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Amy Pinkerton (BSPH CTL Teaching Toolkit): All right. Hello, and welcome everyone to today's picnic. Pd workshop, the engaged learner finding your voice. This is the 4th workshop in our picnic Pd series for this year, and this also marks the halfway point. So next week we'll take a short break, and then we'll resume the picnic Pd series in the following week.

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Amy Pinkerton (BSPH CTL Teaching Toolkit): Thank you for joining us, and I'll now pass to our presenters to introduce themselves. Starting with Brian.

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Brian Klaas: Hi, there! My name is Brian Kloss. I am the assistant director for technology in the Center for teaching and learning, and I also have a faculty appointment here in the school's R. 3, center for innovation in science, education.

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Renee O'Hara: Hello! My name's Renee Dutton O'hara, and I'm an executive audio producer for Ctl, so that means I work with the audio producers and the audio editors, as we record and edit lectures.

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Renee O'Hara: welcome.

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Mia Lamm: And welcome everybody. I am Neil Lam. I'm a senior instructional designer with the center for teaching and learning here at the School of public health.

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Mia Lamm: So the way our session is going to work today is we're going to have about 30 min of didactic presentation. I promise it'll be fun. It'll be interesting.

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Mia Lamm: And at the end of sharing this content, that's really important for the context, we're going to then end our presentation.

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Mia Lamm: But please stay logged in, because we have for the rest of the time about another 30 min to work together in a in a pretty cool activity. So we'll do this as a group. And again, I think you'll enjoy it.

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Mia Lamm: And if we can move to the next slide.

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Mia Lamm: so today we're going to identify how we can better engage our audience. We're going to discuss some techniques for developing an authentic speaking style. We're going to show you how narrative frameworks can increase the impact of your presentations.

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Mia Lamm: And finally, we're going to take some time, as I mentioned before, to explore the power of storytelling and to apply the Pixar storytelling framework

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Mia Lamm: next slide. Thank you. So let's start by having a little fun with a quick poll, and let me just pull that up.

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Mia Lamm: You should see it now if you had to describe your presentation voice

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Mia Lamm: as a character which would you choose?

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Mia Lamm: The Professor? Lots of facts, serious tone, the friend conversational and warm, the robot monotone predictable.

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Mia Lamm: or the storyteller engaging and varied.

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Mia Lamm: One more second excellent.

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Mia Lamm: I kind of had a feeling we'd have a lot of the friend I actually would have chosen that myself. But I'm working towards the storyteller hoping to get inspired. So it's really interesting to see the variety of voices, and I think if we had a bigger group, I think there'd be probably even more variances and understanding our presentation voice can really help us connect better with our audience. So.

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Mia Lamm: keeping that in mind.

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Mia Lamm: Let me. Sorry. Yeah, thank you. Let's talk about a vocal variety.

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Mia Lamm: So our voices function like musical instruments where variations in volume, pace, and tone can play a really critical role in capturing attention.

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Mia Lamm: So some research I found done not really even current. It was 2016 data science scientists analyzed more than 100,000 presentations from corporate executives, politicians, and keynote speakers, and they examined behaviors ranging from

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Mia Lamm: word choices and vocal cues to facial expressions and gesture frequency. I do that a lot.

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Mia Lamm: They examined behaviors ranging from word choices, and they use this data

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Mia Lamm: to rate and rank important communication variables, such as confidence and warmth and vocal variety.

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Mia Lamm: And what they found is that even just a 10% increase in vocal variety can have a really huge impact on your audience's attention and retention of your message

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Mia Lamm: next slide, please.

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Mia Lamm: And so today, we're also going to look at storytelling and how that can help connection and engagement. And again, storytelling is not a new idea. They're central to human cognition and communication stories can convey culture, history and values that unite people.

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Mia Lamm: So next slide, let's get started. We're going to hear from our expert speakers, Rene and Brian, and you're really in for a treat, Rene.

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Renee O'Hara: Thank you. Mia, I think mia hit on so many things about the vocal instrument itself and the variety and storytelling, and I just want to say. I, too, in the poll, would have chosen probably friend and storyteller. I like to think I'm probably a little bit of a combo of both.

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Renee O'Hara: So let's go through things and talk about it, developing your speaking style, finding your voice and developing your own speaking style requires preparation, and it requires practice. So whether you're presenting a lecture on site or recording for an online lecture.

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Renee O'Hara: I think you need to take some time to get to know your voice and to work with your voice. I'll also note that I often hear from faculty as we work every day. That recording or presenting or speaking in general is an uncomfortable thing, and how can we make it more comfortable? How can we make you feel one

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Renee O'Hara: with your own voice? So today we want to give you tools that will help you develop your speaking style with the goal of narration and storytelling that will engage the learner, because we often want to think about the learners. What are they hearing? So let's talk about the how, the how, the why, and the what of storytelling.

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Renee O'Hara: So I want you to hear a couple of examples to hear what the difference is. So I recorded myself for this 1st one, and let's see what you think of it. Brian

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Renee O'Hara: Ctl. Is composed of several teams, instructional design technology, open and inclusive education, audio production and audio editing which I'm a part of technical writing, medical illustration, video production web development. Ctl, help and course quality control.

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Renee O'Hara: Please record with us

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Renee O'Hara: not very compelling. Right? You really didn't feel the connection. And if you've worked with me or your instructional designers, and done a pre-recording meeting, where, I say we're here to support you and make you sound the best. I probably didn't sound my best, and I wouldn't have really engaged any learners. But let's listen to another example, real faculty in a recording that we did. This one was done remotely. And let's hear the difference there, Brian.

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Renee O'Hara: So we know that leadership is about the future, and that leaders are always navigating the unknown.

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Renee O'Hara: They're always aviating the unknown because the future is always unknown, and sometimes it's very evident that it's unknown, and other times it's not as evident.

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Renee O'Hara: So we as leaders, you and me. We cannot change if we are ourselves unwilling to change. Leaders constantly face new situations, and there's no clear playbook or recipe. So learning helps us as leaders stay curious. It helps us respond to complexity and embrace uncertainty rather than trying to control it. And I think that's really important.

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Renee O'Hara: It's through learning we get to evolve our practice.

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Renee O'Hara: You must have heard the difference. I hear it. I hear the passion in our speaker, and I want to thank our faculty, Kateura Felix, for allowing us to use her voice in this example, and you can hear that this one had impact. It had connection. It had pacing. It had some inflection. She was so passionate about her material and what she wanted to share about learning. So I think I want you to feel that. And think about that when you're recording.

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Renee O'Hara: So just like anything else, we need to warm up even our voice. If those of you who have to work with me early in the morning. Know I'm a coffee drinker. No, I need to get up and stretch, and so our voice needs to warm up, too. So just like any exercise we need to warm our vocal cords up. I go back to a lifetime ago and think of those singing lessons in New York City, but so I won't do all of those for you. But what we will do is talk about a few that you can do so just to loosen the vocal cords.

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Renee O'Hara: Come with me if you will.

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Renee O'Hara: A

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Renee O'Hara: do you feel that I mean you really can feel the vibration in your throat, and if you do any kind of meditation or yoga, and you do an Om together at the end, you can hear that and share that. We're also going to do some tongue, Twisters, and I'm going to turn that to my colleague Brian, to lead us on that sure.

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Brian Klaas: Rene. So like, Rene was saying, you know you exercise, you run a marathon, or you run a 5 k. You're not going to just start by running straight out. You have to warm up, and there's lots of muscles in your face and around your mouth that don't normally get stretched out. But if you're about to go on stage or in a classroom, or recording in a studio, and you're going to deliver a 30, 60, 90 min lecture. You want to make sure those muscles are stretched out before you get started, and tongue twisters are a great way of doing this. This forces your mouth into positions

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Brian Klaas: that you don't normally take. It stretches and loosens that entire area and gets you ready to talk more and be able to be heard more clearly by the people that you're speaking to, and we're going to do a quick tongue twister here with me. I'll say it, and then your job is to repeat it along with me, and go a little faster as time goes by. This is one of my favorites. Tongue twisters are used by

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Brian Klaas: actors and films, and on Broadway, if you happen to be backstage before Hamilton, the one that I'm about to share with you is one they still do backstage at Hamilton in New York City, and that's the 4th bullet item on the list. So it goes like this.

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Brian Klaas: Whether the weather is cold or whether the weather is hot, we'll be together, whatever the weather, whether we like it or not. So we're going to do that again and at a normal pace. But then we're going to pick it up and do it a little more quickly, because that's 1 of the goals of Tongue twisters is to actually make you speak in a more difficult way over time to stretch out those muscles and get that mouth moving before you actually have to deliver your presentation.

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Brian Klaas: So whether the weather is cold, or whether the weather is hot, we'll be together, whatever the weather, whether we like it or not, faster, whether the weather is cold, or whether the weather is hot, we'll be together, whatever the weather, whether we like it or not, faster. Whether the weather is cold or whether the weather is hot, we'll be together, whatever the weather, whether we like it or not.

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Brian Klaas: So I'm a fast talker, but even fast tongue twisters like that. Help me when I go and teach my students, or give presentations or keynotes at conferences. Rene.

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Renee O'Hara: Brian, I really enjoyed that. Whether the weather is cold, whether the weather is hot, we'll be together, whatever the weather, whether you like it or not. But also you notice how much you have to move your mouth, and it takes that. And I'm sitting up for this presentation. So you can also do that, or you might find standing works. And one last thing I wanted to do is an easy one. To open the back is to yawn, and you'll feel that full stretch

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Renee O'Hara: and that really opens up the back of the lung. So thank you for doing those exercises with Brian and I, and I hope it really gives you an idea of what you can do, especially if you're self recording. Think of that. We won't make you do this in the studio when you join me. So just for this toolkit, I won't make you do the exercises. Every time you come to record we'll move on. And now that we've done the warmups, let's talk about a few things, to think about, some tips, to make you sound like a pro, or just to be more comfortable.

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Renee O'Hara: Just speak to your audience, think about your audience, share your passion. I talked about that from the speaker we heard Ketura Felix. I really every lecture she did. I felt her passion. I wanted to hear what she had to say and be authentic.

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Renee O'Hara: because that's you. People want to hear from you. And you know what? It's okay to pause. It's okay to have a beat.

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Renee O'Hara: It's okay to think for a moment. It's okay to slow down your pace. But it's okay to speed it up, too. As we said, it's okay to be louder and softer. Vary your pitch naturally aim for that warm authority sort of the friend we talked about, or the story, or if you have something you want to share that makes people laugh that brings them closer, please do so, and remember, confidence equals

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Renee O'Hara: voice strength. If you sound unsure or like you're thinking about something, or that you just don't want to do it. And I know we all have so much noise around us at work

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Renee O'Hara: at home that that's going to come through in your recording. So that will come through. So I just caution you not to do it. And then I wanted to add a few more things that you can do of how to practice. We have so many tools. We'll go to the next slide, and I'll share with you what you can do

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Renee O'Hara: to try it yourself at home. There's several things we're using zoom for this recording and this meeting, so you can always open your own zoom. You have it and just start a new meeting and hit record and record yourself. That's a great way to practice. You can use the voice, memo on your phone, just pick it up, open it.

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Renee O'Hara: play it back, see how you sound. But there's another tool as well. We use Powerpoint often in many of the lectures that I work on, and they have Speaker coach now, so a way to access, that is, to open Powerpoint, open the presentation, go to the slideshow tab, then select, rehearse with coach, and the presentation will open in the full screen view

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Renee O'Hara: just like slideshow. And then you're going to select, get started, and you're going to be ready to begin rehearsing. And it's going to record you, and then it's going to give you some tips after. Did you have ums and us? How was your volume?

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Renee O'Hara: How was your pitch? Did you repeat things? Should you try it again? So it's just another tool that you can use. And these are all out here, and it's just a good way to practice at home, because practice makes things better when you have the time, and we know that time is limited. But go ahead and practice or schedule a practice session with us, if that's something you'd like to do.

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Renee O'Hara: Another thing I like to suggest is that if you're recording online, we've had so many remote recordings since the pandemic that there's some different things you have to do one. You don't have the audience in front of you, whether you're giving an on-site lecture. And you have a room full of students. And suddenly, you're online, it's just you and the light on for recording.

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Renee O'Hara: So I would suggest that if you've used a script we tend to read a little faster than we speak, so remember to go slightly slower. Don't overly slow. I want you to sound like yourself, but we'll always remind you to slow down if we think you're going too fast.

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Renee O'Hara: add that vocal variation, because sometimes we just go. Mia mentioned it earlier. That robotic sound we're just reading. We're starting to record. We stay in one level all the way through, and we just want to read it and get it done.

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Renee O'Hara: Clear transitions write those down, because otherwise what I hear often in the studio is so so on this slide, so here. So now just avoid that word. So, and maybe write a transition, or again, focus on content. And then you won't need those filler words.

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Renee O'Hara: Use a good mic. Many of us today are using a mic, and if you don't have one we have some loaner mics, and we'd be happy to help you with the setup of those and background noise. You might hear my own Hvac. Today. We've got air conditions going or fans going. Sometimes the computer fan is very loud.

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Renee O'Hara: Remember to adjust that accordingly, too, because those will come through in your recording.

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Renee O'Hara: And again posture, I mentioned it. You'll want to do it. And just remember final tip, record, review, refine. You've got this. So now I'm going to turn things over to my colleague, Brian. He is an excellent speaker. I love listening to him. I have only recorded him a few times. Would you believe in the many years we've worked together because he records himself, and he does a great job of it, but he employs many of the tools we talk about. So now I'll turn things over to Brian.

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Brian Klaas: Thanks, Rene, very much. It's very high praise. Yes, I'm lazy and record things myself, and that's why I don't spend many hours in the studio with Rene, but when I have, it's been a pleasure, as it been with all the audio producers.

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Brian Klaas: So part of your finding your voice is not simply the sort of physicality of your mouth, of your throat, the way you sit and how you talk, and vocal variety and all those things, but it's also it also means figuring out how to communicate important ideas to both expert and especially non-expert audiences in ways that provide structure.

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Brian Klaas: clarity and deeper impact than simply dumping information or citing an endless litany of studies and storytelling. Storytelling in particular, can help in that process

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Brian Klaas: because the rich, scholarly literature around narratives makes it very clear that we think we act. We communicate in terms of narratives. Each model we hold in our head of how the world works begins with a story narrative provides the context in which the facts that we observe can be interpreted, understood, and acted upon.

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Brian Klaas: They're much more than the stories that we tell or write in a figurative way, narratives end up being the truths, or perhaps more importantly, for now the ideas we accept as truths that underpin the perceptions that shape our realities, and in the progress form our cultures and through our societies, through narratives, we explain how we see things, how these things work, how we make

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Brian Klaas: decisions, how we justify those decisions, how we understand our place in the world, and how we try to persuade others to embrace our beliefs and values.

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Brian Klaas: you know, if facts spoke for themselves, we'd ask them to write our papers for us. Right? Facts are important facts are real, but they're uninterpretable until they're put together in specific ways to create meaning

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Brian Klaas: and narrative. Does that.

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Brian Klaas: How you tell is as important as what you tell it has a measurable impact on information processing. Cognitive neuroscience has shown over the last 2 decades that different parts of the brain light up when we tell stories versus stating information. And there are sort of 4 basic phases in the process of creating memory. And those 1st 2 phases, attention and encoding. So it's attention encoding storage retrieval. But attention and encoding are absolutely affected

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Brian Klaas: by how that information is fed into our brain

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Brian Klaas: and health communication research has shown that people who get information through narratives, are more likely to take a certain action like getting a vaccination than those who are provided with facts alone in the form of statistics and a meta-analysis of more than 70 storytelling studies showed that stories can be more persuasive than non-narrative evidence as measured in changes in behavior, attitudes, or beliefs

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Brian Klaas: and narratives can also help our career. Data from a study. Just last January suggested that Articles journal articles that use a more narrative style in their abstracts tend to be cited more frequently than those that do not.

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Brian Klaas: But making that transition from dumping information in lectures to telling stories is a hard one, right? It's not natural for most of us it takes time and practice, and without some guidance it's really difficult to know what works and what's effective.

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Brian Klaas: Fortunately for all of us there are storytelling frameworks. This is where storytelling frameworks come in storytelling frameworks. There are literally thousands of them out there in the world, based off of repeated stories within specific cultures or cross-cultural narratives, storytelling techniques that are used by individuals by groups taught in various classrooms, schools, all good things, but their storytelling frameworks are broadly applicable

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Brian Klaas: to a wide range of content and can make it easier for you to apply storytelling techniques in the classroom when you're recording online presenting in an environment like zoom.

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Brian Klaas: But today I want to focus on one specific storytelling framework. And that is the Pixar storytelling framework.

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Brian Klaas: So if you go to Pixar's website, or if you happen to be in La, and you go, or actually sorry the Bay Area and go to their animation studios in their building and say, tell me what your storytelling framework is. They'll be like. I don't know. We don't have a storytelling framework, but they do, and the reason that we know that they do is because of a woman named Emma Coates. So Emma coats worked for Pixar from its founding through the 1st release of the very 1st toy story movie

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Brian Klaas: all the way up until 2017. So she was there during the sort of massive creative output period that they had, and she was a lead storyboard artist for them. Emma coats, in case you do not know and want evidence of her skill and ability as a storyteller was the person who storyboarded, wrote and directed the 1st 9 min of the movie up. And if you've seen the movie up, you probably remember those 1st 9 min they're considered to be

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Brian Klaas: one of the great achievements in visual storytelling in the past 100 years. It tells the story of Carl and Ellie, when they meet as small children grow up, get married, and faced.

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Brian Klaas: Excuse me, some of life's hardships, worst hardships together, and Emma Coats is the person who wrote and directed and executed that sequence, so she pretty much knows what she's talking about. The importance of water, as Rene was saying earlier.

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Brian Klaas: always good to have around on a hot day like today. So in any case, Emma Coates, back in 2014, published on her blog a long series of posts about how Pixar tells stories and why their storytelling is so successful in her opinion.

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Brian Klaas: And this excuse me, these blog posts were picked up by people who taught at film schools like Usc. Or Nyu, and now they become part of storytelling culture. They're taught the Pixar storytelling framework is taught not only in these film schools, television writing schools, but creative writing programs around the globe and the Pixar storytelling framework. And I'll show it to you in just one second is pretty obvious once you see it. So here it is. Here's the Pixar storytelling framework

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Brian Klaas: once upon a time and every day.

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Brian Klaas: until one day. And because of this and because of that, until finally.

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Brian Klaas: And that is how almost well, yeah, pretty much a whole of Pixar stories are told. So pick your favorite, whatever your favorite Pixar movie is right. Story story incredibles finding Nemo Wall-e, whichever one is your favorite inside out. Right? Think about that movie.

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Brian Klaas: And now look at this framework. And you're like, wait a second. This is exactly how this story unfolds, and it's how all of their story unfolds. And let me give you a little more detail on how this works. So once upon a time is the context, the broad context of the world, time, place, things like that, and every day is the everyday life in that world what goes on on a daily basis to the people or characters who happen to be in that story, and I want to emphasize that with Pixar, and when we apply this to other scenarios.

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Brian Klaas: characters do not have to be human beings. Oftentimes they are not certainly in the Pixar films. They're often animals, right or sometimes outer space creatures, or sometimes our emotions. But when we tell stories, characters don't have to be people either. They can be viruses trying to survive algorithms, trying to self-optimize whatever it is a public policy trying to make its way from, you know, theory to actual practical execution in the real world. They don't have to be people.

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Brian Klaas: So every day there's everyday life in the world until one day there's an incident that launches the story, something happens. And because of this, the characters, again, who do not have to be people go on a journey, and because of that journey they learn about themselves, challenges. Things happen, they take new journeys until finally there's a resolution to the story.

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Brian Klaas: So let me give you a quick version of the Pixar storytelling framework. Just one more time to make sure you understand how it works. Using one of Pixar's own films and a movie. I've seen plenty of time with my kids if you've got kids. If you've got nieces or nephews who are young, you've probably seen this movie 50, or maybe a hundred times. But it's a pretty darn good movie, and that is finding Nemo. So once upon a time a fish named Marlon was protective of his son Nemo, and every day Marlon warned Nemo with a

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Brian Klaas: was full of danger, until one day Nemo ignored his dad and swam into the sea and touched the butt, and because of this he was captured by a diver and ended up in a fish tank, and because of that, Marlin swam across the ocean to rescue Nemo until finally Marlin found Nemo and learned that love depends on trust.

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Brian Klaas: That's it. And you can apply this to any other Pixar movie and get pretty much the same outline done in the same way.

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Brian Klaas: The great thing about storytelling frameworks is they can be applied to a wide range of subject areas from the health sciences to the humanities. So if we look at it from a different angle, we could say that once upon a time is sort of our core problem like, What's the where are we? Time, place? What's the problem? What was happening then? And every day there are existing solutions. But they may not work, or maybe they do work, but they need improvement, whatever it is, until one day there's some kind of new solution

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Brian Klaas: or discovery or event that happens that then kicks off the rest of the story. And because of that new solution, discovery problem, solving process, whatever it might be, things began to change. Maybe there were

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Brian Klaas: you know, new challenges that came along the way, roadblocks things like that. So they had to be dealt with right. And that's the. And because of that, things may be improved. Maybe there were critical roadblocks. Maybe there's new opportunities for research or exploration or problem solving. That would go on until finally there is a final or current outcome.

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Brian Klaas: So using this framework, we can apply this storytelling process to organize and structure our material in a way that's clear, logical, and easy to follow. And one of the great things about storytelling frameworks is they really push the cause and effect, cause and effect version of storytelling. And that's important for making things make sense to your audience. Absolutely.

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Brian Klaas: Yeah. So you know, yes, Selene, the graphics and add a lot to those stories. The visuals are super important, and visuals are very important. But we're looking at structuring the information, not how the pictures work out, but how we actually structure the information, because honestly, at Pixar and many other places, they don't do a single image until they figured out the story using this framework using text only, and then, and only then.

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Brian Klaas: do they start adding imagery to that as part of the larger and deeper storytelling process, critical to the process. But it only comes after the basic understanding of how that story was work through this framework.

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Brian Klaas: So let me give you the abbreviated example of applying the pixar storytelling framework to a public health topic. And here's 1 that's near and dear to me. And that's antibiotic resistance. The increase or rise in antibiotic resistance around the world today. So that's what I'm going to talk about using the Pixar storytelling framework.

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Brian Klaas: So once upon a time, you would get pretty much an antibiotic. Every time you went to the doctor you had a rash you had a cut, you had something going on with your body, and you'd get an antibiotic, because it was cheap and easy to prescribe from your physician, or maybe physicians were being pushed by pharmaceutical companies to overprescribe certain antibiotics because they were

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Brian Klaas: bringing in some degree of profit to them. Who knows? Not that much which I'll talk about in a second and every day as a result of this antibiotic resistant bacteria are on the rise. And here's the data to prove it. Now, again, just because we're using storytelling techniques does not mean we have to leave out visuals, graphs, data, charts, data is critical data is super important. This would be one opportunity and one place out of the entire storytelling framework where you might want to bring that data in right, the everyday proving that there are problems that need to be addressed.

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Brian Klaas: until one day

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Brian Klaas: you your team, a coalition you work on a part of comes up with a dual prong strategy for reducing antibiotic over prescription and sparking new research, because one of the challenges, as you probably know, with antibiotics, is that pharmaceutical companies have very little incentive to research and develop new antibiotics. This is an expensive process, costing hundreds of millions of dollars. But most antibiotics

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Brian Klaas: are given away, basically for free or close to free that cost very little. So there's no real financial incentive for pharmaceutical companies to be doing this research right now. And that's important. Without new classes of antibiotics. We're not going to get out of the current hole that we are in. And so, because of this this new 2 dual prong approach that you, your team, your institute, the coalition you're working with has come up with, you're going to start getting over time a reduction in

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Brian Klaas: antibiotic resistant microbes as well as an increase in funding for new antibiotic research, and because of that long term or longer term. There's going to be better health outcomes for people. And we're going to have better incentives for private research, because public-private partnerships really do work, until finally, we've got generations of new antibiotics through this research through these public-private partnerships.

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Brian Klaas: and we no longer have to live in fear with a paper cut killing us.

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Brian Klaas: So that's the Pixar storytelling framework applied to a relatively in a very abbreviated way to a simple public health problem and communicating about that public health problem. But you could do this with any number of public health topics or discoveries to organize the information into a logical flow that has greater impact and makes greater sense for your audience. So our activity today, which we're not going to get into in just one second, we've got a couple more slides

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Brian Klaas: here before we get to it. But our activity today that we'd like you to stick around for is to apply the Pixar storytelling framework to a lecture, a section of presentation, or a story you already tell in your classes.

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Brian Klaas: That's the goal of today is to take this framework and think about how you might use it in your daily teaching work.

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Brian Klaas: but I'm going to pass it right back over to Mia to help us wrap up with our slides before we get to the activity.

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Renee O'Hara: Brian. I think I was going to do that.

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Brian Klaas: Oh, sorry. Sorry. Nick, yeah.

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Renee O'Hara: That's quite all right. I really enjoyed that. And I love the Pixar story, and I loved hearing about up, too. So thank you. It makes it so clear. We wanted to share a couple of key takeaways before the activity and a few other center for teaching learning items. But remember finding your voice. That's what we've been talking about today. Right? Means developing a clear, confident, and authentic speaking style that connects with your audience.

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Renee O'Hara: Finding your voice also means applying the storytelling techniques to your lectures to provide structure, clarity and deeper impact for your students. And we're going to work through those examples and help you find your voice.

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Renee O'Hara: Amy. I think I'm going to turn over to you.

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Amy Pinkerton (BSPH CTL Teaching Toolkit): Yes, thank you, Rene. So we wanted to take a quick break to share other professional development opportunities from the center for teaching and learning. 1st is the Teaching Assistantship Training Course. This is an online, self-paced modular course that prepares students to take on the many roles and responsibilities of being a ta at Bsph. And completion of this course results in a certificate of completion.

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Amy Pinkerton (BSPH CTL Teaching Toolkit): and I also wanted to highlight that we have other workshops just like this one and all of these, including upcoming workshops on our events, page and then on demand videos and workshop recordings of past workshops, and all of these are available on our teaching toolkit website. And then, finally, you can stay up to date on things from Ctl by subscribing to our Ctl blog.

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Amy Pinkerton (BSPH CTL Teaching Toolkit): and then next slide, please.

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Amy Pinkerton (BSPH CTL Teaching Toolkit): All right. And then again, please stick around because we have an activity coming up. But before the activity, we'd like to know how we've done so far. So please fill out this anonymous 2 min workshop evaluation by scanning the QR code or going to the link in the chat. Your feedback is important to us. We use that feedback to plan future workshops. So we appreciate you taking the time to do that.

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Amy Pinkerton (BSPH CTL Teaching Toolkit): So thank you so much, and that's it for me. So back to the show.

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Renee O'Hara: You're muted.

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Brian Klaas: I'll leave this slide up just for one more second, in case people need to scan that QR code. The link is in the chat as well, so you can just click on it there. It's the one that begins with forms.office.com.

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Brian Klaas: Veronique said. She's getting a 4. 0, 4. Error! On the 3 links above.

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Lauren Dana: Me too. Let me check on this. I will. They should be right, but I will double check, because I'm getting it as well, so give me one moment, and I will update those links for everyone.

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Brian Klaas: Thanks, Lauren.

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Brian Klaas: But in the meantime, while Lauren's updating those links, I'm going to bring up that pixar storytelling framework slide one more time. So again, the goal here is for you to take about 5 min

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Brian Klaas: and think about a presentation. You give a lecture. You give a talk, you give a story that you tell regularly in your classes, and maybe you're fine with the story and its structure and its framework. Think about like a lecture presentation section of a presentation, something you talk about in one of your classes, in your teaching, in your training work, whatever it might be, and think about how you would apply the Pixar storytelling framework

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Brian Klaas: to that again in 5 min. You can't go into the weeds right? You can't go into the details, but try to think about that high level organization. If I'm telling a story about how a novel treatment for iron deficiency in the blood handles and deals with the problem of iron deficiency.

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Brian Klaas: How could I apply the Pixar storytelling framework to that? That's 1 example of it. Or if you happen to teach about the humanities, could I use history, let's say, could I use the Pixar storytelling framework to frame and organize a discussion or a story about the battle of Waterloo? Whatever it might be. History is a little bit easier, because it has a nice.

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Brian Klaas: clear, linear, sequential sequence. But most things in life do when you come right down to it. So think about that. Think about something you already talk about, and then spend about 5 min just writing this down. You can do it in a word document, you can fill out a yellow pad. My yellow pad seems to have disappeared off my desk. I guess one of my children have stolen it, and you could write it out or use it in a document or do it in Powerpoint. If you

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Brian Klaas: want to do it in Powerpoint. That's 4. That's fine, too. Just think about how you might apply that to something that you teach or talk about regularly in your presentations.

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Brian Klaas: so we'll give everybody a couple minutes to do that work. If you happen to have any questions, please feel free to just. You can unmute yourself and chat, or you can type that into the text Chat and Rene and I will be glad to answer those questions.

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Renee O'Hara: Celine, you have a question.

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Celine Greene: Well, I was just wondering, meshing the 2 together of the Pixar storytelling framework and

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Celine Greene: the narrative exercises that you all mentioned, kind of also bringing into it the graphics. The storytelling is a great place to start like, Brian said. There wasn't a graphic drawn. I mean, maybe there was a concept drawn of Nemo or up

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Celine Greene: before the story was completed. But similarly like.

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Celine Greene: if you can just bring the 2 well, really 3 things together, too, because one of the things we didn't talk talk about is that option we have if we are doing full video to add in

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Celine Greene: purposeful imagery, or that data, visualization, etc, like

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Celine Greene: sometimes the storytelling, I just feel like the voice helps tell the story.

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Celine Greene: I mean even the even the 3 of you working together today you fed off of each other. So do you have any recommendations of how that

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Celine Greene: narration that voice that's telling the story

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Celine Greene: how it remains authentic. So, Brian, no offense. But if you were telling me something that was breaking edge cutting news, and you didn't speak fast, I would think, who is holding a gun to Brian's back because he does not talk like this. Naturally. So anything that the 2 of you can, or the 3 of you can recommend to us about

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Celine Greene: again meshing the 2, the storytelling framework, and that narration, technique and the authenticity of the voice that would be great.

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Brian Klaas: So I would say that the yeah, they eventually like in certainly the Pixar films they all get. They all get meshed together, and voice definitely sometimes drives character. Right character is part of a voice. I should say. Voice is part of a character, dory without her kind of, you know, absent-minded way of speaking would not be dory in finding Nemo.

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Brian Klaas: and the repetitions of how Eva says Eva, or Wally, says Wally, or their other names, each other's names in. Wally has a lot of storytelling capacity, but they always start with that core idea with that core story, no matter what they always begin with that now

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Brian Klaas: out of that core story, and out of that storytelling comes new ideas that might influence, say who they cast in those roles, or how those voices are executed. But I think you know, starting with story is a great place to start with, because once you have the story, then you can figure out what kind of vocal variety you need to include, and where certain kinds or ways of speaking can really make a big difference.

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Brian Klaas: So if you're a fast talker like me, and you want to make a point. You really want to let something land with your audience with your students. You know I normally, as I'm speaking. There, I'm talking at a pretty good clip, and I'm going over all my key points and giving examples sometimes. But when I really want to slow down.

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Brian Klaas: I really slow down, and maybe even stop.

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Brian Klaas: and that forces the audience to slow down with me and listen with me. But I won't know where to do that until I figured out the structure of my story in the same way, if I want to be really emphatic about something.

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Brian Klaas: it's because I already know this is a really important point to me. So I'm going to be very emphatic about it, extra passionate, because this is super important to me as a human being, as a person, as a researcher, as a speaker, whatever it might be.

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Brian Klaas: So again, these things go side hand in hand. But I think, from my perspective, at least, it all comes from figuring out that basic story and story structure and outline, and then figuring out how you can use different devices in terms of character, vocal delivery, tension, pacing drama, passion to drive home and make specific moments that you really want to land?

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Brian Klaas: Land. Would you agree?

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Brian Klaas: Renee.

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Renee O'Hara: I would, Brian, and I think it's personal. I think each faculty will have a different story that they want to tell. And if you're not using the whole framework, for instance, the Pixar for me. It comes back to

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Renee O'Hara: different lectures that I think of Celine. When I'm reviewing, I think about tobacco control, and the story has been told by the pictures and different countries where, for instance, smoking is normal. It's seen as something you should do something you should buy. The machines are everywhere. I'm thinking of pictures. From actual lectures I have recorded history of public health. There are so many pictures in our history, and even the

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Renee O'Hara: pandemic a hundred years ago, and some of the pictures we see in different countries will draw you back to a story today. The way people were quarantined. So those pictures tell the story. I think of Josh Sharfstein recording some lectures, and he would tell a public health story of a problem when a crisis hit, and there's a place in Baltimore I can't think of where it is off top of my head, Celine, but and for the others listening. But there was a place that was shut down.

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Renee O'Hara: and the picture shows it. If it were a lake, for instance, that was fenced around it. And there's a problem with the water. And then you're telling the story from how that relates to public health, I think of an environmental law lecture, radium girls and what they were really using for lipstick. So for me

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Renee O'Hara: and and the work that we do here each one had a story, and each faculty or guest, speaker or subject matter expert was sharing the problem, going back to Brian's framework

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Renee O'Hara: and the solutions, whether they worked or didn't work. And then a new solution, a discovery. Luckily we're not painting our lips that way now, right? And how things changed or the challenges public health each day. It's a challenge right, and how we help people or help children in different countries, or help countries with, you know, food shortages. There's so many things that I could talk about, and what I've gotten to hear.

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Renee O'Hara: and how it improved the roadblocks, and then the outcome or the outcome that's still coming, and I think I would say it often works well, too, maybe not even a whole lecture, because some of the lecture might be a bit more didactic. But maybe there is a case study that represents more as the storytelling, more as the framework, and it could be a lecture. And I've certainly seen many

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Renee O'Hara: where they're more picture driven. Now, of course, we need citations for those pictures, and we want to describe them. Well, if we're using them for meaningful content.

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Renee O'Hara: But it helps to tell the story as well. But then someone like me focusing on the audio, we have to think about our learners who may not see the pictures, so we better tell the story? Well, even though we have both hand in hand if they're watching the whole lecture. But I hope that helps. We wouldn't say something as seen here. We'd have to describe that graph more, or we'd have to describe

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Renee O'Hara: how we're showing why we're showing that image of people, even in a food desert if we were showing, you know, Baltimore, and then another area that's been fixed up. So I hope that helps depending on how it works and how we pull them together. Thank you for the question.

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Renee O'Hara: Amy. You have a question.

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Amy Pinkerton (BSPH CTL Teaching Toolkit): I do. Actually, I have something else to add to the previous question. While we're talking about integrating visuals into your storytelling one framework that I often referred my faculty to as an instructional designer is Richard Mayer's cognitive theory of multimedia learning. It's a really great framework on designing multimedia learning experiences that pairs, that storytelling that you were talking about

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Amy Pinkerton (BSPH CTL Teaching Toolkit): with things like relevant images and really clean audio. So it plays well with what you've shared today. So it might be a good place if you want to dive. If anyone wants to dive deeper into that, that's a good place to start.

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Renee O'Hara: Thank you, Amy. I thought I saw another hand. Lauren had her hand up, and I was going to say that even vocally, and I think I wrote it in the chat. You can hear that my voice goes up as I get excited about something, or as we're trying to describe something, or it might get softer on a

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Renee O'Hara: story that is just sadder, or a public health issue that that has severe consequences. Lauren.

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Lauren Dana: Yeah, I had a question for you. I was interested to see if you had any advice about pacing, because I really like how this structure is broken down, and I know I'm thinking about a class I teach for this the school of Ed. And so, for example, I get really excited about assessments and ways that it didn't work in the past, and I get into the weeds. But I don't know if my audience is that excited about it, and I feel like the current outcome should maybe be

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Lauren Dana: a larger part of the lecture like, do you have any suggestions on how to pace out this structure or to keep your audience entertained, engaged, or edutained.

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Lauren Dana: so any suggestions, Brian Rene or Mia, when you look at this, are you like okay, the problem should take about 5 min, and then

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Lauren Dana: anything like that.

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Brian Klaas: So the storytelling frameworks, you know, I think, and sometimes I don't quite communicate this clearly. Don't have to be like a simple framework for the entire lecture, the entire presentation. And, as a matter of fact, I wouldn't recommend that, because there are sort of oftentimes cognitive and sort of you know, educational heuristics that say, this is why these things should go together right

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Brian Klaas: like these different ideas need to go together because they're part of a broader, bigger picture that I'm trying to paint or giving you a series of skills that you need to have. So the storytelling frameworks, yes, can be applied at a very high level, but they can also be applied for a 5 min segment or a 15 min segment to organize and structure that so please don't feel like you're obliged to like. Figure something out to make everything work together.

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Brian Klaas: Yes, you want to have clarity and structure and clear intention in the big organization of your lecture or presentation. It doesn't have to be a storytelling framework, but oftentimes they do help to organize, just to get your thoughts organized. Something like the Pixar storytelling framework is really great, I think, particularly in a segment of a presentation something like Richard Myers. Sorry

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Brian Klaas: Joseph Campbell's The Hero's Journey, also really good for a smaller segment, but also perfectly appropriate for larger segments of presentations. So you know, I think one of the things that we worry about is that we talk about applying storytelling frameworks or talking about teaching or being a presenter is we're expected. There's some degree or idea. And I think you even use the word yourself, Lauren, of entertaining people.

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Brian Klaas: You don't have to entertain people. If you structure and organize content in ways that are meaningful to your audience, they will be interested and engaged, and that is in many ways much more important than entertaining them.

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Brian Klaas: Entertaining people is not a bad thing at all, I think it's really useful and helpful. I think I am in awe of faculty of presenters who can get up and make a room full of 500 people laugh on a regular basis. That's an amazing skill. I am a deeply unfunny person.

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Brian Klaas: so I rely on on storytelling frameworks for me to keep my audience engaged. Because really, that's what it's about. It's about engagement which drives information retention and their ability to synthesize and utilize that information later on. That's really the goal, much more, I think, than entertainment, or anything like that. Does that help or answer your question, Lauren?

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Lauren Dana: I know that's great, Brent. I really like how you say it can be a segment of a lecture presentation. Not necessarily the full thing, so utilize it to fit your needs. That was great. Thank you.

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Renee O'Hara: And.

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Brian Klaas: You have a question.

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Renee O'Hara: We go to Amy. I think, Brian, I would just add.

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Renee O'Hara: think beginning, middle, ending. These are very simple things for people to think about. Think the goal of the lecture, and Brian said, it focused content. Not everything is going to weigh us heavily for pacing or anything else. Some slides are going to move

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Renee O'Hara: quicker through others or some stories. You may not even have slides, and then other ones you're going to want to put more emphasis into. And that's where that practice comes in, and that planning comes in, and maybe timing yourself and and seeing how things go. So I would just add that.

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Renee O'Hara: yeah.

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Brian Klaas: Yeah, I mean, you look, you won't know if a story is not working. You won't know if an individual moment's not working. You won't know if your content fits. The time that's been allotted for you, if you don't practice

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Brian Klaas: practice is the key to good presentations. Whether you're a storyteller or not whether you are a faculty member who's been around for 40 years or you're fresh out of the gate.

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Brian Klaas: Practice. Repetition is the key to success in delivering good presentations. It's as simple as that.

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Renee O'Hara: That's right. Ted. Talks are practiced hundreds, hundreds, thousands of times before they're out there. Amy. We wanted to go to you.

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Amy Pinkerton (BSPH CTL Teaching Toolkit): Before, because I have a whole new question. So, mia, did you have a comment to make to that before I ask a completely different question.

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Mia Lamm: Maybe kind of. I was just gonna add, I guess. Yeah, I'm tagging on to that a little bit that

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Mia Lamm: as part of the storytelling as part of

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Mia Lamm: how you're structuring things. You also want to be really careful of extraneous material and sticking to your core message. And I see that happen a lot. It's really easy to do where you're sort of thinking about all these things, and you're adding it to and and your core. Important concepts can get lost. And so I just wanted to tag on with that.

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Brian Klaas: Absolutely

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Brian Klaas: most of the time when we present most of the time. But not always. We're presenting to non-expert audiences.

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Brian Klaas: and the fact of the matter is is that students in our classrooms here at the Bloomberg School of Public Health, or elsewhere at Johns Hopkins are largely non-expert audiences. That is why they are learning from us. They are coming to us to share with them, to help them develop expertise in that area, and extraneous information is a huge distraction to non-expert audiences. And students tell us this in the worst possible way. Sometimes like, Well, is that going to be on the test?

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Brian Klaas: Right? But that's their way of saying, is this core. Is this necessary? Is this something I really need to know and process and understand, to be able to say, I have a certain degree of mastery around this topic area.

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Brian Klaas: So practice and thinking about narratives and all these other things are absolutely essential. But so, too, is making sure that you are focusing on. As Mia was saying, what is essential, because when you focus on that, the story becomes clear, your messaging becomes clear and an individual audience's member to remember and process that information later on becomes clear.

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Brian Klaas: Amy, back to your question.

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Amy Pinkerton (BSPH CTL Teaching Toolkit): So my question is, so we talked about how faculties and speakers use this. Now, how might a faculty member guide students through this framework for, say, a student presentation, because I think this is a valuable skill for students to also develop, because eventually they will be the ones giving presentations hopefully in their future.

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Brian Klaas: Take one of my classes.

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Brian Klaas: That's my advice I teach for those of you don't know. I teach a couple of classes around health science communication to non-expert audiences. We talk specifically about storytelling frameworks in those classes. Pixar is one of them. So I know that's a flippant answer. But if you happen to be at Bloomberg or any school? I teach a couple of courses on this, one of which is offered every the 4 main academic terms. It's 2, 6, 7, 2 0 dot 8, 1 communication primer for the public health sciences.

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Brian Klaas: But I think you know, without again, you know, faculty are comfortable talking about this on their own, and introducing these ideas on their own simple frameworks that are kind of clear and obvious, like the Pixar storytelling framework like Joseph Campbell's Hero's Journey can be discussed and then applied, and ask students to apply them to a small segment of a project to a 90 min elevator pitch, whatever it is that they're doing in your class to help them develop those skills. But I'll put in a shameless plug for my own courses in that regard.

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Renee O'Hara: I think that's a great idea. And there's a few other courses that do that where students get to be practical and take on a

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Renee O'Hara: public health problem and and work through it so that they're preparing for presentations that they may give in the future. In the public health field. Celine.

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Celine Greene: Thanks in terms of the sticking to the topic and avoiding extraneous information. That kind of also goes toward making sure that your story is universal, right? So, Pixar, and finding Nemo, what year did you say like I mean up was, you know, it's just

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Celine Greene: in another decade's time. Pixar may still be a name, and finding Nemo may be a name, but it's going to be relevant to people in 20 years like jaws is now like we're going to be doing anniversaries and everything, and also. So the

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Celine Greene: so the universality and the contextual references, I would just say, that's something to add into our story like, if there's supposed to be something

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Celine Greene: that individuals are identifying with. Like Rene, you just mentioned. In some countries these machines, where cigarettes or tobacco products are sold all over the place that might not be contextually relevant to somebody who's only experienced the Us. And has not traveled or seen. We don't see images of that. Normally, if we're in an intro course to global tobacco control that doesn't

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Celine Greene: seem necessarily relevant or the ethical treatment of animals, who are, you know, whichever whichever it is, if it's an entry level course there's got to be. If that is part of the story, there's got to be some little

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Celine Greene: precursor or tangential things, something that the narrative

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Celine Greene: points to for people to understand it universally.

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Celine Greene: And the other thing I was going to say in terms of universality is

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Celine Greene: that we need to make sure that we are pacing. Not just the pauses for processing like, Brian was saying, but pacing for people who have cognitive processing differences, people who are pacing for real time closed captioning. If you're speaking at a live event, making sure that you actually, if you're at a live event.

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Celine Greene: say to the person who might be live captioning what these specific terms are, because it just doesn't translate. If somebody is typing. In

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Celine Greene: a word, that is not what you're what you're communicating. So all of these things go in, I think, in terms of being inclusive in your storytelling, both in terms of the context, and also knowing your audience, and that there are differences amongst everyone so just wanted to put in my inclusion.

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Renee O'Hara: Excellent.

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Brian Klaas: Absolutely.

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Renee O'Hara: And I was going to say when we speak. I don't think we used any today but acronyms. We always suggest you say them out abbreviations. You say them out, as Celine said, not just universal. But think about the global audience, and we luckily have tools in many of our lectures where someone can read a transcript. Maybe the pacing was too fast for them, even if someone's not going fast.

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Renee O'Hara: Maybe English is not their 1st language. So we want to be accommodating. And but again, you want to still keep that engagement and energy within your lecture. But there's tools that we should all be aware of. So that we do include everyone. Great reminder. Celine.

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Brian Klaas: Other questions or comments, while people maybe are working on their Pixar examples, examples of applying the Pixar framework to something that they

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Brian Klaas: talk about present on on a regular basis.

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Brian Klaas: Anything else.

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Mia Lamm: Well, Veronique, I'm not sure if you saw it. But Veronique chatted that in that she works with international students. So you know these topics, like Celine has brought up is really important.

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Mia Lamm: And and I agree, even just

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Mia Lamm: terms we use and phrases we use. And you know, just really considering that inclusivity.

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Brian Klaas: Yeah, I think you know I do, too. You know, here at the Bloomberg School of Public Health we have a huge international student body. You know, it's more than more than 50% of all of our students now. And so you know, when I bring up cultural references to Pop culture references in particular, which are great and lovely. I have to be really careful. Not everybody's seen, you know. I would have assumed, you know, that it was 25 years ago, and most people have seen the movie Titanic. But I tell you it's

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Brian Klaas: interesting. Most people I talk about the movie Titanic. There's a moment I talk about, and more and more I get blank faces from students who are like, I've never seen that movie before. And I'm like, what do you mean you've never seen the story of Jack and Rose? It was a huge international hit. Everybody's.

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Brian Klaas: but it's been 25 years and not everything stays

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Brian Klaas: in the same way, cultural consciousness that like, say, some of the Pixar films do, or jaws, or something like that. So yeah, you really have to be careful about and and try out. Here's the other thing. Here's my tip is if you're talking about a Pop culture example, you're making a joke, you're making an example. It doesn't work.

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Brian Klaas: Pick something else the next time around. Just pick something else. Make that mental note. Don't make that second mistake twice, because once it feels stale to your audience, it's going to feel stale to one audience. I should say it's going to feel stale to most audiences moving forward because they just don't get the reference, or it's not meaningful to them in some some important way.

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Brian Klaas: Okay, so it's been. I don't know. Wow! Oh, it's almost one o'clock.

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Brian Klaas: How do we get to the point of being out of time for folks to share their Pixar examples? Look at that

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Brian Klaas: good conversation really quickly. Is there anybody who wants to, in 60 seconds or less share their example of applying the Pixar storytelling framework to something they teach on, talk about present on anyone.

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Brian Klaas: Okay? Well, I don't see any hands raised, but if you want to do it and send it to me or Rene after the fact, I'd be happy to give you feedback, happy to give you support on that front, because, again, I think it's a really powerful and useful tool for organizing, you know, different sort of facts, ideas, moments, studies into a logical narrative that will be more impactful for your students. So hope you enjoyed it, and hope you got a lot out of today's session in that regard.

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Renee O'Hara: And I would agree with Brian. If you have any questions about recording or presenting, or how we can help you, or want to have a meeting with your instructional designer and myself to talk about a lecture you give, or, you know, talk about getting a microphone. Please let us know we are here to help you.

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Brian Klaas: Very nice example, Celine. Thank you. I appreciate it.

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Amy Pinkerton (BSPH CTL Teaching Toolkit): And I will go ahead and turn off the recording. But thank you so much.

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Brian Klaas: Thanks, everybody.