In this chapter of the free Speaking Story audiobook, host Sally Koering Zimney and co‑host (Speaker A) explore the paradoxical truths that make compelling storytelling both an art and a science. They introduce six paired storytelling principles that are simultaneously true yet opposite, explaining how each tension shapes a powerful leadership story. The six dichotomies are: (1) a story should be easily followed but not overly formulaic; (2) it should recognize existing rules while also breaking those that don’t serve the narrative; (3) it should be risky without causing the audience to worry; (4) it should be simple yet avoid simplistic reduction; (5) it should move the audience without pushing ideas onto them; and (6) it should be specific in detail while also conveying a universal theme. The hosts stress that embracing these tensions builds self‑trust, encourages experimentation, and prevents storytellers from being held back. Throughout the chapter they intersperse promotional mentions of the Unspeaker Simple Storytelling Audio Course and the Be Moved Institute, inviting listeners to deepen their practice. The overall message is that understanding and balancing these opposing truths equips leaders to craft stories that resonate, engage, and move audiences.
Chapters
Actually, let's cut that because that is the next one, but, mm-hmm. This is not the shortest chapter in the book, but it's not a long one. Like, the shortest chapter in the book is literally like 2 paragraphs. Have we already done it? I don't remember. Nice, fresh, fresh, fresh, fresh. Anyway, hi, welcome back everybody. As you continue to move through this free audiobook of Speaking Story, I'm so delighted that you are here.
Welcome.
Whether you are on YouTube, hello, or you are listening on your podcast feed, it really just means so much to me that you're here because truly with just like a little bit more intention, You can turn on all the magic of storytelling. It does not require special performance skill and for being a theater major or, you know, years with the NSA or God, no Toastmasters not required. Sorry, Toastmasters, but I've worked with too many people with wounds. From Toastmasters, but here we are. And we just did a sassy analysis, and I hope that that tool is super, super helpful for you as you keep moving. And we're in chapter 20, and, uh, this is, I think, kind of an infuriating— I would call this chapter sort of infuriating. I find it annoying because we're talking about the tension of story truths. That all of these things are true at the same freaking time. And it's what makes storytelling more of an art than a science. We're going to tap into as much of the science as we can, but the truth is you're feeling this out and you're applying it to a specific moment in time. And there's this like other element at work. And so I want in this chapter, we articulate just a little bit about the tension of those truths, and we're just going to name them, that these things that are opposite of each other are both true somehow. And it is part of the joy of storytelling. I used to love— I'm the kind of person who just like loved that there was no right answers on things, that I could write about it and the quality of that, the qualitative nature.
I was like, "Yes, this is my realm, please.
Let's just think about it and make an argument about it." And if, you know, right answers and wrong answers, no thank you. Less interested in that. And this is this realm where there's not a right or wrong answer. Sort of like just important things to keep in mind before we actually start creating the story. So, you know, I'm like, "Part 4 is when we're actually gonna do the thing," and you're like, "Okay, we are on the third chapter of part 4, and we're still talking about some ideas." It's true. It's true.
There's a lot of ideas, but I promise we're gonna get to, first do this, then do this, then do this later on in this part.
But for now, we're gonna really just sit with the tension of truths that are true and opposite of each other. And then you can tell me if you're like, "Yep, annoying, infuriating, frustrating," or if it releases something for you and allows you to show up knowing that you're going to keep these things in mind but not let any of it hold you back. 'Cause dang it, that's what I want. I just don't want you to be held back. I just want you to show up and build a level of self-trust for you to try and learn and keep going because we need your voice.
All right.
Got it? All right, good. Okay, let's dive in. Here we go.
Hey everybody, and welcome to This Moved Me, a podcast about creating talks that move the world. With me, your host, Sally Koering Zimney.
This complimentary listening of this Speaking Story audiobook is brought to you in part by the Be Moved Institute, or as I lovingly refer to it, Be Me. Leadership almost always comes with a microphone, movers. Whether that's a meeting, a presentation, a tough conversation, a keynote conference opportunity that you have. I mean, even if you would never call yourself a speaker or a storyteller, you are one. You just might not have the tools that you need yet, or the support that you need yet. And that's why I created the Unspeaker Simple Storytelling Audio Course. It's like having me right alongside you on your walk or in the car on your commute, and it guides you through simple, powerful exercises to find the leadership stories that are already inside you and that will move your people. It's $49, but it's truly priceless, and I'm really excited to give you the opportunity to come join me over there. All you have to do is head to Sally Koering Zimney. Www.bethannemcclure.com/unspeaker to get started. And while you're there, join the waitlist for the Be Moved Institute, an incredible 2-day experience where we are giving corporate leaders the tools to present with power and clarity and authenticity and support. Now let's get into the chapter.
Chapter 20: The Tension of Story Truths. My hope is that you have arrived at this chapter with an idea of a story you're gonna tell, or that you're circling around a story by now. Hopefully you're in the ballpark because now we're going to look at what levers you can pull to make your story as impactful as it can be. So let me be clear, the story you're thinking about right now is nothing more than a particular moment in your life that you want to create and share with people because it helps illuminate an idea or point you want to make. It is not yet crafted. It is not yet shaped or honed. We are going to do that together. But to create the most impactful leadership story, it is essential that we understand the inner workings of stories. Because when you know the inner workings of stories, all the different levers you have to pull and adjust will make you a much better storyteller. Storyteller. Now, even though the tenets of storytelling are highly subjective, there are some truths we need to embrace. Yet these truths sometimes come in conflict with each other. Stories are full of dichotomies and opposites, and they're all true. So understanding the tension of those truths will help shape and color our approach to our stories. Truth number 1: Good stories are easily followed. The structure of a good story is simple and clear, especially to the audience. And as an audience member, I'm not lost or wondering what's going on. But a good story can't be too easy or too formulaic. When that happens, our audience starts thinking, "Oh, I know exactly how this is going to turn out, blah, blah, blah," and they stop listening deeply. So a good story needs to be simple, but not too simple. Truth number 2: Good stories recognize rules. As the audience, we have a sense of what the rules are in the world. There are rules around context. There are general rules about how a character may behave in a certain circumstance, given who they are and their role in that world. There are also rules in the world of our story that our characters generally need to recognize or intentionally break which still means that they recognize the rules. But at the same time, our stories can break rules that don't serve them. And sometimes the best stories surprise us like that. Truth number 3: Good stories are risky. Good stories bring us to the edges. They challenge us as storytellers and as audience members. But good stories cannot be so risky that the audience starts to worry. There is a point when it flips beyond risk, and it's important that we know where that point is so we don't cross it unintentionally. When our audience worries about us as a speaker, or they worry too much about the character in the story, they may be taken out of the story and start analyzing us as a speaker instead. Truth #4: Good stories are simple. Good stories are clear, and concise. They take complex ideas and simplify them for us so that we can easily understand them. But good stories can't be simplistic. We can't dumb a story down so much that we don't regard the complexity of human nature or that we come off as condescending to our audience. Good stories reflect the gray areas of who we are as human beings. They cannot be too black and white, or the audience may feel like they're being sold something. Truth number 5: Good stories move the audience without pushing them. Good stories invite a challenge, as well as a sense of growth. They show us a different way to be or a different way of seeing things. But we can't push our ideas onto our audience. There's a balance to the pushing. If the challenge goes too far, the audience will become defensive and stop listening. And start arguing with us instead. Truth number 6: Good stories are specific. Good stories bring details to life and help an audience member see the scene in their head. The more specific to the moment and the person, the easier it is for the audience to see it. All of these visuals help trigger the brain-friendly magic of stories. But good stories also have to be universal. They are about you as an individual, but they have to be about all of us at the same time. They've got to cover both parties. It's our job to find the universal theme that underlies our specific stories, or we risk losing the resonance and empathy that stories can provide. It's all and none. So good stories are easily followed, but they're not too easy. They've got to recognize rules and break the rules that don't serve them. They've got to be risky but not so risky that the audience worries about us. They've got to be simple but not too simplistic. They've gotta move an audience without pushing them, and they've gotta be specific and universal at the same time. Navigating these truths makes storytelling an art, not a science. It's what makes stories a worthwhile challenge that is often dependent on the specific moment we're in. And I promise that the more you play with these truths in how they live in the moment and in your body, the more you will ensure that your stories are impactful and engaging.
That's the end of this chapter of Speaking Story. If you wanna keep listening ad-free, you can find the full audiobook on Audible or subscribe wherever you get your podcasts or on YouTube. And if this chapter stirred something in you, if it shall we say, moved you, let me suggest that you start with the Unspeaker Simple Storytelling Audio Mini Course at sally-zimney.com/unspeaker.
All right, movers, this moved me. What is moving you? See you next time.
