STORYTELLING

HANDBOOK
Storytelling handbook

© World Health Organization 2022

ISBN 978 92 9061 991 8

Some rights reserved. This work is available under the Creative Commons Attribution-NonCommercial-ShareAlike 3.0 IGO
licence (CC BY-NC-SA 3.0 IGO; https://creativecommons.org/licenses/by-nc-sa/3.0/igo).

Under the terms of this licence, you may copy, redistribute and adapt the work for non-commercial purposes, provided the
work is appropriately cited, as indicated below. In any use of this work, there should be no suggestion that WHO endorses
any specific organization, products or services. The use of the WHO logo is not permitted. If you adapt the work, then you
must license your work under the same or equivalent Creative Commons licence. If you create a translation of this work, you
should add the following disclaimer along with the suggested citation: “This translation was not created by the World Health
Organization (WHO). WHO is not responsible for the content or accuracy of this translation. The original English edition shall
be the binding and authentic edition”.

Any mediation relating to disputes arising under the licence shall be conducted in accordance with the mediation rules of the
World Intellectual Property Organization. (http://www.wipo.int/amc/en/mediation/rules/)

Suggested citation. Storytelling handbook. Manila. World Health Organization Regional Office for the Western Pacific.
2022. Licence: CC BY-NC-SA 3.0 IGO.

Cataloguing-in-Publication (CIP) data. 1. Handbook. 2. Health communication. 3. Health promotion. I. World Health
Organization Regional Office for the Western Pacific. (NLM Classification: WA590)

Sales, rights and licensing. To purchase WHO publications, see http://apps.who.int/bookorders. To submit requests for
commercial use and queries on rights and licensing, see http://www.who.int/about/licensing.

For WHO Western Pacific Regional Publications, request for permission to reproduce should be addressed to Publications
Office, World Health Organization, Regional Office for the Western Pacific, P.O. Box 2932, 1000, Manila, Philippines, Fax.
No. (632) 8521-1036, email: wpropuballstaff@who.int

Third-party materials. If you wish to reuse material from this work that is attributed to a third party, such as tables, figures
or images, it is your responsibility to determine whether permission is needed for that reuse and to obtain permission from
the copyright holder. The risk of claims resulting from infringement of any third-party-owned component in the work rests
solely with the user.

General disclaimers. The designations employed and the presentation of the material in this publication do not imply the
expression of any opinion whatsoever on the part of WHO concerning the legal status of any country, territory, city or area or
of its authorities, or concerning the delimitation of its frontiers or boundaries. Dotted and dashed lines on maps represent
approximate border lines for which there may not yet be full agreement.

The mention of specific companies or of certain manufacturers’ products does not imply that they are endorsed or
recommended by WHO in preference to others of a similar nature that are not mentioned. Errors and omissions excepted,
the names of proprietary products are distinguished by initial capital letters.

All reasonable precautions have been taken by WHO to verify the information contained in this publication. However, the
published material is being distributed without warranty of any kind, either expressed or implied. The responsibility for the
interpretation and use of the material lies with the reader. In no event shall WHO be liable for damages arising from its use.

Photo credits

WHO/Yoshi Shimizu, pages 3 (top), 7, 38 (center), 39 (top and middle), 42 (top), 53 (second from top), WHO/Yikun Wang,
page 3 (bottom), Pexels pages 5 (top and middle), 11 (bottom), 23, 32 (top), 33, 34 (middle and bottom), 35 (middle and
bottom), 36, 38 (top), 46, 53 (first, third and fourth), 63, 68, Pexels/Ron Lanch page 5 (bottom), WHO/ Until Chan page 6, 42
(bottom), Pexels/Brotin Biswas page 11, Pexels/ Gabriela Palai page 32 (middle), Pexels/ Thorn Yang page 32
(bottom), Adobe Stock page 34 (top), Lex Photography page 35 (top), WHO/Ahmad Yusni pages 37, 38 (bottom), Pexels/
David Yu page 39 (bottom), Pexels/Lukas page 52, Pexels/George Milton page 55, Pexels/ Lukas Blazek page 58

Illustration and graphics credits

Adobe Stock cover, pages 13, 19, 22, 26, 48, 49, 50, 58, 60, 67, WHO/ Alejandro Dueñas pages 2, 9, 12, 14, 18, 45, 52, 57,
62, 66, WHO/The Ink Link 4, 43, Flaticon pages 10, 24, 25, 44, 46
Why stories matter........................................................................................................................................... 1
· How stories work..................................................................................................................................................5
· Storytelling and Communications for Health....................................................6

Creating your stories..................................................................................................................................... 8

· Plan your story.........................................................................................................................................................11
· Story idea..........................................................................................................................................................................12
· Explore your characters...........................................................................................................................1. 3
· Develop your story arc...............................................................................................................................15
· Story arc template............................................................................................................................................18
· Create your storyboard.............................................................................................................................19
· Storyboarding template..........................................................................................................................21
· Conduct your interview..............................................................................................................................23
· Example interview questions...........................................................................................................27
· What makes a story great?..............................................................................................................29

Capturing photos and videos....................................................................................................... 31

· Learn about your equipment...........................................................................................................33
· Plan your video or photo story......................................................................................................35
· Production: Shooting your scenes...........................................................................................36
· Post-production: Edit your photos and videos.................................................40
· Annex 1. Suggested apps for photos and video editing...................44
· Annex 2. Camera modes.........................................................................................................................46

Creating understanding.......................................................................................................................... 47
· Understanding concepts.......................................................................................................................49
· Understanding visuals...............................................................................................................................50
· Co-creation, research and testing.........................................................................................51
· Consent and ethical representation...................................................................................53

Measuring and evaluating story impact.................................................................... 56

· Revisit your SOCO..............................................................................................................................................59
· Establish your baseline...............................................................................................................................59
· Define your SMART objectives......................................................................................................60
· Write your SMART objectives.........................................................................................................61
· Develop a programme logic model.......................................................................................62
· Identify your indicators...............................................................................................................................62
· Collect your data..................................................................................................................................................63
· Programme logic model template..........................................................................................65
· Analyse your data..............................................................................................................................................66
· Annex 3. Data collection methods for storytelling projects......67

References....................................................................................................................................................................... 70

i
 1. WHY
STORIES
MATTER
For at least 40 000 years – dating
to the earliest known cave
paintings – oral and visual stories
have been a part of people’s lives.

The first stories were probably told

long before then, passed from
generation to generation,
connecting people, shaping their
worlds, changing lives – even
changing history.

Storytelling
is both a
science and
an art.
Stories are
in our
nature.
Our brains
are wired
for them.
They make us experience
information, as opposed to just
consuming it.

They help us see ‘cause and effect’

relationships, beyond facts and
data, by triggering at least seven
major areas of the human brain
that shape our thinking and
trigger our emotions.

2
In today’s digital age, stories can
be created and shared like
never before. Just over half of the
world’s 7.7 billion people can
now create, consume and share
digital content socially.

Increasingly, social media

platforms are where people turn
for discovery, information and
entertainment. About 970 million
people used social media in 2010,
compared to 4.2 billion users
in 2021.

With this increased digital

connectivity, misinformation can
spread very easily. As we’ve
experienced during the COVID-19 This can cause a great deal of
pandemic, the circulation of human suffering and loss of lives.
incorrect health information can
influence political discourse and In this world of information overload,
decision-making and undermine widespread misinformation and
adoption of protective behaviours, shrinking attention spans, great
creating the conditions for faster stories are more important than
disease transmission. ever. They can cut through digital
noise in ways that other forms of
communication cannot.

Stories establish
connections.
They stimulate
both our
emotions
and thoughts
so that we feel
connected not
just to the story,
but also to the
storyteller.
3
When we advocate for something, we tend to rely
on convincing arguments, facts and figures.
But research shows that people are more
likely to believe a person or
organization whose stories
resonate with them.
And when information and stories are
communicated together, people are persuaded
both intellectually and emotionally.

Whether informing people about health

services, influencing behaviours, galvanizing
community action or shaping social norms,
stories can help to engage and
persuade our audiences to advance
our public health goals and spark
changes at the individual, community
and societal levels.

4
HOW STORIES WORK
So, how do stories engage and persuade people? Behavioural science
research shows that there are three key elements to stories that can
influence people’s behaviour:

1. Transportation
Have you ever been watching a
movie or reading a book that was so
interesting and emotionally
compelling that you forgot about
the real world? When we
experience this, we become more
open to taking on new ideas and
changing our minds.

2. Relatability
When audiences can relate to a
story or a character, they are more
likely to believe and remember the
message. Stories that feel authentic
can also inspire acceptance.
Real-life stories, or stories that
resonate with audiences’
experiences, lead the audience to
trust both the story and
the storyteller.

3. Emotion
Neuroscience has shown that our
emotions hold more sway than logic
in many of the decisions we make.
Even though we might think we are
making a conscious decision, we are
often using logic to rationalize a
decision we have already made
based on emotion. Emotional
stories can also create a feeling of
empathy, which allows us to share
experiences with others.
Empathy involves an exquisite
interplay of neural networks.
By activating several parts of the
brain, empathy enables us not only
to understand someone else’s
feelings, but to care about and
share those feelings too.

5
STORYTELLING AND
COMMUNICATION
FOR HEalth
The World Health Organization
(WHO) Regional Office for the
Western Pacific has embarked on
a priority initiative to strengthen
strategic communications for
defined public health outcomes,
known as Communication for
Health (C4H). A significant part
of the C4H initiative is harnessing
the power of storytelling in
health communication.

C4H draws insights from social,

behavioural and communication
sciences to inform and shape
people’s knowledge, attitudes
and behaviours as key determinants
of their health. C4H can contribute
to addressing and mitigating
virtually any public health challenge
at individual, community and
societal levels – from chronic
diseases to emerging risks.

C4H uses behavioural

insights, data
collection and
evaluation to
inform health
communication
interventions that
build trust, engage
social and
behavioural
health influencers,
and effectively
reach relevant
population groups.
6
It can help to inform and empower
all kinds of audiences – including
individuals, health workers,
communities and policy-makers –
to make important health choices,
like getting vaccinated, quitting
smoking, reducing stigma around
mental illness and advocating for
inclusive health policies.

C4H strives to
communicate in
ways that are
targeted,
evidence-based,
measurable and
impact-driven.
As we’ve seen, evidence from
neuroscience, psychology and
behavioural science shows that
storytelling is a powerful way to
engage and persuade people.

That is why storytelling is a key

Your
part of C4H.

Storytelling that is developed

according to C4H principles – with
a strong understanding of the
audience and the drivers of its
behaviour – can enable
stories
can
governments, WHO, partner
organizations and experts to
communicate with greater

do
relevance and impact. Stories help
to build public trust and connect
with people’s hearts – so audiences

that.
not only think but feel, care,
remember and, with sustained
efforts, take action.

7
 2. CREATING
YOUR STORIES
Stories can be told using many different media and platforms, like:

Videos

Photos

Written pieces for the web

or other platforms

Radio

Anecdotes used in speeches

Community meetings

Social media posts

Comics

Stories can be
based on real
experiences, or
they can
be fictional.
In this chapter, we will look
at some steps, concepts and
activities that you can
use as you start to unleash
your inner storyteller.

9
PLANYOURS
TORYEXPLO
REYOURYOU
CHARACTER
Plan your story

DEVELOPYO
Explore your
characters

CHARACTER
Develop your
story arc

CONDUCTYO
Create your

URINTERVIE
storyboard

Conduct your

PLANYOURS
interview

10
 S
PLAN YOUR STORY

O-
To ensure your story has What format will work best?
impact, first we need to Based on the information you have
think about what we are gathered, would your story be best
trying to achieve and who told as a video, web feature, photo

UR
we are trying to influence. essay, animation, Twitter thread,
TikTok video….? Usually, it will be
What is your SOCO more than one, so think about what
(Single Overarching would be the most effective and
Communication Outcome)? feasible combination.

RS
SOCO = The change you want to see
in your audience as a result of your Which channels will be best for
communication. sharing the story?
Which channels does your
Who is your target audience? audience use? Channels may
Is your audience composed of include press, TV, radio, social

OU
policy-makers, health professionals, media, community gatherings or
donors or the public? If it is the other communication platforms.
general public, try to be more
specific — are you targeting a
particular age group, gender

R
or cultural group?
Ask yourself: who has the power to
make the change we want to see?
For example, if we want to
influence children’s diets, our main
audience might be parents,

O
grandparents or school
canteen managers.

What barriers might the audience

face when it comes to achieving the

E
SOCO? What motivations
might they have?
Draw on existing evidence where
possible, or refer to Chapter 5
for ideas on how to
gather data.

S
Who should deliver the message? By thinking through these
What kind of person or institution questions, we can come up with a
would be most convincing to STORY IDEA.
the audience?

11
 STORYIDEA
EXAMPLE:
Haitang's Story STORYIDEA
Throughout this chapter, we’ll use STORYIDEA
STORYIDEA
Haitang’s story as an example.
Watch the video here:
https://www.youtube.com/

STORYIDEA
watch?v=0qnDCmIM0Do

STORYIDEA
These are the planning steps that
led to the development of
Haitang’s story:

SOCO (Single Overarching

STORYIDEA
STORYIDEA
Communication Outcome)
Viewers understand the health risks
of COVID-19, especially for health

STORYIDEA
workers, and the impact on families
of those infected.
Story idea
Target audience
General public, particularly people STORYIDEA
Haitang lives in Wuhan,

STORYIDEA
China. His wife, Ting Li,
whose family members or friends
are frontline workers. is an emergency room

STORYIDEA
nurse is infected with
Barriers COVID-19.
People may underestimate the

STORYIDEA
The story shows the
impact of illness.
challenges for their young

STORYIDEA
Motivations family as Haitang
People may be motivated by cares for Ting Li
a desire to keep their families safe

STORYIDEA
throughout her illness.
and together, more so than by
concerns for their own health.

Channels
The story will be shared on social STORYIDEA
STORYIDEA
media, so a video less than
2-3 minutes is ideal.

Potential story subject

The family member of someone who STORYIDEA
STORYIDEA
has gotten very sick with COVID-19.

STORYIDEA 15
12
A
A ExpLORE YOuR cHARAcTERS

A
Most stories have a leading character,
plus supporting characters.

A
THE pROTAGONiST
First, there is the protagonist.

A
Stories tend to be most powerful when
they feature just one protagonist.
Your protagonist might be:

A · A hero – a character who embodies

specific qualities and virtues such as

A
idealism, courage, compassion
and morality; or

A · An anti-hero: – a character who lacks

the hero’s qualities and virtues. The

A
anti-hero may be seriously flawed, yet
ultimately guided by good intentions.

A Choose a protagonist who is relatable to

your target audience. As we saw in

A
Chapter 1, audiences are more likely to
remember and believe messages coming
from people they relate to.

A The ANTAGONIST

A
The antagonist is the person or
non-human force that opposes the
protagonist and creates difficulty for

A
them. Antagonism is a critical tool of
storytelling. Most stories don’t move

A
forward without conflict that is
produced by three main types
of antagonists:

A · The villain – a person or non-human

force that is directly opposed to the

A
story protagonist(s).

· The conflict creator – a less adversarial

A opponent to the protagonist(s), yet still a
conflictive force in the story.

A · The non-human force – can take

the form of any event such as an

A earthquake, flood, drought, fire,

monsoon, virus, etc.
13
In public health stories, the antagonist
is typically a public health risk, threat
or concern. It can be complex and
challenging to communicate these
topics through stories that are also
scientifically and technically robust.
Yet well-told stories can make
these topics more real, important,
believable and influential.

EXAMPLE: Haitang’s story.

In this story example, Haitang is the

primary protagonist and his wife, Ting
Li, is a secondary protagonist. Their son
and a doctor are ‘supporting
characters‘ in the story.

The antagonist of this story is COVID-19

– essentially a ‘villain virus‘.

14
DEVELOP YOUR STORY ARC

A story arc (also called a narrative arc or a dramatic arc) is the path a story
follows. It is the story’s full progression, from beginning to end.

Story arcs generally have four parts. We’ll use Haitang’s story to show some
examples of each part.

1 Set-up
This is the first part of the story,
when its main characters are
introduced. The set-up must be
interesting enough so that the
audience decides to continue
reading or watching the story.

Haitang is providing home care

to his wife, an emergency room
nurse, who became infected
with COVID-19 and is seriously ill.
He wears personal protective
equipment, sterilizes the home
and leaves her meals outside
their bedroom.

2 Rising tension
This happens when a sequence
of events or obstacles pose
increasing difficulties for the
story protagonist, setting the
rest of the story in motion.

Ting Li’s condition worsens.

They decide to go to the hospital,
where Ting Li has a CT scan.

Photos captured from the video.

People of the Western Pacific: Haitang’s story. © WHO
15
 3 CLIMAX
This is the peak of the story arc and
the moment of crisis and truth for
the protagonist. It is often a highly
emotional moment.

The CT scan confirms that the

virus is spreading in Ting Li’s body.
She makes an emotional phone call
from her hospital room. Many days
of uncertainty and anxiety follow
for the couple.

4 RESOLUTION
This is the conclusion. The hero
finally overcomes the conflict, learns
to accept it, or is ultimately defeated
by it. This is where the journey ends.

Haitang finally gets the news that

his wife is well and will be released
from hospital, after spending 50
days there. Ecstatically happy, he
drives to the hospital and returns
home with Ting Li where she is
reunited with their young son.

Photos captured from the video.

People of the Western Pacific: Haitang’s story. © WHO
16
Now it’s your turn to come
up with a story idea!
Work through the steps in the ‘Plan your story’
section of this handbook. Then, use the story arc
template on the next page to imagine how the
story will play out.

Tip! Now is a good time to start thinking about

the style and format of your story.

Will it be based on a real person or will it be

fictional? Will it use the written word, video,
photos or illustrations? If you are planning a video,
will it be told only in the voice of the protagonist,
or will it include text or voice-over narration?
These decisions will change the way you
approach the next steps.

17
Example: Haitangstory CLIMAX
The CT scan confirms that the virus
is spreading in Ting Li’s body. Many
days of uncertainty and anxiety
follow for the couple.

RISING
TENSION
Ting Li’s condition worsens,
and she fears that Haitang
will become infected also.

RESOLUTION
SET-UP Haitang finally gets the news that
his wife is well and will be released
Haitang is providing from hospital, after spending
home care to his 50 days there.
wife who is infected
with COVID-19.

Story Arc template CLIMAX

RISING TENSION
CONFLICT:

OBSTACLES:

RESOLUTION

CHARACTERS
PROTAGONIST:
SETUP ANTAGONIST:
LOCATION: SUPPORTING:

18
CREATE YOUR
STORYBOARD

If you will use visuals to tell your

story, the next step is to make a
storyboard. This is a way to
visually represent your story arc.
It will help you to plan the
production of your story through
video, photography or illustration.

A simple storyboard template is

included below. Your storyboard
is flexible – it can be changed
and adapted throughout the
production process.

Storyboards don’t have to be

works of art. Even very
rudimentary “stick figure”
sketches can help you to visualize
important concepts and events in
the story sequence.

How to make
a storyboard

· Refer back to the story arc that

you drafted earlier
· Sketch each part of the story
from set up to resolution,
showing the important scenes
for each part
· Add a descriptive caption
below each frame
· Try sketching your story from
different angles (wide, medium,
close-up) to closely guide the
filming or photography.

19
 example: haItang’s story

Haitang introduces himself and his wife.

Haitang is providing home care to his wife, an Haitang takes care of his wife. Haitang cooks for his wife and family.
emergency room nurse, who is sick with COVID-19.

HOSPITAL

CT Scan

Ting Li’s condition worsens, and she fears that The CT scan confirms that the virus is spreading in Haitang finally gets the news that his wife is well
Haitang will become infected also. They decide to go Ting Li’s body. She makes an emotional phone call and will be released from hospital, after
to the hospital, where Ting Li undergoes a CT scan. to Haitang from her hospital room. spending 50 days there.

He drives to the hospital and returns home They reunite with their young son.
with Ting Li.

20
Now it’s your turn!

Use this storyboarding template to construct a story. Use as many squares

as you wish (feel free to add more) to include interesting story elements,
characters, details and/or situations.

STORYBOARDING TEMPLATE

21
TIPTIPTIPTIP
TIPTIPTIPTIP
TIPTIPTIPTIP
TIPTIPTIPTIP
TIPTIPTIPTIP
TIP!
If you’re creating a fictional story,

TIPTIPTIPTIP
or if you plan to use text or voice
narration, your storyboard captions
will help you to write a script.

TIPTIPTIPTIP
Make a draft script after you
have finished storyboarding, and keep
coming back and refining the script

TIPTIPTIPTIP
throughout the rest of the process.

TIPTIPTIPTIP
22
P
P
CONDUCT
YOUR INTERVIEW
Many health stories rely on
interviews. Interviews enable the

P
audience to understand how a
health concern or challenge is
experienced by real people.
Interviews also help people to tell
their own stories, by asking

P
questions that bring out the
person’s experiences, challenges,
perspectives and emotions.

The person sharing their story is

known as the subject. You can

P
find subjects to interview during
field missions, through personal or
programme networks, and
through partners, like
nongovernmental organizations.

P
A good
interviewer
must be a

P
patient,
empathetic

P
and non-
judgmental
listener.

P
By establishing a trusting
relationship, asking questions
skillfully and listening actively, the
interviewer creates the right
conditions for the respondent to
tell their own story.

23
Interviewing Step-by-Step
Tip!
Now is a good time to think
1 Decide on the
about if you will include
interview format narration in your story.

Dialogue: The subject is visible Some videos benefit from a

on camera, and the interviewer
scripted narration, with either
may or may not be seen. Questions
and answers are recorded. text or voice-over explaining
aspects of the story or adding
Monologue: The subject is extra information.
visible and the interviewer is
off-camera (the audience can’t see However, this can sometimes
the interviewer). be unnecessary and
The interview can then be edited
so that the audience hears only
distracting. Stories told only in
the subject’s answers, and not the the voice of the interview
interviewer’s questions. This means subject can be more
you need to encourage your authentic and powerful,
subject to answer questions using because the viewer may feel
full sentences. more like they are having
a conversation with the
subject. Sometimes,
a narrated voice-over disrupts
the experience of emotional
connection and transportation.

At other times, narration or text

on screen is crucial for telling
the full story.
This is your choice as
the storyteller!

24
2 Plan your interview 3 Conducting the interview

· If possible, speak to the subject · Before asking the questions on

in person or by phone before the your list, make the person you’ll be
interview to find out more about interviewing feel comfortable and
their story and get a sense of their build rapport by starting with a
personality. You may speak to friendly chat.
more than one potential
subject and choose the person · Begin your interview with
with the best story and delivery simple questions and draw out
style. Choosing someone who specifics later. You can use phrases
is comfortable telling their story like, “Can you tell more about…”
is important. A very shy person or “You mentioned x, y, z. Can
may not give a very good interview, you give me more detail about
for example. y in particular?” or “That must
have been a very difficult/
· Decide whether your story will be emotional/wonderful time.
told entirely through the interview How did you feel when
or whether it will have other that happened?”
elements, like narration or
on-screen text. This impacts how · Listen carefully, don’t interrupt
much detail you need to get from and give your subject the time to
your subject during the interview. talk freely.

· Based on your pre-interview · Respond to what the subject is

phone call, make a list of saying, rather than just reading
questions for your interview. each question in order. Think of this
Think about which questions will as a conversation.
bring emotive answers.
For example, don’t just ask about · Allow your subject to answer any
what happened, also ask about questions again if they wish. You
how the respondent felt at each can also ask them to repeat their
step of their journey. There’s an answer to a question, especially if
example of a question list at the the first answer was not very clear
end of this section. or detailed.

· You may decide to share your

questions in advance with your
interview subjects if you think this
will make them more comfortable
and improve the interview.

25
 TIP!
After completing the interviews
for your story, it’s a good idea to
We’ll cover more specifics on go back and review the sections
filming in Chapter 3, but here ‘Explore your characters’
are some specific elements to and ‘Develop your story arc’.
think about if you are filming Based on your interview,
your interview: does something need to change?
Have you found a better
Choose your location.
What location makes sense for
character? Is the conflict and
the story: A hospital? The subject’s resolution in their story
home? An outdoor area in their what you expected?
community? You can always adjust
these elements as you go.
Is the location indoors or outdoors?
Try to minimize background noise
by choosing a quiet location where
you won’t be interrupted.

Let the respondent know where to

look. Most of the time, they will look
at the interviewer, not the camera.

Film against a simple background

that doesn’t distract from the
person being interviewed.

26
EXAMPLE INTERVIEW QUESTIONS
Here are some example interview questions to get you started.
For your interview, adjust and add to this list. And remember - try to make
the interview feel like a conversation! You don´t need to stick to your
question list, feel free to improvise.

THE BASICS
Tell me about yourself – what’s your name, and where do you live?
Tell me about your family/house/community.
Before ____ happened, what was your daily life like?

RISING TENSION
When did you first realize that ____ was going to be a problem for you?
What were some of the challenges you were facing?
How did it feel when ____?
What was going through your mind when ____?
What did you do to try to solve these challenges?

conflict & resolution

What was the most difficult moment in your journey?
Did you ever feel like giving up?
Is there a particular moment or memory that stands out for you?
What kept you going, despite the challenges?
What was most surprising to you about ____?
What have you learned about ____?
What are your hopes for the future?
How has this changed you?
Is there an achievement or contribution that you’re most proud of? Why?

CONCLUSION & ADDITIONAL ELEMENTS

What would you say to people who disagree with ____?
What would you say to someone considering ____?
What do you think other people should know about this disease/
issue/organization?
Is there anything else you’d like to share with me?
Is there any question I should have asked you, but didn’t?

27
INTERVIEWI
NTERVIEWIN
TERVIEWINT
RVIEWINTER
Well done! We’ve covered the first five
steps of the storytelling process. When you’re
creating your own stories, you may not always

INTERVIEWI
follow these steps in order.
Sometimes you will interview the subject
before you make the storyboard, sometimes

NTERVIEWIN
after. Sometimes your story arc will change
completely after you’ve done the interview.
And you will often need to come back and
revisit earlier steps along the way.

TERVIEWINT
Storytelling is a creative process, so it doesn’t
always look the same each time you do it.
That’s what makes it so interesting!

RVIEWINTER
INTERVIEWI
28
I WHAT MAKES A STORY GREAT?

N
We’ve looked at some of the steps involved in planning and making a story.
But what makes a story great? Insights from behavioural science can tell us
a lot about what makes a story memorable and impactful. Here are some
tips! We’ll use a story about a doctor in Mongolia to illustrate these tips.

TE
Watch Gantsengel´s story: https://youtu.be/Tyyxgs20NY0

Great stories often have the following characteristics:

R
1 Unexpected
There’s an element of surprise
that makes the audience pay
attention and remember.

I
Example: In the very beginning of
Gantsengel’s story, we learn that
his grandmother died in his arms.
This is such an unexpected
and unusual situation that

N
audiences are more likely to
continue watching.

2 Individual
Feature a person/subject with

TE
whom your audience can relate.
Give some detail about their life,
so that they come across as a
rounded, real person.

Example: Gantsengel is an

R
intensive care doctor and
frontline health worker in
Mongolia. A wide audience,
including health-care workers,
can immediately relate to his

I
story. Details about his life are
shared. For example, he talks
about how he likes to climb a hill
in his city with his friends, and
watch the sunset.

Photos captured from the video.

People of the Western Pacific: Gantsengel, Mongolia ©WHO
29
3 Identity 6 Struggle
Think about what values are Highlighting the struggle or
important to your audience. conflict makes the audience ‘invest’
Find someone who embodies in the story. We want to see what
these values. happens and how the challenges
resolve.
Example: Gantsengel is a doctor at
a military hospital. Respect for and Example: By openly talking about
love of his grandmother are his struggles and the struggles of
important to him. He is likely to his colleagues, we learn about the
appeal to audiences from stark reality of working as a
cultures where duty and respect health worker during a pandemic.
for elders are important values. The audience’s hearts are touched
by the story, so they are more
4 Concrete open to Gantsengel’s call to action
Keep it simple and specific. Your when he encourages the audience
story should paint a simple to follow public health advice and
picture, which highlights specific get vaccinated.
details about someone’s life. Avoid
jargon.

Example: Gantsengel does not talk

about the medical or technical parts
of his job. He goes into detail about
the difficult emotions and long hours
that health workers face, and these
elements are shown concretely in
the scenes where we see the sweat
on the health workers’ uniforms and
the marks on their faces from
wearing masks. Showing this kind of
detail makes their struggle real for
the audience.

5 Emotional
Engaging your audience
emotionally as well as intellectually is
key to effective storytelling. Highlight
your character’s struggle and
emotional journey.

Example: Right from the start of

Gantsengel’s story, the emotion of
his situation is clear. He talks about
losing his grandmother and shares
fond memories of her. Photos captured from the video.
People of the Western Pacific: Gantsengel, Mongolia.
© WHO
30
3. Capturing
CAPTURING
photos
PHOTOs
and
AND videos
VIDEOs
Photos and videos
can make stories
more Engaging,
relatable
and persuasive.
This chapter introduces you to some
basic tools, tips and techniques for
capturing and editing photos and
videos for use in your stories.

It’s a good idea to have your

smartphone, tablet or digital
camera with you as you go
through this chapter.

Photo and video:

step by step

Learn about your

1
equipment

Pre-production: plan
your
2 video or
photoshoot

Production: shoot
3
your scenes

Post-production: edit
4
your photos and videos

32
 Learn about
1
ment

Camera
· Using a camera can give you excellent-
quality video and photos, but there
are many elements to understand. If
this is something you want to explore,
do some research on these topics:
· Aperture (which determines
depth of field)
· Shutter speed (as it relates to
image movement, exposure
and sharpness)
· ISO (your camera’s sensitivity
to light).

· Play around with these settings on

your own camera. You can find more
information on your camera
manufacturer’s website, and there
are a lot of videos and tutorials
online that may be helpful.

· When using a camera, make sure

that you have enough space for your
photos and video footage. You might
need extra SD/memory cards for your
photos and film.
33
 Microphone
Test your smartphone or
camera’s microphone sound before
you start recording — you do not want
to notice poor sound quality after
filming hours of footage!

Tip: An external microphone for

smartphones will improve your
video’s audio, especially
for interviews.

If you don’t have access to an

external microphone, make sure you:

· Film in an environment with very

little background noise.
· Film close to your subject.
· If it’s not practical to film close to
the subject, consider using a
second smartphone to record
audio. This can be placed closer
to the subject.
· Do a sound test before you
start recording.

Battery
Always make sure that your
battery is fully charged before
you start. Bring an extra battery
(or batteries) and a portable
charger for smartphones.

Monopod or Tripod
If possible, use a monopod
and/or tripod to keep your
device and shot steady. If you
don’t have access to either of
these, try using a chair, table,
wall, or even somebody else’s
shoulder to steady your shot.

34
 PLAN YOUR VIDEO OR
2
PHOTO STORY
Pre-Production
· Use your storyboard to create a
list of shots, scenes and footage
you will need in the story.

· This list will help to ensure you

capture all the elements and
scenes you need to tell the story.
Without the storyboard, you may
lose important scenes or shots
that you will not be able to
capture later.

· Don’t forget to include shots of

the environment that give the
audience a sense of where
the story takes place.

· As part of your scene/shot list,

include names, locations, and
dates.

· Develop a list of props if necessary.

For example, if the story is about
healthy eating, you might need to
have fresh fruit and vegetables
ready to be used in the shoot.

35
3 pRODucTiON: SHOOTiNG YOuR ScENES

Use ABCDE to frame your shots

A » Angle
Film horizontally for most purposes.
Film vertically only if you intend
to post your video on Instagram
reels or stories, TikTok or Facebook
stories.

Shooting your subjects and

environments from different angles
will make your video more interesting
to audiences. Can you shoot some
scenes from above, below, or from
one side, for example?

B » BACKGROUND
Avoid shooting with distracting
background movements and noises
that divert the viewer’s attention
from what you want them to see
and hear.

36
C » Composition
Rule of thirds
Look at the entire frame of your videos or
photos and visualize three horizontal and three
vertical 'grid lines', like this:

When viewing images, people’s eyes naturally

go to one of the intersection points, rather
than the centre of the shot. Frame/move your
subject along the lines of the grid so that the
key elements (usually people’s faces) are
placed at points where the lines meet.
This will help ensure the viewer’s attention
goes to the most important part of the image.

37
D » DISTANCE
Experiment and be creative by featuring
wide-, medium-, and close-up shots and
scenes in your photo and video stories.
See examples below.

wide SHOT

MEDIUm SHOT

CLOSE-UP SHOT

38
E » ExpOSuRE
Avoid ‘backlighting‘ your subject. Backlighting
is when the source of light is behind the
subject, which makes the subject hard to see.
Try to have the subject facing the light source,
whether it’s a lamp inside or the sun outside.

Take a test shot/film to check whether there

is enough light in the space, otherwise the
footage will be grainy.

When shooting outside, cloudy days, early

mornings or late afternoons usually allow for
softer, lower-contrast and more dramatic
outdoor lighting. This is particularly important
when shooting close-ups of people’s faces
that require excellent lighting.

You can also experiment with different

shooting modes to learn the best ones for
different indoor and outdoor
lighting situations.

Tip!
If you’re shooting with a smartphone, just before
you begin recording, tap the screen on the interview
subject’s face or the object that is most important.
Your phone will automatically focus the photo or
video image on that object.

Normally, we avoid backlighting,

but sometimes we do it on purpose!
Backlighting that silhouettes your
subject can be a very good way to
photograph or film somebody whose
identity should be protected or who does
not want to show their face. You can also
film from the side or behind the subject
so that their face isn’t visible. Shoot
some extra close-up footage – of their
hands, for example – so that the video
or photo story is more engaging.

39
 Post-production:
4
Edit your photos and videos

Using your storyboard and story arc as reference,

look through your footage and photos to select
the shots that best tell your story. If you’re using an
interview, you might choose to transcribe the
interview (write down the subject’s words) so
that you can build a script from what they said.

Haitang introduces himself and

his wife.

Haitang is providing home care to his Haitang has to take care of his wife. Haitang cooks for his wife and family.
wife, an emergency room nurse, who is
sick with COVID-19.

HOSPITAL

CT Scan

Ting Li’s condition worsens, and she The CT scan confirms that the virus is Haitang finally gets the news that his
fears that Haitang will become infected spreading in Ting Li’s body. She makes wife is well and will be released from
also. They decide to go to the hospital, an emotional phone call to Haitang from hospital, after spending 50 days there.
where Ting Li undergoes a CT scan. her hospital room.

He drives to the hospital and returns They reunite with their young son.
home with Ting Li.

Photos captured from the video.

People of the Western Pacific: Haitang’s story. © WHO
40
Edit your
video footage

You can edit your video footage on

your smartphone or computer by
using the recommended apps at
the end of this chapter (Annex 1).
The length of the video depends
on the platform you will be using,
For example, social media videos
should usually not be longer than
3 minutes.

Use the apps to choose the footage

that you want to include and move
scenes around to get the best flow
for the story. Cut out unwanted
scenes to make the video as short
and succinct as possible.
Sounds are as important as
Consider adding to your videos: visuals when it comes to video
storytelling. Make sure the
· Screen transitions (for example, voices are clear and audible.
fade to black)
· Titles and text (names, You may choose to add a
locations, job titles, etc.) soundtrack or music to your video
· Subtitles are a good idea if the story. Music can be used to mark
video is intended for social the different parts of the story.
media, as many people scroll For example, you might use
through without sound. tense music during the conflict and
Subtitles may also be in a climax sections, then change to
language that is different from happy or calm music during the
the audio, depending on the resolution section. Make sure to
languages your audience use royalty-free music, so as not
speaks. Branding and logos. to infringe upon copyright laws.
YouTube Audio Library is one
source for this. Pay attention to the
audio levels of the music as
compared to the voices of
people talking.
Photos captured from the video.
People of the Western Pacific: Haitang’s story. ©
WHO 41
 T
G
Edit your photos

Think about the formats required

T
for specific social media or web
stories. For example, square
images work best for Instagram.

G
Use the recommended apps
(Annex 1) to edit for lighting,
contrast and focus. Play around

T
with these editing features to get
the look you want.

Save your images as medium- to

G
high-resolution JPGs or other file
types required by the channel you
will be using.

T
G
T
G
T
G
T
42
G
TIPWHATMAKES
GOODPHOTO?
TIPWHATMAKES
GOODPHOTO?
TIPWHATMAKE
GOODPHOTO?
TIPWHATMAKES
Tip! Making a good
photo story

GOODPHOTO?
1. Be clear in your mind about the

TIPWHATMAKES
simple, meaningful story you are
trying to tell. Use the planning
steps from Chapter 2.

GOODPHOTO?
2. Choose well-sequenced and
composed photos that show

TIPWHATMAKES
emotive, intimate and
revealing moments.

GOODPHOTO?
3. Include well-written and
engaging story text (for example,
one short paragraph per photo).

TIPWHATMAKES
GOODPHOTO? 43
ANNEX 1.
SUGGESTED APPS FOR PHOTO AND VIDEO EDITING

Use the key to find the right app for you! Unless indicated, the apps
listed are free to download. Apps and software programmes are
constantly being updated, so do some extra research as well.

PHOTO & VIDEO

VSCO: Photo & Video Editor*
Pixelmator Phone

PHOTO
Snapseed Computer
Adobe Lightroom CC*
Foto Photo Editor *
Photos (pre-installed) Pay for

GIMP
PhotoScape X
Adobe Photoshop Express Apple

Mextures*
Simple Gallery Pro
PhotoPills Android
TouchRetouch
Luminar
Adobe Photoshop Elements Windows

PhotoDirector 10 Ultra
Capture One

Any app you choose should allow you to:

· Balance color/lighting
· Balance sound
· Add screen transitions
· Add titles/text
· Add royalty free music

44
VIDEO
iMovie (pre-installed)
KineMaster: Video Editor*
YouCut (No Watermark)
FilmoraGo*
DaVinci Resolver 15
OpenShot
Blender
Lightworks
VSDC Free Video Editor
LumaFusion*
FiLMiC Pro
VideoShow Pro (No Watermark)
AndroVid Pro - Video Editor
Final Cut Pro X
Lightworks
Adobe Premiere Pro
Adober After Effects
VideoPad Video Editing Software
PowerDirector 17 Ultimate

*Possibility to pay for an app upgrade

or extra features.

Note: Many apps are available for

both iPhone and Android devices.

TIP!
Many free apps add a watermark
to your video. Choose apps that don’t
add watermarks, like iMovie.

45
ANNEX 2.
CAMERA MODES
Most, if not all, digital cameras feature different shooting modes and settings for aperture,
focus, shutter speed and focal length that provide the user with different levels of
creative control. While these can vary significantly from camera to camera, these are
the most common modes:

AUTO MODE
· Optimum shutter speed, aperture, ISO
and flash settings are automatically chosen
· Best for when the photographer doesn´t
have time to change settings

PORTRAIT MODE
· Focuses the foreground subject
and blurs the background
· Great for interviews or close-up shots

MACRO MODE
· Useful for taking pictures of objects
smaller than your head
· Gives you super close-up images
· Works best in bright conditions

LANDSCAPE MODE
· Creates well-focused images from
foreground into the distance
· Works best in well-lit areas

SPORTS MODE
· Great for high-speed activities
(running, bike-riding, cars, etc)

NIGHT PORTRAIT MODE

· Camera auto-selects the foreground
subject for best lighting
· See "Portrait Mode"

ADVANCED CAMERA MODES

· Other modes are also available such as M (Manual), AV (Aperture-Priority), TV or
S (Shutter Priority) and P (Programmed Auto)
· Names and symbols vary
· Usually for more advanced photographers

46
 4. Creating
understanding
For a story to have impact,
it must resonate with our
audience’s understanding
of the topic.

Our understanding of
an idea or topic is
significantly influenced by
our cultural background,
age, education and many
other factors.

48
Understanding concepts
Say that your story is about
liver disease. What does the liver
mean to people in your audience?
In some cultures, the liver is
associated with anger and
frustration, while in other cultures,
it’s the organ of courage.
Your audience may know something
about the liver’s function, or they
may never have heard of it.

If your story is about an infectious

disease, what does the
audience think about how diseases
are spread?
Do the words ‘germ’ or ‘virus’
have meaning to your
audience? Is disease associated
with spirits or magic in
this community?

If nutrition is the topic, what are

local attitudes about 'junk food'
and 'healthy food'?
Some people may see
processed food as superior
to home-grown food from
the garden, due to associations
with wealth. In other contexts,
it may be the reverse.

It’s very
important
that we
don’t assume
the audience
shares our
knowledge
And beliefs about
the topic.
49
Understanding visuals

In the same way, we might sometimes assume that visuals mean the same
things to all people, but this is not the case. It’s a great idea to use visuals
to communicate your story, especially when targeting audiences with
low-literacy levels. But how will you visually represent something like a virus,
for example?

50
Co-creation, research and testing

Because we all understand concepts and visuals in different ways,

it’s very important to get the input of your audience when
developing a story. Co-creation is a great way to do this.

Co-creation

Co-creation is where you involve representatives from the target

audience in the development of your story. Instead of using a
top-down approach, you collaborate with the representatives of your
target group at each step of developing your story. This is a wonderful
way to work, because:

· Your collaborators will help you to avoid wrong assumptions

about concepts and visuals.

· You will produce a product with the tone and message that best
engages your audience.

· Your collaborators will feel ownership of the product and be

more likely to spread the messages in their own community. This
means you avoid creating the feeling that the suggested health
behaviours are being imposed from an institution that does not
know or understand the community.

· You will develop relationships with members of your target

audience. Since most campaigns will need more than one story
or product to change behaviour, these relationships will be
useful for future parts of the campaign.

51
RESEARcH AND
pRODucT TESTiNG THiS pART Of THE
If co-creation is not an option due pROcESS iS vERY
to time or budget constraints, iMpORTANT!
it’s still very important to gain
insights into your audience’s
understanding of a topic and its If YOu SKip THiS STEp, YOu
interpretation of your story. MAY SpEND TiME AND
RESOuRcES DEvELOpiNG
The next chapter on Measurement, A STORY THAT HAS NO
Evaluation and Learning will show MEANiNG, OR A
you some easy ways to gain
cONfuSiNG OR
baseline insights about your
audience’s knowledge, uNiNTENDED MEANiNG, TO
understanding and practices. YOuR AuDiENcE.
It also shows how you can test your
story to see if it is understandable
and effective.

55
52
cONSENT AND
ETHicAL
REpRESENTATiON
In many stories, we use photos and
videos of real people. It’s important
to ensure the representation of
individuals and groups are
ethically considered.

cONSENT

Each country has different laws on

privacy. Photographers and film
crews should always comply with
local laws, customs and
sensitivities.
Your organization may also have
a policy on consent in photos and
videos – check this and always
comply. On the next page is a guide
developed by WHO to get you
thinking about when you may need
to get written or verbal consent
from people in your story.

53
 Consent
Written consent or recorded verbal consent required
not required

GENERAL Particular Extreme

GENERAL
care required care required

Non-recognizable All recognizable Images of children Images of persons

individuals in public individuals, and adolescents whose clinical
(faces and all in all settings (consent from status or social
other identifying a parent or situation may
features guardian carry a stigma
are obscured) is required) (e.g. people with
HIV or a sexually
Public figures/ Recognizable transmitted
personalities in individuals in any infection; a story
public (e.g. setting where about pregnancy
politicians, personal, private termination; sex
public figures) or clinical work; people who’s
information is sexual orientation
Speakers at the exposed and gender identity
World Health (e.g. patients or may carry a stigma
Assembly health workers)* in their context; a
or other public history of alcohol
meetings If photos/videos and drug
or conferences are to be taken in use; survivors of
a building or gender-based
Crowds in public facility that is not violence)
locations not open to the public
depicting (e.g. a hospital,
identifiable health centre or
individuals (e.g. school), written
an audience permission is
at an outdoor required from the
concert, festival owner, director or
or public manager in order
medical to access the
intervention) building and
take photos or film

*Medical records, names and ID cards should usually be blurred out.

When getting consent from a subject, it’s important that the person fully
understands what will be captured and how the products may be used
in the future. Explaining this in the subject’s own language and in a culturally
appropriate way is crucial.

In some cultures, for example, family consent is required, as well as individual

consent. If you do not speak the local language and/or do not have a deep
understanding of cultural norms in that place, bring a local interpreter.

54
Ethical
representation
Even after you have obtained
consent from a subject, think
carefully about the ways in which
you will use their story and image.

To reach the audience on an

emotional level, we may be
tempted to use images that convey
strong negative emotions. But we
must be careful that our images do Again, co-creation
not contribute to stigma or
negative, harmful stereotypes. with the target
For example, showing very group, research
graphic images of someone living
and testing are key
with tuberculosis may increase
stigma around that disease. to making sure we
Advocating for better sanitation are not unwittingly
by showing people from a certain
community living in dirty conditions
using images in an
might contribute to the idea that unethical way.
this group of people is unclean, or
that they are unfortunate victims. If you’re telling a story about
tuberculosis, for example,
As storytellers trying involve people living with the
to spark positive disease in the creation of the
health changes, it story. Or, if this is not possible,
is our responsibility at least get their insights
to ensure we are not before you start and get their
doing harm. feedback on the story as you
develop it.

55
 5. MEASURING
AND EVALUATING
STORY IMPACT
MELMELMEL
LMELMELME
ELMELMELM
MELMELMEL
LMELMELME
So far, we’ve looked at how stories can

ELMELMELM
educate, engage and influence
audiences for positive health outcomes.
But how do we know if our stories are

MELMELMEL
having the impact that we want? This
is where measurement, evaluation and
learning (MEL) comes in.

LMELMELME
ELMELMELM 57
Measuring, evaluating and
learning helps us know what
works and what doesn’t.
Without this, we are starting from
the beginning with each project
and relying on assumptions,
rather than using our previous
experiences to improve and
reach better outcomes. Let’s look at some basic steps and
techniques for measuring and
MEL is key to evaluating stories:
understanding our
successes, so that they
can be replicated in the 1. Revisit your SOCO
future. It also helps us
to know when a project
is less successful than 2 Establish
we hoped, because we can your baseline
learn and make changes
next time.
3. Define your
Integrating MEL in storytelling SMART objectives
projects can also help others see
the value of your work. You can
give donors, partners and internal 4. Develop a
stakeholders a clearer, more programme
compelling picture of the impact logic model
and gain support for more
storytelling projects.
5. Identify
your indicators

6. Collect your data

7. Analyse and apply

your data

58
REviSiT YOuR SOcO

Revisit the ‘Single Overarching To establish a story baseline, you

Communication Outcome’ that can use these “KAP” indicators.
we worked on in Chapter 2.
KAP indicators

Knowledge - What does the

target audience know about
the story topic?

Attitudes and beliefs - What

are the attitudes and beliefs
of the target audience
concerning this topic?

Behaviours and practices -

What are the behaviours and
practices of the target
For Haitang’s story, for example,
audience respective to
the SOCO is: Viewers understand
the risks of COVID-19, especially this topic?
for frontline health workers, and
the impact on families of Where possible, these indicators
those infected. should be informed by data.
For example, has research on the
Now we need to figure out how to audience’s knowledge, attitudes
measure whether or not our story and practices about the topic been
effectively achieves our SOCO. conducted previously by another
organization or programme?
Establish your baseline
Can you conduct research to
understand your target audience’s
A baseline is the starting point
KAP through focus group
from which you can measure
discussions, online surveys or key
change. We have to know where
informant interviews?
we are starting from to know
For guidance on this type of
where we want to go.
research, see the section on
For the purposes of health
Collecting Data for
storytelling, a baseline can be
Storytelling Projects.
linked to an audience’s knowledge,
attitudes and practices (KAP).

Photos captured from the video.

People of the Western Pacific
Haitang’s story. © WHO
59
Example: When developing SMAR
TSMA
Haitang’s story, we could collect
data to understand our
audience’s current KAP by
answering the following questions:

RTSMA
Knowledge: What does the
audience know about the health
risks associated with COVID-19?

Attitudes and beliefs: How likely

ARTSM
does the audience think it is that SMART objectives are:
they or their families will be
affected? What are their attitudes Specific: Contain numbers of
towards frontline health workers percentages, dates and details
responding to the pandemic? of target audiences.

SMAR
Behaviours and practices: How Measurable: Measurement,
well are audience members evaluation and learning are
following protective measures like planned from the beginning.
masking and physical distancing?
Attainable: The objective can

TSMA
To zoom in on one part of the KAPs, be achieved in the timeframe.
let’s imagine that a survey
conducted by a local public health Relevant: Align to overarching
organization shows that only 20% organizational objectives, goals
of people in our target audience and priorities.
believe that COVID-19 can be

RTSMA
‘very dangerous’ to their health. Timed: Have a target date
This can inform our baseline – we or deadline.
know that we want to increase this
percentage among people who see Look at your SOCO and your
our story. baseline data. What are some

ARTSM
SMART changes you’d like to see?
Define your
SMART objectives

We can’t usually expect to change

SMAR
health behaviours through a single
story, but we may be able to
influence some elements of
knowledge, attitudes and
practices. It’s helpful to define
these desired changes using
SMART objectives.

60
R
A
A
M
R
For example, for Haitang’s story, one SMART
objective might be:

After watching the video, 50% of viewers

A
respond that infection with COVID-19 can be
‘very dangerous’ to their health.

Write down the SMART objective for your

storytelling project:

A
-----------------------------------------------------------------------

-----------------------------------------------------------------------

M
-----------------------------------------------------------------------

-----------------------------------------------------------------------

-----------------------------------------------------------------------

RPhotos captured from the video.

People of the Western Pacific
Haitang’s story. © WHO

61
DEvELOp A pROGRAMME LOGic MODEL

Once you’ve defined your SMART objectives, develop a programme logic

model. This is a planning tool that will help you to define the steps you need
to take to reach your SMART objectives.

The programme logic model is important to ensure that your evaluation

process is systematic, integrated and evidence-based. There is a template
for a programme logic model below. Usually, the following MEL stages are
included in the model:

OUTCOMES OUTCOMES
INPUTS ACTIVITIES OUTPUTS IMPACT
(short-term) (longer-term)

What is What must What is How does Are changes What is

needed be done to produced the audience occurring in the result
to plan and produce that reaches respond to audience of these
prepare the story? and engages the story? knowledge, outcomes?
the story? the target attitudes (the bigger
audience? and picture)
practices?

Identify your indicators How do we measure this?

A viewing panel could be one way:
Indicators help to measure viewers could be asked about their
whether our storytelling is beliefs about COVID-19 before
effective and whether we are seeing the video, then again
meeting our objectives. afterwards. In this case, the
They should be identified and indicator is the change in the
collected at each stage of your percentage of people who respond
storytelling activity. differently after the video.
They can draw on quantitative
and qualitative data. For another example, if your
objective is about getting as many
For example, for Haitang’s story audience members as possible
we want 50% of viewers to to see the video, you may want to
believe that infection with measure key statistics from your
COVID-19 can be ‘very social media (e.g. views, likes,
dangerous’ to their health. shares).
So, the indicator of success here
will be increased belief about the
health impact of COVID-19.

62
Collect your data

You’ve already collected some

data in Step 2: Establishing your
baseline. Now, you should
continue collecting data to monitor
your progress. For example, when
you have a close-to-final edit of a
video story, you could conduct a
key informant interview, where
you show the draft video to
someone representing your target
audience and ask them a series of
questions, then make changes to
the video accordingly.

Then, once the project is

complete, you can collect final
data to understand what your
audience thinks about the story,
what messages they received
and understood, and whether the
story has influenced or changed
their knowledge or attitudes.
For example, you may like to
record their reactions to the
video on social media, or you may
like to set up a viewing panel
where you measure the audience’s
knowledge, attitudes and
practices before and after
viewing the story.

More details about these data

collection methods appear below
in the section Collecting Data for
Storytelling Projects.

Now that you have identified the

metrics and how these will be
collected, you can fill in the
programme logic model
table below.

63
Here is an example of what the programme logic model and indicators
might look like:

OUTCOMES OUTCOMES
INPUTS ACTIVITIES OUTPUTS (short-term) (longer-term) IMPACT

Plan and Produce and Reach and Collect data Collect data Collect data
STEPS prepare share the story engage the about the on KAPs on public
the story audience audience’s changes health impact
initial response

INDICATORS SMART Develop the Reach (total Social media Increased Reported
(How we know objectives story arc, number of engagement knowledge change in
if we have create the viewers) (likes/shares/ about the topic behaviour
successfully Baseline on storyboard comments) (e.g. 6 months
completed audience KAPs Social media after viewing,
the step) Story number Viewing panel Attitude more
Baseline produced of views comments/initial change about compliance
social reactions the topic (e.g. with preventive
media and Viewing panel Web number (e.g. How well perceptions behaviours
web stats of conducted of views did the about the than before)
previously audience importance
published Video shared Number of relate to the of preventive Overall impact
videos on (e.g. posted on views of at protagonist? measures on health topic
similar topics social media least 50% of How would against (e.g. reduced
or from and website) video length they rate the COVID-19) COVID-19
the same on web and transportability transmission
series social media of the story?) Increased among your
commitment/ target group)
Number of intention to
views of follow desired
complete behaviour
video (e.g. comply
(90+%) with preventive
on web behaviours
and social against
media COVID-19)

Number of
views from
viewing
panel

METHODS Literature Social media Social media Social media Viewing panel Viewing panel
(How will we review and web analytics analytics results follow-up
gather the analytics analysis survey
information Social media Web analytics Viewing panel
to know if we analytics Viewing panel results analysis Epidemiological
have met our activity Viewing panel data on case
indicators?) Web analytics observation activity numbers
observation

64
Programme logic model template
Now it’s your turn! For each part of your programme logic model, write down the
relevant indicators to show how you will track and measure.

OUTCOMES OUTCOMES
INPUTS ACTIVITIES OUTPUTS (short-term) (longer-term) IMPACT

STEPS

INDICATORS
(How we know
if we have
successfully
completed
the step)

METHODS
(How will we
gather the
information
to know if we
have met our
indicators?)

65
Analyse your data

Here is where we evaluate and learn from

our efforts. Bring together the insights from
all your data collection efforts, and reflect on
these questions:

· What specific change(s) were you able to

achieve, according to your data?

· Did you meet your SMART objectives?

· What challenges did you face?

· What would you do differently next time?

Revisit your findings next time you are

beginning a storytelling project to help learn
from the successes and challenges.

You might like to put your findings into a

simple report or presentation, so that they
can be easily shared with relevant people,
such as partners or colleagues who work in
the same technical area or who use
storytelling in their own work, so that they
can learn from your experience too.

66
ANNEX 3.
DATA COLLECTION METHODS FOR
STORYTELLING PROJECTS

Collecting data can sometimes seem daunting. But there are some easy
and valuable ways to get this information. Below is a brief description of
some methods you can consider.

Focus groups The analysis will involve

comparing the KAPs of viewing
Focus group discussions (FGDs) panel members before and after
are guided discussions bringing watching the video and identifying
together a small group (e.g. six to changes. Viewing panels provide
10 people) with a shared qualitative, descriptive data.
characteristic (e.g. age, gender or Participants’ words, stories and
occupation) to discuss a examples become the evidence
particular topic. They are a that we consider as we make
relatively quick and cost-effective MEL judgements.
way of gaining an understanding
into the range of health attitudes
and practices within a particular Key informant
location or cultural setting, or interviews
among a particular social or
demographic group. Key informant interviews (KIIs)
can provide in-depth, qualitative
insights from different individuals
Viewing panels – including community leaders,
professionals or residents – who
Viewing panels are similar to have first-hand knowledge about
focus groups discussions. a community or topic.
A group of people who are Interviewees’ words, stories and
representative of the target examples become the evidence
audience are brought together that we consider as we plan the
to view the film or video and story and/or later when we make
provide feedback. MEL judgements about outcomes
and impacts. Unlike more formal
Viewing panels start with a research methods such as
series of questions about the surveys, KIIs help us to
topic of the film to gather a understand an issue in depth.
baseline of knowledge, attitudes Key informant interviews are
and practices (KAP). usually easier to arrange and are
Then participants watch the story less costly than focus groups or
and are asked to identify their surveys, and they provide
understandings and recognition first-hand information that is
of key messages. often directly on topic.

67
 S
T
Surveys
L
T
Surveys gather information from
a sample of people to source data
and insights. They are very
adaptable and can be qualitative,
quantitative or both, depending on

R
the questions asked. But they can
be more expensive than the other
methods listed here.

Analytics

T
Analytics in the storytelling context
refer to the results achieved after
sharing your story on different
channels and platforms. Basic
analytics may include the number

G
of shares and likes on social media,
the number and quality of media
mentions, the number and duration
of online views, and so forth.
Tracking this data can give insights

T
into the reach of your story and how
the general public responded to it.

68
L
STORYTELLI
TORYTELLIN
LLINGSTORY
TELLINGSTO
Congratulations! We’ve reached the end of the Storytelling
Handbook. By now, you have explored the key elements of
storytelling for health impact, including:

· Why stories matter and how stories contribute

RYTELLINGS
to Communication for Health
· How to plan and create stories
· What makes a great story
· How to create understanding through stories across
different audiences

TORYTELLIN
· How to monitor, evaluate and learn from your
storytelling projects.

Remember, storytelling for health impact is both a science

and an art. The more you practise, the more your storytelling

G STORYTEL
skills will develop.

Return to the guidance and templates in this handbook as

you continue your storytelling journey!

TORYTELLIN
LLINGSTORY 69
REFERENCES

Advancing Innovation through Human-Centered Design

Workshop (2018). LUMA Institute.

Bootcamp on Communication Measurement, Evaluation and

Learning (2021). Facilitated by University of Technology
Sydney for the World Health Organization Western Pacific
Region.

Chase, V. (2016). 25 Questions to Ask to Get the Story.

The Storytelling Non-Profit. Retrieved from https://www.
thestorytellingnonprofit.com/blog/25-questions-to-ask-to-
get-the-story/

Duarte, N. (2019). Duarte Presentations and Storytelling.

Retrieved from https://www.duarte.com/presenta-
tion-skills-resources/

Dykes, B. (2016). Data Storytelling: The Essential Data

Science Skill Everyone Needs. Forbes.
Retrieved from https://www.forbes.com/sites/brentd-
ykes/2016/03/31/data-storytelling-the-essential-da-
ta-science-skill-everyone-needs/

GlobeNewswire. (2021, January 27). New report finds 1.3

million new users joined social media every day during 2020:
15 new users every second [Press release]. https://www.glo-
benewswire.com/news-release/2021/01/27/2165130/0/en/
New-report-finds-1-3-million-new-users-joined-social-me-
dia-every-day-during-2020-15-new-users-every-second.
html

O’Hara, C. (2014). How to tell a great story. Harvard Business

Review. Retrieved from https://hbr.org/2014/07/how-to-te-
ll-a-great-story

Zak P. J. (2015). Why inspiring stories make us react:

the neuroscience of narrative. Cerebrum: the Dana forum
onmbrain science, 2015, 2.

Zinkmund-Fischer, B. Health Sciences & Management Can Be

Stories. University of Michigan Online. Retrieved from
https://online.umich.edu/collections/communications/short/
health-sciences-stories/

74
70