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2. Source (Sender) Message Channel Receiver Feedback EncodesDecodes David Berlo’s SMCR Model CA2012 S TORYTELLING FOR C OMMUNICATION S TORYTELLING AS C OMMUNICATION

3. Source (Sender) Message Channel Receiver EncodesDecodes I Communication Skill I Attitudes I Knowledge I Social System I Culture I Communication Skill I Attitudes I Knowledge I Social System I Culture I Content I Treatment I Code I Seeing I Hearing I Touching I Smelling I Tasting David Berlo’s SMCR Model CA2012 S TORYTELLING FOR C OMMUNICATION S TORYTELLING AS C OMMUNICATION

4. A Basic Model of Communication _ Person A / Person B (Sender / Receiver) _ Stimulus and Motivation _ Encoding and Decoding _ Frame of Reference _ Code _ Channel _ Feedback _ Environment _ Noise CA2012 S TORYTELLING FOR C OMMUNICATION S TORYTELLING AS C OMMUNICATION

5. (Code; channel) (Feedback) (Code; channel) External noise Internal noise Internal noise Stimulation; motivation Stimulation; motivation DecodingEncoding Decoding Frame of reference Environment Noise

6. A Basic Model of Communication _ Person A / Person B (Sender / Receiver) Person A in the model could be the sender (the source of the message) or the receiver (the interpreter of the message). Person B also could be either the sender or the receiver. Actually, during most of their communication, they will both send and receive simultaneously. CA2012 S TORYTELLING FOR C OMMUNICATION S TORYTELLING AS C OMMUNICATION

7. A Basic Model of Communication _ Stimulus and Motivation Two things must happen before the sender even wants to send a message. First, the sender must be stimulated. Some type of stimulus triggers a thought, which in turn triggers the desire to communicate. CA2012 S TORYTELLING FOR C OMMUNICATION S TORYTELLING AS C OMMUNICATION

8. A Basic Model of Communication _ Stimulus and Motivation A stimulus alone is not enough to trigger communication. The second requirement to send a message is sufficient motivation. Think of the times a leader has asked a question, and some of the people present were fairly sure they knew the answer (were stimulated) but did not respond. Why didn’t they respond? Probably because they were not sufficiently motivated – that is, they saw no personal benefit in answering. CA2012 S TORYTELLING FOR C OMMUNICATION S TORYTELLING AS C OMMUNICATION

9. A Basic Model of Communication _ Encoding and Decoding After being stimulated and motivated to communicate, the sender must decide how best to convey a message to the specific receiver. The process of putting a message into the form in which it is to be communicated is called encoding. When the encoder’s message is picked up, the receiver tries to make sense out of it, that is, to decode it. Decoding is the process the receiver goes through in trying to interpret the exact meaning of a message. Everyone tends to read between the lines in an effort to interpret what the sender means by the message. CA2012 S TORYTELLING FOR C OMMUNICATION S TORYTELLING AS C OMMUNICATION

10. A Basic Model of Communication _ Frame of Reference Although encoding and decoding may seem to be fairly simple process, they are often responsible for major communication breakdowns. As a sender, you use your own background and experience to encode messages. But receiver use their own background and experiences to decode those message. Unless the backgrounds and experiences – the frame of reference – of both sender and receiver are identical, problems may develop in accuracy encoding and decoding messages. CA2012 S TORYTELLING FOR C OMMUNICATION S TORYTELLING AS C OMMUNICATION

11. A Basic Model of Communication _ Code The code is not the message but the symbols that carry the message. There are three basic communication codes: _ Language (verbal code): either spoken or written words _ Paralanguage (vocal code): tone of voice, pitch, rate, volume, and emphasis _ Nonverbal (visual code): facial expressions, eye contact, gestures, appearance, posture, size, location and time CA2012 S TORYTELLING FOR C OMMUNICATION S TORYTELLING AS C OMMUNICATION

12. A Basic Model of Communication _ Channel In many instances, the success of your message may depend on the channel you select. A channel is the medium selected to carry the message. Some examples of communication channels are face-to-face discussion, memos, magazines, newsletters, radio, telephone, and television. When selling merchandise or ideas, you should select the channel that (1) is the least expensive but (2) reaches the target audience with (3) the appropriate codes needed to sell the item or idea. CA2012 S TORYTELLING FOR C OMMUNICATION S TORYTELLING AS C OMMUNICATION

13. A Basic Model of Communication _ Environment The effective communicator plans and controls the environments as much as possible. The environment includes the “time, place, physical and social surroundings” in which the communicator find themselves. CA2012 S TORYTELLING FOR C OMMUNICATION S TORYTELLING AS C OMMUNICATION

14. A Basic Model of Communication _ Noise Anything that interferes with communication by distorting or blocking the message is noise. External noise includes distractions in the environment, such as the speaker’s poor grammar, papers being shuffled, phones ringing, people talking, cold air in the room, or lights that are too bright or too dim. Internal noise refers to conditions of the receiver, such as a headache, daydreaming, lack of sleep, preoccupation with other problems, or lack of knowledge on the topic. CA2012 S TORYTELLING FOR C OMMUNICATION S TORYTELLING AS C OMMUNICATION

15. Nonverbal Message Codes CA2012 S TORYTELLING FOR C OMMUNICATION S TORYTELLING AS C OMMUNICATION

16. Nonverbal Message Codes _ Physical appearance (clothes etc.) _ Kinesics (gestures) _ Oculesics (eye contact) _ Proxemics (personal space) _ Haptics (touch) _ Olfactics (smell) _ Chronemics (time) _ Vocalics (voice) CA2012 S TORYTELLING FOR C OMMUNICATION S TORYTELLING AS C OMMUNICATION

17. _ Physical appearance -Size, body frame, height, hairstyle, body ornamentation, clothes and accessories -Culture-specific -Can lead to stereotype CA2012 S TORYTELLING FOR C OMMUNICATION S TORYTELLING AS C OMMUNICATION Nonverbal Message Codes

18. _ Kinesics -Facial expressions, body movements, gestures, conversational regulators -Extremely culture-specific CA2012 S TORYTELLING FOR C OMMUNICATION S TORYTELLING AS C OMMUNICATION Nonverbal Message Codes

19. _ Oculesics -Eye contact -Blinking -Eye movements -Pupil dilation -Averting eye contact CA2012 S TORYTELLING FOR C OMMUNICATION S TORYTELLING AS C OMMUNICATION Nonverbal Message Codes

20. _ Proxemics -Interpersonal space and distance -Extremely cultural-specific -Highly contextual; e.g. can change at rush hour -Divided into: Intimate distance, Personal distance, social distance, public distance CA2012 S TORYTELLING FOR C OMMUNICATION S TORYTELLING AS C OMMUNICATION Nonverbal Message Codes

21. _ Haptics -Tactile communication (touching) -Highly culture-specific (Amount, Location, Type, Public or private display) CA2012 S TORYTELLING FOR C OMMUNICATION S TORYTELLING AS C OMMUNICATION Nonverbal Message Codes

22. _ Olfactics -Communication through smell -Conscious and subconscious -Pleasant and unpleasant -Seriously neglected in research CA2012 S TORYTELLING FOR C OMMUNICATION S TORYTELLING AS C OMMUNICATION Nonverbal Message Codes

23. _ Chronemics -The study of meaning, use and communication of time -Cultural time differ dramatically -Things can be experienced -Simultaneously and polychronically -Monochronically and sequentially CA2012 S TORYTELLING FOR C OMMUNICATION S TORYTELLING AS C OMMUNICATION Nonverbal Message Codes

24. _ Physical environment -Factors influencing communication (seating arrangement, color, lighting) CA2012 S TORYTELLING FOR C OMMUNICATION S TORYTELLING AS C OMMUNICATION Nonverbal Message Codes

25. _ Vocalics / Paralanguage -Tone -Pitch -Tempo -Singing -Other forms of aesthetic communication CA2012 S TORYTELLING FOR C OMMUNICATION S TORYTELLING AS C OMMUNICATION Nonverbal Message Codes

26. Emblems  carry exact verbal meaning Illustrators  add or clarify meaning Regulators  control the flow of conversation Adaptors  habitual gestures used in stress Affect displays  show emotions CA2012 S TORYTELLING FOR C OMMUNICATION S TORYTELLING AS C OMMUNICATION Nonverbal Communication Functions

27. 1.Interpersonal communication 2.Small group communication 3.Organizational communication 4.Mass communication CA2012 S TORYTELLING FOR C OMMUNICATION S TORYTELLING AS C OMMUNICATION Levels of Communication

28. Steps for Storytelling

29. 01_ Analyzing the Target Audience 02_ Crafting the Theme 03_ Selecting the Media 04_ Narrating the Story CA2012 S TORYTELLING FOR C OMMUNICATION S TEPS FOR S TORYTELLING

30. 01_ Analyzing the Target Audience Steps for Storytelling Who is your target audience? What media do they consume? What are their personalities? What are their likes & dislikes? What are their needs & desires? CA2012 S TORYTELLING FOR C OMMUNICATION S TEPS FOR S TORYTELLING

31. 02_ Crafting the Theme Steps for Storytelling What would you like to communicate to your target audience? Match your theme with the target audience. CA2012 S TORYTELLING FOR C OMMUNICATION S TEPS FOR S TORYTELLING

32. 03_ Selecting the Media Steps for Storytelling Which media would be best to reach your target audience? What are the media elements and codes available for narration? CA2012 S TORYTELLING FOR C OMMUNICATION S TEPS FOR S TORYTELLING

33. 04_ Narrating the Story How are you going to tell the story? Which point of view do you choose? Steps for Storytelling CA2012 S TORYTELLING FOR C OMMUNICATION S TEPS FOR S TORYTELLING

34. Source (Sender) Message Channel Receiver EncodesDecodes Idea Narration Media Audience CA2012 S TORYTELLING FOR C OMMUNICATION S TEPS FOR S TORYTELLING

35. _demographics _psychographics _media consumption Idea Narration Media Audience EncodesDecodes CA2012 S TORYTELLING FOR C OMMUNICATION S TEPS FOR S TORYTELLING

36. EncodesDecodes Purpose? _to persuade _to express _to inform _to educate _to entertain Idea Narration Media Audience Inspiration? _theme _incidence _character CA2012 S TORYTELLING FOR C OMMUNICATION S TEPS FOR S TORYTELLING

37. Idea Narration Media Audience EncodesDecodes CA2012 S TORYTELLING FOR C OMMUNICATION S TEPS FOR S TORYTELLING Film Television Radio Music Stage Magazine Newspapers Comics Photography Advertisements Posters/Billboard/Flyers VHS/DVD/CD covers Video games Website Interactive communications technology audio-visual print ICT-based

38. Idea Narration Media Audience EncodesDecodes Styles and techniques for telling the story CA2012 S TORYTELLING FOR C OMMUNICATION S TEPS FOR S TORYTELLING

39. References: Hamilton, Cheryl and Cordell Parker. Communicating for Results. Belmont CA: Wadsworth Publishing, 1997. Hyde, S. Idea to Script: Storytelling for Today’s Media. Boston MA: Allyn and Bacon, 2003. CA2012 S TORYTELLING FOR C OMMUNICATION S TORYTELLING AS C OMMUNICATION