Training Industry Magazine - September/October 2019 - 41

formalize the informal. In this case, the
Story-based Learning Model (see Figure
on page 42) demonstrates:

* What role does this protagonist have
in the story? In this example, they are a
parent of school-age children.

* A systematic, repeatable process that
anyone can use to enhance any type of
training topic.

* Why choose this character and not
another? They have the most safety
considerations to balance.

* The relationship between both familiar
and new story elements.

The best protagonists provide a unique or
instructive perspective to the story events
and are relevant to the learners. For example,
given the learning objective used above, the
protagonist could be "Jessica," a working
mother of two children, whose husband,
"Brad," often travels out of town for business.

* How to adjust the variables of
these elements to heighten the
story's engagement.
To use the model, start with a clearly stated
and properly scoped learning objective.
For example: "Distinguish appropriate
methods for responding to a variety
of severe weather events, as depicted
in various scenarios." With the learning
objective in mind, identify the point of view
(POV), the lens through which the learner
will experience the story events. Typically,
the POV will be either:
* First Person: The narrator is inside
the story, seen through the
protagonist's perspective:
- First person example: "I was worried
about a tornado striking our house."
* Third Person Limited: The narrator is
outside the story, viewed through a
limited perspective (only conveying the
protagonist's thoughts and feelings while
they observe the body language of others):
- Third person limited example: "She
was worried about a tornado
striking her house."
It is worth noting that there are other POVs
available, such as second person (where the
narrator speaks directly to the reading, using
the word "you") or third person omniscient
(viewing many character's thoughts at the
same time). However, those don't tend to
work as effectively for story-based learning
scenarios and structures.
To determine a story's POV, it helps to
identify the protagonist, the primary
character whose experiences must map
onto the learner. Consider these questions:
* Who is the audience? In this case, it
is adults, as opposed to children or
first responders.

CONFLICT AND SETTING
Stories thrive on conflict, and this struggle
typically stems from pitting the protagonist's
motivations (whether internal or external)
against the obstacles set in place by an
antagonist and/or environment. Remember
that the protagonist's motivation should
align with the story's learning objective.
So, expanding on the earlier example,
Jessica's motivation is to protect her family
and herself, mitigating the effects of any
weather event.

cost of relevance to the learning audience,
only to enhance it.
The key to creating tension through setting
is to remember that it is the clash of cultures.
One group happily engages in the current
set of cultural norms, the status quo.
Whether for social and/or economic reasons,
this group wishes to maintain things as
they are, for better or worse. In the earlier
example, the cultural norms are that Jessica's
neighbors and friends are complacent
about severe weather events and, thus, are
not prepared for their potential harm.

The human brain is
hardwired to learn
through stories,
gaining valuable
lessons through the
experiences of others.

In this case, her obstacles are more
environmental than stemming from a human
antagonist or arch-enemy out to undermine
Jessica's goal. Here, the inclement weather is
the antagonist. This is one example of using
different story elements, adjusting variables
to customize the narrative.

But there is always some sort of counterculture bubbling out at the edges. This
counter-culture may be silent or vocal, but
it reacts to cultural norms by promoting
change to the status quo through resistance
and/or revolution. Perhaps Jessica has
one friend who takes preparations for
weather seriously and encourages her to do
the same.

The important point is that the obstacles
must be overcome, such as safely
surviving the tornado scenario. As long as
the antagonist (whether it's a person or
environment) presents challenges that may
prevent the protagonist from achieving his
or her motivation, then a struggle exists,
creating conflict and suspense.

The point is that using the inherent tension
between these two groups can drive
drama and suspense, and prove a powerful
narrative lever in story-based learning. This
is especially true when each group thinks
they are in the right, and who is framed as
the heroes and villains depends on how the
story is framed.

However, conflict is not the only source of
tension that can help create an engaging
story. The use of setting (the time and place
in which the story unfolds) can also provide
a powerful source of intensity to the
narrative. Here, the use of metaphor, or even
fantastical elements, can provide effective
levers to increase engagement in the story.
The setting, no matter how outside of the
everyday norm, must still have plausible
realism that allows the learner to suspend
disbelief, as any engaging story does.
However, this should never be used at the

PLOT, CONFRONTATION AND
REVELATION
As the story narrative begins, the plot
unfolds. This is where the protagonist and
other characters are revealed, the setting is
established and the inherent conflict of the
story is discovered. There are many ways for
a plot to unfurl in pacing and flow of time:
* Mountain Structure (Classic
The standard story form,

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