Fable

Speaker and Coach

Lingua Nua Consulting

Dr. James McCabe is a European story expert, dramatic writer, as well as a strategy adviser to Flowfactory.

'Lingua Nua' - Returning to the pureness and essence of language - is a boutique story agency specializing in transmedia narratives deploying classical story design from the worlds of drama, fiction and film. 

We function both as school and studio, providing a range of coaching, consulting and creative services including keynote addresses and conference talks, seminars and workshops, primary research and content generation. 

We are experienced in crossing language and cultural borders for a global audience. We bring technology solutions to real life using timeless dramatic and narrative techniques. 

Our suite of services spans journalism, copywriting, speechwriting, ghostwriting as well as script doctoring. Our projects to date have been conducted in Germany, the United States, Switzerland, Britain, Ireland and Austria. 

As new trends in brand journalism, native advertising, gaming and transmedia storytelling gain traction, we develop and deliver a full range of video, graphics and story content. Our mission is to transform traditional marketing and communication into unique Story IP for business leaders, communicators and their agencies.

The Story Doctor

area22

Chief Storyteller

The Story Doctor - Speaker & Author

Dr James McCabe is a pioneer in adopting classical story design from the world of arts to commerce. Classical storytellers such as dramatists, novelists and screenwriters are the professionals when it comes to human attention, because narrative is their only intellectual property. As the commercial world learns narrative IP rules in an attention economy, the opportunity exists for replacing rhetorical devices with narrative ones. Where rhetoric seeks to persuade, narrative seeks to involve - a much deeper connection involving not only hearts and minds but - uniquely - both hemispheres of the human brain. Storytellers know how to transform ideas into feelings so they live on in the audience around them. James is a master in transforming the authority, logic and proof of business rhetoric into the universal empathy, suspense and surprise now required to attract customers, investors, employees and the public. Your enterprise and your career exist between human attention and memory - two resources governed by the narrative faculty.

#Storytelling
I've always had a visceral dislike of competitive thinking. When it appeared in our school during final year, I retched. Competitive thinking is at the root of so much waste, environmental damage and military conflict. When you think competitively in the conventional sense, you have no connection to your inner self or brand. All you're doing is taking your value from anything outside.

This kind of destructive self-story has done so much damage, and actual evil. Instead of conventional competitive thinking, what we should be doing is collaborating outside while we compete inside - within ourselves. Instead of your marketing telling us how different and better you are than the competition outside, show and tell us how different and better you are now compared to your earlier self. 

If we all collaborated externally and reserved competition internally, the world would such a lovelier, calmer, pleasanter place. Instead of being the Number 1 or 2 in each of your chosen markets, stop that nonsense. Improve yourself from Number 2 to Number 1 - your old brand compared to your new brand.

The word compete actually means to seek together. Think about that. That's the real meaning. It doesn't mean to strive against other people. It means to strive together with them.

Such basic stuff. Com + petere: to seek together...

James McCabe

#Storytelling
A gentle reminder to large corporates with procurement functions. Never arrange the same payment terms for freelancers that you do for fellow large caps. Month-long payment terms save you money but they also exact extreme stress among independent artisans. And remember that word means "instructed in the arts". The freelancer appeared for the first time in Walter Scott's magnificent Ivanhoe (1820) - a knightly warrior not sworn to any one lord's service. Your freelancers are not sworn to you, and always retain the choice to adventure elsewhere. You cannot leverage them with job security or corporate perks. They are choosing you - you are not choosing them.

Over the last thirty years freelancing (God, how have I survived!) I have noticed the strange growth of the procurement function, all part of executing radical efficiency in the Suppy Chain Managament space. My services have even been categorized by large industrials as "Indirect Materials". Like, your first global marketing kernel and you've been in business for decades and all you can term it is an Indirect Material. 

Treating artisans just like other big corporates has done untold damage. First of all, it has forced us to migrate upstream, to your smaller and nimbler rivals and upstarts, where we can enjoy peer respect and much better payment terms. Payments terms for a corporate are an exercise in cost efficiency. For an artisan they are a form of brutal torture, forcing overdrafts over the limits, endless reminders to pay from the gas company, postponed vacations and rubbished personal relations. A good friend of mine, an accomplished painter who funded himself through graphic design for industrials, paid the ultimate price and took his life. He had other issues no doubt, but money was at the core of most of them. So procure your way to stock market fame, but don't treat us like your massive business partners with endless credit and droves of creative accountants.

Pay up front, pay half now and half later, or simply pay within two weeks. No more thirty-day, sixty-day, ninety-day and never-day payments. When you issue an official Purchase Order, honour it. Don't dump it conveniently for yourself and vanish the project. You are damaging and destroying livelihoods - people who have committed to you and often refused other work or rescheduled everything to help you.

A freelancer artisan is, as the latter word means, instructed in the arts. They have chosen to become supreme in their artistic knowledge, be it copywriting, graphic design, film-making or whatever. They are amazingly swift compared to the big agencies. There are no middle-men or -women. You are not paying for their silly SUVs and plush office spaces. If you are a marketing manager, never hand your freelancers over to the procurement department - stop with the Bad Cop switch. You can't squeeze any more juice from this lemon, what you were offered is a cost price with zero profit. It's blood and sweat. Literally.

#Storytelling
I am tempted to call the book I am currently composing "The Mammoth Hunters", because that is what I believe we all as story tellers and receivers are.

The woolly mammoths may have moved on for now but the occupation of human being remains an essentially narrative one. Narrative as in what that word means - "gnarus" - knowing. We eat the experiences of others through images and sounds and words. They release hormones in our bodies such as oxytocin which bind us together enabling us to organize ourselves and build cities and civilizations.

When the images and sounds and words get perverted by rhetorical agenda those hormones are not released, and the whole tribe starts to splinter and fray as witness very large tribes such as the United States. The cave painter's art was to record the hunt, to preserve the knowledge of one's outer environment and how to navigate it. If this tribal vibe is interrupted by a signal with an agenda, the chain of completion breaks down. People stop reading the news. They stop voting. They make their own minds up what is happening and why it is.

This is exactly what happened mass communication - advertising and journalism, both now in free fall as we take more and more of our attention away. Both can blame the digital disruption for all they like. They inhaled the rhetoric and their agendas became too obvious. Spin became spam.

The last outposts of this agenda-based thinking, the belief in nudging, or that there is such a thing as behavioral economics - nudgeable amoebae you can just simply poke. It's sad stuff, and so far away from the prehistoric artist's vision of our shared Mammoth Hunt.


#Storytelling
Story Parlour XVIII - When you turn up blackscreen it breaks my sass, people. This is because I'm taking pointers from your body language, and your kinesics, oculesics, haptics and proxemics are directing the flow of my knowledge...

In our eighteenth session this Wednesday, we covered a multitude, starting with the famous Carpe Diem scene from DEAD POETS SOCIETY and following it up with Apple's Think Different TV spot as it was directly inspired by that scene. Stop. Think. A campaign that saved the financial life of the world's first trillion-dollar brand, which was six months from bankruptcy at the time. Stop. Think. 300% rise in share price within twelve months. No New Product. Stop. Think.

Never let some left-brained square cast doubt on the power of story again.

We then moved on to trace the critical sequence from crystallized idea, equivalent emotion and dramatic opposite which kickstarts all new stories.

We then considered the six key questions which must be answered first long before picking up a pen or hitting a key. These questions unanswered will result in you Just Writing... and Just Experiencing Writer's Block. Because you think writing is simply churning out cement. Writing is architecture. It's not just globs of cement. It's not just one brick on top of another, no plan, no insulation. Just Write. Garbage advice. Badvice.

Vision. Setting. Genre. Character. Plot. Lexicon.

Great storytellers like Shakespeare and Poe are asking and answering those questions in rapid succession every time they consider a new premise. Writing is thinking first. Writing is thinking before you write. Just Think.

Alana and Joy simply must take over more of the show here folks, and have plenty to impart and share believe me. I'd like to welcome the sparkling Natalie Potter to the group, author, illustrator, artist and just too talented to start with. And a big welcome to Tim Grotans who has demonstrated Homeric heroism.

Same time and place, Planet Earth, next Wednesday the 10th of April 2024, Solar System, Milky Way, invite in the first comment, remember to bring your camera. Your humble host. 😎 

#Storytelling
Who is the Story Parlour designed to empower and enable? Not everyone.

But, if you use words either verbally or scripturally on the job, it might be. If you generate new ideas as part your profession, yes it might also be.

If you are a business owner, a professional writer, a budding novice, a poet, a sales professional, a product developer or manager, a founder, an entrepreneur, a Public Relations person, an advertising pro, an investment banker, an advisory accountant, a Chief Executive Officer, a Chief Anything Officer... yes, perhaps.

Or, you might be a screenwriter, a showrunner, a dramatist, a script doctor, an editor, a literary manager or editor, a songwriter, a service manager, a UX designer, a business analyst, a software developer, a translator, a public speaker, a corporate trainer, a presenter, a podcast host, a journalist, a speechwriter, ghostwriter or copywriter...yes, we might be able to help you.

But it's a restricted Oxford-style tutorial and it doesn't cost any money and it isn't advertised much, or at all. That's okay. We want to keep it small. Think about staying away 😉 

And it's a busy time of the week, dead-centre afternoon/morning, so much ROI to demonstrate in so many other parts of your word-driven, ideas-based life...

This week we had a fascinating discussion with our special guest, natural born storyteller Brighid Mc Laughlin who is a traditional storyteller as only the Irish can make them - an author, journalist, painter, chef, Dalkey legend and all-round polymathic Bohemian. 

Brighid shared her vision of naturally discursive storytelling, following the heat across a multiplicity of synchronicities and coincidences regarding, say, eel-fishing from Viking times on the River Liffey. Never mind the topic, watch the style and sequencing. It's the very same architectural principle of pursuing human interest across accumulated anecdotes, asides, digressions and backwoods laneways perfected in such literary masterpieces as Laurence Sterne's "Tristram Shandy" and Herman Melville's "Moby-Dick". 

Plots are not, and were never meant to be, linear. That's rhetoric, not story.

Story zigs and it zags. It detonates dynamic opposites and follows the action.

Join us if you dare next Wednesday afternoon 4 to 6pm Central European Time.

Welcome also this week to Joy Spencer, acclaimed Stateside storyteller.
Judging by the number of folk tuning in stateside, I'm not surprised America led the world in popular storytelling during the last century...

Your invite is in the first comment below. 😎 

#Storytelling
Whatever you did naturally as a kid is the real you - before nationality, culture and society start to sculpt and kink you out of shape. When I was eleven or twelve, I instinctively started a number of story projects unbidden. One of them, a competitive essay on the benefits of milk sponsored by Premier Dairies in Dublin saw me win the school entry and be rewarded with a fishing rod, for which I was immediately chased by most of the pupils around the building, rod in hand. Fame, naw, not for me...

The other two were also narrative in nature. For the milk essay I adopted the well-known Mister Men cartoons to a new purpose. Copyright be damned. For my next project, I pencilled a graphic novel (actually a humble Nature Studies jotter with those half-blank pages for pictures above) again adopting the well-known English cartoon Captain Pugwash. Mixed in with the Battle of Zama. My historical consciousness was still jelly setting, you see. You can see I watched a lot of television - our narrative portal back in the mid-Seventies.

My third story project was an original play - "The Normans" - tracing the invasion of the first conquerors of the island of Ireland in medieval times (barring the Vikings who never conquered whole swathes). For this project I was given weeks on end off class to rehearse in the empty classroom next door (now marvelling at the creative vision of Mr Gallagher...) And my pick of actors, one of whom - the toughest - simply refused to die in battle and slaughtered the rest of the cast. My bad.

When he was also eleven, Martin Scorsese storyboarded THE ETERNAL CITY, which he should really get back to after KILLERS OF THE FLOWER MOON. Look at the credits. This was 1953 or 4. "A fictitious Story of Royalty in Ancient Rome, Director Martin Scorsese". You see? All the great stars who had already performed in ancient epics such as THE ROBE and JULIUS CAESAR - but also the vision to cast future ancient epic stars such as Alec Guinness (THE FALL OF THE ROMAN EMPIRE, a decade later) and Jean Simmons (SPARTACUS, six years later)... 

“Every child is an artist. The problem is how to remain an artist once we grow up.” Pablo Picasso

#Storytelling
Oscar Wilde was renowned as an aesthete after the fashion of Théophile Gautier, a proponent of Art for Art's Sake, the motto that would eventually find its way into the MGM logo we spoke about yesterday, remember? Ars Gratia Artis. 

"Nothing that actually occurs is of the slightest importance." A profound realization in these ethereal, de-materialized times. Akin to The Beatles dictum "Nothing is Real". Mere kookiness or anarchism? Far from it. What Oscar and The Beatles were getting at was the primacy of the imagination. In the words of Romantic poet and painter William Blake, "What is now proved was once only imagin'd." It is a precept the corporate universe - obsessed with facts, stats and analysis - could well do with remembering. Data is just the effluent, not the source. The new oil is not data - it's ideas. Ideas are not valueless, they are priceless.

What is of importance is the quality of your imagining, literally your ability to image forth, to form a picture for yourself. Your whole future is an image first.
Enough about ideas holding no value because they are not yet facts. The ideas that are not yet facts are the ones that count - the ones of true importance...

Wildeana of the Day

#Storytelling

A thousand years ago, barbarous hordes struggled for the possession of Miklagard - the Great City - what the Vikings called Constantinople. But it's not 1024 anymore. It's 2024. A thousand years have gone by. There are an estimated one hundred wars troubling the planet, large and small, currently. Not a war or the war - wars plural. The other side started it first? What a mature motive. Regain the initiative. Stop it first. A narrative thought for Easter Sunday...

think peace

#Storytelling
Dubliner of the Day: Leo the Lion. The eighth and final Metro-Goldwyn-Mayer lion, Leo was born in Dublin Zoo in 1956. The first MGM lion - Slats - was also a Dubliner, born as Cairbhe (Gaelic for charioteer). 

A gentle creature by nature, Leo was ideal for studio and set work, while performing his outrageous roar before all the great MGM classics of the day from 1957. He also starred in many films, including the Biblical epic KING OF KINGS (1961). In 1959, William Wyler silenced his roar on screen so as not to disrupt the solemnity of the nativity story which opens BEN-HUR. 

Animals know all about performance, about the use and utility of body movements, gestures and diction. Growing up with Leo on the box meant you knew quality storytelling was about to unfold. 

Quality which had been innovated by the great Irving Thalberg, MGM's wunderkind in the Twenties who sadly passed in his youth. Irving guaranteed the leadership of Metro Goldwyn Mayer in Hollywood by introducing the Story Conference - a sitting down of all parties connected with making a film, from writer and director to producer, designer, actors and composer. All creative elements aligned and synchronized before any effort had been expended on set. 

Think about that. You have a business plan, and a communication plan - but where's the story conference connecting both and initiating the whole process? Where's the story in terms of the simultaneous alignment in real life between everyone involved?

{Hear Leo roar in the first comment.}

#Storytelling
Augmented Reality of the Day. Stories have been augmenting reality for a lot longer than Big Tech, longer than numeracy and longer than language let alone literacy. The cave painting infographics at Lascaux are 17,000 years old and going. The Iliad, for instance, is only about three thousand years old, and our oldest extant story on clay tablet form - Gilgamesh - four thousand...

War horses have been central to human defense and attack since long before Bucephalus (Ox-Head, ie Hard-Headed) - Alexander the Great's trusty steed. The First Nations tamed Spanish mustangs and integrated their entire lifestyles with their war ponies. Not only that, these poines became mobile billboards, sharing the entire history of each warrior - augmenting the meat world with symbols and stories.

Augmented Reality? As old as time.


#Storytelling
All great stories start with empathy, not a word (it's only been around for little over a century by the way) but a powerful emotional energy in the form of oxytocin. Empathy is shared vulnerability - and just in case that's confused with sharing your side of events or your truth (i.e. venting) it's much murkier than that.

Empathy is realizing you share some of the blame too. Empathy is sharing your bad vulnerability, not just your good (your victimhood). Empathy means you are the culprit too at times. Take ALL QUIET ON THE WESTERN FRONT from 1930, one of the best exemplars of dramatic empathy ever - and a big reason the new Nazi regime would come to hate this movie. 

Our "hero" Paul Bäumer takes shelter in No Man's Land in a bomb crater and is confronted with a French poilu also seeking it. Instantly, he knifes him. As the poor man gargles slowly to death during the night, Paul is trapped beside him in the barrage and must uncover his shared humanity with the man he has stabbed.

The French soldier's dead face is a masterpiece of acting, stock still staring dead ahead as Paul is left with the photographs of his wife and family. It's a masterpiece of cinematic storytelling and demolishes all the claptrap spoken about war, so pathetically wrapped up with patriotism, heroism and valour. It's simply the slaying of identical humans who also want to get back home soon.

It's impossible not to feel empathy with Paul, realizing he is also the cause - nor to connect with your own vulnerable ape-hood no matter how dressed up in identity, nationality and righteousness. Oxytocin is the superglue of storytelling.

{Link to the clip in the first comment. Please be aware this is a war film.}


#Storytelling
Music is the most ambient and atmospheric of stories, and by no means lyrical music with words. Songs reheard after decades rush with in a whole gallery of emotional energies, perfectly preserved in amber.

There are three great streams of music - folk, art and pop. The sonata form of art music which developed into the modern symphony is innately narrative in sequence - with a major theme, a minor theme, a development, a bridge (the scherzo or relief) and a resolution (coda). The program music of the nineteenth century including symphonic poems is intensely narrative also and often inspired directly by literature and theatre.

The word music is a mini-story in itself, double-click on it and you get Greek mousikē (tekhnē) - the art of the Muses. Of which there are nine, but the one in question most often is Euterpe - the muse in music. Euterpe is the daughter of Mnemosyne, the Goddess of Memory.

Think you are in the Attention Economy? That's just the price of entry. You're really in the Memory Economy. Nothing preserves memory like music. Its rhythms may not be verbal but they are distinctly narrative - empathy, suspense, surprise. You are a time designer, shaping brands and stories to transform market gaps and dead silences into sonic memories...

{Picture credit: Pompeii fresco. By Sailko - Own work, CC BY-SA 4.0} https://lnkd.in/ep5NQ3af

#Storytelling
"But the great dramatist has something better to do than to amuse either himself or his audience. He has to interpret life. This sounds a mere pious phrase of literary criticism; but a moment's consideration will discover its meaning and its exactitude. Life as it appears to us in our daily experience is an unintelligible chaos of happenings. You pass Othello in the bazaar in Aleppo, Iago on the jetty in Cyprus, and Desdemona in the nave of St. Mark's in Venice without the slightest clue to their relations to one another. The man you see stepping into a chemist's shop to buy the means of committing murder or suicide, may, for all you know, want nothing but a liver pill or a toothbrush." George Bernard Shaw

#Storytelling
This week was a remarkable week in classical storytelling, with the unearthing of the Black Room banqueting space in Pompeii, complete with stunning Trojan war frescoes. Troy formed the foundation myth of the Romans, and was constantly depicted in their art - from Vergil's Aeneid to the wall frescoes in Nero's Domus Aurea, his Golden House...

You are among the very first people on the planet to view these artworks, sunken in 79 AD in a wave of volcanic ash. It's a rich metaphor for the archaeology of the imagination, a multi-layered sediment of dreams, memories and experiences. What artworks are you waiting to unearth in your own dream life, in the origin tale of your company, in the exploration of your childhood's first inklings?

In the image below, Paris prince of Troy meets Helen queen of Sparta, the very start of the whole affair, leading to elopement and the mobilization of the Greek Greek led by Helen's husband King Agamemnon. As was once remarked, no one would remember Agamemnon if it weren't for Homer. Without the storytellers, the past would vanish before our eyes, lost in a cloud of volcanic amnesia.

The room was painted black to repel the soot from massed oil lamps as guests banqueted. The frescoes are small and high up on the walls, flickering into motion as the lamps shone. Netflix? Who needs it. Like the cave paintings at Lascaux, human beings have always retreated to caves to experience story. Caves and cinemas. Places to reconnect with the primal energies of empathy, suspense and surprise. And how ironic it is that Pompeii banquet guests should be entertained by the story of a city destroyed by fire. History always rhymes.

Two thousand years, and as fresh as tomorrow. What is your narrative Return on Investment? How will your brand collateral linger in our memories?


Lamplights flicker a timeless origin story into being

#Storytelling
"Are you sure you want to say this?"

And other little insidious incursions into our sphere of operations, thinking and expression. Like, shouldn't we be doubting ourselves more?

"Are you sure you want to listen to Led Zeppelin so loud?" Prolonged playing of loud music, particularly Led Zeppelin, can damage the hearing. Okay then, please lower it for me. I'd like to explore Led Zeppelin at buzzing-fly-in-the-distance level.

What starts as a convenience, instant access to everything and everybody, slowly metamorphosizes into a thousand tiny reminders, injunctions, instructions.

No, I'm not sure I want to say that. No, I'd like to play it much lower, please.

"He gazed up at the enormous face. Forty years it had taken him to learn what kind of smile was hidden beneath the dark moustache. O cruel, needless misunderstanding! O stubborn, self-willed exile from the loving breast! Two gin-scented tears trickled down the sides of his nose. But it was all right, everything was all right, the struggle was finished. He had won the victory over himself. He loved Big Brother."

#Storytelling
The second great phase in story - suspense. Called by different names - complication, initiation, crisis - this second movement of the narrative rhythm involves information withheld, thickening plotlines and...curiosity lengthened.

Take the arrival of Durnford's cavalry in the justly famous ZULU, Stanley Baker's masterpiece from 1964. The men at Rourke's Drift are rapidly preparing to defend their meagre outpost against thousands of approaching Zulus - when Boer horsemen arrive to the rescue in force.

No, they don't. They merely came to warn Lieutenant Chard and his men. And to flee just as quickly. The succeeding silence pierced by tiny bird song is deafening - and terrifying.

When you're selling a problem - like the arrival of Zulu impis - never move directly on to the solution - like cavalry. Nail your audience's attention by suspending the resolution. Darken the plot. Twist the story. Never solve. Suspend. 

From this moment on in the story, after this Biblical foreboding - yes the audience is listening. Yes, you have the audience's undivided attention.

{Clip in the first comment.}

#Storytelling
Clint Eastwood's FLAGS OF OUR FATHERS is a brilliant exemplar of one of my key principles - the distinction between story and rhetoric. In a nutshell, US Marines scale Mount Suribachi on Iwo Jima in February 1945 to plant the Stars and Stripes, leading to huge morale boosting back home and (ironically) another month of murderous warfare that killed three of the original six flag bearers.

The pretext that America is close to bankruptcy requiring the three survivors to tour the country to raise war bonds is a little thin. America would double in wealth over the complete era of World War II - a conflict that placed a refrigerator in every American home and a car in every driveway (leading to a still dangerous equation between war and commerce). Nevertheless I'm sure this was used as leverage at the time. After Guadalcanal, Midway, Tarawa, Leyte Gulf and a dozen other major victories, the threat deployed by the Gud Berger character that if more war bonds were not rustled up, the nation would have to make peace with the Japanese Empire is the flimsiest part of the screenplay.

Nevertheless the film is a masterful object lesson in the vast difference between persuasion (any narrative will do) and true story (heroes who didn't feel like such or weren't even, desperately trying to process their actual memories). The fact that there were two flag plantings due to political concerns and confusion between the 'real' planters only exacerbates this dramatic conflict. The film also deploys a great tragic B Story in the story of  Ira Hayes, a Pima Native American who displays massive courage on the battlefield but is refused a drink in his racist nation state, counterpointing and deepening this epic irony.

The theme of true story versus political pitch is superbly shuffled through three temporal settings - the battle itself, the tour back home and the recent past of older, dying lives. It was hinted at by David Lean in LAWRENCE OF ARABIA, as TE Lawrence becomes a media hero while in reality revenging himself in slaughter after a brutal Turkish rape. It was expertly dramatized in ACE IN THE HOLE, where the reporter played by Kirk Douglas postpones the rescue of someone trapped inside a deep cave to maximize front page attention.

The business world is a perfect mirror of FLAGS OF OUR FATHERS. Every success story is a war story in disguise. The PR department just wants the highlights. The collateral damage - environmental, sackings, customer exploitation etc - brushed under the mat. Persuasion convinces, but real story involves at a much deeper level. These nightmared men are not heroes for their country, they simply fought to save each other from sudden and gory death.

As Maxwell Scott said in THE MAN WHO SHOT LIBERTY VALLANCE: “When the legend becomes fact, print the legend.” Clint Eastwood created an epic war film that exposed the artificiality of so much history and heroism, obscuring the true stories beneath. A master storysmith.

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