ARCHETYPAL DESIGN OF STORYTELLING: A THEORETICAL FRAMEWORK FOR APPLICATION IN

MARKETING

MASTER THESIS EXPOSÉ

MERCÉDESZ ILICS

EUROPEAN MASTERS IN BUSINESS STUDIES

Archetypal Design of Storytelling: A Theoretical Framework for Application in Marketing - 2

ABSTRACT

TITLE: ARCHETYPICAL DESIGN OF STORYTELLING: A THEORETICAL

FRAMEWORK FOR APPLICATION IN MARKETING

KEYWORDS: Storytelling, Archetypes, Advertising, Brand Stories, Customer Behaviour,

Narratives

BACKGROUND: Since technology has democratized the power to share our stories with the

world storytelling has become a crucial business competency that drives customer engagement

by creating emotional journeys that makes customers act. By moving from transmitting a

message to providing an experience with marketing communication, companies can reach

improved business performance.

PURPOSE: This study aims to probe the right use of storytelling as a marketing communication

tool for companies by exploring opportunities to leverage the use of archetypal themes. The

study contributes to the marketing literature by developing a framework which can be used to

construct powerful brand stories in order to support companies in the creation of more engaging,

impactful and more motivating advertisements and by identifying the main type of stories used in

storytelling by companies through typology of real brand stories. The ultimate goal of the study

is to provide companies with guidelines and a practical system to create such stories which will

not only captivate attention but fully immerse the customers into the story leaving a long lasting

impression.

METHODOLOGY: The study takes an exploratory approach; 70(/80) cases, representing real

company stories are analyzed to facilitate the typology of company stories and the identification

and analysis of the archetypal themes and narrative elements.

Archetypal Design of Storytelling: A Theoretical Framework for Application in Marketing - 3

TABLE OF CONTENTS

LIST OF FIGURES 4

INTRODUCTION 5

RESEARCH QUESTIONS & METHODOLOGY 6

THEORETICAL BACKGROUND 7 Storytelling 7

Essence of Stories 8 The Role of Storytelling in Business 9 Crafting Powerful Stories 10

Construction of Narratives 10 The Key Features of Stories 10

Story Archetypes 11 Archetypal Conflicts 12 Archetypal Characters 12 Archetypal Plots 14 Archetypal Story Framework 15

LITERATURE REVIEW 16

TYPOLOGY OF COMPANY STORIES 21

WORK PLAN 22

OVERVIEW OF CHAPTERS 24

REFERENCES 25

APPENDIX 29 Appendix A - Archetypal Story Character Pattern Instrument 29 Appendix B - Archetypal Story Character Pattern Instrument 33 Appendix C - Typology of Company-originated Story Types 35

Archetypal Design of Storytelling: A Theoretical Framework for Application in Marketing - 4

LIST OF FIGURES

Figure 1- Archetypal Characters based on (Mark & Pearson, 2001) 13

Figure 2 - Archetypal Story Framework 16

Figure 3 - Firm-originated story types 23

Archetypal Design of Storytelling: A Theoretical Framework for Application in Marketing - 5

INTRODUCTION

The structure of advertisements is organized either in an argumentative or a narrative way

(Boller & Olson, 1991). A narrative advertisement introduces causal or chronological series of

events performed by characters, whereas an argumentative advertisement presents associational

or logically connected ideas not enacted by characters (Padgett & Allen, 1997). According to

Boller & Olson (1991) “narrative ads tend to portray experiential brand meaning (i.e., meanings

about the self-relevant consequences associated with brand use) by telling stories about one or

more character's experiences with the advertised brand ” (p. 172). The role of stories in

influencing comprehension, communication, and judgment has been researched in wide range of

disciplines, such as psychology, linguistics, sociology, and anthropology (West, Huber, & Min,

2004). This study focuses on narrative advertisements and aims to probe the right use of

storytelling as a marketing communication tool for companies by exploring opportunities to

leverage the use of archetypal themes. The different archetypal themes help companies appeal to

the various aspirations that their customer’s have for themselves; these aspirations are universal,

such as a desire for safety, accomplishment or connecting with other people (Mark & Pearson,

2001)archetypal patterns should be seriously taken under consideration when designing a

narrative advertisements for companies. Firstly, the study provides a comprehensive literature  

review on the relevant theory on storytelling with the aim of investigating why stories are

powerful tools for marketers to create emotional connections and influence consumers’ attitudes

and intentions, how stories are constructed and to examine the role of archetypes in narratives.

Secondly, the study presents a case study analysis based on different types of real company

stories in different forms including videos, podcasts, interactive web pages, infographics etc. As

no classification of firm-originated stories have been done in the existing storytelling research, as

part of the case study analysis a typology of firm-originated company stories is conducted in

order to facilitate the construction of a theoretical framework for the development

firm-originated stories with respect to archetypal themes. The study contributes to the marketing

literature by developing a framework which can be used to construct powerful brand stories and

by identifying the main type of stories used in storytelling by companies through typology of real

Archetypal Design of Storytelling: A Theoretical Framework for Application in Marketing - 6

brand stories. The ultimate goal of the study is construct a framework which can provide a basis

for future quantitative analysis and guidelines for the construction of powerful firm-originated

stories leveraging archetypal themes.

RESEARCH QUESTIONS & METHODOLOGY

Research Questions

The study takes an exploratory approach to provide answers to the following research questions:

What are the main elements of company-originated stories?

What type of stories do companies tell?

How can companies leverage the use of archetypal themes in business storytelling?

Which archetypal themes should be used in the different types of company-originated stories?

Methodology

A secondary research was conducted on the theoretical background on storytelling in order to

identify the main elements of storytelling and the role of archetypal themes in firm-originated

stories.

The secondary research is followed by a Case Study Analysis which has two goals:

1. Facilitating the typology of company-originated stories

2. Identifying the archetypal themes in the different stories.

Originally, The Case Study Analysis included the analysis of award winning company-originated

stories. The analysed stories include Cannes Lions Grand Prix and Gold Lion winners, Shorty

Award winners and Webby Awards winners to ensure diversity. The Cannes Lions

International Festival of Creativity is the world's biggest celebration of creativity in

communications awards. The Shorty Awards is an annual awards show recognizing the people

and organizations that produce real-time short form content across social media. A Webby

Award is an award for excellence on the Internet presented annually by The International

Academy of Digital Arts and Sciences.

Archetypal Design of Storytelling: A Theoretical Framework for Application in Marketing - 7

The typology of company story has been started on a sample of 21 award winning firm

originated stories (see Appendix 3). Unfortunately, biases have been discovered with this

approach as some themes occur much more often than others, therefore an other approach will be

taken to continue the typology and the archetypal analysis of stories. Beside the award winning

stories different types of stories will be analyzed as well, including stories on websites, social

media etc.

In order to ensure that the right ads were chosen and that the right archetypes are recognized in

the stories tools are developed based on the literature review.

An advertisement has to fulfill the following conditions in order to count as a story:

- It has to have a message,

- It has to have a conflict,

- It has to have characters,

- It has to have a plot.

If these conditions are fulfilled first the theme of the advertisement will be analyzed.

After the type of the story is identified the tools for the recognition of archetypal themes can be

found in the Appendix A and B.

After the data is collected Excel is going to be used to model the data collected.

THEORETICAL BACKGROUND

Storytelling

The aim of the chapter is to provide comprehensive review on the relevant theory on

storytelling. The first subchapter investigates why stories have the ability to engage people and

the second subchapter aims to explore the use of storytelling in business and reviews research

done on the positive effect of firm and customer originated stories on consumer attitudes and

responses. Finally, the last subchapter identifies how narratives are constructed and which are

key elements of stories.

Archetypal Design of Storytelling: A Theoretical Framework for Application in Marketing - 8

Essence of Stories

A story is “an oral or written performance involving two or more people interpreting past or

anticipated experience” (Boje, 1995, p. 1000). Since the beginning of time religious stories

offered guidelines for people; telling them how they should live their lives, aiding them in

finding their life’s purpose and providing consolation for difficult times (Fog, Budtz, Munch, &

Blanchette, 2011). For more than 27,000 years, since the first cave paintings were discovered,

storytelling has been one of humans most fundamental communication methods (Mba, 2014).

The role of stories in influencing comprehension, communication, and judgment has been

researched in wide range of disciplines, such as psychology, linguistics, sociology, and

anthropology (West et al., 2004). It has been proven that stories aid comprehension (Weick,

1995) and the human memory is story based (Schank, 1995) as narratives are the basic mode of

thought through which people make sense of our experiences and ourselves (Baumgartner,

2002). Reality is interpreted through our stories and these stories are not based on hard facts

(Schank, 1995). When we are being told a story every area in our brains is activated which we

would use to experience the events of the story (Mba, 2014), thus when we are telling a story to

someone they can experience the same. Storytelling facilitates connecting with others - one of

the most fundamental human need - and this is where its power lies. Everyone has to explore

their own belief system and one approach is to surround oneself with symbols that align with

one’s values and lifestyle, which includes purchasing products and brands (Schank, 1995).

Companies can use storytelling as an effective communication tool and transmit the values of a

company by narrating a story. Narrative transportation can change attitudes and intentions (Kim,

Lloyd, & Cervellon, 2016). Green & Brock (2000) claim that “to the extent that individuals are

absorbed into a story or transported into a narrative world, they may show effects of the story on

their real-world beliefs” meaning that more absorbed the consumers are more powerful the

story’s persuasion becomes (p. 701). Stories have the ability to make a topic much more real to

the audience than rational persuasion because it transforms the argument in a more relatable

format (Kaufman, 2003). Due to these facts narratives transportation has been researched by

consumer researchers (Green & Brock, 2000; Van Laer, De Ruyter, & Visconti, 2013),

Archetypal Design of Storytelling: A Theoretical Framework for Application in Marketing - 9

furthermore, it has been proven that storytelling has an enhancing effect on consumer-brand

relationships (Escalas, 2004). Escalas (2004) claims that “what a brand means to a consumer is

based in part on the narratives he/she has constructed that incorporate the brand” (p.168) and that

“through the narrative meaning-making process, some brands become more important and

valuable than others to consumers, becoming connected to consumers’ sense of self” (p. 176).

The Role of Storytelling in Business

Storytelling is used in business as a strategic branding concept and as an operational

communication tool (Fog et al., 2011). The use of storytelling as an operational communication

tool includes overcoming resistance to change within the organization, developing the

company’s mission, enhancing fundraising and recruitment, engaging employees and aiding

employees in connecting to the community (Kaufman, 2003). Storytelling can communicate the

message internally and externally (Fog et al., 2011). This study focuses on the role of

storytelling in advertising and brand building, however both of the uses are essential to enhance

customers’ emotional connections with brands as a “strong brand is created by a strong corporate

culture” (Fog et al., 2011, p. 24). Storytelling can be done both at corporate and product brand

level (Fog et al., 2011). Fog (Fog et al., 2011)claims that the branding is the “goal” and

storytelling is the “means” as strong brand is built on clearly defined values and a well built story

has the ability to communicate the company's’ values by speaking to people’s emotions and

making it relatable to all. Many academics have proven the positive effect of firm and customer

originated stories on consumer attitudes and responses. Lundqvist, Liljander, Gummerus, & van

Riel (2013) found that a good story creates positive associations with a brand and increases

consumers’ willingness to pay. In this research the brand experiences of 2 groups of customers

were compared; one group was exposed to a brand story and one wasn’t. The experiment proved

that the consumers who were exposed to a story perceived the brand attributes and interpreted

product features, such as amount of text on packaging more positively, furthermore they

developed more positive brand attitude.

Hauff, Carlander, Gamble, Gärling & Holmen (2014) researched whether storytelling should be

used by marketers of financial services and their research findings proved that information about

Archetypal Design of Storytelling: A Theoretical Framework for Application in Marketing - 10

a financial message in a narrative format results in stronger positive affect, emotive response and

purchase intention, furthermore no sign of scepticism toward the message was detected.

Research in the food industry proved that storytelling elements in the product communication

contributes to overcoming consumer disinterest among disinterested consumers (Fenger,

Aschemann-Witzel, Hansen, & Grunert, 2015). Research in nonprofit context revealed that the

use of storytelling for charities is an effective tool for attracting donations; problem statements

evoked negative emotions and after donating to the cause the consumers experience greater

positive emotions and lesser negative emotions (Merchant, Ford, & Sargeant, 2010).

Crafting Powerful Stories

Construction of Narratives

According to Gergen & Gergen’s (1988, pp. 20–22) synthesis of the narrative literature the

following components are essential to the construction of intelligible narratives in contemporary

western culture:

1. The Establishment of a Valued End Point - Every story has to have an established “the

point” which has to be saturated with value and positively or negatively evaluated by the

people involved in the process.

2. Selection of Events Relevant to the Goal - After the goal state has been determined the

events will be selected which will help to make the story’s point.

3. Ordering of Events - Once the events have been selected they tend to be placed in

‘linear, temporal sequence’.

4. Establishing Causal Sequences - The order in which the events are put tend to be

causally linked.

5. Demarcation Signs - A story should have well recognized beginning, middle and end.

In Addition to these elements the plots within narratives tend to have a basic structure which will

be addressed in more detail in the next sub-chapter.

Archetypal Design of Storytelling: A Theoretical Framework for Application in Marketing - 11

The Key Features of Stories

Fog et al. (2011) defined four core elements of storytelling:

The first element is the Message, which is “an ideological or a moral statement as a central

theme throughout the story” (Fog et al., 2011). Fog et al. (2011) highlights the importance of

focusing only one key message and the story itself shall serve as the proof of the premise and aid

the consumers in understanding and internalizing said message.

The second elements is conflict, which is the driving force of a good story. Without a conflict

there is no story as “a story is set in motion by a change that disturbs this sense of harmony”

(Fog et al., 2011, p. 35). In storytelling the message is transmitted through conflict resolution

thus conflict is not negative (Fog et al., 2011).

The third basic feature of stories are the “Characters”. Boller & Olson (1991) argue that a

character's importance lies with its ability to convey a multiplicity of brand meaning from the

varying perspectives of consumer-characters. In the classic fairy tale model each character has a

specific role, all of them add the others and plays an active part in the story. The typical

framework is the following; the story starts with a “Hero”, who tries to reach a goal, an

“Advisory” reveals himself and antagonizes the hero and creates conflict, “Support” will appear

which provides the Hero with the means to reach the goal, and there are “Beneficiaries” and

“Benefactors” are people who benefits from the Hero reaching his goal (Fog et al., 2011).

The last element is the plot which is split into three parts: beginning, middle and end. Fog et al.

(2011) describes it as

“First, the scene it set. Next, the progression of change creates conflict and sets the

parameters for the rest ofthe story. The conflict escalates but is finally resolved, marking the end

of the story” (Fog et al., 2011)

Fog et al. (2011) created a general plot line, however other researchers identified several

different archetypical plots types. After 34 years of research Christopher Booker published his

book “The Seven Basic Plots: Why We Tell Stories” in 2004 in which he identified 7 timeless

basic plots which will be introduced in the next Chapter.

Archetypal Design of Storytelling: A Theoretical Framework for Application in Marketing - 12

Story Archetypes

The concept of Archetype was first defined by Carl Jung as primordial inherent patterns and

psychological structures shared among all human beings, deriving from the universal collective

unconscious and reflected in symbols, images, and themes (Hobson, 1973; Jung, 1969). Every

archetype represents a specific worldview, including different life goals and theories about what

gives life meaning (Pearson, 1989). Maloney (1999) found that an archetypal themes can evoke

affective responses. Thus, archetypal patterns should be seriously taken under consideration

when designing a narrative advertisements for companies. This chapter introduces those

archetypal themes, which can be applied to three of the identified story elements, namely the

conflict, characters and plot.

Archetypal Conflicts

In the literature 7 type of core conflicts can be identified (Zeiser, 2015, p. 61):

1. Man vs. Himself - when the protagonist deals with an internal conflict.

2. Man vs. Man - when two characters are fighting against each other.

3. Man vs Society - when protagonist struggles with social traditions or society as a whole.

4. Man vs. Nature - when individuals are fighting against elements of nature (such as water,

fire), illness or aging.

5. Man vs. Supernatural - can encompass internal conflict with God or supernatural powers.

6. Man vs. Machine - protagonist fights technology.

7. Man vs. Destiny - the hero fights against his fate.

Archetypal Characters

The 12 archetypical forms which can be embodied by the characters are summarized in Table 1.

These archetypal characters are reappearing because they represent deep, universal needs and

desires that need to be fulfilled (Woodside & Sood, 2016).

Archetypal Design of Storytelling: A Theoretical Framework for Application in Marketing - 13

Figure 1- Archetypal Characters based on (Mark & Pearson, 2001)

Archetypes

Universal human desire

Leave mark on the world Yearn for paradise

Archetype Hero Magician Outlaw Explorer Sage Innocent

Core desire

Prove worth through

courageous action

Knowledge of fundamental

laws, how the world works

Revenge, revolution

Freedom to find out who

we are

Discovery of truth

Experience paradise

Goal Exert mastery

and improve the world

Make dreams come true

Destroy what is not

working

Better, more authentic and fulfilling life

Use intelligence

& analysis to understand the world

Happiness

Fear Weakness, vulnerability

Unanticipated, negative

consequences

Being powerless, trivialized

Nonbeing, inner

emptiness, being trapped

Being misled;

ignorance

Doing something bad

and getting punished

Strategy Become strong,

competent, powerful

Develop vision and live it

Disrupt, destroy, shock

Journey, experience, escape from

boredom

Seek information

and knowledge, become self

reflective

Do things right

Gift Competence and courage

Finding win-win

outcomes

Outrageousness,

radical freedom

Autonomy, ambition,

being true to one’s soul

Wisdom, intelligence

Faith and optimism

Trap Arrogance,

developing a need for enemy

Becoming manipulative

Go over to the dark

side

Aimless wandering

Study forever,

never act Boring

Universal human desire

Provide structure to the world Connect with others

Archetype Creator Ruler Caregiver Everyman Jester Lover

Core desire

Create something of

enduring value Control

Protect people

from harm

Connection with others

Live the moment with

full enjoyment

Attain intimacy, experience

sexual pleasure

Archetypal Design of Storytelling: A Theoretical Framework for Application in Marketing - 14

Goal Give form to a vision

Create a prosperous, successful

family, company,

Help others To belong, fit in

Have a great time and

lighten up the world

Relationship with people,

work, experience,

surroundings

Fear Mediocre vision or execution

Chaos, being overthrown

Selfishness ingratitude

Standing out, put on air and

being rejected

Boredom Being alone, unwanted,

unloved

Strategy Develop artistic control and skill

Exert leadership

Do things for others

Develop solid virtues, common

touch, blend in

Play, jokes, fun

Become more attractive

Gift Creativity, imagination

Responsibility, leadership

Compassion,

generosity

Realism, empathy, lack

of pretense Joy

Passion, gratitude,

appreciation, commitment

Trap Perfectionism, miscreation

Being bossy, authoritarian

Martyrdom of self,

entrapment of others

Give up self to blend in

for superficial connection

Frittering life away

Doing everything to

attract and lose identity

Archetypal Plots

Booker (2004) identified the following 7 timeless basic plots:

The first one is called “Overcoming the Monster”, where the protagonists learns of a great evil

who often threatens the entire realm or possesses a priceless treasure or a beautiful princess, the

hero gets special equipment/weapon and he finally defeats the monster against terrifying odds

and frees the land (Booker, 2004). The most famous example of the use of this plot in advertising

is Apple’s “1984” advert where the monster to overcome was IBM which dominated the market

at the time (Mac History - YouTube, n.d.). Apple is the perfect example to highlight the

importance of adopting a brand's story to its current position on the market.

The second story archetype is called “Rags to Riches”. In this plot type the ordinary protagonist

turns out to be someone exceptional or ascends from poverty to wealth (Booker, 2004). This plot

Archetypal Design of Storytelling: A Theoretical Framework for Application in Marketing - 15

type is often used by brands with long history, famous example is the scotch brand Johnnie

Walker which was founded by a simple scottish farm lad (“The Johnnie Walker Story | Johnnie

Walker,” n.d.).

Booker named the third type of story plot “Quest” where the protagonist and his companions set

out to obtain an important object or to find a location, facing many challenges and overcoming

many obstacles along the way. The Quest usually refers to a long term story and focuses on the

hero’s journey (Booker, 2004). Some companies and brands who are on a mission include

Salesforce, whose mission is to become and help its customers to become a “Customer

Company” (“Video: Become a Customer Company - Salesforce.com,” n.d.),

The fourth plot type is the “Voyage and Return”. These type of stories usually begin with the

protagonist being in a limited state and as he starts his adventure the new world widens his

horizons and in the end he returns renewed (Booker, 2004). Budweiser’s 2013 Clydesdales

Superbowl ad and Budweiser’s 2015 “Lost Dog” Super Bowl ad both tell a story of an

emotional journey which has a reward at the end (Comedy TV, 2015; Dressurhaflinger Team

Sandros, 2013).

The fifth type is “Comedy” which involves a light and funny character and the central motif is

the triumph over adverse circumstance, resulting in happy ending. Booker (2004) stresses that

comedy is more than humor.

The sixth type is “Tragedy” in which the hero has a major character flaw or made a great mistake

which is ultimately their undoing and this results in the fall of a “good” character.

Lastly, “Rebirth” is a story of renewal in which an important event forces the hero to change,

often turning them a better person. Famous example is Dove’s Real Beauty Sketches campaign

was based on this plot by supporting women in forming their perceptions of beauty and

reevaluating their own (Dove US, 2013).

Archetypal Story Framework

The framework was developed based on the literature review and will be used to facilitate the

case study analysis in the second part of the study.

Archetypal Design of Storytelling: A Theoretical Framework for Application in Marketing - 16

Figure 2 - Archetypal Story Framework

Archetypal Design of Storytelling: A Theoretical Framework for Application in Marketing - 17

LITERATURE REVIEW

# Title Author Year Published Contribution

JOURNALS

1 Experiencing ad meanings: Crucial aspects of narrative/drama processing

Gregory W. Boller Jerry C. Olson

1991 NA - Advances in Consumer Research

● Outlines a conceptual framework for understanding the potential effects of narrative ads

● Conceptualization of empathy

2 Communicating Experiences: A Narrative Approach to Creating Service Brand Image

Dan Padgett Douglas Allen

1997 Journal of Advertising

● Explores Service Brand Image and Brand Experience

● Discusses the Narrative Interpretation of Brand Experience

● Explores how to transmit Service Image Through Narrative Advertising

3 Stories that SELL, stories that TELL

Kaufman, Barbara

2003 The Journal of Business Strategy

● Discusses the place of storytelling in company communications

● Gives various organizations views on where storytelling adds value and how leaders can use this better to develop their organizations

4 Stories of the Storytelling Organization: A Postmodern Analysis of Disney As “Tamara-Land”

Boje, David M

1995 Academy of Management journal

● Theorizes Walt Disney enterprises as a storytelling organization

● Discusses storytelling organizational theory

● Concludes with implications for postmodern theory and future storytelling research projects

Archetypal Design of Storytelling: A Theoretical Framework for Application in Marketing - 18

5 Altering Experienced Utility: The Impact of Story Writing and Self-Referencing on Preferences

West, Patricia M; Huber, Joel; Min, Kyeong Sam

2004 The Journal of Consumer Research

● Extends prior research on narratives and self referencing by making the consumer an active participant in the generation process

● Sets a rich agenda for future research

6 Toward a Personology of the Consumer

Baumgartner Hans

2002 The Journal of consumer research

● Lays down the basics for a development of a personology of the consumer, in which people are seen as dispositional, goal-striving, and narrative entities engaged in consumption

7 Narrative Processing: Building Consumer Connections to Brands

Escalas, Edson

2004 Journal of consumer psychology:the official journal of the Society for Consumer Psychology

● Experiment proved that narrative processing in response to a narratively structured ad is positively related to self brand connections, which in turn have a positive relation with brand attitudes and behavioral intentions.

8 Narrative-transportation storylines in luxury brand advertising: Motivating consumer engagement

Kim J.E., Lloyd S., Cervellon M.C.

2016 Journal of Business Research

● Contributes to luxury brand advertising research by identifying a route to persuasion based on the level of implicit narrative transportation engendered by the brand's advertising

9 The role of transportation in the persuasiveness of public narratives

Green M.C., Brock T.C.

2000 Journal of personality and social psychology

● Proposes transportation as a mechanism whereby narratives can affect beliefs

● Defines transportation as absorption into a story

Archetypal Design of Storytelling: A Theoretical Framework for Application in Marketing - 19

● Experiment: reduced transportation led to reduced story-related beliefs and beliefs were unaffected by labeling a story as fact or fiction

10 The impact of storytelling on the consumer brand experience: The case of a firm-originated story

Lundqvist A., Liljander V., Gummerus J., van Riel A.

2013 Journal of Brand Management

● Experiment demonstrated the power of storytelling on consumer experiences

11 Storytelling as a means to increase consumers’ processing of financial information

Hauff J.C., Carlander A., Gamble A., Gärling T., Holmen M.

2014 International Journal of Bank Marketing

● Suggests that a narrative message format may be used in marketing financial products to increase passive consumerś involvement

● Proved that narrative format has an effect on processing of financial information

12 Delicious words – Assessing the impact of short storytelling messages on consumer preferences for variations of a new processed meat product

Fenger M.H., Aschemann-Witzel J., Hansen F., Grunert K.G.

2015 Food Quality and Preference

● Explores the effect of short storytelling messages on food choice

13 Preference ratings of images representing archetypal themes: An empirical study of the concept of archetypes

Maloney, A 1999 The Journal of Analytical Psychology

● The study proves that archetypal themes determine affective responses in adults

14 The extended transportation-imagery model: A meta-analysis of the antecedents and

Van Laer T, De Ruyter K, Visconti

2013 Journal of Consumer Research

● The authors conceive the extended transportation-imagery model, which is not only a comprehensive model

Archetypal Design of Storytelling: A Theoretical Framework for Application in Marketing - 20

consequences of consumers' narrative transportation

that includes the antecedents and consequences of narrative transportation but also a multidisciplinary framework in which cognitive psychology and consumer culture theory cross-fertilize

15 Charitable organizations' storytelling influence on donors' emotions and intentions

Merchant A, Ford JB, Sargeant A

2010 Journal of business research

● Experiment proved that that following exposure to the inciting incident or problem statement in the appeal for a particular charity, the consumer feels negative emotions, which can be converted into anticipated positive emotions when the consumer is given the opportunity to donate

BOOKS

1 Sensemaking in Organizations

Karl E. Weick

1995 SAGE ● Highlights how the sensemaking′ process shapes organizational structure and behaviour

2 Storytelling: Branding in Practice

Fog, Klaus; Budtz, Christian; Munch, Philip; Blanchette, Stephen

2010 Springer Science & Business Media

● Provides knowledge and inspiration for using storytelling as a strategic tool

● Provides tools for putting corporate storytelling into practice

3 Tell Me a Story: Narrative and Intelligence

Roger Schank 1995 Northwestern University Press

● Argues that artificial intelligence must be based on real human intelligence, which consists largely of applying old situations, and our narratives of them, to new situations

4 Storytelling-Case Woodside 2016 Emerald ● SCADAM increases

Archetypal Design of Storytelling: A Theoretical Framework for Application in Marketing - 21

Archetype Decoding and Assignment Manual (SCADAM)

A.G., Sood S.C.

Group Publishing

accuracy of researchers' interpretations of consumers' (emic) interpretations of dramas in consumption experiences

● provides for comparing DOF testing in scoring alternative archetypes

5 The hero and the outlaw: Harnessing the power of archetypes to create a winning brand

Mark M., Pearson C.S.

2002 McGraw Hill Professional

● Implement a proven system for identifying the most appropriate and leverageable archetypes for any company and/or brand

● Harness the power of the archetype to align corporate strategy to sustain competitive advantage

6 The Seven Basic Plots: Why We Tell Stories

Booker, C. 2004 A&C Black ● Identifies and introduces seven archetypal themes which recur throughout every kind of storytelling

7 Corporate Storytelling: Tell Them Your Story

Ade Asefeso MCIPS MBA

2014 AA Global Sourcing Ltd

● Explore storytelling for business managers and consultants presenting in the Boardroom;

● Explains what are stories, why are they so powerful

8 Transmedia Marketing: From Film and TV to Games and Digital Media

Zeiser, A. 2015 CRC Press ● Introduces a groundbreaking transmedia approach integrates storytelling and marketing content creation across multiple media platforms

9 Collected Works of C.G. Jung, Volume 9 (Part 1): Archetypes and the

Jung, C Editor: Hull, R F C

1969 Princeton University Press

● The essays establish Jung’s theory (eg. essays on specific archetypes and a section relating them to the process of

Archetypal Design of Storytelling: A Theoretical Framework for Application in Marketing - 22

Collective Unconscious

individuation etc)

10 Analytical Psychology Chapter: The archetypes of the collective unconscious (pages 66-75)

Hobson, R F 1973 Butterworth-Heinemann

● The book discusses the fundamental concepts of analytical psychology and presents clinical studies

11 The hero within: Six archetypes we live by

Pearson, C S 1989 Harper &

Row,

Publishers

● Modern classic of Jungian psychology: Carol S. Pearson clearly defines six heroic archetypes and shows how people can leverage them

TYPOLOGY OF COMPANY STORIES

The identified themes of company-originated stories are summarized in Figure 3.

The most often identified type were the stories which featured an important issue; these type of

stories are called cause driven in this typology. Quite often the use of data was found in these

kind of advertisements.

The second type of stories are the product driven stories which usually presented product

features in the stories,

The second most frequent type of stories were the company driven stories, which most often

featured the company’s successful projects or the company’s origin story.

The fourth type of identified themes were the customer driven stories which most often featured

company success stories or potential customers having problems which can be solved with the

product or service.

The last type is called value driven stories where the company many times tells a story unrelated

to its product or service, the aim is to transmit messages which will bring the desired target

segment closer to the company.

Archetypal Design of Storytelling: A Theoretical Framework for Application in Marketing - 23

According to the cases analyzed so far most of the stories feature more than one theme.

Please note that this framework is a work in progress, will fully be completed only upon the

completion of all case study analyses.

Figure 3 - Firm-originated story types

Archetypal Design of Storytelling: A Theoretical Framework for Application in Marketing - 24

WORK PLAN

# TIME TASK PHASES COMPLETION

1 01/09/17 – 30/09/17 Extended Master Thesis Proposal

Finding a thesis topic Development of the topic and finding the focus of the study Literature review Handing in the extended proposal

Completed

2 30/09/17 – 23/10/17 Research design, Exposé

Handing in final exposé Designing methodology Theoretical background/literature review Conducting a premature typology of companies to draft up the framework

Completed

3 23/10/17 - 31/10/17 Case Collection and Typology

Collection of company stories which fit the identified requirements and building up the database Reevaluating and continuing the typology of company stories

To follow

4 31/10/17 - 5/11/17 BUFFER

5 6/11/17 - 26/11/17 Case Analysis Analysing the collected stories and identifying the archetypes Organizing data in the database

To follow

6 27/11/17 - 01/12/17 BUFFER

7 01/12/17 - 20/12/17 Interpreting the results and concluding

Processing the data in the database, finding connections and drawing up the framework

To follow

8 21/12/17 - 31/12/17 BUFFER

Archetypal Design of Storytelling: A Theoretical Framework for Application in Marketing - 25

OVERVIEW OF CHAPTERS

1. INTRODUCTION

2. RESEARCH QUESTION & METHODOLOGY

3. THEORETICAL BACKGROUND

3.1 Storytelling

3.1.1 Essence of Stories

3.1.2 The Role of Storytelling in Business

3.1.3 Crafting Powerful Stories

3.1.3.1 Construction of Narratives

3.1.3.2 The Key Features of Stories

3.2 Story Archetypes

3.2.1 Archetypal Conflicts

3.2.2 Archetypal Characters

3.2.3 Archetypal Plots

3.2.4 Archetypal Story Framework

4. TYPOLOGY OF COMPANY STORIES

5. CASE STUDY ANALYSIS

6. CONCLUSION

7. REFERENCES

8. APPENDIX

Archetypal Design of Storytelling: A Theoretical Framework for Application in Marketing - 26

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APPENDIX

Appendix A - Archetypal Story Character Pattern Instrument

Based on Woodside and Sood (2016):

Caregiver Archetypal Story Pattern Instrument Creator Archetypal Story Pattern Instrument

1. Story contain acts of helping friends, relatives or strangers?

2. Is compassion illustrated? 3. Does protagonist act as a guide or teacher? 4. Is the story concerning itself with social issues? 5. Any acts of generosity? 6. Protagonist helps solve other people’s problems? 7. Do people being helped heal or grow in some

aspect? 8. Others feel safe around the protagonist? 9. Does the story contain others showing gratitude? 10. Is someone needing the protagonist? 11. Does the protagonist champion the underdog? 12. Is the protagonist taking time out to reflect? 13. Can we say the protagonist exhibits a

co-dependency on others? 14. Is trust in the protagonist exhibited by others? 15. Any areas where the story protagonist can be

replaced with a nurse? 16. Any sign of caring about children?

1. Is the protagonist creating something new? 2. Protagonist is using creativity or imagination? 3. Is the story about overcoming boring or routine

work? 4. Does the protagonist helping others to reignite the

passion within? 5. Is the protagonist offering friendship? 6. The story relates to lots of ideas? 7. The protagonist is skilful? 8. Does the protagonist have a vivid imagination? 9. The protagonist follows a predetermined direction? 10. Alignment with stories of other inventors, artists or

entrepreneurs? N ? Y 11. Does the story highlight the protagonist’s aesthetic

sense? 12. Avoidance of the mundane? 13. The protagonist is critical of herself and others? 14. Is co-creation of artifacts an important aspect of

the storyline? 15. Any areas where the story illustrates following

intuition? 16. Any sign of the protagonist following her dream?

Everyman/woman Archetypal Story Pattern Instrument

Explorer Archetypal Story Pattern Instrument

1. Protagonist an underdog? 2. Is the protagonist described as an ordinary person? 3. Does protagonist demonstrate down to earth

behavior? 4. Protagonist likely to be friendly? 5. Any sign of protagonist being a reluctant hero? 6. The story is not an ordinary everyday occurrence? 7. Any protagonist action suggesting she is just an

average person?

1. Protagonist constantly moving or wandering? 2. Is the protagonist described as an adventurer? 3. Does protagonist demonstrate the desire for

wisdom? 4. Protagonist likely to uphold the truth? 5. Any sign of protagonist chasing freedom? 6. The story contains a desire to fulfil a need? 7. Any actions of protagonist to look at new ways of

doing?

Archetypal Design of Storytelling: A Theoretical Framework for Application in Marketing - 31

8. Do the actions of protagonist help others? 9. Does the protagonist interact with similar people to

herself? 10. By end of story is a good deed by the protagonist

obvious? 11. By finish of story does protagonist remain an

average person? 12. Does protagonist have fear of being a hero? 13. Is the story about an average person in

extraordinary situation? 14. Does the protagonist want more in life? 15. Any areas of story where protagonist deals with

similar individuals? 16. Any sign of the protagonist exhibiting cynicism?

8. Actions of protagonist represent desire for self sufficient?

9. Does the story contain a love of space and openness?

10. At end of story sign of protagonist experience better life?

11. By finish of story protagonist become more liberated?

12. Does protagonist have fear of being trapped or emptiness?

13. Is a journey part of story? 14. Does the protagonist want a better life? 15. Any areas where story shows protagonist helping

others? 16. Any sign of protagonist striving to be authentic?

Hero Archetypal Story Pattern Instrument Innocent Archetypal Story Pattern Instrument

1. Protagonist experiences a call to adventure? 2. Is a mentor present? 3. Does protagonist demonstrate great skills? 4. Iconic representation? 5. Any sign of superhuman skills? 6. The story contains a journey to overcome

obstacles? 7. A companion on the journey? 8. Do triumphs over evil exist? 9. Does the story contain the suffering of a great

loss? 10. At journey's end value brought back to the

community? 11. Is completion of story signalled by a happy

ending? 12. Does protagonist achieve marriage or wealth? 13. Are sacrifices associated with the story? 14. Does the protagonist achieve self discovery? 15. Any areas where the hero is not successful? 16. Any sign of pleomorphism?

1. Does the story convey happiness? 2. Does the protagonist avoid problems? 3. Is the story inspirational? 4. Does the story take a simplistic perspective? 5. Is the protagonist a positive thinker? 6. Protagonist is trustworthy? 7. Is the story optimistic? 8. Is “nice” a term that connects with the protagonist? 9. Is perseverance an important aspect of the story? 10. Does the story highlight fairness? 11. Is the protagonist dependable? 12. Protagonist is naive? 13. Does faith have any association with the story? 14. Is goodness an outcome of the protagonist’s

actions? 15. Any areas where story depicts an optimistic

protagonist? 16. Any comments regarding the parents of

protagonist?

Jester Archetypal Story Pattern Instrument Lover Archetypal Story Pattern Instrumen

1. Does the story project enjoyment with normal life? 2. Does the protagonist try to make others laugh? 3. Is the story narration humorous? 4. Does time wasting relate to any aspect of the

story? 5. Is the protagonist male?

1. Signs of love of others, pets, activities or job? 2. Is love seen as solving all problems? 3. Story references senses? 4. Does the story encapsulate strong emotions? 5. Any sense of beauty in people or objects? 6. Protagonist has an interest in romantic stories?

Archetypal Design of Storytelling: A Theoretical Framework for Application in Marketing - 32

6. The story is written about a specific moment in time?

7. Are the protagonist’s emotions unclear from reading the story?

8. Does the protagonist exhibit laziness? 9. Is perseverance an important aspect of the story? 10. Does the story make the reader feel happy? 11. Protagonist does not empathize with others? 12. Protagonist is playful? 13. Does the story focus on making the mundane fun? 14. Do the protagonist’s clowning around make others

comfortable 15. Any areas where the Jester uses humour to better

one self? 16. Any sign of using fun to allow protagonist to

escape daily life?

7. Are several relationships talked about? 8. Desire for close relationships? 9. Is the protagonist helping people meet other

people? 10. Absence of functional objects or unattractive

people? 11. Does the protagonist claim relationships are

important? 12. Any signs that the protagonist helps others to feel

happy? 13. Protagonist provides guidance to others on being

attractive? 14. Protagonist unsatisfied or feels empty when love is

not present? 15. Any areas where the story uses seduction to

achieve self aims? 16. Any sign of good food, great scenery or well

dressed people?

Magician Archetypal Story Pattern Instrument Outlaw Archetypal Story Pattern Instrument

1. Does protagonist inspire and communicate transforming vision?

2. Protagonist has props to help magical powers e.g. robe

3. Does the story contain any miracles e.g. rabbit out of hat

4. Is the protagonist charismatic 5. Is the protagonist a catalyst for change 6. Story is about a transforming event e.g. misfortune

to opportunity? 7. Protagonist is involved with science 8. The story is action orientated 9. Protagonist's inner thoughts linked to changes in

physical world 10. The protagonist uses meditation or chanting to

improve thinking 11. Does the story highlight serendipity and

synchronicity 12. The story is mysterious 13. The protagonist uses intuition 14. Spiritual help plays a part in the story 15. Any areas where a presentation is made 16. Any sign of a transformation?

1. Signs of rule breaking? 2. Does the story cite acts of disruption to normal

life? 3. Is rebellious behaviour exhibited by protagonist? 4. Does the story mention bad events? 5. Symbol associated with the protagonist? 6. Protagonist appears disenfranchised from society? 7. Is destruction a common theme? 8. A sense of emptiness on reading the story? 9. Is the protagonist seeking revenge? 10. Old and new world comparisons? 11. Does the protagonist question her identity? 12. Protagonist is grief stricken? 13. Protagonist is self destructive? 14. Protagonist is caught up in rapid change? 15. Areas where story openly illustrates desire for

freedom? 16. Any sign of the manner of dress symbolizing an

outlaw?

Ruler Archetypal Story Pattern Instrument Sage Archetypal Story Pattern Instrument

Archetypal Design of Storytelling: A Theoretical Framework for Application in Marketing - 33

1. Is the protagonist “the boss”? 2. Does the protagonist exercise control 3. Is the story about putting policies/procedures in

place? 4. Does the protagonist use a prop as a source of

power 5. Is the protagonist a ruler by entitlement? 6. The story relates to creating order? 7. Is the protagonist authoritarian 8. Does the protagonist resist criticism 9. Story is about creating successful company/family 10. Does protagonist enhance her power through

appearance? 11. Does the story highlight protagonist taking

responsibility? 12. Leadership demonstrated? 13. Protagonist represents collective spirit of those

around her 14. Security and stability important themes of the story 15. Is protagonist very decisive? 16. Any sign of the desire to keep order

1. Does the story invoke an old man or women? 2. Does protagonist research and think through her

problems? 3. Reference to academia? 4. Does the story cover a long range perspective? 5. Is the protagonist seeking truth? 6. Protagonist has an area of expertise? 7. Is the story objective? 8. Reading the story a sense of teaching or

mentoring? 9. Is the protagonist always calm? 10. Does the story suggest an ivory tower mentality? 11. Advice given? 12. Protagonist is foreigner or different culture/age? 13. Is deep thinking/intelligence essential to follow

story? 14. Protagonist plans decisions? 15. Areas where story involves technology or

complexity? 16. Any sign of people asking protagonist for advice?

Archetypal Design of Storytelling: A Theoretical Framework for Application in Marketing - 34

Appendix B - Archetypal Story Character Pattern Instrument Based on Booker (2004)

Basic Plot Act 1 Act 2 Act 3 Act 4 Final Driver

Rebirth Hero/heroine falls under the shadow of dark power

First things seem to go well and then threat appears

Threat returns with full force imprisoning the hero

It seems that the dark power triumphs

Someone miraculously rescues the hero

Basic Plot Act 1 Driver Act 2 Act 3 Act 4 Final Driver

Tragedy Anticipation: hero is unfulfilled and wants more

Temptation: The hero finds focus in some desire or course of action, which is usually forbidden

Dream: The hero reaches his goal and things go well

Frustration: Things start to go wrong gradually and the hero resorts to a desperate action

Nightmare: Hero loses control of the situation

Hero is destroyed

Basic Plot Act 1 Driver Act 2 Act 3 Act 4 Final Driver

Voyage and Return

Hero is bored, curious, reckless and open to new experiences

Protagonist is suddenly transported to a strange new world

Dream: Hero explores and finds the new world fascinating

Frustration: The new world becomes gradually alarming, frustrating or difficult.

Nightmare: A serious threat arises

Escape and return

Basic Plot Act 1 Driver Act 2 Act 3 Act 4 Final Driver

The Quest Story begins in the “city of destruction” where life is oppressive

The Call: The hero gets a vision or supernatural call that has the key to make things better or to get something from far away

The Journey: Hero travels to the goal, having adventures along the way, gaining helpers and encountering obstacles

Arrival and frustration: Within sight the hero finds an other obstacle to overcome

Final ordeals: Facing a final set of test and the toughest task/obstacle

The goal: hero survives and gets the treasure

Archetypal Design of Storytelling: A Theoretical Framework for Application in Marketing - 35

Basic Plot Act 1 Driver Act 2 Act 3 Act 4 Final Driver

Rags to Riches

Initial humble and unhappy state

The call: hero is called into the wider world

Out into the world: hero enjoys initial success, gets a taste of higher status, meets true love etc

Central crisis: Everything goes wrong, hero is separated from love /wealth etc

Independence and final ordeal. Hero discovers his true strength and defeats his rival

Hero wins true love/ obtains permanent higher status

Basic Plot Act 1 Driver Act 2 Act 3 Act 4 Final Driver

Overcoming the Monster

Anticipation: threat of monster becomes known

The call: Hero is called to confront the monster

Dream: All begins well while the hero begins to confront the monster

Frustration: When facing the monster the hero appears to be outmatched

Nightmare: The final battle seems hopeless

Hero defeats the monster, escapes possibly with treasure/ princess gains the kingdom

Basic Plot Act 1 Act 2 Act 3

Comedy The relationships between people are under the shadow of confusion, uncertainty, frustration

The confusion worsens until it reaches a crisis.

The truth comes out, perceptions are changed, the relationships are healed in love and understanding

Archetypal Design of Storytelling: A Theoretical Framework for Application in Marketing - 36

Appendix C - Typology of Company-originated Story Types

# Story Data Story Summary Identified Theme

1 Company: WHIRLPOOL Award: GRAND PRIX Source: (digitas, 2017)

Whirlpool installed washing machines at schools around America after research showed that thousands of children every day don't go to school because they don't have access to clean clothes. In the story they focus was on the research data and kids and teachers sharing their stories and what Whirlpool did to help these kids in need.

DATA DRIVEN, CAUSE DRIVEN, COMPANY DRIVEN (SUCCESS)

2 Company: SANTANDER Award: GRAND PRIX Source: (MRM//McCann Spain, 2017)

Santander "Beyond Money"campaign is Short sci fi film: it tells the story of a woman who sells her most precious experiences. Santander communicates a strong statement that your memories worth more than money. The aim of the film was to gains the trust of the Millennials who lost their trust in Banks.

VALUE DRIVEN

3 Company: The Bank of Åland Award: GRAND PRIX Source: (RBK Communication, Stockholm, 2017)

How much is the cost of purchase? Baltic Sea Project: Bank of Åland created the Åland Index, which calculates the true cost of a purchase by combining financial risk analysis data, merchant consumer codes and carbon pricing. The Index allows consumers to be presented with a digital environmental report with their credit card statement, showing them the cumulative environmental impact of their purchases, along with suggestions for balancing one’s footprint locally or globally.

DATA DRIVEN, CAUSE DRIVEN, COMPANY DRIVEN (SUCCESS)

4 Company: Asian Property Development plc Award: GRAND PRIX Source: (Emily Tan, Uploaded on Jun 21, 2017a)

AP Thailand turned empty spaces in Bangkok’s heavily populated Khlong Toei district into football fields.

CAUSE DRIVEN, COMPANY DRIVEN (SUCCESS)

5 Company: CHANNEL 4 Award: GRAND PRIX Source: (Channel 4, 2016)

Paraolympics was broadcasted on Channel 4. Movie about disabled "superheroes" to promote Rio Paraolympics.

PRODUCT DRIVEN

6 Company: IM Swedish Development Partner Award: GRAND PRIX

The Humanium metal initiative: The project aims to tackle gun violence and poverty by deconstructing illegal guns and using the metal to build products and put money back into communities.

DATA DRIVEN, CAUSE DRIVEN, COMPANY DRIVEN

Archetypal Design of Storytelling: A Theoretical Framework for Application in Marketing - 37

Source: (Humanium Metal Initiative, 2017)

(SUCCESS)

7 Company: Dentsu Y&R Tokyo Award: GRAND PRIX Source: (Emily Tan, Uploaded on Jun 20, 2017)

Dentsu Y&R Tokyo created a sperm testing smartphone kit to shine the spotlight on Japanese infertility in private.

DATA DRIVEN, CAUSE DRIVEN, COMPANY DRIVEN (SUCCESS), PRODUCT DRIVEN, CUSTOMER DRIVEN

8 Company: Tigo-Une Award: GRAND PRIX Source: (Emily Tan, Uploaded on Jun 21, 2017b)

Tigo-Une "Payphone bank" - This campaign converted 13,000 payphones from the turn of the century into digital banking terminals to help lower-income people access the country’s financial system.

DATA DRIVEN, CAUSE DRIVEN, COMPANY DRIVEN (SUCCESS)

9 Company: Volvo Trucks Award: GRAND PRIX Source: (Volvo Trucks, 2015)

Look who is driving: A full-size truck is directed by a little girl with a remote control. The gravel pit is filled with obstacles. After driving into every obstacle the Volvo truck is still unharmed.

PRODUCT DRIVEN

10 Company: GE Award: GOLD WINNER Source: (“LifeAfter by Panoply on Apple Podcasts,” n.d.)

The Message: podcasts which cast awareness of power of sound waves when it comes to human health. The aim was to raise awareness to the issue and to GE's new generation health equipment.

VALUE DRIVEN

11 Company: NORTON Award: GOLD WINNER Source: (Norton, 2015)

The Most Dangerous Town on the Internet: short film about importance of data security.

VALUE DRIVEN, COMPANY DRIVEN, CAUSE-DRIVEN

12 Company: NORTON Award: WEBBY AWARDS, GRAND PRIX Source:

Nike’s Unlimited campaign launched a video ‘Unlimited You’ and the Unlimited Stadium, a space in the heart of Bonifacio Global City, Metro Manila’s running hub. From August 5 to 21 2016, the Unlimited Stadium features a digitally-enabled running track and challenged Filipinos to unlock their potential through running events and services.

COMPANY DRIVEN, VALUE DRIVEN

Archetypal Design of Storytelling: A Theoretical Framework for Application in Marketing - 38

(Los Cannes, 2017)

13 Company: KLM Award: WEBBY AWARDS Source: (DDB Worldwide, 2015)

Happy to help campaign: as a way of showcasing their exceptional customer service, the team went out of their way to help all travellers in need.

CUSTOMER DRIVEN, COMPANY DRIVEN (SUCCESS, VALUE)

14 Company: United Nations Population Fund Award: WEBBY AWARDS Source: (“16 girls, 16 stories of resistance | UNFPA - United Nations Population Fund,” n.d.)

Tells a story of 16 girls and their stories of resistance against gender based violence.

CAUSE DRIVEN, CUSTOMER DRIVEN

15 Company: ALWAYS (P&G) Award: SHORTY AWARD Source: (Always, 2014)

Like a Girl campaign: P&G Always wants to help stop the decrease in confidence that girls experience at puberty by redefining the phrase “like a girl” . In the video young girl's and boys show what it means for them how to do things "like a girl". Younger girls did not have negative associations to the phrase"like a girl" and older kids associated it with negative traits like weakness. By the end of the video the older girls changed their perception about the phrase like a girl.

CUSTOMER DRIVEN, COMPANY DRIVEN (VALUE)

16 Company: AIRBNB Award: SHORTY AWARD Source: (Airbnb, 2014)

Wall and Chain: A Story of Breaking Down Walls - an animated film of a powerful story of a trip a daughter took to Berlin with her father, Jörg, a Berlin Wall guard at the height of the Cold War. She wanted to show him the vibrant city Berlin had become, but it was the man they met (the guard from the other side of the wall) at their Airbnb apartment that changed everything for Jörg.

CUSTOMER DRIVEN, COMPANY (VALUE)

17 Company: CAPITAL ONE Award: SHORTY AWARD Source: (“Capital One’s #DefineYourDream Campaign in the Shorty Awards,” n.d.)

Define your Dream campaign was born with the goal of showcasing the amazing things customers are doing and the company's commitment in supporting them on their journeys. (ex. Lisa's story - story about how they empowered Lisa after recovering from cancer and childbirth to gain back her strength and confidence )

CUSTOMER DRIVEN, COMPANY (VALUE AND SUCCESS)

18 Company: Mary Kay Award: SHORTY AWARD Source:

Mary Kay Independent Beauty Consultants are diverse, independent and strong business owners who pursue their dreams all while supporting themselves and their families. Through the "I Can" campaign, the consultants shared their compelling true stories to attract potential IBCs.

CUSTOMER DRIVEN, COMPANY DRIVEN (SUCCESS,

Archetypal Design of Storytelling: A Theoretical Framework for Application in Marketing - 39

(“Mary Kay’s ‘I Can…’ Campaign in the Shorty Awards,” n.d.)

VALUE)

19 Company: AT&T Award: SHORTY AWARD Source: (“‘The Disappearing Girl’ | A YA Interactive Drama Played Out Over Social Media in the Shorty Awards,” n.d.)

"The Disappearing Girl" was the First YA Show where fans unlock the story and plays out in real-time of social media: An indie-romance for the YouTube generation. The Disappearing Girl starring social media star/magician Collins Key, enables his fans to help him find the girl of his dreams. The mystery played out in social media: An Instagram account was created (@unlockalldoors) for the mystery girl where she posted clues for Collins, which quickly gained 50K+ followers. Each episode had a new clue posted on Instagram in real-time. Not only could fans follow the story in real time, they were able to engage with all the characters the way they would a friend. Aim was to connect better with young people.

COMPANY DRIVEN (VALUE),

20 Company: Make-A-Wish Foundation Award: SHORTY AWARD Source: (Make-A-Wish® Greater Bay Area, 2014)

Tells a story of a 5 year old with leukemia who becomes BATKID and saves San Francisco with his mentor BATMAN. The video features his adventures and more than 200 volunteers who turned San Francisco to Gotham city and made the experience real for Bryan.

CAUSE DRIVEN, VALUE DRIVEN

21 Company: MADDIE Award: SHORTY AWARD Source: (Maddie, 2016)

Maddie style Behind the Scenes: tells the brands story what and how they did presenting Maddie Ziegler is the hero.

COMPANY DRIVEN (ORIGIN)