the other students for their foreign classmate were positively influenced. The intervention was short in duration and it did not require special settings. Hence, it can be easily applied and educators can consider using similar interventions. On the other hand, further research is recommended to establish the generalizability of the study’s findings.

Aim/Purpose: To conduct a needs assessment and subsequently create micro-storytelling media aimed at enhancing the Digital Intelligence Quotient (DQ) skills of young individuals. Background: In today's digital society, DQ has emerged as a vital skill that elevates individuals in all aspects of life, from daily living to education. To empower Thai youth, this study seeks to innovate DQ content by adapting it into a digital format known as micro-storytelling. This unique approach combines the art of storytelling with digital elements, creating engaging and effective micro-learning media Methodology: The methodology comprises three phases: 1) assessing the need for digital micro-storytelling development; 2) developing digital micro-storytelling; and 3) evaluating the DQ skills among young individuals. The sample group consisted of 55 higher education learners for needs assessment and 30 learners in the experiment group. Data analysis involves PNI modified, mean, and standard deviation. Contribution: This research contributes by addressing the urgent need for DQ skills in the digital era and by providing a practical solution in the form of digital micro-storytelling, tailored to the preferences and needs of Thai youth. It serves as a valuable resource for educators and policymakers seeking to empower young learners with essential digital competencies. Findings: The findings demonstrate three significant outcomes: 1) The learners wanted to organize their own learning experience with self-paced learning in a digital landscape, and they preferred digital media in the form of video. They were most interested in developing DQ to enhance their understanding of digital safety, digital security, and digital literacy; 2) according to a consensus of experts, digital micro-storytelling has the greatest degree of quality in terms of its development, content, and utilization, with an overall average of 4.86; and 3) the overall findings of the assessment of DQ skills indicate a favorable level of proficiency. Recommendations for Practitioners: Align materials with micro-learning principles, keeping content concise for effective knowledge retention. Empower students to personalize their digital learning and promote self-paced exploration based on their interests. Recommendation for Researchers: Researchers should continuously assess and update digital learning materials to align with the evolving digital landscape and the changing needs of students and investigate the long-term effects of DQ improvement, especially in terms of online safety and digital literacy in students' future lives and careers. Impact on Society: This study's impact on society is centered around fostering a DQ, promoting innovative educational approaches, and elevating Thai youth with essential digital skills. It contributes to a safer, more informed, and digitally literate generation prepared for the challenges of the digital era. Future Research: Undertake comparative studies to analyze the effectiveness of different digital learning formats and methodologies. Comparing micro-storytelling with other approaches can help identify the most efficient and engaging methods for enhancing DQ.

As a security industry marketing company, we utilize many digital marketing strategies to get our clients in front of their potential customers

What are the safety benefits of teaching workers to tell stories?

In Episode 35, the S+H team dives into the January issue’s feature story on adoption and acceptance of safety technology. Additionally, senior safety consultant and keynote speaker Jack Jackson discusses how safety professionals can use storytelling to spread safety messages.

Children's Geographies; 02/01/2022
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Children's Geographies; 06/01/2023
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Children's Geographies; 10/01/2023
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In an exclusive interview, Mimi Plange dives in to her inspiration behind her new roller shade collaboration with The Shade Store.

Culinary history can bring powerful elements to storytelling, as seen in the origin of Mikesell's Potato Chip Co. and its Saratoga chips.

Richard Runyon is set for success in 2024 with six more interviews, a book debut, a video web series, and more. Today we celebrate the storytelling journey that's redefining narratives and captivating audiences everywhere.

Morfeu AI Inc. aims to revolutionize digital storytelling with Laila, enabling users to create high-quality, animated video content in minutes with just a few text prompts.

Jonathan Gottschall, a distinguished fellow at Washington & Jefferson College, has researched storytelling and its unique power to inspire. But as he spoke at business conferences and grew aware of the popularity of storytelling in the corporate world, he came to realize just how much stories can also manipulate and destroy. From addressing climate change to the Theranos scandal, he explains the ins and outs of stories and argues for establishing a culture of honest storytelling in business. Gottschall is the author of the book "The Story Paradox: How Our Love of Storytelling Builds Societies and Tears them Down".

CBD is being talked about everywhere. With more and more sources reporting the benefits of CBD in supporting health and wellness, comes a lot of myths, confusion, and misinformation. In order to educate the public about CBD, Diamond CBD has launched the “I am CBD, I am THC” video series nationwide. The national CBD educational […]

The post I am CBD, I am THC Video Series a Successful Storytelling Example appeared first on Snap2objects.

Event Begins: Wednesday, November 13, 2024 6:30pm
Location: Museum of Art
Organized By: Spectrum Center

Who are you? What is your story? How do you express yourself? The experiences of Black queer life are reflected in the ways we tell our stories. We will explore a kiki methodology grounded in ballroom culture and Black queer storytelling. Drawing from queer of color critique and narrative construction, kiki methodology engages in three components: Black queer meaning-making, Black queer storytelling, and Black queer artistic expression. Kiki methodology connects envisioning and centering words, feelings, and voices of the Black queer community in the form of storytelling in higher education. We will engage about what is needed to be in queer community and kinship through storytelling.

ABOUT DR. HUTCHINGS
Dr. Quortne R. Hutchings (they, them) is a first-generation college graduate, proud Ronald E. McNair scholar alum, and assistant professor of higher education at Northern Illinois University. Their research primarily focuses on Black gay, bisexual, queer, and non-binary undergraduate and graduate students’ academic and social experiences in higher education, minoritized student affairs professionals’ experiences in student and academic affairs, and supporting students, faculty, and staff navigating substance use and recovery. Their research has been published in the Journal of College Student Development, Departures in Critical Qualitative Research, Journal of Higher Education, and International Journal of Qualitative Studies in Education.

TRANS AWARENESS MONTH
Trans Awareness Month is presented by Spectrum Center, and events are presented by units across campus. Find more Trans Awareness Month events at spectrumcenter.umich.edu/trans-awareness-month

This week, we learn about storytelling from Neil Gaiman. This episode is hosted by Michelle Jalowski.

Host: Michelle Jalowski

Storyteller: Neil Gaiman

Interviewer: Catherine Burns

New Lesson Plans Entry: 'Reporting verbs storytelling and bluff card games' has just been added to the Lesson Plans area of UsingEnglish.com.

Resource exploring storytelling on film, suitable for teachers of primary-aged pupils and ideal for literacy activities

WASHINGTON, D.C. – The National Association of Broadcasters (NAB) today announced the launch of “Voices From the Field,” a new digital campaign highlighting stories of local broadcasters through first-person accounts. The campaign, part of NAB’s “We Are Broadcasters” initiative, will spotlight how broadcasters are using their expertise, experience and dedication to local broadcasting to serve their audiences and uplift their communities.

Washington, D.C. -- NAB Show will explore how the increasing adoption of advanced technology is revolutionizing immersive storytelling experiences in a Main Stage session open to all attendees on Tuesday, April 18 at 1 p.m. at the Las Vegas Convention Center.

Washington, D.C.— Captivating narratives, stunning visuals and life-like character interaction – artificial intelligence (AI) is disrupting traditional content creation and delivery. Leading AI and computer-vision researcher Dr. Hao Li will dive into the cutting-edge world of generative AI during his keynote presentation at the opening session of the 2024 NAB Broadcast Engineering and IT (BEIT) Conference, April 13 – 16 at the Las Vegas Convention Center.

Netflix viewers can now get creative and take control of the stories they watch.

Read more: Choose, or the cat gets it: Interactive storytelling arrives on Netflix

In this episode of Market Chat we talk with 2 experts in the field of government contracting.

The post Episode 20: Government contracting storytelling: People, plot, place and purpose in GovCon first appeared on Federal News Network.

Tales of gory gods and gruesome greeks, rip-roaring adventure stories plus new pieces created live with the audience are all on the programme for the Martineau Gardens Storytelling Festival.

Let’s face it—traditional security training can feel as thrilling as reading the fine print on a software update. It’s routine, predictable, and, let’s be honest, often forgotten the moment it's over. Now, imagine cybersecurity training that’s as unforgettable as your favorite show. Remember how "Hamilton" made history come alive, or how "The Office" taught us CPR (Staying Alive beat, anyone?)?

This workshop will introduce participants to the primary features of ArcGIS StoryMaps and the necessary preparation to publish an effective StoryMaps project. As a member of the Princeton community, you have access to ArcGIS Online and its many apps like StoryMaps. Skills taught or addressed include: pairing maps, multimedia, and text; geolocation; embedding content; digital map making; using ArcGIS templates and layouts; digital storytelling strategies. Please bring a laptop. If you have not already activated your Princeton ArcGIS Online account, you are encouraged to do so beforehand.

Engaging in storytelling gives students an opportunity to connect with each other and understand classroom expectations. Teacher Matthew James Friday says, "I tell a story every day for the first two or three weeks. I also suggest that the students can become storytellers themselves. All they need to do is write a story at home. After a few weeks of my telling stories, something magical always happens: A student brings in a story."

"New possibilities for storytelling are emerging faster than at any other time in history," says film producer Mark Grimmer. With an immersive approach to art exhibitions, he shares several multidisciplinary projects — including a kaleidoscopic exhibit of David Bowie's world-changing career and a luminous, interactive show that brings visitors inside the paintings of David Hockney — and shows what's possible when ideas collide.

Watch a course video excerpt from Rise of the Superheroes: The legendary Stan Lee, creator of the Avengers, Spiderman and Iron Man, has partnered with the Smithsonian National Museum of American History to launch the first global online course about superheroes to fans around the world.

Jeanne Wright creatively introduces her 1st grade students to a variety of strategies for solving addition problems.

Insights from Emma and their customers on storytelling across marketing channels, from the Marketing United summit

As we share our truths and witness each other's, we build unity and community.

Lee and Lucille Allen share the story of how their Clayton Home changed their lives.

Anthony Geffen is the CEO and creative director of Atlantic Productions, an Emmy and Bafta winning documentary filmmaker, Throughout his career, he has pioneered multi-platform and immersive storytelling, featuring projects with David Attenborough, Judi Dench and a host of others. Over the years, immersive storytelling – beginning by working with the inventors of virtual reality – has become the most exciting storytelling format, and Geffen and his company has gone from strength to strength telling the world's true stories.

As filmmaker, visual artist, writer, and rapper Blitz Bazawule prepares for the release of The Color Purple, WIRED chats with the Ghanaian artist on what it means to create in the era of AI. Hear how the director, who blends historical events with magical realism, is imagining different worlds, the role technology plays in how we tell stories globally, and his approach to giving a Spielberg classic new life.

Ever since I was a boy, I’ve been fascinated with movies. I loved the characters and the excitement—but most of all the stories. I wanted to be an actor. And I believed that I’d get to do the things that Indiana Jones did and go on exciting adventures. I even dreamed up ideas for movies that my friends and I could make and star in. But they never went any further. I did, however, end up working in user experience (UX). Now, I realize that there’s an element of theater to UX—I hadn’t really considered it before, but user research is storytelling. And to get the most out of user research, you need to tell a good story where you bring stakeholders—the product team and decision makers—along and get them interested in learning more.

Think of your favorite movie. More than likely it follows a three-act structure that’s commonly seen in storytelling: the setup, the conflict, and the resolution. The first act shows what exists today, and it helps you get to know the characters and the challenges and problems that they face. Act two introduces the conflict, where the action is. Here, problems grow or get worse. And the third and final act is the resolution. This is where the issues are resolved and the characters learn and change. I believe that this structure is also a great way to think about user research, and I think that it can be especially helpful in explaining user research to others.

Use storytelling as a structure to do research

It’s sad to say, but many have come to see research as being expendable. If budgets or timelines are tight, research tends to be one of the first things to go. Instead of investing in research, some product managers rely on designers or—worse—their own opinion to make the “right” choices for users based on their experience or accepted best practices. That may get teams some of the way, but that approach can so easily miss out on solving users’ real problems. To remain user-centered, this is something we should avoid. User research elevates design. It keeps it on track, pointing to problems and opportunities. Being aware of the issues with your product and reacting to them can help you stay ahead of your competitors.

In the three-act structure, each act corresponds to a part of the process, and each part is critical to telling the whole story. Let’s look at the different acts and how they align with user research.

Act one: setup

The setup is all about understanding the background, and that’s where foundational research comes in. Foundational research (also called generative, discovery, or initial research) helps you understand users and identify their problems. You’re learning about what exists today, the challenges users have, and how the challenges affect them—just like in the movies. To do foundational research, you can conduct contextual inquiries or diary studies (or both!), which can help you start to identify problems as well as opportunities. It doesn’t need to be a huge investment in time or money.

Erika Hall writes about minimum viable ethnography, which can be as simple as spending 15 minutes with a user and asking them one thing: “‘Walk me through your day yesterday.’ That’s it. Present that one request. Shut up and listen to them for 15 minutes. Do your damndest to keep yourself and your interests out of it. Bam, you’re doing ethnography.” According to Hall, “[This] will probably prove quite illuminating. In the highly unlikely case that you didn’t learn anything new or useful, carry on with enhanced confidence in your direction.”  

This makes total sense to me. And I love that this makes user research so accessible. You don’t need to prepare a lot of documentation; you can just recruit participants and do it! This can yield a wealth of information about your users, and it’ll help you better understand them and what’s going on in their lives. That’s really what act one is all about: understanding where users are coming from. 

Jared Spool talks about the importance of foundational research and how it should form the bulk of your research. If you can draw from any additional user data that you can get your hands on, such as surveys or analytics, that can supplement what you’ve heard in the foundational studies or even point to areas that need further investigation. Together, all this data paints a clearer picture of the state of things and all its shortcomings. And that’s the beginning of a compelling story. It’s the point in the plot where you realize that the main characters—or the users in this case—are facing challenges that they need to overcome. Like in the movies, this is where you start to build empathy for the characters and root for them to succeed. And hopefully stakeholders are now doing the same. Their sympathy may be with their business, which could be losing money because users can’t complete certain tasks. Or maybe they do empathize with users’ struggles. Either way, act one is your initial hook to get the stakeholders interested and invested.

Once stakeholders begin to understand the value of foundational research, that can open doors to more opportunities that involve users in the decision-making process. And that can guide product teams toward being more user-centered. This benefits everyone—users, the product, and stakeholders. It’s like winning an Oscar in movie terms—it often leads to your product being well received and successful. And this can be an incentive for stakeholders to repeat this process with other products. Storytelling is the key to this process, and knowing how to tell a good story is the only way to get stakeholders to really care about doing more research. 

This brings us to act two, where you iteratively evaluate a design or concept to see whether it addresses the issues.

Act two: conflict

Act two is all about digging deeper into the problems that you identified in act one. This usually involves directional research, such as usability tests, where you assess a potential solution (such as a design) to see whether it addresses the issues that you found. The issues could include unmet needs or problems with a flow or process that’s tripping users up. Like act two in a movie, more issues will crop up along the way. It’s here that you learn more about the characters as they grow and develop through this act. 

Usability tests should typically include around five participants according to Jakob Nielsen, who found that that number of users can usually identify most of the problems: “As you add more and more users, you learn less and less because you will keep seeing the same things again and again… After the fifth user, you are wasting your time by observing the same findings repeatedly but not learning much new.” 

There are parallels with storytelling here too; if you try to tell a story with too many characters, the plot may get lost. Having fewer participants means that each user’s struggles will be more memorable and easier to relay to other stakeholders when talking about the research. This can help convey the issues that need to be addressed while also highlighting the value of doing the research in the first place.

Researchers have run usability tests in person for decades, but you can also conduct usability tests remotely using tools like Microsoft Teams, Zoom, or other teleconferencing software. This approach has become increasingly popular since the beginning of the pandemic, and it works well. You can think of in-person usability tests like going to a play and remote sessions as more like watching a movie. There are advantages and disadvantages to each. In-person usability research is a much richer experience. Stakeholders can experience the sessions with other stakeholders. You also get real-time reactions—including surprise, agreement, disagreement, and discussions about what they’re seeing. Much like going to a play, where audiences get to take in the stage, the costumes, the lighting, and the actors’ interactions, in-person research lets you see users up close, including their body language, how they interact with the moderator, and how the scene is set up.

If in-person usability testing is like watching a play—staged and controlled—then conducting usability testing in the field is like immersive theater where any two sessions might be very different from one another. You can take usability testing into the field by creating a replica of the space where users interact with the product and then conduct your research there. Or you can go out to meet users at their location to do your research. With either option, you get to see how things work in context, things come up that wouldn’t have in a lab environment—and conversion can shift in entirely different directions. As researchers, you have less control over how these sessions go, but this can sometimes help you understand users even better. Meeting users where they are can provide clues to the external forces that could be affecting how they use your product. In-person usability tests provide another level of detail that’s often missing from remote usability tests. 

That’s not to say that the “movies”—remote sessions—aren’t a good option. Remote sessions can reach a wider audience. They allow a lot more stakeholders to be involved in the research and to see what’s going on. And they open the doors to a much wider geographical pool of users. But with any remote session there is the potential of time wasted if participants can’t log in or get their microphone working. 

The benefit of usability testing, whether remote or in person, is that you get to see real users interact with the designs in real time, and you can ask them questions to understand their thought processes and grasp of the solution. This can help you not only identify problems but also glean why they’re problems in the first place. Furthermore, you can test hypotheses and gauge whether your thinking is correct. By the end of the sessions, you’ll have a much clearer picture of how usable the designs are and whether they work for their intended purposes. Act two is the heart of the story—where the excitement is—but there can be surprises too. This is equally true of usability tests. Often, participants will say unexpected things, which change the way that you look at things—and these twists in the story can move things in new directions. 

Unfortunately, user research is sometimes seen as expendable. And too often usability testing is the only research process that some stakeholders think that they ever need. In fact, if the designs that you’re evaluating in the usability test aren’t grounded in a solid understanding of your users (foundational research), there’s not much to be gained by doing usability testing in the first place. That’s because you’re narrowing the focus of what you’re getting feedback on, without understanding the users' needs. As a result, there’s no way of knowing whether the designs might solve a problem that users have. It’s only feedback on a particular design in the context of a usability test.  

On the other hand, if you only do foundational research, while you might have set out to solve the right problem, you won’t know whether the thing that you’re building will actually solve that. This illustrates the importance of doing both foundational and directional research. 

In act two, stakeholders will—hopefully—get to watch the story unfold in the user sessions, which creates the conflict and tension in the current design by surfacing their highs and lows. And in turn, this can help motivate stakeholders to address the issues that come up.

Act three: resolution

While the first two acts are about understanding the background and the tensions that can propel stakeholders into action, the third part is about resolving the problems from the first two acts. While it’s important to have an audience for the first two acts, it’s crucial that they stick around for the final act. That means the whole product team, including developers, UX practitioners, business analysts, delivery managers, product managers, and any other stakeholders that have a say in the next steps. It allows the whole team to hear users’ feedback together, ask questions, and discuss what’s possible within the project’s constraints. And it lets the UX research and design teams clarify, suggest alternatives, or give more context behind their decisions. So you can get everyone on the same page and get agreement on the way forward.

This act is mostly told in voiceover with some audience participation. The researcher is the narrator, who paints a picture of the issues and what the future of the product could look like given the things that the team has learned. They give the stakeholders their recommendations and their guidance on creating this vision.

Nancy Duarte in the Harvard Business Review offers an approach to structuring presentations that follow a persuasive story. “The most effective presenters use the same techniques as great storytellers: By reminding people of the status quo and then revealing the path to a better way, they set up a conflict that needs to be resolved,” writes Duarte. “That tension helps them persuade the audience to adopt a new mindset or behave differently.”

This type of structure aligns well with research results, and particularly results from usability tests. It provides evidence for “what is”—the problems that you’ve identified. And “what could be”—your recommendations on how to address them. And so on and so forth.

You can reinforce your recommendations with examples of things that competitors are doing that could address these issues or with examples where competitors are gaining an edge. Or they can be visual, like quick mockups of how a new design could look that solves a problem. These can help generate conversation and momentum. And this continues until the end of the session when you’ve wrapped everything up in the conclusion by summarizing the main issues and suggesting a way forward. This is the part where you reiterate the main themes or problems and what they mean for the product—the denouement of the story. This stage gives stakeholders the next steps and hopefully the momentum to take those steps!

While we are nearly at the end of this story, let’s reflect on the idea that user research is storytelling. All the elements of a good story are there in the three-act structure of user research: 

• Act one: You meet the protagonists (the users) and the antagonists (the problems affecting users). This is the beginning of the plot. In act one, researchers might use methods including contextual inquiry, ethnography, diary studies, surveys, and analytics. The output of these methods can include personas, empathy maps, user journeys, and analytics dashboards.

• Act two: Next, there’s character development. There’s conflict and tension as the protagonists encounter problems and challenges, which they must overcome. In act two, researchers might use methods including usability testing, competitive benchmarking, and heuristics evaluation. The output of these can include usability findings reports, UX strategy documents, usability guidelines, and best practices.

• Act three: The protagonists triumph and you see what a better future looks like. In act three, researchers may use methods including presentation decks, storytelling, and digital media. The output of these can be: presentation decks, video clips, audio clips, and pictures. 

The researcher has multiple roles: they’re the storyteller, the director, and the producer. The participants have a small role, but they are significant characters (in the research). And the stakeholders are the audience. But the most important thing is to get the story right and to use storytelling to tell users’ stories through research. By the end, the stakeholders should walk away with a purpose and an eagerness to resolve the product’s ills. 

So the next time that you’re planning research with clients or you’re speaking to stakeholders about research that you’ve done, think about how you can weave in some storytelling. Ultimately, user research is a win-win for everyone, and you just need to get stakeholders interested in how the story ends.

Lewis Library - ML3917.U33 K34 2018

Darryl Ballantyne, CEO of Toronto-based lyric licensing company LyricFind, joins us to discuss the quickly-growing business of displaying lyrics, from Google searches to merchandise and a lot more. We get into how the licensing deals for lyrics work and, yes, the legal dispute between Genius Media and Google that had LyricFind caught right in the middle.

We also touch on a number of new initiatives that LyricFind has announced over the past year, including partnerships with fizy in Turkey, MPA/PMLL in the U.K.. and some Canada-specific content, like the funding from the Canadian Government to promote and export Canadian content through lyrics and lyric translations and to bring the stories found in Indigenous songs to all Canadians. That includes some interesting insight into the process of translating various Indigenous languages.

A storytelling session for kids about nature

Jerry "The King" Lawler with Jim Ross.; Credit: WWE

Jim Ross is the most famous pro wrestling play-by play commentator of all time. He's a native Californian, but grew up in Oklahoma and took his trademark drawl into doing commentary. He's worked in wrestling for more than 40 years, calling matches on shows seen by millions of people around the world.

This weekend, he's in the Bay Area for Wrestlemania weekend (the first Wrestlemania in Northern California, and the first in California in 10 years). Ross no longer commentates for WWE, but he's still a storyteller, online and in person. He hosts regular live storytelling shows with stories from his decades-long career and a bit of comedy, along with a live guest, and he also has a huge online presence including a podcast that went to number one in sports its first week out.

Ross has been watching wrestling since he was a kid.

"My dad wasn't a big fan of it. He missed the point. The point is not whether it's real or if it's staged. The point is, are you entertained by it, or not? And I was," Ross said.

He's been at ringside for numerous historic matches, helping the wrestlers to tell their stories ever since he got his first job in wrestling out of college at 22.

"The greater the star, the easier it is to tell their story," Ross said. "Those participants make music. They make different kinds of music, and the announcers, the broadcasters, have to be able to provide the adequate lyric to the competitors' music."

Ross's voice is so powerful that it's become a meme online to pair his voice with another dramatic footage, from sports and beyond — you can even find it paired with dramatic moments from shows like "Breaking Bad" and "Game of Thrones." Ross says that the first time he saw someone do that was with a hit by Michigan running back Jadaveon Clowney, a video which went viral and sparked others to do likewise.

The JR Treatment

"I get sent these memes all the time. 'Hey JR, check this one out.' Or people will say, somebody will make a great dunk at an NBA game, and somebody will say 'I can't wait to see this get the JR treatment.' And now there are major sports websites that will send out a tweet, 'Here's a great play from Sunday's 49er-Charger game that's got the JR treatment.' So now it's got a name. 'The JR Treatment.'"

Those viral videos have even helped him land new commentating roles since leaving WWE. He did a call of a fight between NASCAR drivers for the Daytona 500 for a special pre-show video, and it's led to him having opportunities in traditional sports.

"It's been done in boxing, and MMA. Believe it or not, I've gotten feelers that we're entertaining now from a variety of combat sports entities that actually heard what my call would sound like doing their product," Ross said. "It had my tone, had my inflection, had my level of enthusiasm."

Ross also played a huge role behind the scenes, working as WWE's executive vice president of talent and signing future stars like the Rock, Mick Foley and more. He says that Mick Foley's match against the Undertaker in 1998's Hell in a Cell match was his most memorable to call.

"I have people walk up to me and start quoting my commentary when Undertaker threw Foley off the Hell in a Cell, this massive cage with a roof on it, that was about 17 feet high from the roof to the floor," Ross said. "It looked like no human being, quite honestly, could survive that fall. You don't practice falls like that in wrestling school."

Ross has managed to stay relevant with the help of a popular podcast and 1.3 million followers on Twitter, where he regularly dispenses his thoughts on wrestling and beyond. He started doing that podcast after being lobbied to do it by "Stone Cold" Steve Austin, and continues to try new things.

"I was very reluctant to engage in social media, and primarily because we sometimes get set in our ways, especially the older we get," Ross said. "But change, for any of us, in any walk of life, whether it's your diet, it's your relationships, the way you approach your job, or any changes that you need to affect, whether it's on doctor's orders, your significant other's suggestions — change is not always a negative thing. So I got on Twitter, and then Twitter connected me to so many people."

While some may feel that pro wrestling, given its predetermined results, doesn't need real athletes, Ross disagrees and says there are plenty of reasons to want real athletes.

"They're competitive. They don't want to be on the second team. They want to be in the game. And they've been in that mindset since some of them were in little league, or Pop Warner football, or elementary school wrestling, or whatever it may be."

He says they also understand how to be coached and how to play well with others, as well as handling the bumps and bruises that come with the territory and the difficult travel schedule.

"I don't know that anybody in any entity, unless you're the most well-traveled comedian or entertainer, has that. Because the thing about pro wrestling is it doesn't have an off-season, so you don't get a chance to really go recharge your batteries. You've got to maintain that competitive edge to survive."

Ross says there's one match he wishes he had another shot at calling: Ric Flair's retirement match against Shawn Michaels at Wrestlemania 24 in Orlando at the Citrus Bowl. While Ross has traditionally been a play-by-play commentator, that night he was assigned to be a color commentator, which gave him some different challenges.

"I thought I had great stories to tell because of my relationship with Ric — I've known him for 25 years — and I didn't think that I contributed as much to that match from an emotional standpoint as I could. I was obligated to get in soundbites and get in, get out," Ross said. "That's the biggest match at the biggest stage, and I love both those guys, and I really wanted to be extra special that night, and I just don't know in my heart that we got there."

He says California has its own wrestling legacy to be proud of. The California Wrestlemania match that Ross says he'll always remember: Bret Hart versus Shawn Michaels at Wrestlemania 12 in Anaheim, where two now wrestling legends wrestled for more than an hour.

He also thinks the economics of Wrestlemania make a lot of sense for whichever city hosts it, thanks to the travelers it draws in from around the world. Cities now bid to try to bring in Wrestlemania, Ross says. With Los Angeles gearing up to build a new stadium, Ross has a Wrestlemania prediction for that stadium.

"I will bet you money — I will bet you some of my barbecue sauce — if L.A. builds a stadium, that Wrestlemania will be one of the first non-football events in that stadium. And they will sell it out. They'll fill every seat. And it'll be great for the city, and the businesses of Los Angeles.

Ross says that what made him a great broadcaster is the same thing that can make someone a success in wrestling or anywhere else — most importantly, don't talk down to your audience.

"You have to be a fan of the genre, or a fan of the game, and you have to be willing to prepare and be ready for your broadcast," Ross said. "You have to be willing to tell the story that the average fan — not the hardcore fan, but the average, casual fan can understand and relate to. ... You know, we're storytellers, and some people are just natural-born storytellers."

Ross plans to continue telling stories for the foreseeable future, on stage, online, calling matches in the legit sports world and wherever else his life takes him. He's even gotten into acting — you can see him in the new film "What Now."

"I think retirement is overblown. How many days can you go fishing? How many rounds of golf can you play?" Ross said. "I had the idea when I left WWE after 21 years, I'm going to reinvent myself. I'm not going to become a trivia answer. ... I don't think you're going to read anywhere, anytime soon, that Jim Ross has finally retired — until you read my eulogy."

Listen to the audio for the full hour-long interview with Jim Ross, talking his career past, present and future — along with the origins of his signature barbecue sauce.

This content is from Southern California Public Radio. View the original story at SCPR.org.

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