290 Brand Bewitchery by Park Howell

我觉得我们可以在打造品牌叙事和内部沟通时运用它，把这些内容整合起来。

I think we use it in the crafting of a brand narrative and internal communications and get this pulled together.

我们不需要特意告诉别人我们在讲故事。

We don't have to tell people we're telling them a story.

事实上，我指导大家千万不要用那个以S开头的词。

In fact, I coach people never ever ever use the S word.

对，没错。

Yes, that's right.

我记得保罗·史密斯在他的《用故事销售》这本书里提到过一个非常重要的观点：不管做什么，千万别开口就说‘我要给大家讲个故事’。

I remember Paul Smith and his book Sell With The Stories was one of the big takeaways was whatever you do, don't say I'm going to tell you a story.

为什么呢？

And why is that?

你第一次听到这个建议时，心里是怎么想的？

When you first hear that, what do you think?

会产生抵触心理。

Reactance.

我觉得吧，嗯，我也不太确定。

I I feel like well, I don't know.

我想，这可能不是真的，但我也不会太当真。

I think, it might not be true, but I also may not take it as as seriously.

或者你会觉得我在操纵你。

Or you might think I'm manipulating you.

你也有同感吧。

You you hear that too.

或者我没时间听故事。

Or I don't have time for a story.

直接开始讲故事。

Just launch into a story.

赶紧开始。

Get started.

只要事实，女士。

The facts, ma'am.

对。

Yeah.

你在书里也看到了，但我特别喜欢分享这个故事，因为它是个特别好的例子。

And you saw this in the book, but I love sharing this story because I thought it was such a wonderful illustration of it.

这也是我把它写进书里的原因。

And that's why I included it in the book.

一年半前，我和妻子米歇尔在澳大利亚的墨尔本。

I was in Melbourne, Australia a year and a half ago with my wife, Michelle.

我们当时就在那儿。

And we were out there.

你们是在参加分时度假的推介会吗？

Were you at a timeshare presentation?

不不不。

No, no, no.

其实是在新西兰的奥克兰。

Actually, was down in Auckland, New Zealand.

我在那边花了两天时间参加他们的社交媒体大会，还做了主题演讲和一个大型工作坊。

I spent two days working with their social media conference there and did the keynote address and a big workshop.

之后我们去了墨尔本，因为米歇尔以前的大学室友，还有个在亚利桑那州一起长大的姑娘，已经在澳大利亚待了三十年。

And then we went up to Melbourne because Michelle's old college roommate and a gal she grew up with here in Arizona has been in Australia for thirty years.

所以她基本上算是个海外侨民。

So she's basically an expat.

我们当时跟她还有她男朋友一起出去玩，不过我觉得他们后来应该没在一起了。但在一一年半前，那个男朋友是瑞典人，当时59岁。

We were hanging out with her and her boyfriend who, I don't think they're together anymore, but he at the time, a year and a half ago, 59 years old from Sweden.

他叫佩尔·奥洛夫。

His name was Per Olof.

他二十多岁的时候，二十二岁那年，就一个人驾着那艘二十四英尺的船出发了。

And he, as a young man, when he was 22, he sailed his 24 foot boat all by himself.

我觉得他从斯德哥尔摩开到墨尔本，大概花了六到八个月。

I think it took him six to eight months from Stockholm to Melbourne.

也就是说，他二十二岁那年，在没有GPS、只能靠航位推测法的情况下，独自绕了地球一圈。

So pretty much around the world by yourself at the age of 22 without GPS, without just dead reckoning and so forth.

总之，他真是个有性格的人。我们正坐在那儿喝杯酒，他用他那美妙的瑞典口音——我真希望我能在这儿模仿出来，因为那样故事会更有趣——

Anyways, really character, we're sitting there having a glass of wine and in his wonderful Swedish accent, I wish I could recreate it here because the story would be even better.

他看着我，对我讲的故事不以为然，因为我正在跟他说我是做什么的。

He was looking at me and he was dismissing story because I was telling him what I do.

故事和商业，哦，那都是扯淡。

Story and business, oh, that's bullshit.

不，我们不讲故事和商业那套。

No, we don't story and business.

他多年来靠向澳大利亚人销售高端德国洗车机为生。

And what he did for a living for many years is sold high end German car washes to Australians.

他既负责销售，也负责维护这些设备。

So he would sell them and service them.

他经营着一家洗车生意，做得相当不错，因为他还有一艘42英尺的赛艇，我有机会上去体验了一把。

He had a whole car wash business, did quite well with it because he also had a 42 foot racing yacht that I got a chance to go on racing.

我们在那里的最后一天，就在维多利亚港那边。

The very last day we were there out there in Victoria Harbor.

总之，我就跟他说：‘佩尔，你有没有过那种时刻，就像汤姆·汉克斯在《荒岛余生》里那样，独自在船甲板上快崩溃了，突然一头鲸鱼冒出来，冲你眨眨眼，甩你一身水，还跟你击个掌，瞬间一切就都好了？’

Anyways, so I said, all right, Per, did you ever have that time like Tom Hanks in Castaway when you're on the deck of your boat and you're at your wit's end and like a whale comes up and winks at you and flips some water on you, high fives you, then all of sudden everything's cool.

他笑了。

And he laughs.

他说：‘没有，没有，怎么可能有这种事。’

He goes, No, no, no, of course not.

然后我就故意停了很久，让气氛悬着。

And then I just let a really long pregnant pause happen.

他这才说：‘呃……倒是有那么一次。’

And he goes, Well, there was that one time.

我问：‘哦？那次怎么了？’

I go, Oh, what's that?

你都能看出来，帕蒂和米歇尔——我老婆和她朋友——都忍不住往前凑了凑。

And you could see actually Patty and Michelle, my wife and her friend both lean in.

他说：‘那是在加拉帕戈斯群岛，我得穿过一条水道。’

Well, I was down in the Galapagos Islands, he said, and I had to navigate this channel.

当然了，那时候还没GPS，那会儿是80年代末或者90年代初。

Of course, I had no GPS because this was in early 1990s or actually 1980s.

全靠估算航位，天也快黑了，我当时就想，算了。

Was dead reckoning and it was getting dark and I thought, you know what?

不如抛锚在这儿过夜，等明天太阳出来再走，那时候视线好，安全。

I'm going to weigh anchor and hang out here tonight and I will tackle the fresh new morning sun so I can get through it.

他回船舱睡了，然后突然问我：你听过野生海豚那种特别怪的尖叫声吗？

So he goes down into his birth, goes to bed, and then he says, Have you ever heard that really freaky noise, screeching noise that dolphins make in the wild?

我说：没有，真没听过。

And I go, No, actually, I never have.

他说：我半夜被那声音吵醒了，上甲板一看，有八只海豚围着我的船转，冲我尖叫。

He goes, Well, I woke to that and I went up on deck and here I had about eight dolphins racing around my boat screeching at me.

我问：那到底发生啥了？

And I go, What was happening?

他说：我抬头一看——

He goes, Well, I looked up.

那时候大概是早上五点。

It was about five in the morning.

太阳刚出来，我才发现潮水退得比我想象的多得多。

The sun was just coming up and I realized the tide had gone out way more than I had anticipated.

要是我再多待半小时，我和我的船就得被火山岩刺穿了。

And if I had hung out there for another thirty minutes, me and my boat would have been impaled on the lava rock.

我就问，你觉得这些海豚是在警告你吗？

And I said, Do you think these dolphins were warning you?

他说，那还能是什么？

He goes, Well, what else?

于是我问，那你后来怎么办？

So I said, What'd you do?

他说，我就把锚拉起来，立刻开船，顺利通过了。

He goes, Well, I pulled up the anchor and off I went and I sailed through and made it.

我说，哇，这真是个特别神奇的故事。

And I go, Wow, that is a pretty amazing story.

我看了看他的女朋友帕蒂。

And I looked at his girlfriend, Patty.

我问她，你以前听过这个故事吗？

I said, Have you ever heard that story before?

她说，没有，他那些故事我都听过了。

She goes, No, I've heard all of his stories.

这太不可思议了。

That is incredible.

然后我回头看皮尔，他脸上带着那种让人不太舒服的坏笑，我就问他：你在想什么呢？

So then I look back at Pear and he has kind of the shitty grin on his face and I go, What are you thinking?

他说：我刚意识到，我每次卖洗车店，都是在讲完航海故事之后成交的。

He goes, I just realized that every major sell I ever made with a car wash always was after I told a story about sailing.

这跟做生意本身没什么关系。

It had nothing to do with business.

我总是先讲一个航海的故事，然后他们就把洗车店买下来了。

I had always told a story about sailing and then they would buy the car wash.

我就问他，你觉得这是为什么呢？

And I go, Why do you think that is, Per?

他说，我完全不知道。

And he goes, I have no idea.

我跟他说，因为你在讲这些故事的时候，其实是在展示你是谁，你坚持什么，你的勇敢、勤奋，还有那种‘没什么做不了’的态度，以及你征服世界的能力。

I said, Because in the telling of those stories, you are demonstrating who you are, what you stand for, your courageousness, your industriousness, your can do attitude, your ability to take on the world and then some.

如果我要投资一家高端的德国洗车店，难道我不应该找一个像你这样，能让我放心把船交给你、让你上船干活，并且能负责后续维护的人吗？

If I'm going to invest in a high end expensive German car wash, Aren't you the exact guy that I would want on my boat, on my crew to make sure that it worked and would be there to service?

他说，我以前还真没这么想过。

And he goes, I never thought of that before.

我说，这就是故事在商业里的力量。

And I said, that is the power story in business.

帕克·豪利，他为什么最后跟帕蒂分手了？

And Park Howell, why is he ended up breaking up with Patty?

我不知道原因。

I don't know why.

这事是你负责的？

Are you responsible for that?

我希望不是。

I hope not.

好的。

Okay.

我希望不是。

I hope not.

也许是因为我航海技术太差，在墨尔本最后一晚的维多利亚港比赛里我们输了。

Maybe it was my very poor sailing skills and we lost the race out there in Victoria Harbor my last night in Melbourne.

也许原因就在这儿。

Maybe that was it.

好的。

Okay.

好，还有个问题我想问一下，然后我们就进入你故事循环的几个步骤。

Well, one other question I wanna ask and then we're gonna jump into a couple of these different steps of your Story Cycle.

如果没问题的话。

If that's alright.

当然可以。

You betcha.

你能解释一下你引用罗伯特·麦基的那句话是什么意思吗？他说：‘我们的意识是潜意识的公关部门，而所有真正的决定都是由潜意识做出的。’

That is can you explain what you mean when you quote Robert McKee, who said, Our conscious mind is the PR department for our subconscious mind where all the real decisions are being made.

我们的意识是潜意识的公关部门，而所有真正的决定都是由潜意识做出的。

Our conscious mind is the PR department for our subconscious mind where all the real decisions are being made.

是的。

Yeah.

所以罗伯特·麦基，这位传奇的编剧教练。

So Robert McKee, legendary screenwriting coach.

如果你有额外的四天时间，想学习沟通技巧，就去洛杉矶机场喜来登酒店参加他举办的精彩故事研讨会。

And if you've ever have four extra days and you wanna learn about communication, go over to the LAX Sheridan when he hosts his unbelievable story conference.

那里会有两百五十名编剧围着你，还有大约三到五个营销人员在场，因为他们像我一样去那里学习——好莱坞到底掌握了哪些我需要知道的秘诀，才能把这件事做得特别出色？

You'll be surrounded by two fifty screenwriters and there'll be about three to five marketers in attendance because they were there learning like I was, what does Hollywood know that I need to know to be able to be really good at this?

这句话是他脱口而出的。

That quote popped out of his mouth.

我觉得他说得太对了。

Thought, he's so right.

所以我们的购买决定其实是在潜意识里做出的。

So we make our buying decisions in our subconscious.

你知道，西奥迪尼在《影响力》里也提到过这一点，任何真正优秀的销售书籍，核心都是在触动你受众的潜意识。

You know, Cialdini talks about this in The Influence and any really great sales book you see is you are trying to tickle the subconscious of your audience.

我们并不是靠理性去消费的。

We don't buy with our rational mind.

我们是凭情感去买的，甚至自己都没意识到这一点。

We buy with our emotion and we don't even know we're doing it.

等我们买完之后，又会怎么做呢？

And when we make that purchase, what do we do?

我们会用意识去为这个行为找理由。

We now justify it with our conscious mind.

罗伯特·麦基就这么说，我们所有真正的决定其实都是在潜意识里做的，而清醒的头脑只是事后负责解释的公关部门。

So that was just a really interesting way that Robert McKee said, All of our real decisions are being made in our subconscious and our conscious mind is simply the PR department to back it up.

没错。

Right.

你是不是

Did you

这么干的？

do that?

你为啥要这么做？

Why the hell did you do that?

但问题在于，做生意，尤其是B2B领域，我们总想靠逻辑去说服人。

But the problem is in business, especially in B2B, is we try to sell logic.

我们试图打动客户的理性思维，可真正的成交根本不在那儿发生。

We try to sell to the conscious mind and that's not where the transaction takes place.

这才是销售人特别需要注意的地方。

And that's what I think salespeople really have to pay attention to.

你越了解故事的动力机制，就越能欣赏它，知道该怎么利用它，而且是用它来做好事。就像我说的，这样可以穿透噪音，抓住观众的心。

The more you understand story dynamics, the more you have an appreciation for that and know then how to use that and use it for good, not evil by the way to, like I say, hack through the noise and hook the hearts of your audiences.

对。

Yeah.

我最近在做采访，其实是一两年前，我采访过威尔·利奇，后来我又请他回来参加了《隔离期间的作家品酒会》这档节目。

I was recently interviewing Well, a year or two ago, I interviewed Will Leach, but I had him come back on for Authors in Quarantine Getting Cocktails.

我很喜欢这个节目名字，顺便说

I love that title, by the

集数。

way.

对，一共66集。

Yeah, it was 66 episodes.

我现在先暂停一下。

I've had to pause it for now.

我的肝脏需要休息休息。

My liver needed a break.

但我记得他在《营销心智状态》那本书里提到，至少99%的行为和决策都是潜意识驱动的。

But I remember in his book, Marketing to Mind States, he argues that at least 99% of all things we do, all decisions we make are driven by the subconscious.

过去二三十年里，大量fMRI研究数据也证实了这一点，现在我们对大脑运作机制的了解要深入得多。

And there's all this fMRI data in the last twenty, thirty years, it's showing they have a much better idea now of how the brain works.

这点特别有意思。

And so that's very interesting.

大脑里负责逻辑思考的部分，反应速度其实比较慢。

It's a slower part of the brain, the logical part.

但我学得越多，就越想笑那些说‘不，我完全讲逻辑，我的客户也讲逻辑’的人。

But the more I learn, the more I have to laugh at people who say, No, I'm completely logical and my customers are logical.

他们总觉得自己只是想帮帮客户。

And I just want to help them.

那我们要不要一起过一遍你提到的那些步骤？我们就按顺序来，第一步是背景故事。

Would it be okay if we walk through a few of the steps you So we'll go roughly in order here, but the first one is the backstory.

那你能解释一下，什么是背景故事吗？

So explain what is a backstory?

为什么需要它呢？

Why do you need one?

在尝试构建它的时候，有哪些要点需要特别注意？

And what should you be keeping in mind when you try to develop one?

对。

Yeah.

当我创建故事循环系统时，它首先是一份战略文档。

So when I created the Story Cycle System, it was first and foremost a strategy document.

这有点像给品牌故事做分镜脚本。

It was kind of like storyboarding a brand narrative.

所以我把那17个英雄之旅的步骤精简成了10个，先从背景故事开始，因为每个故事都得有个时间和地点。

So I took those 17 steps to the hero's journey, boiled it down to 10, starting with the backstory because every story has to have a time and place.

我们在这儿要做什么呢？

What are we doing here?

我们到底为什么要开始这个故事？

Why are we even starting this story?

在品牌领域，我会把这个概念当作一个隐喻，帮助品牌明确自己在市场中最重要的功能定位。

In the branding world, I use that then as a metaphor to help a brand understand what functionally is your number one position in the marketplace.

你和别人相比，有什么不一样、更独特的地方？

What do you do differently and more distinctively than anybody else?

品牌只有彻底理清这一点，真正明白自己有什么不同，才能开始思考该怎么去讲述自己的故事。

Until a brand gets that completely dialed in and really understands how they are different, they can't even begin to understand how they're going to talk about themselves.

而这整个十步的“故事循环系统”流程，才是唯一具备实操性的方法。

That and the whole process of the 10 steps of the Story Cycle System is the only functional one.

也就是说，真正落地的时候，我们怎么运作才能跟受众区分开来，显得更有特色？

Meaning it's the one that says, the rubber hits the road, how do we functionally operate that is different and more distinctive than our audiences?

还有我们的竞争对手。

Our competition.

举个例子，我就拿自己来说吧。

To give you an example, I'll just use myself.

在品牌圈和广告圈，我给自己贴的标签是品牌顾问。

In the branding world, advertising world, and I call myself, I'm a brand consultant.

好，其实全球有成百万的品牌顾问。

Okay, well, there are millions, literally millions of brand consultants in the world.

全球范围。

World.

那我有什么不一样、有什么特色呢？

So how am I different and distinctive?

大家为什么要关注我？

Why should anybody care about me?

我会按照那个背景故事工作表里的四个步骤来操作。

I go through the four steps within that Backstory worksheet there.

我会提炼出自己在市场中的核心定位，也就是：我通过经过验证的故事循环系统，帮助那些以使命为导向的品牌领导者，与他们的受众——包括员工、客户以及他们所服务的社区——建立联系。

I boil down to my number one position in the marketplace, and that is my audience is I help leaders of purpose driven brands connect with their audiences, both their employees, their customers, and the communities they serve through the proven Story Cycle System.

所以，这就是我的背景故事的精简版。

So that is my backstory very much in a nutshell.

但现在我拥有别人没有的东西，那就是我独有的流程。

But now I've got something that nobody else has, my proprietary process.

市面上有很多品牌顾问，还有各种各样的顾问，他们都有自己的独家流程。

And there are a lot of brand consultants and all kinds of consultants that have their own proprietary process.

我的建议是，你要在这个基础上进一步发挥。

And my point to them is build on that.

确保这成为你的核心优势，验证它确实有效，你能交付成果，然后在此基础上不断深耕。

Make sure that that's your platform, make sure it works and you can deliver the goods and build on it.

但如果他们不做背景梳理，不真正下功夫去理解自己与其他竞争对手有何不同和独特之处，他们就很难把自己的故事讲清楚，也很难构思出一个能真正打动人的故事。

But until they do the backstory and really work hard to understand what makes them different and distinctive than all other competitors, they're going to have a really hard time pulling their story together, crafting a story that anybody's going to really care about.

对，之所以把它放在第一位是有原因的。

Yeah, there's a reason why that's the first one.

不过你知道吗，帕克，我想到如果公司只完成第一个练习，他们的表现就会远远超过竞争对手。

But you know, Park, it occurred to me that if companies only did that first exercise, they would be heads and shoulders above their competition.

你书里提到的那些内容，就像营销的其他方面一样，你不需要做到完美。

And the things in your book are like other aspects of marketing where you don't have to be perfect.

只要你按照这个流程走一遍，认真讨论，把书里的模板和练习都过一遍，做完之后你肯定会比之前更强。

If you just go through this and you talk about it, you go through the book, you've got all the templates, the exercises go through there, you will be better for having done it.

哪怕只是稍微好一点点，你依然

Even if you're just a little bit better, you're still going

能

to

比竞争对手强上十倍。

be 10 times better than your competition.

接下来我们聊聊关于英雄的部分。

I want to go to the next one about heroes.

我还记得几年前，写过《华尔街日报》畅销书《人人都是写手》的安妮·汉德利说过一句话。

And I remember years ago, there was a quote from Anne Handley, who's the author of the Wall Street Journal bestseller Everybody Writes.

那时候我看到她说过，要把客户变成你故事里的主角。

And I remember years ago seeing a quote she had, which was make the customer the hero of your story.

所以我这脑子转得慢，帕克·豪厄尔。

And so I'm a slow learner, Park Howell.

我花了好几年，又读了不少关于讲故事的书，才真正明白她的意思。

It took me a few years and a few more books about storytelling to understand what she meant.

但咱们假设我之前不知道这一点。

But let's pretend I didn't know that.

明白了。

Okay.

所以，帕克，你故事里的英雄，应该是你和你的公司以及你的产品，对吧？

So the hero of your story, Park, it should be all about you and your company and its products, right?

是的。

Yeah.

不对。

No.

但大家通常都是这么想的。

But that's what everybody sees.

他们以为，而第一个关键的观念转变就是别总盯着自己。

They think and that is the very first major paradigm shift that takes place is not the navel gazing.

这个故事跟你自己没关系。

This story is not about you.

你的主角应该是你的客户，或者是你的受众群体。

Your hero are your customers, are your audiences.

顺便说一下，我把客户和受众这两个词混着用，因为面对任何受众，你其实都是在向他们推销某种东西。

And by the way, I interchange customer and audience because every audience, you are trying to sell them on something.

无论是讲笑话还是其他内容，每一位客户本质上都是你的受众。

Your way of thinking a joke or whatever and every customer is an audience.

所以我经常把这两个词交替使用。

So I use those interchangeably.

但你的受众、你的客户才是你品牌故事的核心。

But your audiences, your customers are the center of your brand story.

我用“英雄”这个词，是因为它源自约瑟夫·坎贝尔的理论。

And I use the term hero because it comes right out of Joseph Campbell.

我记得前几天你和肯德拉·霍尔一起录节目时，其他讲故事的人说，人们其实算不上真正的英雄，而且我其实并不……

And I know was listening to your show with Kendra Hall the other day and other story folks out there say, Oh, people aren't really heroes and I don't really

想……

want to

把英雄这个概念推出去。

push the thing heroes.

她明白这一点，但我感觉大家有点困惑，以为主角非得是那种披着斗篷的人。

She understood that but I think that my sense was that people are confused that they're you're supposed to be on some sort of they're they're they're wearing capes.

对。

Yeah.

不，这只是一个比喻而已。

No, it's a it's simply a metaphor.

是的。

Yeah.

没有别的了。

Nothing more.

你可以按自己的理解去解读。

You can read into it as much as you like.

我喜欢用这个词，因为它能让听众把注意力集中在这上面。

I like using it because it makes the audience focus on that.

你可以叫他们主角，但信不信由你，我很惊讶居然那么多人不知道主角这个词是什么意思。

You could call them protagonists, but believe it or not, I'm surprised at how many people don't know what the word protagonist is.

他们倒是知道英雄是什么。

They know what hero is.

把他们放在你故事的中心位置。

You place them at the center of your story.

在我的流程里，比如，我会让你先找出并优先确定你的前三大受众群体，然后围绕他们建立人物画像，这样你就能清楚具体指的是哪类人了。

And in my process, say, I want you to identify and prioritize your top three audiences and then create a persona around them so you know who exactly that person is.

你要把他们放在每个品牌故事的中心，因为这样你才能真正理解并共情他们所处的阶段，以及他们想从生活中获得什么，从而知道该如何帮他们实现目标。

You're going to place them at the center of every brand story you tell because it makes you have to understand and empathize where they are on their journey and what they're trying to get out of life so that you know how to help them to achieve that.

对。

Yeah.

这不算什么科学数据，但看起来90%的公司都在讲自己、讲产品、讲自己的员工。

This is not scientific, but it seems like 90% of companies are talking about themselves, their products, their people.

你应该多讲讲客户，讲讲他们走过的路。你会发现，当你开始给别人讲故事时，他们的肢体语言都会发生变化。

You talk And about your customers and the journey they've gone through, see their body language change when you start to tell someone a story.

不过我们接着看下一个，也就是利害关系。

Let's move on to the next one, though, stakes.

这又让我想起我在书里最喜欢的那句名言。

And again, this all takes me back to what I said was my favorite quote from the book.

在销售中，你只需要找到痛点，放大痛苦，然后治愈它。

In sales, all you have to do is find the hurt, amplify the pain and heal the wound.

所以请解释一下利害关系，以及它们在这里扮演的角色。

So explain stakes and the role that they play here.

这让我想到销售场景，当你跟潜在客户沟通时，帮他们意识到不采取行动会带来什么代价或影响。

And this reminds me of in sales, when you are talking to a prospect and you help them realize the cost or implications of non action.

这跟风险有关吗？

Is that related to stakes?

完全有关。

It totally is.

所以很多品牌公司会先问，问题出在哪儿？

So a lot of brand companies will start with, well, what's the problem?

我的想法是，把问题再往后推一步，放到利害关系上去。

And I'm like, I want to move the problem downstream to stakes a little bit.

我想先让他们搞清楚，在故事背景里他们做了什么，以及谁在乎这些。

I want to first get them clear on what they do in their backstory and who cares about that.

接下来我们就把注意力转向受众。

Now we focus on the audience.

这样一来，你的品牌就不会只盯着自己了。

See, it gets your brand to stop focusing on yourself.

在背景故事里，你可以把焦点放在自己身上。

You get to focus on yourself in the backstory.

剩下的部分则是给观众看的，直到第六章。

The rest of it then is your audience until you get to chapter six.

所谓利害关系，就是客户生活中正在发生的事，以及你究竟在解决什么问题。我特别喜欢从两个角度去看：一是他们如果接受我们的方案，能获得什么；二是如果他们什么都不做，又会失去什么。

Stakes are about what is going on in your customer's life, what are you solving for and I like to look at it, I really like that idea of what do you stand to gain by buying into our opportunity and what do you stand to lose with inaction.

所以我这里分了四个部分，因为我想再补充两点。

So I've got a quad split there because I'd like to add two more things to that.

你的受众真正渴望的是什么？

What does your audience wish for?

这里说的又是情感层面的东西。

Now again, this is emotionally.

他们内心渴望的是安心。

They emotionally want peace of mind.

他们内心渴望的是自信。

They emotionally want confidence.

他们从情感上希望显得聪明，不管聪明具体指什么。

They emotionally want to look smart, whatever that is.

对。

Yeah.

我觉得，一个没有回答到点子上、或者说错误的回答，可能是‘优化收入’或‘降低成本’这类听起来很理性的说法。

And I think an example of a non answer, an incorrect answer would be revenue optimization or lowering costs or these more logical sounding things.

对。

Yeah.

对。

Yeah.

没错。

Yeah.

不，不行。

No, no.

现在的状况是什么？

What's the of the state?

是的。

Yeah.

不是。

No.

我担心如果我们不这么做，道格拉斯，我就不得不裁掉三分之二的员工。

I'm afraid if we don't do this, Douglas, I'm going to have to cut two thirds of my workforce.

明白了。

Right.

好的。

Okay.

其实大家是希望摆脱恐惧的。

There's a wish there to get rid of fear.

那会是什么样子呢？

Then what does it look like?

你希望的是什么？

What do you wish?

我希望看到的是乐观。

Well, I want the optimism.

我希望感受到我们正在向前推进的积极氛围。

I want the positivity that we're moving forward.

好吧，作为讲故事的人，你要记住这一点。

Okay, I want you can as a storyteller, you can remember that.

然后用这种愿望来支撑它。

And then you back that up with the want.

那我具体想买什么呢？

So what do I physically want to buy?

也许是咨询服务。

Maybe it's coaching.

也许是任何能帮我实现愿望的产品。

Maybe it's whatever that product is you're selling me to help me fulfill my wish.

但话说回来，品牌方往往太关注自己生产什么，结果犯了一个大错：他们总讲自己生产了什么，却忘了该讲自己的产品能帮用户实现什么。

But again, brands are so focused on what they make, they make the big mistake of telling stories about what they make when they should be telling stories about what they make happen in the

让那个人去连接那个愿望。

person's Connecting to that wish.

这也是书里提到的另一个很棒的方法。

That's another great one from the book.

我们做的其实就是帮人实现愿望的生意。

We are in the wish granting business.

每个销售人员、每个品牌方其实都在做实现愿望的生意，因为人们买东西是凭感觉，然后用理智去为自己的购买行为找理由。

Every salesperson, every brander is in the wish granting business because people are buying with their emotion and they're justifying their purchase with their heads.

对。

Yes.

接下来你提到的那个叫颠覆。

Now, the next one you call disruption.

这让我想到我最大的竞争对手，可能也是大多数销售人员面临的对手，那就是不做决定、不采取行动。

And it brings to mind my biggest competitor and probably that of most everyone who is in sales, which is no decision, no action.

人们倾向于维持现状。

You got to stick with the status quo.

讲讲怎么打破观众的惯性，激发他们行动的意愿。

Talk about how to disrupt your audience and trigger their will to act.

我特别想听听关于“准备好”这部分的内容。

And I'm most interested in hearing about Get ready.

那些缩写词。

Acronyms.

我想听听UVP和ABT具体指什么。

I wanna hear about the UVP and the ABT.

UVP和ABT。

The UVP and the ABT.

太棒了。

Beautiful.

好的。

Alright.

就像我们之前聊到的，所有有力的故事叙述，都遵循三幕式结构。

So as we talked about, all narratives, powerful narratives in the story are in three act structures.

找到痛点，放大痛苦，然后治愈伤口。

Find the hurt, amplify the pain, heal the wound.

故事循环系统，虽然要在这三幕结构里设置十个步骤。

The Story Cycle System, although it's got 10 steps to set up in these three act structures.

所以第一幕就是搭建舞台，交代背景故事、你的客户、你的受众，以及旅程中的主角和他们面临的利害关系。

So the first act is setting the stage with your backstory, your customer, your audience, the hero of the journey and what's at stake for them.

如果没有真正吸引人的利害关系，后面的内容都无所谓了。

Without really compelling stakes, the rest of it doesn't matter.

但很多时候，光有吸引人的利害关系还不够。

But quite often, the compelling stakes aren't enough.

所以你就进入第四章，也就是颠覆阶段，这来自于几个不同的方面。

So you move into chapter four and that is disruption and that comes from a couple of different places.

我们被新冠疫情打乱了节奏。

We got disrupted with coronavirus.

就拿这个来举例吧。

Let's take that as an example.

我进入2020年的时候，和大多数人一样，觉得2020年是个很酷的年份。

I came into 2020, I think as most people did, a cool year, 2020.

多么棒的一个新十年啊。

What a great new decade.

这将会非常精彩。

This is going to be marvelous.

我们刚刚铺垫好了，现在正式开始。

We just set the stage of here we go.

这本来会特别棒。

This is going to be awesome.

突然，冲击来了。

Boom, disruption hits.

疫情来了，新冠一来，我们所有人的生活全乱了套。

We get coronavirus, COVID, and now all of our worlds are turned upside down.

你我还有所有人，行为都变了，这时候出现了很多以前根本不可能有的机会。

You and I and everybody are acting differently and there's tremendous opportunities to take advantage of that would never have been there had COVID not disrupted us.

这完全是咱们控制不了的事。

Something completely out of our control.

但生活中也有一些冲击，是我们自己能掌控的。

But there's also disruption in our lives that are in our control.

比如我，干了二十年广告公司，决定不干了，这就打乱了家里的节奏。

So when I, for instance, decided after twenty years I no longer want to be in the ad agency business, I disrupted my family's life.

幸好我老婆很理解，她说：你换条路吧。

Thank God I have a caring wife and said, I'm pivoting away from this.

大家都要去找新工作了。

Everyone, you all got to go get other jobs.

人们问，你为啥不把它卖了？

People said, Why didn't you sell it?

我说，我不想被绑着跟别人干五年。

And I said, because I didn't want to have to be handcuffed to someone for five years.

我想去干讲故事的活儿。

I want to go do the story thing.

你跟她说你要离开广告公司的时候，是去给她看度假屋推销之前还是之后？

When you told her you were leaving the ad agency business, was that before or after you took her to that timeshare presentation?

是之后。

It was after.

你能相信吗？

Can you believe it?

她得多爱我啊。

That's how much she loves me.

我知道。

I know.

天啊。

Man.

你简直不敢相信她竟然变成了这样。

You can't believe the woman that's happened.

太不可思议了。

Unbelievable.

所以有时候你得主动介入，成为客户生活中的一种改变力量。

So you have to sometimes go in and you have to be the disruption in your customer's world.

没错。

Yeah.

但如果你被邀请去推销，说明他们背后已经有什么事情在动摇他们的生活了。

But chances are if you're selling and you've been invited in because they want to hear from you, there's something happening in the background that is already disrupting their life.

你只需要找到合适的故事，点燃他们行动的意愿。

You just have to find the right story to trigger their will to act.

这就涉及你在第四、五章里读到的愿望、需求和意志，先是制造干扰，然后引出障碍和对手。

And that plays with the wish, the want, and the will that you read about in chapters four and five, disruption and then leading into obstacles and antagonists.

所以关键就是制造这种干扰，有时候你甚至得在那儿挥舞你的剑，让这种干扰变得更让人难受。

So it's about creating that disruption and sometimes you have to be there rattling your saber to even make that disruption more painful.

这就是放大痛点的地方，第四章先识别干扰，然后第五章讲的是你的客户现在面对的恶人、迷雾和裂缝，你可以帮他们识别出来，并让他们知道，凭借你独特的产品和服务，你是帮助他们渡过难关的理想向导。

That's where the amplify the pain starts coming in both chapters four, first identifying the disruption, and then chapter five, the villains, fog, and crevasses that now your customer is up against that you could help them identify and let them know that you are the ideal guide to help get them through that through your unique product and offering.

那解释一下什么是UVP和ABT吧。

So explain what UVP and ABT are.

所以，独特的价值主张。

So the unique value proposition.

这时候，你开始让形象更人性化，内容也变得更有趣。

This is when you start to now humanize and get more interesting.

找到那句标语，找到那个有创意的切入点，帮助人们真正明白你到底在做什么。

Find that tagline, find that creative twist that helps people understand what it is exactly you do.

这要基于你的背景故事、你的受众群体，他们共同关注什么、在意什么，以及这个世界正在发生的变革。

That's based off your back story, your audiences, what they share, care about, and the disruption happening in the world.

我的独特价值主张，就像你的也一样，是帮助那些以使命为导向的品牌领导者，通过你讲述的故事脱颖而出。

Your UVP like mine is to help people, leaders of purpose driven brands, excel through the stories you tell.

现在这种颠覆性很强，因为我们在科技领域一直很有颠覆性，而且要想在嘈杂的环境中脱颖而出、被人听到，真的太难了。

It's disruptive now because we've been disruptive in the world with technology and it is so hard to cut through the noise and be heard.

所以我觉得，"独特价值主张"这个词大家应该都很熟悉了。

So everyone I think is pretty common lexicon, the unique value proposition.

而另一方面，ABT（And But Therefore）

The ABT on the other hand

等等，让我引用一下书里的内容。

Wait, let me just quote from the book.

关于品牌故事和独特价值主张，关键在于它们不是讲你生产什么，而是讲你能给客户的生活带来什么改变。

The secret about your brand story and UVP is that they are not about what you make, but what you make happen in your customer's life.

独特价值主张是点燃品牌故事中人性火花的关键。

UVP the spark that ignites the humanity in your brand story.

快速讲一下独特价值主张，我举个例子，红牛。

Real quick on that UVP, let me give you one example, Red Bull.

红牛的UVP是什么？

What's Red Bull's UVP?

独特价值主张。

Unique value proposition.

大概是能给你插上翅膀之类的。

Something about giving you wings.

对。

Yeah.

给你一双翅膀。

We'll give you wings.

充满情感色彩。

Emotional.

重点不在于他们生产什么。

It's not about what they make.

他们做的其实就是一种味道很差的、高辛烷值的汽水。

They make a crappy tasting high octane soda essentially.

要是真想喝那种东西，我直接喝夜舒宁得了。

If I want to drink that stuff, I would just drink NyQuil.

但他们可不会这么宣传。

But they don't talk about that.

他们强调的是这饮料带来的效果。

They talk about what it does.

说是能给你插上翅膀。

It gives you wings.

这是一个非常有力的独特价值主张的绝佳例子。

That's a really good example of a powerful UVP.

Airbnb 也有一个很棒的独特价值主张，就是‘像当地人一样生活’。

Airbnb has got another great one, Belong Anywhere.

这是一个基于美好故事的独特价值主张。

Beautiful story based UVP.

而 ABT 则是一种故事结构。

The ABT on the other hand is a story structure.

这是一种基础的故事结构，叫做‘而且、但是、因此’。

It's a fundamental story structure called and, but, and therefore.

我是在一个特别有意思的人那里学到的，他现在成了我讲故事方面最好的朋友之一，奥尔森博士。

I learned it from a fascinating guy who's now just become one of my best pals in storytelling, Doctor.

兰迪·奥尔森。

Randy Olson.

他原本是哈佛的进化生物学家，拥有进化生物学博士学位，后来放弃终身教职，去南加州大学电影学院深造，毕业之后拍了三部关于气候变化和全球变暖的纪录片。

He was Harvard evolutionary biologist, PhD evolutionary biologist, goes on, gives up tenure, goes to USC Film School, graduates, produces three documentaries on climate change, global warming.

但更重要的是，他还写了四本书，教科学家们如何用故事的力量进行有效沟通。

But I think more importantly, has written four books to help teach scientists how to communicate using the power of story.

他核心的理念之一，就是这个叫‘而且、但是、因此’的概念。

One of his things, his core thing is this concept called and, but, and therefore.

这其实是一个完美的三幕结构：发生了这件事，而且很重要，因为这个原因，但问题是，我们正在解决的困境是什么。

It's the perfect three act structure of this happened and it's important because of this, but here's the problem we're solving for.

因此，这就是我们的解决方案。

Therefore, here's the solution.

回想一下特雷弗·希尔对销售的定义。

Think of going back to Trevor Hill's definition of sales.

找出痛点。

Find the hurt.

这就是“和”的部分。

That's the and statement.

然后放大这种痛苦。

But amplify the pain.

这就是故事的中段。

That's the middle.

所以我想要达成的目标，就是因此去治愈这种痛苦。

What am I trying to act to, therefore heal the pain.

所以举个例子，我们回到之前的那个类比。

So for instance, let's go back to this analogy.

我们之前稍微聊到过新冠疫情。

We had talked a little bit earlier about COVID.

这里有一个ABT框架。

Here's an ABT.

我常用它来帮我理清核心主题，让沟通更聚焦。

And I use these then to help really focus my theme, focus my communication.

从写邮件、做PPT到制定品牌策略，我都在用。

And I use it for everything from emails to PowerPoint presentations to creating brand strategies.

我给大家举个简单的例子。

And I'll just give you a real quick example here.

大家对2020年都抱有极大的乐观态度，对未来的十年充满期待。

We all looked at 2020 with terrific optimism and we're excited about the decade ahead.

但新冠疫情突然爆发，彻底打乱了我们的生活。

But coronavirus struck, upending our worlds.

因此，我们现在都在努力适应这个新世界，试图弄清楚不仅要在其中生存下来，还要在危机过后实现更好的发展。

Therefore, we are all now navigating this new world to try to understand how we are not only going to survive in it, but thrive after it is over.

这就是一个典型的“并且”按钮的例子。

That's a good example of an and button.

所以，你先搭建一个普通的世界，用“和”来表达共识，接着说“但是”，这里有个问题，然后“因此”，给出解决方案。

Therefore, you're setting up the ordinary world, a statement of agreement using the and, but here's the problem, therefore, here's the solution.

对。

Right.

所以，听众朋友们，我要你们留意这三个词。

So listener, I want you to listen for these three words.

ABT，也就是“和”、“但是”、“因此”。

ABT, and, but, therefore.

先铺垫背景，再把重要性提上来。

Set the stage and raise the stakes.

对。

Yep.

然后点明问题所在。

But state the problem.

最后再给出你的解决方案。

Therefore, reveal your solution.

帕克，你刚才提到了反派、迷雾和裂缝。

Park, you mentioned just now about villains, fog, and crevasses.

你能从对手的角度多讲讲这个吗？

Could you talk more about that in terms of antagonists?

为什么对手在构建故事框架时这么重要？

Why are antagonists important in helping to frame a story?

你之所以说反派、迷雾和裂缝，是因为它们是故事中三种最主要的对手类型。

And the reason you say villains, fog, and crevasses is those are the three primary types of antagonists that are in a story.

是这样吗？

Is that right?

不是。

No.

好吧，这是我个人在商业故事讲述方面的看法。

Well, what I believe in business storytelling anyways.

所以，在你试图把约瑟夫·坎贝尔的理论应用到商业场景中时，这三个词确实能概括很多内容。

So in your effort to bring Joseph Campbell's down to business use, it's like those three capture a lot

这些都涵盖在内。

of them.

我们都会遇到它们。

We all come across them.

确实如此。

Yeah.

在商业叙事中，我们常常跳过故事的中间部分。

And business, we have a tendency to leave out the middle of a story.

我们不愿意谈论那些糟糕的、棘手的问题，因为我们总想显得自己有条不紊、理性冷静。

We don't want to talk about the bad stuff, the gnarly stuff that's going on again because we want to look like we got our act together and we're logical and rational.

但我认为，你反而应该把这些元素带进来，还要弄清楚你的受众和你自己品牌所面对的‘反派’、‘迷雾’和‘裂隙’分别是什么。

But I argue you want to bring those in and you have to understand what your audience's villains, fog, and crevasses are, as well as your own brand's villains, fog, and crevasses.

你可以把它们看作是三类不同的问题。

Just think of them as three categories.

‘反派’指的是你内外部的竞争压力。

Villains are your internal and external competitive forces.

所以，字面意思就是你的竞争对手。

So literally your competition out there.

他们是谁？

Who are they?

他们是如何打乱你的计划的？

How are they upending your journey?

你打算怎么克服他们？

And what are you going to do to overcome them?

然后你还会遇到内部的这些‘反派’。

Then you've got these villains internally.

你脑子里那些总觉得自己不够聪明、不够机灵的声音，都是什么？

What are the voices in your own head that are saying you're not smart enough, you're not bright enough?

你该怎么克服这些想法？

How do you overcome that?

或者，你公司内部那些‘听说这样’‘听说那样’的流言蜚语，你又该怎么去应对？

Or what are the voices within your company that rumors are this and rumors are that that you're going to have to overcome?

所以你要先搞清楚这些到底是什么。

So you want to identify what those are.

接下来这一条，顺便说一下，是针对品牌层面的。

The next one is, and this right now, by the way, is brand focused.

你也要对你的客户做同样的分析。

You also want to do this for your customer.

所以接下来我们要讲的是迷雾。

So the next one is fog.

你的盲区在哪里？

What are your blind spots?

有哪些你根本不知道自己不知道的领域，需要你去挖掘和发现？

What don't you know you don't know that you have to go and find?

最后，Crew问的一个问题是，你的绩效差距在哪里？

Then the final one crew asks is, what are your performance gaps?

你打算如何弥补这些绩效差距？

How are you going to bridge those performance gaps?

所以把同样的思路应用到品牌运营上，然后把它迁移过来，放在你故事的核心主角身上，说：好的，第一类受众，他们在考虑购买我们的产品或服务时，面临哪些竞争压力？

So take that same thinking where you use it on your brand operationally, and then you move it over and you put it on your hero, the center of your story and saying, Okay, audience number one, what are the competitive forces that they're up against from buying into our product or service?

可能是时间。

It could be time.

可能是资源。

It could be resources.

也可能是我们直接的实体竞争对手。

It could be literally our other physical competition.

可能是他们心里对你们的产品和行业有自己的看法。

It could be the stories they're telling themselves in their head about your offering in the industry.

第二，他们的盲点是什么？

Number two, what are their blind spots?

他们不知道哪些关于我们的事情，是我们必须用他们能理解的方式去解释清楚的？

What don't they know they don't know about us that we have to clarify on their terms?

不是用我们的方式，而是用他们的方式。

Not our terms, but their terms.

最后一点，就是那些裂缝。

And then finally, the crevasses.

他们觉得有哪些鸿沟是跨不过去的，而我们可以帮他们填补，从而让他们觉得我们的方案是最及时、最相关、最紧迫的？

What gaps do they think are unbridgeable that we can bridge for them to make us that timely, most relevant and urgent offering in their world?

这让你像是在做SWOT分析，但它把SWOT分析里那种死板的逻辑抛开，只是借用它的框架作为基础。

And it makes you look at this like a SWOT analysis, but it takes the logic out of a SWOT analysis and it uses that kind of as the chassis.

但现在，它让你从非常人性化的角度去思考。

But now it makes you think from a very human standpoint.

对，这就像把SWOT分析彻底颠覆了。

Yeah, it's like it sets the SWOT analysis on fire.

确实。

Does.

是的。

Yeah.

因为有多少

Because how many

我自己或者听众们做过多少次SWOT分析，结果大家都只是说，好吧，挺好的。

times have I, me or any of the listeners have gone through a SWOT analysis and everyone's like, Okay, great.

谢谢。

Thanks.

对。

Yeah.

就像一根没点燃的引线。

It's like an unlit fuse.

对。

Yeah.

没错。

Yeah.

光有战略可不行，没有具体的行动计划，战略根本落不了地。

It's a strategy and strategies never happen unless there's an action plan.

所以，咱们得把它当成一份行动计划来想：先搞清楚你的‘反派迷雾’和‘深渊裂缝’，也就是那些阻碍和对抗力量。

So think about this as an action plan by first identifying your villains fog and crevasses, your obstacles and antagonists.

然后你再使出柔术的招数，把这些力量转化为对你有利的因素——在很多情况下，你是在放大客户的痛点。

And then you do the jujitsu move of using those forces in your favor by demonstrating, in a lot of cases, you're amplifying the pain here for your customers.

你可别这么做。

You don't do this.

那可就真难看了。

It's going to get really ugly.

当然，你也可以雇个人来帮你做这件事。

Or yes, you could hire that person to do this for you.

没错，他们报价确实比我们低一点，但你知道他们没法兑现这些承诺，不过你还是可以试试。

And yes, they are a little bit cheaper than us, but you know they can't deliver on this and this, but go for it.

这就给了你一个讲故事的机会，从客户的角度出发，让整个过程更有人情味，帮他们渡过难关。

So it gives you an opportunity around storytelling to really humanize it from your customer standpoint and help them overcome something.

另外，道格，这还能让你的受众明白，你真的懂他们。

The other thing it does for you, Douglas, is it lets your your audience know that you understand them.

对。

Yes.

让他们感受到你理解他们的处境，以及他们正在努力克服的困难。

That you appreciate what they're going through and what they're trying to overcome.

这能很好地增强品牌与客户之间的情感纽带。

And it just it just helps build that brand bond.

确实是这样。

Yeah.

如果你能让客户觉得你比竞争对手更懂他们，销售自然就容易多了。

If you can make your customers feel like you understand them better than the others do, the sales are a lot easier to come by.

而且，这仍然……

And and it just it's still

太罕见了，至少在我所处的圈子里是这样，哪怕是最微小的细节，只要能体现出你懂他们。

so rare, at least in the world I'm in, where if anything, even the smallest things that demonstrate you understand them.

换句话说，客户会说：哇，这些人真懂我。

In other words, the customer says, Man, these people get me.

只要公司传达出他们了解我的痛点或动机，我就会经常买东西。

I'm buying stuff all the time when a company conveys something that maybe they understand what my issues are or what my motivations are, that type of thing.

时间不多了，我再问最后一个问题。

Let me just ask one other thing because we're running out of time here.

在反派之后是导师，我读过的其他书里，这个角色通常被称为“引导者”，或者是不是像欧比旺·克诺比那样的角色？

But after antagonist is the mentor and the other books I've read about, it's called The Guide or would that be the Obi Wan Kenobi?

能讲讲导师是什么样的，以及为什么他们在任何故事中都如此关键吗？

Well, explain what mentors are and why they're such a crucial part of any story.

如果你能聊聊品牌原型，那真的激发了我的想象力。

And if you could talk about this brand archetypes, that really lit my imagination.

我还聊到了你提到的品牌原型分类。

I even went on to you talked about which brand archetype you are.

我当然也忍不住掏出信用卡去做了那个测试。

I then, of course, had to go and get my credit card out and take the test.

结果发现我们俩挺像的。

And it turns out we're quite similar.

那你能讲讲导师型品牌原型这个概念吗？

But explain the idea of the mentors and brand archetypes.

现在你进入了故事循环系统的第六章，品牌可以开始聚焦自身了。

So now you're squarely in Chapter six of the Story Cycle System and this is where the brand gets to focus on themselves.

品牌需要思考：我们在市场上展现的形象是否一致？还是说表现得像有十一种不同的人格？

They get to think about, all right, is the personality that we show up as in the marketplace and are we consistent or are we showing like the 11 personalities of civil out there?

我们要追求的就是这种一致性。

We want to get to that consistency.

顺便说一句，如果有人好奇的话，这可不是大家想做的事。

Just in case anyone's wondering, that's not what you want to do.

对。

Right.

所以在第六章里，我让他们深入思考，问自己：情感承诺是什么？

So in chapter six, I asked them to look deep inside and say, what is the emotional promise?

有没有一个词能概括，从你的员工到客户，再到你服务的社区，他们与你合作、与你相处时，所体验到的那种感受？

What is that one word that describes what people from your employees to your customers to the communities you serve experience by working with you, by being around you?

那个情感承诺是什么？

What is that emotional promise?

那第二个问题是，内在的天赋是什么？

Then the second question in that is, what is the intrinsic gift?

再说一次，不是你制造了什么，而是你促成了什么。

Again, it's not what you make, but what you make happen.

和你在一起，他们能实际获得什么提升？

What do they physically get by being with you that elevates them?

然后第六章的第三个元素，导师部分，是关于品牌原型的。

And then the third element of chapter six, the mentor is about brand archetyping.

我引用的是瑞士心理学家荣格博士的理论。

And I use Swiss psychologist, Doctor.

就是荣格提出的那12种原型人格，这些人格类型在我们的生活中随处可见。

Carl Jung's 12 archetype personalities that seem to be everywhere in the world around us.

当年我刚学品牌策划的时候，觉得那套东西特别没意思，道格拉斯，因为我当时被教导要用一个问题来思考：如果你的品牌是一只狗，它会是什么品种的狗？

When I was taught branding back in the day, it was just inane to me, Douglas, because I was taught to ask the question, if you were a dog, what kind of dog would your brand be?

谢谢芭芭拉·沃尔特斯。

Thank you, Barbara Walters.

对。

Yes.

我当时就想，天哪。

And I'm just like, Oh, my God.

我特别喜欢书里的那部分，因为我经历过很多类似的事情。

I love that part of the book because I experienced a lot of that.

基本上，你完全可以跑偏，然后说，如果你是一棵树，你会是哪一种？（模仿芭芭拉·沃尔特斯的语气）

Basically, you could have gone off the rails and said, If you were a tree, what kind would you be speaking of Barbara Walters?

但在我职业生涯早期，他们教我问客户一些毫无意义的问题，比如如果你的品牌是一只狗，它会是什么品种的狗？

But it was like, early in my career, was taught to ask my customers insipid questions like, if your brand was a dog, what kind of dog would it be?

什么样的车能反映你的个性？

What kind of car reflects your personality?

再来聊聊饮料？

How about a drink?

你是鸡尾酒、啤酒、无糖汽水还是能量饮料？

Are you a cocktail, a beer, diet soda, energy drink?

这个被普遍接受的品牌策划流程，我一直觉得不对劲。

This accepted branding process never sat well with me.

然后你接着说，老兄，这简直太离谱了。

And then you go on to say, Seriously, man, that was nuts.

确实如此。

It was.

我不得不硬着头皮走完这套流程，客户还都用一种‘真的吗？’的眼神看着我。

And I would be forced to go through it and I would have clients looking at me like, Really?

我只能耸耸肩膀，勉强说，嗯，大概是吧。

And I just shrug my young shoulders and go, yeah, I guess so.

而这恰恰又回到了人们对营销人员的那种负面印象，一点都不好。

Well, and and that takes us back to that perception of marketers that is not helpful.

难怪那间屋子里的人全都双臂交叉，心里嘀咕：哦，这又是那种软科学的东西。

That's why that room was full of guys and gals with their arms crossed thinking, oh, this is the soft science part.

对。

Yeah.

他们心里想的就是，这纯属胡扯。

It was a bullshit guy is what they were thinking.

我心想，别闹了，这招真的管用。

And I'm like, no, man, this stuff really works.

所以我们用了这十二种原型。市面上有些书把它拆成了三十二种甚至六十四种，对我来说，这些细枝末节反而让人头大。

And so we use these 12 archetypes and you go in and there's some books that have broken out to thirty two and sixty four archetypes and all these nuances to me is just too overwhelming.

我们发现，只要仔细对照这些原型，就能精准定位你品牌的核心个性。

We have found that you can really dial in what your core brand personality is by just reviewing these archetypes.

而且你也能很快上手。

You can do it pretty quickly too.

为什么这很重要呢，道格拉斯？就像我之前提到的，一旦你确定了品牌原型、你的情感承诺，以及你内在的独特优势，这些都会指导你的所有创作，包括你带着怎样的个性走向市场。

And why it's important Douglas is, as I had mentioned earlier, once you determine what that brand archetype is and your emotional promise, intrinsic gift that you offer, it informs all of your creation, how you go to market with your personality.

从网站的外观、感觉、语调、内容、用户体验，到营销材料，甚至包括你接电话时的具体话术，都要体现出来。

The look, feel, tone, content, user experience of your website, to your marketing materials, to even write down how you answer the phone.

举个例子，如果你是探索者原型，想想维珍集团和理查德·布兰森爵士，他非常符合探索者原型。那么，你的网站和与客户的互动方式，就必须带有那种探索者的特质。

So for instance, if you are the Explorer archetype, think of Virgin, Sir Richard Branson, he's very much with the Explorer archetype, then by golly, your website and how you interact with your customers better have that explorer edge to it.