Have a story. And make sure it’s a good one. A DAMN good one.

The Intrigue Story Your intrigue story needs the following elements: 1. It must be brief, and the subject must be relevant to your pitch. 2. You need to be at the center of the story. 3. There should be risk, danger, and uncertainty. 4. There should be time pressure — a clock is ticking somewhere, and there are ominous consequences if action is not taken quickly. 5. There should be tension — you are trying to do something but are being blocked by some force. 6. There should be serious consequences — failure will not be pretty.

it doesn’t matter how short a short story is, it must contain a happening in time that alters the state of things. This is the only way to tell a story.

The story is not the mission statement; the story does not have to be succinct. It is the story. Companies can take as long as they need to tell it, but they must tell it and it must be compelling. A company without a story is usually a company without a strategy.

[Six principles that make for a good story:] 1. Absence of lengthy verbiage of a political-social-economic nature; 2. total objectivity; 3. truthful descriptions of persons and objects; 4. extreme brevity; 5. audacity and originality: flee the stereotype; 6. compassion.

There are limits to the human attention span, which is why a pitch must be brief, concise, and interesting,

Pick the three most interesting points about your story and make them fast, make them colorful, and make them catchy.

A story must be exceptional enough to justify its telling. We storytellers are all ancient mariners, and none of us is justified in stopping wedding guests, unless he has something more unusual to relate than the ordinary experiences of every average man and woman.

I tell them that a simple story is the best story, and that time and place is really crucial to good storytelling. Establish your stories in a specific time and place and get your characters set solidly within that framework before you let them start moving from one room to the next...

People are the same everywhere, in Buenos Aires, in Ulan Bator, in Paris, in Roldán, in Toronto, etc. People always want the same things, to have food, a house, warmth in the winter, cool in the summer, to go to the movies on Saturdays, to go on vacation . . . and to be told stories. To listen to stories is a basic necessity. And everything is a big story: journalism, television, radio, religion, film, everything. We are all readers, active or potential. “Tell me a story,” the reader says. “I am going to tell you a story,” says the author, “but you have to believe me.” “I will believe you,” says the reader. And thus, on the basis of this agreement, those of us who write set ourselves to tell a story. Which can be a novel, or theater, poetry, but that will always be a story. And so we fulfill one of people’s basic needs. As important as food and shelter.

It is the of the information that matters for a good story, not its completeness. Indeed, you will often find that knowing little makes it easier to fit everything you know into a coherent pattern.

Short stories are the form of youth. You must have a plot, a situation, and distinctive characters. You take this and throw it away in a few thousand words when it could be made into a novel. That is very unthrifty, and it is not fair to the characters. They need more space.

Nobody wants a sales pitch. So instead of trying a hard sell, focus on telling a story that captivates your audience by painting a vivid picture of your vision. When you get good at storytelling, people want to be part of that story, and they’ll want to help others become part of that story too.

To survive, you must tell stories.