Understanding Emotional Triggers in Storytelling
What makes a story memorable. Sometimes itâs the plot, sometimes the language, but almost always itâs the way a story makes us feel. I think some stories leave a mark because theyâve managed to evoke emotion through subtle cues and triggers - a part of the process that we often overlook. While there are hundreds of emotions to choose from, some key ones tend to pique interest in readers and viewers more than others.
Sort of. Storytellers commonly work with fundamental emotional triggers like fear, hope, guilt, trust and value - but itâs not enough to just work one of these in. You want your audience to experience their own story arc, which means moving between emotions and building connection with all your characters. More or less.
Writers who can tap into emotional triggers are also the ones who evoke visceral responses from their audience. More or less. On-screen stories do this really well by combining visual and auditory cues with dialogue and pace. Iâll admit that some part of working with emotional triggers is rather dependent on luck - you canât always know how something will land on everyone consuming it.
But there are nearly always ways to make sure youâre doing your best as a storyteller - build rapport with your audience, read the room in real time (especially when storytelling live), get comfortable letting down your guard and inviting vulnerability. I think this is really key when youâre telling stories in person or weaving narratives that draw upon peopleâs lived realities. The big trick is to not let logic get in the way - an audience that feels too safe will find it hard to be emotionally invested in whatâs happening. Reassurance has its place at the end of a story or speech but donât overdo it while theyâre receiving new information.
The Power of Personal Narratives
Comes Across As why is it that people seem to listen more closely when someone shares a personal story. Itâs probably because stories are easy to relate to. When you share personal stories, your audience automatically makes themselves part of it.
They try to imagine what they would do in your place, and how they would feel. Now, before you get started on your story, there are some things you should remember. Donât overshare. People may relate to stories better, but thatâs not an invitation for you to air out all your dirty laundry.
It seems like the key is in relatability and keeping it real. That doesnât necessarily mean you have to cry on stage or share something incredibly hurtful and traumatic - unless thatâs what the story calls for. What matters is making the truth of your experiences shine through. Thereâs another thing about personal narratives that draws people in - memories.
There are some things we can all relate to like shared experiences from school or family traditions that everyone celebrates even though theyâre different everywhere. Sharing memories makes us more human, and by extension, easier to connect with. But what about putting a story together. More or less.
As with any storytelling, thereâs a clear beginning, middle, and end. It seems like try not to lose sight of what the point of the story is because this tends to happen when people get caught up in their own stories. Even then, itâs perfectly fine if you want to meander a little as long as it adds value and supports the message youâre trying to convey. Stories have power - donât be afraid to use them.
Crafting Relatable Characters
Have you ever found yourself oddly invested in a characterâs journey. Theyâre not just pixels on a screen or words on a page anymore. You start to care about them as if you know them personally, like a neighbour or a good friend.
When you see yourself in a character, or see someone you know, itâs easier to connect with the story being told and the message being shared. Creating relatable characters isnât always easy. But there are so many ways for creators to weave relatability into the fabric of their characters â maybe itâs by giving them flaws or quirks, or using references and language that feels authentic, or even involving people from different backgrounds in the creative process. Sometimes, a character isnât directly relatable, but we can sometimes empathise with them because of the circumstances they find themselves in.
I mean, who among us hasnât found ourselves thinking âoh my god, same. â or âcan relate. â when we see someone telling their story in an advertisement.
When we feel like we understand someone, their values, and their perspective, it becomes easier for us to trust them. And when thereâs trust there, communication becomes more effective and even personal. That personal connection is what drives us to engage more with stories and brands that showcase relatable characters.
Evoking Empathy Through Conflict
How does suffering bring people closer together. This question has been explored by artists, writers, and scientists alike. Shared suffering isnât the most enjoyable bonding tool but thereâs no denying its effectiveness. In marketing terms, the more someone can relate to your pain, the more likely they are to stick with you when times get tough.
Or better yet - buy what youâre selling. Empathy is the secret ingredient in many hero stories. The conflict is where most of the magic happens.
Think about it - thereâs no story without a struggle. How you tell the story determines how invested your audience will be in your journey. If you seem too far removed from their experience, you risk losing their interest or even worse - stirring up envy or contempt.
Because weâre all only human, right. Thereâs only so much success one can witness before it gets boring or tiresome. Sort of.
People want to see others âlikeâ them win. More or less. By now we know that similarity can be perceived in various ways.
Shared values, beliefs, appearances, experiences, suffering⌠So if youâre telling a story about a person who is incredibly different from the average Joe or Jane watching it, try presenting commonalities instead of differences first. Of course, we donât want to make things up (that would be disingenuous and lack authenticity), but context matters so much here. The way I see it, maybe your main character is a ceo of an energy drink company but was raised by nuns and monks before they made their fortune. Tell that story.
If nothing else, it would be rather interesting to listen to and hey - you have our empathy (and possibly even our money).
Utilizing Sensory Details to Enhance Emotion
You know that almost illicit feeling you get when you catch a whiff of someoneâs perfume and suddenly, for a moment, youâre right back in your grandmotherâs living room. Sensory experiences have this unique power to evoke strong emotional responses and itâs just as powerful in storytelling. Itâs the difference between saying âI love chocolateâ and âI love the crunch of chocolate melting into my tongue, the bittersweet taste hitting my mouthâ.
The latter feels so much more visceral â and it works because it appeals to our senses. And if I think about it, itâs not always just what you see â using one or more sensory details can possibly ignite how you feel about the scene thatâs being described to you. If you want to write better stories, then storytelling with sensory details is a good thing to try.
You want your reader or listener to be able to see what youâre describing but also imagine themselves there. So, evoking sound, touch, taste or smell can help the audience imagine themselves in that moment. With fashion storytelling, there are things like the way silk feels on your skin, the crisp white of an oversized shirt, how walking into an outdoor market and shopping for silver jewellery makes you feel â that can tell your audience so much more about your brand than simply stating facts or statistics.
Storytelling can kind of make these facts come alive for readers who don't have any actual experience with your business. This is much more convincing than simply laying out statistics or facts about your product or service. Using sensory details in a story is not really about being explicit about emotions but about showing rather than telling the emotions.
There was a study by the Emory University in 2012 that showed that sensory descriptions like âshe had a velvet voiceâ triggered neurological responses associated with actual touch. And in storytelling, this can be useful in communicating abstract concepts to people - like style or taste - by using something tangible like soft voice or rough hands etc â basically something that people already know and understand.
Closing with a Call to Action that Resonates
What kind of call to action hits the right notes. How do you get people to do what you want, without sounding bossy or preachy. Sort of. I think if you're still reading this, chances are you're looking for something that feels less salesy and more you.
Which is why I felt we had to have this chat about the emotional side of calls to action. So, it all starts with the basics. If you're selling a product, it can probably be quite tempting to skip straight to 'Shop Now'.
But think about how you're making your audience feel as they read your copy. If there's no clear connection between what you've been saying until now and your call to action, then it's likely that your audience will simply scroll past it. A lot of my work has been about understanding how different groups of people process and respond to information.
And that's taught me that context really matters - especially when you're asking someone for their money or time. I think this might be especially true for Australians, who tend to value feeling in control of their own decisions. More or less. So, if you want someone from Brisbane to shop now or sign up, it's important they know why.
With a whole article dedicated to storytelling angles that persuade, it's quite clear that adding emotion into the mix changes things up a bit. By making your audience feel something specific first and then giving them a tangible next step, you're creating a link between an emotional state and an action you'd like them to take. Not only does this make your copy less salesy but also more persuasive - since people are statistically more likely to do something when they're feeling good about it.