How to Become a Better Storyteller
Section 1 of 16

Introduction

2 min listen Updated

Esther Choy was sitting in a routine meeting when her boss slapped his pen on the table and shouted across at her — "Esther, what the heck is wrong?" She froze. Nothing was wrong. She'd just been listening, doing her job. What was wrong, it turned out, was her face. She's a frowner, and she had no idea.

Here's the thing about that moment. You are always telling two stories — the one coming out of your mouth, and the one your body tells underneath it. And when they disagree, people believe the body.

That's the part most storytelling advice skips right past. You've probably been handed one of two versions of how to get good at this. One is dry structure — acts and arcs and frameworks. The other is a vague pep talk about being authentic and finding your voice. Both leave out the thing that actually decides whether a story lands: the live, breathing person sitting across from you. The real arena isn't a stage. It's the dinner table, the meeting, the car ride. And being good there is a craft you can learn — not a gift you were either born with or weren't.

So here's some of what's coming. There's a section built around a single experiment from Robert Cialdini, the Arizona State psychologist who spent thirty years studying why people say yes — where one mint left with the check bumped tips three percent, and two mints quadrupled them. There's the moment Amy Cuddy, the Harvard professor, stood on the TED stage in 2012 and admitted, to a packed hall, that she'd spent years certain she was a fraud — and why that confession is the part everyone remembers. There's a NASA discovery of seven Earth-sized planets, and why the way a scientist actually said it out loud beat the press release every time. And there's a two-second silence you can use tonight that will feel like an eternity to you and like an arrival to the person listening. By the end, you'll be able to build a story that creates real tension, make your listener feel something true instead of pitched, and read the room well enough to change course mid-sentence.

The place to start is underneath all of it — with the strange fact that your brain was wired for this a million years ago, around a fire.