Storyteller Uprising: Trust & Persuasion in the Digital Age by Hanson R. Hosein

By Hanson R. Hosein

With the decline of conventional journalism, there’s an elevated desire for relied on info. This provides an important chance to members, groups, businesses and corporations. they could fill that void by way of telling their very own multimedia tales and developing their very own channels of distribution — thereby serving as depended on assets of their personal correct. That’s the “uprising” — humans seizing keep an eye on of conversation through construction ongoing credible connection via tale and electronic know-how. Storyteller rebellion explains why this is often now attainable, and why you have to harness the ability of tale on your personal conversation endeavors.

This 2012 version of Storyteller rebellion has been up to date with a wide ultimate part, "The Storyteller's Seven demanding Truths to Manipulation in a Networked World," which takes an clear-eyed method of demanding situations and possibilities in storytelling, social media and management (including examples from Kony 2012, the civil warfare in Syria, the us military, Caine's Arcade).

Storyteller rebellion is a perfect consultant for pro communicators and leaders who search to appreciate the systemic transformation that has taken position within the electronic age. Readers of Clay Shirky, Charlene Li and Yochai Benkler will locate themselves on typical flooring because the writer builds upon these strategic thinkers and extends them into the area of storytelling and strategic conversation.

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Extra info for Storyteller Uprising: Trust & Persuasion in the Digital Age

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Responden a fuerzas inexplicables, están obsesionados por temores inexplicables, y muchas veces llevan a cabo fantásticas proezas físicas. ¿Qué tipifican esos procedimientos narrativos? ¡Toma!...

La clase inferior la constituían los periodistas, y se hallaban a un nivel tan bajo de la estructura que apenas si se percibía su existencia. Se les consideraba principalmente como operarios pagados al día que extraían pedazos de información bruta para mejor uso de escritores de mayor «sensibilidad». En cuanto a los que escribían para las revistas populares y los suplementos dominicales, los llamados escritores independientes... a excepción de unos pocos colaboradores del The New Yorker, ni siquiera formaban parte del escalafón.

Como resultado, jamás tuve la más mínima idea de que eso pudiese tener algún impacto en el mundo literario o, en cuanto a eso, cualquier otra esfera más allá del pequeño mundo del periodismo de reportaje. Debí tener un poco más de vista, sin embargo. Hacia 1966 el Nuevo Periodismo había cobrado ya su tributo literario y al contado: esto es, amargura, envidia y resentimiento. Tal estado de espíritu estalló durante un curioso episodio conocido como «el caso del New Yorker». En abril de 1965, en New York, el suplemento dominical del Herald Tribune, yo había hecho lo que creí una alegre burla de la revista The New Yorker en un artículo de dos partes titulado: «¡Pequeñas Momias!

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