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Portals provide a powerful way for you to begin your communication and engage your audience.

My name is Matt Abrahams and I teach strategic communication at Stanford Graduate School of Business.

Welcome to Think Fast, Talk Smart, the podcast.

Today I'm excited to speak with Troy Campbell.

Troy is the chief scientist at the firm On Your Feet and a former behavioral science professor at the University of Oregon.

Previously, he was a Disney Imagineer and a researcher at Netflix Insights.

Troy specializes in blending a scientific mind with an artistic heart to understand consumer behavior, storytelling, and the psychology of human connection.

Well, welcome, Troy.

We have chatted on and off for a long time, and I am thrilled to actually have you in studio and the opportunity to chat with you.

Thanks for being here.

A long-time listener, first-time guest.

I'm very excited to be here.

All right, shall we get started?

Let's do it.

I love so many ways you frame things.

You describe story theory as essentially the word because.

How does understanding causality improve our storytelling?

Yeah.

So pretty much if you ask any theoretician of story,

about one out of two of them will give you a definition that is more or less the word because.

They'll talk about causality.

So if you read the book Narrative by Abbott Porter, he's going to talk about causality.

If you talk to the comics professor Kate Kelp-Stebbins, she's going to tell you it's causality.

If you listen to the South Park creators, they'll talk about how in between every scene, what happens in one scene better cause the next thing to happen, right?

And causality is just this foundation that really allows us to anchor what we're trying to do when we're telling stories,

which is that characters are changing and there's something that's causing them to change.

And that cause is what's going to make it a story rather than a bullet point list.

I just love the idea of thinking about the change.

And that change is because of something.

Yes.

So not all of us are in situations where we have to tell grandiose stories.

We're trying to pitch our business.

We're trying to get people aligned to what we're saying.

Help us understand how we can tell stories in our everyday jobs.

Yeah.

What we can do is we can say, you're going to come in to the workplace

and you're going to share a piece of information like here's an action

that we want to do or here's a data point that's really important

and you're going to explain the because behind it

and once you start saying because and you say

because a couple times it's going to transform something into a story the current sales of this product are down

and it's because this thing is happening and a deeper reason is

because the consumer cares about this and it becomes this real simplified way to tell in my opinion, what is a story, which is explaining why something has happened,

what has caused a character, a set of characters, they could be your consumers to change.

It all boils down to that causality.

And when you frame it that way, it makes it so much easier to think about how do I, as somebody telling the story, structure it?

I first have to introduce the players, the issue, the cause, and then explain the cause that comes from that.

So So you start by explaining who the characters are and the components and then the cause that's involved.

One of the things that you

and I connected on right away is you like I believe very strongly in frameworks and structure.

And you have a great structure that I really like, GIA, Goal Insight Action.

Can you tell us a little bit about that structure and how can we use it?

Yeah.

So Goal Insight Action is goal, what your audience cares about.

We want to always start with relevance.

It is the data, the expertise, the ingenuity, the causality, the reasons that you're going to bring.

And action is what your audience can do with it.

And if you think about this, you'll actually see it so many times in things, right?

It's how Steve Jobs always communicated.

He would come up to audiences and, right, of all the people in the world, Steve Jobs could just be like, hey, Apple, we should do this.

We should have this Think Different campaign.

But instead he comes up

and he says the goal we have in the 1990s at Apple is

that we need to stand out again that we aren't resonating

and The insight and he says this with his hands like it's always even tough.

You you're dressed in black.

Yeah I know my lady said I looked a little Steve Jobs

And he would be like my insight is that marketing is about values

and in a world that's really busy how you stand out is focusing on values right

and then he says

so the action what we're gonna take is we are gonna have the think different campaign

which is gonna focus on our core value

that we believe in misfits we believe in people who believe

that they can change the world and that structure is just

so simple it works whenever you're talking about data don't jump

to your data say the goal we have at this organization is to reach this consumer

or address this fire problem right now some insight we have about the consumer about this moment is this, and the action that we can take to deal with it is this.

And we teach organizations the structure, and they love not only the structure, but they love using the words

because it creates sort of this collective also culture where they can signpost to their audience

because they've both been trained to receive and deliver in goal inside action.

And it can just be a wonderful personal habit, but also group habit.

Goal inside action, I think, is a fantastic structure.

And what it allows you to do, the goal is often something that's commonly shared or based on a value or your mission that's already shared.

So you're already halfway there because you're tapping into something that people already believe in and then you're further focusing it.

And like any structure, I think with a little practice in ingenuity, this can be a really useful tool.

Yeah.

And the one thing I would say is like the goal may be the most important part of goal inside action.

And it's that even if people have that goal, it's not always active in their brain and

so you need to remind people that

that is what's important right right um they might even tell you i know

that already but there it wasn't they really didn't know

that in the moment and those motives were not activated

so make sure you always before you're communicating if you can even if it's just one sentence, repeat the goal that they have that you are going to help them with.

A goal, I like to say, has a focusing function.

It helps you focus.

It helps you frame the discussion and highlighting that.

And assuming people understand it, and maybe some people say, I already got the goal, still state it.

Very good advice.

You've developed research on identity, persuasion, and solution aversion.

100

I had to practice saying that several times because I slur the words together.

101

When an audience is highly resistant to the truth due to solution aversion or flight from the facts, as you like to say,

102

how do we as a communicator restructure our message to avoid this?

103

Yeah, so solutions can be very aversive.

104

And because of these solutions, we will often deny that there's even a problem or that we need to engage in that solution.

105

And I often like to think of solutions aversions as coming from two areas.

106

So one is our tangible things and one are more identity based things.

107

So a tangible thing could be just like, I don't want to stop drinking caramel frappuccinos.

108

Right.

109

And when a doctor diagnosed me with these blood sugar problems when I was younger, it was like I had a big frappuccino on my forehead

110

and like deal with this issue

111

or I'm not going to believe any of the science you're telling me about my health issue.

112

And one of the things that he did, Dr. Manuel Fernandez, is the very first thing he did is he's like, here's how your diet is not going to be as bad as you think it was.

113

So before all the science and all this stuff, he was managing my solution aversion that I'd have to that.

114

Now, the second thing, and this is the one that's going to get into one of my favorite kind of storytelling principles, is identity.

115

Right.

116

And oftentimes really what we want to be as people is we don't want to have our identity threatened

117

and we want to do things that feel authentic.

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Right.

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And so if somebody is telling you to change your behavior,

120

to be more healthy in your behaviors or you want to

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or they're telling you to be more creative or they're trying to tell you to tell storytelling, they might even think, you know, that does sound like a good idea.

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But that's not who I am.

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That's not me. And

124

so one of the things I really like bringing into this situation is something I worked on in my dissertation

125

and that I now call the destiny narrative.

126

And so the idea behind this is that in all great stories, characters change, but they go through a very specific type of change.

127

They change into who they were always meant to be.

128

The princess was secretly always a princess.

129

The boy on Tatooine looking up at the twin sons longing for more always had the force inside of him.

130

And Moana was always meant to sail across the seas.

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And we really, really like this thing, not only in these stories, but it works in marketing, right?

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Unleash your inner goddess.

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There's a warrior inside of you.

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So the idea is that we are changing, but we're changing more into who we always were meant to be or who we already are.

135

And it resolves these two psychological motives that are so in conflict all the time, right?

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I want to improve.

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I want to have goal progress.

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I do kind of want to change.

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But at the same time, I want to be authentic.

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I want to be me.

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I want to have some sense of identity consistency.

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And what the destiny narrative does, it allows for you to stay true and have narrative change at the same time.

143

So whenever I'm trying to persuade people to change, I don't tell them storytelling is good.

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The very first thing I do is prove to them that they're already a storyteller.

145

And so now all you want to do is you want to do more of

146

that because you want to do more of who you are.

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You might not be eating healthy, but there are some habits that you have that are already healthy.

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And that's important to you.

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So eating healthy now is more consistent with who you are.

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So much richness in that response.

151

So let me break it down from what I'm taking away.

152

Solution aversion, resistance, hesitation, concern that people bring can be focused on something very tangible.

153

There's something I like doing or don't like doing, and you're threatening me because you're saying I should or shouldn't do that.

154

And a great way to address that is to immediately address that resistance.

155

It's not as bad as you think, or you're well-equipped to deal with this.

156

So address the emotion, the concern, before you layer on all the things that need to be done.

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And as you were saying that, I was reflecting on my parenting and how poorly I did because I would always lead with, here, all the things you have to do.

158

And, oh, by the way, you can do it.

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Vice versa would be helpful.

160

And then the other part with the identity piece, and part of what I heard you say there, what's so important is this notion of consistency.

161

You're showing that you're already there or you have that ability and having people reflect on that.

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So as we go to persuade, motivate, inspire, thinking about those areas of resistance, that challenge or solution aversion,

163

and then thinking about the tangible and identity issues that play out can help us restructure the narrative to motivate people more.

164

That's fantastic.

165

One of the things that you teach and talk about

166

that has fundamentally changed the way I teach and think about my communication is through the lens of portals.

167

When you talked about portals, and I'd like you to define for all of us what they mean, it really changed the way I think about how I start and how I move through my communication.

168

Can you educate us all on what you mean by portals and how we can apply that?

169

Yeah.

170

So my definition of portal is about how to begin an experience.

171

And the idea is that a portal is a way to transition people into an experience, where the point of it is,

172

is that you are getting them ready for the most important parts of the experience.

173

So you might start with a bang but you really don't.

174

You just need to slowly transition people into it

175

and a lot of this is based upon Walt Disney Imagineering

176

and they actually use the word portal to describe how to begin experiences.

177

So when you are walking into the Disney park

178

you go through a tunnel and

179

that tunnel even says like you're leaving the current space you're in

180

and you're going into fantasy tomorrow in the past and that transition time inside of that tunnel

181

and knowing the direction in which you're heading allows you to sort of start transitioning

182

and then when you go on each of the rides they have these ways in

183

which they ease you into the story that that is different for each ride.

184

So in Buzz Lightyear, that is a ride where you're gonna be on the ride

185

and you're gonna be shooting this little laser gun.

186

So the portal into that is a cartoony intro in

187

which Buzz Lightyear gives you a pep talk and they show you the targets.

188

It's silly, high energy, very focused, right?

189

And you can think of like a creativity warmup.

190

They're like, we're gonna be really active later in this meeting, so we do that.

191

But the portal into Haunted Mansion is very different

192

Because Haunted Mansion is a passive ride in which you're going to go through a haunted mansion, and you're going to look around, and you're supposed to look for details.

193

And so the way that introduces you is you walk through a graveyard noticing silly little jokes on the tombstones,

194

and then you get in the stretching elevator where your ghost host literally tells you to look in different directions.

195

And so it's facilitating you into those things.

196

And what they're doing in these portals is they're doing three general psychological things that are overlapping but distinct.

197

One, it's creating anticipation for what's to come.

198

Second, it's getting you in the mindset shift and the specific mindset you're supposed to be in that.

199

And the third is it's previewing the narrative for that experience.

200

So it's not telling you the whole story, but it's giving you enough into the narrative that you're ready to be going.

201

What Melanie Green would call narrative transportation.

202

I think this is such a powerful idea.

203

Many of us in our communication, especially high stakes communication, we focus on what's the message we want.

204

We don't think about how do we bring people to that message.

205

And there are lots of ways to do it.

206

You can think about the calendar invite you send out.

207

That can be a beginning.

208

As you mentioned in a meeting, you can have some kind of icebreaker activity to warm people up as long as it's somehow connected to what comes.

209

What drives me nuts is where you do some kind of icebreaker and then the next task is totally unrelated.

210

Yeah, I mean- It's whiplash almost.

211

It's, yeah, bad.

212

The point of it is we need to activate the right parts of the brain

213

or the right memories for the task at hand.

214

And that's the point of a start.

215

Yeah, and I liked, you know, I played with the three components of what a good portal does to make it alliterative.

216

It's the AAA, it's anticipation, it's approach.

217

And then I couldn't come up with anything besides altitude.

218

It tells you what level we're coming.

219

So, and you can do this, not just at the beginning of your communication, but often in meetings, you might need a portal to bring you into another topic or area.

220

I challenge everybody listening to think about how can we look at this idea of portal,

221

setting people up to be successful in a way that really helps.

222

You know, at the beginning of this show, I try to do that where I give a little bit of introductory idea to help people orient to what it is.

223

I really appreciate that.

224

And Troy, I've appreciated everything.

225

We'll be right back to finish our conversation.

226

But first, a quick word from one of our sponsors.

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And now back to our conversation.

252

As you well know, we always end by asking three questions.

253

One I make up just for you and the The other two I've asked everybody, and I'll be curious to get your answers to that.

254

Are you up for this?

255

Let's do it.

256

All right, so question number one.

257

What's the best piece of communication advice you've ever received?

258

So the best piece of communication advice for me, it really was tailored well to me, came from one of my advisors in graduate school,

259

Dr. Peter Uble, and let me set this up.

260

So I gave my talk on my dissertation and I went in and he sat me down and he said Troy

261

You are one of the most joyful people I've ever met your name even rhymes with joy You sign your emails

262

enthusiastically Troy every time and your dissertation is literally about why people enjoy things and And for 20 minutes,

263

I never saw you smile once.

264

Right?

265

And telling somebody to smile is not always the best advice.

266

But for me, it was.

267

Like, part of why people like engaging with me is that I really love these things.

268

I'm the behavioral scientist who worked at Disney Imagineering.

269

People want that energy and that joy.

270

I'm literally delivering them on science.

271

And so it's great advice for me but it's also like who you are

272

and what you are delivering when you can match

273

that it works really well yeah

274

so striving for congruence between how you feel about something

275

and how you deliver are really important and and i'm glad you got

276

that advice because you do uh radiate joy

277

and excitement um question number two who's a communicator that you admire

278

and why so one person who i really really like in

279

that space is bong joong ho he is the director of the oscar-winning film parasite

280

and also other films like The Host and Snowpiercer.

281

And he is so good at using direction.

282

So in the movie Parasite, if you've seen it, the rich people live on the hill

283

and the poor people live literally down the hill and in the basement.

284

And he uses that up and down constantly for storytelling purposes.

285

In Snowpiercer, it's a movie that takes entirely place on a train.

286

And so one direction is always the back of the train.

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one direction of frame is always the front of the train.

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It's a metaphor, but it's also spatial, and it's so wonderful.

289

And after watching a video essay by every frame of painting on the movie Snowpiercer, I was just like, I should just be using space for everything I do.

290

And so I used to be a person who walked around on stage, but just to bring energy.

291

Now I walk, and when I move between parts of my story, I now am in a new position.

292

I'll assign different parts of the stage.

293

Sometimes when I'm being more avant-garde is like this is this is the scientific mind part

294

and this is the artistic heart part

295

and this is just me in the middle troy telling you how I actually feel right

296

and there's the ability to use space to tell story is amazing

297

and it's just so wonderful to watch movies

298

because I get new ideas all the time I like

299

that idea of observing other forms of communication to teach you how to be better

300

but that use of space is really important because you're signaling and and sending lots of information.

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Human beings are wired to pay attention to space and location.

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And doing that consciously, I think adds a lot.

303

And I really appreciate that you do a nice job of bringing science and art together.

304

Final question.

305

What are the first three ingredients that go into a successful communication recipe?

306

Yeah, so since we've been talking about, a lot about storytelling, I'll do mine that's based on that.

307

And it's cause, character and change, right?

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And just those together is really simple.

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If you're like, oh, I need to make this data presentation more important.

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Okay, what are my characters?

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What's causing them to act?

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What can we do to then change?

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If you're stumbling on just like a story about your own past,

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it's like, okay, what caused me to change my mind about something, right?

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And all of a sudden you have a story.

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It's just three little tiny bits of things that can do so much.

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Cause, character, change.

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You know, I'm going to love it because it's alliterative.

319

So interestingly, I don't know that the order of that matters

320

if you're trying to get it to initiate a story or move a story forward, but you need the three ingredients together.

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Yeah.

322

And so our brains understand narrative causal structures and they don't need to be told in order.

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And my friend James Antony does a lot of neuroscience research

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and how he finds how people connect things and remember things and pair things in the brain based upon causal connections.

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So if you're watching something, you can watch, you know, an episode of Friends and there you put all your OK,

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this character is in this plot and I'm connecting it here and I'm connecting these plots.

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Or you can watch an episode of like How I Met Your Mother that's often told out of order.

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But your brain can put that all together.

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Your brain is obsessed with understanding characters.

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It's a social you're a social creature.

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and it processes things in logics.

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And so we can have characters in logical causations.

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You're just going to reach the brain so well.

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So well put, as was everything that you shared.

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Troy, thank you for your time.

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Thank you for your insights.

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And thank you personally for impacting the way I communicate.

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Awesome.

339

Well, it has been great to be on this.

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And I love what you do here.

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I love that you also create some of the best type of content that we can deliver to our students, right?

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You can start a class with a clip from your podcast

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and really get a ton of information and get the students excited to engage in something.

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Well, thank you.

345

I appreciate that.

346

Thank you for joining us for another episode of Think Fast, Talk Smart, the podcast.

347

To learn more about creative ways to communicate, please listen to episode 156 with Scott Dorley.

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This episode was produced by Katherine Reed, Ryan Campos, and me, Matt Abrahams.

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Our music is from Floyd Wonder, with special thanks to the Podium Podcast Company.

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Please find us on YouTube and wherever you get your podcasts.

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Be sure to subscribe and rate us.

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Also, follow us on LinkedIn, TikTok, and Instagram.

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And check out Fastersmarter.io for deep dive videos, English language learning content, and our newsletter.

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Please consider joining our Think Fast, Talk Smart learning community at Fastersmarter.io slash learning.

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Again, that's faster smarter dot IO slash learning to become part of our think fast, talk smart community.

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Этот урок разговорной практики уровня B2 построен на видео «A Simple Causal Phrase That Turns Any Data Point Into a Story». В этом видео 356 предложений и 4521 слов для шедоуинга. Речь длится 24:29. Говорящий говорит быстро, около 185 слов в минуту, поэтому звуки часто сливаются и сокращаются. 86% слов входят в 3000 самых частых слов английского языка; остальные стоит разобрать перед занятием.

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Самые сложные слова из видео (15), с произношением и значением:

Слово	Произношение	Значение
portal существительное	/ˈpɔːɹtl̩/	порта́л
causality существительное	/kɔˈzæl.ɪ.tɪ/	причи́нность
storytelling существительное		расска́зывание
insight существительное	/ˈɪnsaɪ̯t/	интроспе́кция, инса́йт
aversion существительное	/əˈvɜːʒən/	отвраще́ние, неприя́тие
tangible прилагательное	/ˈtæn.d͡ʒə.bəl/	осяза́емый, ощути́мый
podcast существительное	/ˈpɑdˌkæst/	подка́ст
haunt глагол	/hɔnt/	посеща́ть, навеща́ть
dissertation существительное	/ˌdɪsəˈteɪʃən/	диссерта́ция, тракта́т
strawberry существительное	/ˈstɹɔˌbɛɹi/	земляни́ка, клубни́ка
mansion существительное	/ˈmæn.ʃən/	особня́к, хоро́мы
causal прилагательное	/ˈkɔːzəl/	причи́нный, кауза́льный
icebreaker существительное	/ˈaɪsˌbɹeɪkəɹ/	ледоко́л
ingenuity существительное	/ˌɪnd͡ʒəˈn(j)uːəti/	нахо́дчивость, изобрета́тельность
restructure глагол	/ɹiːˈstɹʌkt͡ʃə(ɹ)/	реструктури́ровать, перестра́ивать

Фразовые глаголы, которые вы услышите

Слово	Произношение	Значение
check out глагол		проверя́ть, прове́рить
come up глагол		поднима́ться, подня́ться
come up with глагол		придумывать, приходить в голову
look around глагол		осма́триваться, осмотре́ться
make up глагол	/ˌmeɪk ˈʌp/	составля́ть, соста́вить
send out глагол		высыла́ть, вы́слать

Фразы, которые стоит повторять

Короткие законченные фразы из видео, которые пригодятся в повседневном разговоре:

All right, shall we get started?
How does understanding causality improve our storytelling?
Are you up for this?
What's the best piece of communication advice you've ever received?
What can we do to then change?

Грамматика в этом видео

Конструкции, которые говорящий использует чаще всего, с точными словами из видео:

Конструкция	В видео
Present Perfect Continuous have/has been + -ing — действие началось раньше и продолжается	I've been thinking · we've been talking
Условные предложения if + предложение, will/would + глагол — условие и его результат	if you think about this, you'll actually
Present Perfect have/has + причастие прошедшего времени — прошлое действие, важное сейчас	have chatted · has happened · has caused
Пассивный залог be + причастие прошедшего времени — важно, что происходит, а не кто это делает	been trained · were not activated · were always meant

Произношение, на которое стоит обратить внимание

Говорящий использует 105 сокращённых и редуцированных форм, например you're, I'm, don't. Произносите их коротко, так, как слышите.

Звуки «th»: threaten /ˈθɹɛt.n̩/, authentic /ɔˈθɛn.tɪk/, thrill /θɹɪl/
Звуки «sh» и «zh»: aversion /əˈvɜːʒən/, dissertation /ˌdɪsəˈteɪʃən/, mansion /ˈmæn.ʃən/, anticipation /ænˌtɪs.əˈpeɪ.ʃən/, intentional /ɪnˈtɛnʃənəl/
Длинные слова — следите за ударением: causality /kɔˈzæl.ɪ.tɪ/, communicator /kəˈmjuːnɪkeɪtə/, dissertation /ˌdɪsəˈteɪʃən/, ingenuity /ˌɪnd͡ʒəˈn(j)uːəti/, ingredient /ɪnˈɡɹiːdi.ənt/

Звуки, трудные для русскоязычных:

/w/ — губы округлены, это не /v/: persuade /pə(ɹ)ˈsweɪd/, equip /ɪˈkwɪp/, workplace /ˈwɝkˌpleɪs/, halfway /ˌhæfˈweɪ/, warrior /ˈwɔɹi.ɚ/
/h/ — лёгкий выдох, а не русское «х»: haunt /hɔnt/, behavioral /bɪˈheɪvjəɹəl/, forehead /ˈfɔɹ.hɛd/, halfway /ˌhæfˈweɪ/
Звонкие согласные в конце слова — не оглушайте их: persuade /pə(ɹ)ˈsweɪd/, motive /ˈmoʊtɪv/, forehead /ˈfɔɹ.hɛd/, altitude /ˈælt.ɪˌtjuːd/, subscribe /səbˈskɹaɪb/

Как заниматься с этим видео

Прослушайте всё видео один раз молча и выпишите незнакомые слова.
Начните со скорости 0,75×, повторяйте предложение за предложением и вернитесь к обычной скорости, когда станет легко.
Запишите себя и сравните с оригиналом, обращая внимание на такие слова, как portal, causality, storytelling.

Что такое техника Shadowing?

Shadowing — это научно обоснованная техника изучения языка, изначально разработанная для подготовки профессиональных переводчиков и популяризированная полиглотом доктором Александром Аргуэльесом. Метод прост, но эффективен: вы слушаете аудио на английском от носителей языка и немедленно повторяете вслух — как тень, следующая за говорящим с задержкой в 1–2 секунды. В отличие от пассивного прослушивания или грамматических упражнений, Shadowing заставляет мозг и мышцы рта одновременно обрабатывать и воспроизводить реальные речевые паттерны. Исследования показывают, что это значительно улучшает точность произношения, интонацию, ритм, связную речь, понимание на слух и беглость речи — что делает его одним из самых эффективных методов для подготовки к IELTS Speaking и реального общения на английском.

Техника шедоуинга: читать полное пошаговое руководство →

Практика Shadowing: A Simple Causal Phrase That Turns Any Data Point Into a Story - Изучайте разговорный английский по видео

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Лексика и советы по произношению к этому уроку

Ключевая лексика этого видео

Фразовые глаголы, которые вы услышите

Фразы, которые стоит повторять

Грамматика в этом видео

Произношение, на которое стоит обратить внимание

Как заниматься с этим видео

Что такое техника Shadowing?

【TED】優れたリーダーはどうやって行動を促すか/サイモン・シネック（日本語字幕）