Podcast appearances and mentions of will storr

What makes a character so compelling that readers will forgive almost anything about the plot? How do you move beyond vague flaws and generic descriptions to create people who feel pulled from real life? In this solo episode, I share 15 actionable tips for writing deep characters, curated from past interviews on the podcast. In the intro, thoughts from London Book Fair [Instagram reel @jfpennauthor; Publishing Perspectives; Audible; Spotify]; Insights from a 7-figure author business [BookBub]. This show is supported by my Patrons. Join my Community and get articles, discounts, and extra audio and video tutorials on writing craft, author business, and AI tools, at Patreon.com/thecreativepenn This episode has been created from previous episodes of The Creative Penn Podcast, curated by Joanna Penn, as well as chapters from How to Write a Novel: From Idea to Book. Links to the individual episodes are included in the transcript below. In this episode: Master the ‘Believe, Care, Invest' trifecta, how to hook readers on the very first page Define the Dramatic Question: Who is your character when the chips are down? Absolute specificity. Why “she's controlling” isn't good enough Understand the Heroine's Journey, strength through connection, not solo action Use ‘Metaphor Families' to anchor dialogue and give every character a distinctive voice Find the Diagnostic Detail, the moments that prove a character is real Writing pain onto the page without writing memoir Write diverse characters as real people, not stereotypes or plot devices Give your protagonist a morally neutral ‘hero' status. Compelling beats likeable. Build vibrant side characters for series longevity and spin-off potential Use voice as a rhythmic tool Link character and plot until they're inseparable Why discovery writers can write out of order and still build deep character Find the sensory details that make characters live and breathe More help with how to write fiction here, or in my book, How to Write a Novel. Writing Characters: 15 Tips for Writing Deep Character in Your Fiction In today's episode, I'm sharing fifteen tips for writing deep characters, synthesised from some of the most insightful interviews on The Creative Penn Podcast over the past few years, combined with what I've learned across more than forty books of my own. I'll be referencing episodes with Matt Bird, Will Storr, Gail Carriger, Barbara Nickless, and Sarah Elisabeth Sawyer. I'll also draw on my own book, How to Write a Novel, which covers these fundamentals in detail. Whether you're writing your first novel or your fiftieth, whether you're a plotter or a discovery writer like me, these tips will help you create characters that readers believe in, care about, and invest in—and keep coming back for more. Let's get into it. 1. Master the ‘Believe, Care, Invest' Trifecta When I spoke with Matt Bird on episode 624, he laid out the three things you need to achieve on the very first page of your book or in the first ten minutes of a film. He calls it “Believe, Care, and Invest.” First, the reader must believe the character is a real person, somehow proving they are not a cardboard imitation of a human being, not just a generic type walking through a generic plot. Second, the reader must care about the character's circumstances. And third, the reader must invest in the character's ability to solve the story's central problem. Matt used The Hunger Games as his primary example, and it's brilliant. On the very first page, we believe Katniss's voice. Suzanne Collins writes in first person with a staccato rhythm—lots of periods, short declarative sentences—that immediately grounds us in a survivalist mentality. We care because Katniss is starving. She's protecting her little sister. And we invest because she is out there bow hunting, which Matt pointed out is one of the most badass things a character can do. She even kills a lynx two pages in and sells the pelt. We invest in her resourcefulness and grit before the plot has even begun. Matt was very clear that this has nothing to do with the character being “likable.” He said his subtitle, Writing a Hero Anyone Will Love, doesn't mean the character has to be a good person. He described “hero” as both gender-neutral and morally neutral. A hero can be totally evil or totally good. What matters is that we believe, care, and invest. He demonstrated this beautifully by breaking down the first ten minutes of WeCrashed, where the characters of Adam and Rebekah Neumann are absolutely not likable, but we are completely hooked. Adam steals his neighbour's Chinese food through a carefully orchestrated con involving an imaginary beer. It's not admirable behaviour, but the tradecraft involved, as Matt put it—using a term from spy movies—makes us invest in him. We see a character trying to solve the big problem of his life, which is that he's poor and wants to be rich, and we want to see if he can pull it off. Actionable step: Go to the first page of your current work in progress. Does it achieve all three? Does the reader believe this is a real person with a distinctive voice? Do they care about the character's circumstances? And do they invest in the character's ability to handle what's coming? If even one of those three is missing, that's your revision priority. 2. Define the Dramatic Question: Who Are They Really? Will Storr, author of The Science of Storytelling, came on episode 490 and gave one of the most powerful frameworks I've ever heard for character-driven fiction. He explained that the human brain evolved language primarily to swap social information—in other words, to gossip. We are wired to monitor other people, to ask the question: who is this person when the chips are down? That's what Will calls the Dramatic Question, and it's what he believes lies at the heart of all compelling storytelling. It's not a question about plot. It's a question about the character's soul. And every scene in your novel should force the character to answer it. His example of Lawrence of Arabia is unforgettable. The Dramatic Question for the entire film is: who are you, Lawrence? Are you ordinary or are you extraordinary? At the beginning, Lawrence is a cocky, rebellious young soldier who believes his rebelliousness makes him superior. Every iconic scene in that three-hour film tests that belief. Sometimes Lawrence acts as though he truly is extraordinary—leading the Arabs into battle, being hailed as a god—and sometimes the world strips him bare and he sees himself as ordinary. Because it's a tragedy, he never overcomes his flaw. He doubles down on his belief that he's extraordinary until he becomes monstrous, culminating in that iconic scene where he lifts a bloody dagger and sees his own reflection with horror. Will also used Jaws to demonstrate how this works in a pure action thriller. Brody's dramatic question is simple: are you going to be old Brody who is terrified of the water, or new Brody who can overcome that fear? Every scene where the shark appears is really asking that question. And the last moment of the film isn't the shark blowing up. It's Brody swimming back through the water, saying he used to be scared of the water and he can't imagine why. Actionable step: Write down the Dramatic Question for your protagonist in a single sentence. Is it “Are you ordinary or extraordinary?” or “Are you brave enough to love again?” or “Will you sacrifice your principles for survival?” If you can't answer this with specificity, your character might still be a sketch rather than a person. 3. Get rid of Vague Flaws, and use Absolute Specificity This was one of Will Storr's most important points. He said that vague thinking about characters is really the enemy. When he teaches workshops and asks writers to describe their character's flaw, most of them say something like “they're very controlling.” And Will's response is: that's not good enough. Everyone is controlling. How are they controlling? What's the specific mechanism? He gave the example of a profile he read of Theresa May during the UK's Brexit chaos. Someone who knew her said that Theresa May's problem was that she always thinks she's the only adult in every room she goes into. Will said that stopped him in his tracks because it's so precise. If you define a character with that level of specificity, you can take them and put them in any genre, any situation—a spaceship, a Victorian drawing room, a school playground—and you will know exactly how they're going to behave. The same applies to Arthur Miller's Willy Loman in Death of a Salesman, as Will described it: a man who believes absolutely in capitalistic success and the idea that when you die, you're going to be weighed on a scale, just as God weighs you for sin, but now you're weighed for success. That's not a vague flaw. That's a worldview you can drop into any story and watch it combust. Will made another counterintuitive point that I found really valuable: writers often think that piling on multiple traits will create a complex character, but the opposite is true. Starting with one highly specific flaw and running it through the demands of a relentless plot is what generates complexity. You end up with a far more nuanced, original character than if you'd started with a laundry list of vague attributes. Actionable step: Take your protagonist's flaw and pressure-test it. Is it specific enough that you could place this character in any situation and predict their behaviour? If you're stuck at “she's stubborn” or “he's insecure,” keep pushing. What kind of stubborn? What kind of insecure? Find the diagnostic sentence—the Theresa May level of precision. 4. Understand the Heroine's Journey: Strength Through Connection Gail Carriger came on episode 550 to discuss her nonfiction book, The Heroine's Journey, and it completely reframed how I think about some of my own fiction. Gail explained that the core difference between the Hero's Journey and the Heroine's Journey comes down to how strength and victory are defined. The Hero's Journey is about strength through solo action. The hero must be continually isolated to get stronger. He goes out of civilisation, faces strife alone, and achieves victory through physical prowess and self-actualisation. The Heroine's Journey is the opposite. The heroine achieves her goals by activating a network. She's a delegator, a general. She identifies where she can't do something alone, finds the people who can help, and portions out the work for mutual gain. Gail put it simply: the heroine is very good at asking for help, which our culture tends to devalue but which is actually a powerful form of strength. Crucially, Gail stressed that gender is irrelevant to which journey you're writing. Her go-to examples are striking: the recent Wonder Woman film is practically a beat-for-beat hero's journey—Gilgamesh on screen, as Gail described it. Meanwhile, Harry Potter, both the first book and the series as a whole, is a classic heroine's journey. Harry's power comes from his network—Dumbledore's Army, the Order of the Phoenix, his friendships with Ron and Hermione. He doesn't defeat Voldemort alone. He defeats Voldemort because of love and connection. This distinction has real practical consequences for writers. If you're writing a hero's journey and you hit writer's block, Gail said, the solution is usually to isolate your hero further and pile on more strife. But if you're writing a heroine's journey, the solution is probably to throw a new character into the scene—someone who has advice to offer or a skill the heroine lacks. The actual solutions to writer's block are different depending on which narrative you're writing. As I reflected on my own work, I realised that my ARKANE thriller protagonist, Morgan Sierra, follows a hero's journey—she's a solo operative, a lone wolf like Jack Reacher or James Bond. But my Mapwalker fantasy series follows a heroine's journey, with Sienna and her group of friends working together. I hadn't consciously chosen those paths; the stories led me there. But understanding the framework helps me write more intentionally now. Actionable step: Identify which journey your protagonist is on. Does your character gain strength by being alone (hero) or by building connections (heroine)? This will inform every plot decision you make, from how they face obstacles to how your story ends. 5. Use ‘Metaphor Families' to Anchor Dialogue and Voice One of the most practical techniques Matt Bird shared on episode 624 is the idea of assigning each character a “metaphor family”—a specific well of language that they draw from. This gives each character a distinctive voice that goes beyond accent or dialect. Matt explained how in The Wire, one of the most beloved TV shows of all time, every character has a different metaphor family. What struck him was that Omar, this iconic character, never utters a single curse word in the entire series. His metaphor family is pirate. He talks about parlays, uses language that feels like it belongs in Pirates of the Caribbean, and it creates this incredible ironic counterpoint against his urban setting. It tells us immediately that this is a character who sees himself in a tradition of people that doesn't match his immediate surroundings. Matt also referenced the UK version of The Office, where Gareth works at a paper company but aspires to the military. So all of his language is drawn from a military metaphor family. He doesn't talk about filing and photocopying; he talks about tactics and discipline and being on the front line. This tells us that the character has a life and dreams beyond the immediate scene—and it's the gap between aspiration and reality that makes him both funny and believable. He pointed out that a metaphor family sometimes comes from a character's background, but it's often more interesting when it comes from their aspirations. What does your character want to be? What world do they fantasise about inhabiting? That's where their language should come from. In Star Wars, Obi-Wan Kenobi is a spiritual hermit, but his metaphor family is military. He uses the language of generals and commanders, and that ironic counterpoint is part of what makes him feel so rich. Actionable step: Assign each of your main characters a metaphor family. It could be based on their job, their background, or—more interestingly—their secret aspirations. Then go through your dialogue and make sure each character is consistently drawing from that well of language. If two characters sound the same when you strip away the dialogue tags, this is the fix. 6. Find the Diagnostic Detail: The Diagonal Toast Avoid clichéd character tags—the random scar, the eye patch, the mysterious limp—unless they serve a deep narrative purpose. Matt Bird on episode 624 was very funny about this: he pointed out that Nick Fury, Odin, and eventually Thor all have eye patches in the Marvel Cinematic Universe. Eye patches are done, he said. You cannot do eye patches anymore. Instead, look for what I'm calling the “diagonal toast” detail, after a scene Matt described from Captain Marvel. In the film, Captain Marvel is trying to determine whether Nick Fury is who he says he is. She asks him to prove he isn't a shapeshifting alien. Fury shares biographical details—his history, his mother—but then she pushes further and says, name one more thing you couldn't possibly have made up about yourself. And Fury says: if toast is cut diagonally, I can't eat it. Matt said that detail is gold for a writer because it feels pulled from a real life. You can pull it from your own life and gift it to your characters, and the reader can tell it's not manufactured. He gave another example from The Sopranos: Tony Soprano's mother won't answer the phone after dark. The show's creator, David Chase, confirmed on the DVD commentary that this came from his own mother, who genuinely would not answer the phone after dark and couldn't explain why. Matt's practical advice was to keep a journal. Write down the strange, specific things that people do or say. Mine your own life for those hyper-specific details. You just need one per book. In my own writing, I've used this approach. In my ARKANE thrillers, my character Morgan Sierra has always been Angelina Jolie in my mind—specifically Jolie in Lara Croft or Mr and Mrs Smith. And Blake Daniel in my crime thriller series was based on Jesse Williams from Grey's Anatomy. I paste pictures of actors into my Scrivener projects. It helps with visuals, but also with the sense of the character, their energy and physicality. But visual details only take you so far. It's the behavioural quirks—the diagonal toast moments—that make a character feel genuinely alive. That said, physical character tags can work brilliantly when they serve the story. As I discuss in How to Write a Novel, Robert Galbraith's Cormoran Strike is an amputee, and his pain and the physical challenges of his prosthesis are a key part of every story—it's not a cosmetic detail, it's woven into the action and the character's psychology. My character Blake Daniel always wears gloves to cover the scars on his hands, which provides an angle into his wounded past as well as a visual cue for the reader. And of course, Harry Potter's lightning-shaped scar isn't just a mark—it's a direct connection to his nemesis and the mythology of the entire series. The rule of thumb is: if the tag tells us something about the character's interior life or connects to the plot, it's earning its place. If it's just there to make the character visually distinctive, it's probably a crutch. Game of Thrones takes character tags further with the family houses, each with their own mottos and sigils. The Starks say “Winter is coming” and their sigil is a dire wolf. Those aren't just labels—they're worldview made visible. Actionable step: Start a “diagonal toast” notebook. Every time you notice something strange and specific about someone's behaviour—something that feels too real to be made up—write it down. Then gift it to a character who needs more texture. 7. Displace Your Own Trauma into the Work Barbara Nickless shared something deeply personal on episode 732 that fundamentally changed how I think about putting pain onto the page. While starting At First Light, the first book in her Dr. Evan Wilding series, she lost her son to epilepsy—something called SUDEP, Sudden Unexplained Death in Epilepsy. One day he was there, and the next day he was gone. Barbara said that writing helped her cope with the trauma, that doing a deep dive into Old English literature and the Viking Age for the book's research became a lifeline. But here's what's important: she didn't give Dr. Evan Wilding her exact trauma. Evan Wilding is four feet five inches, and Barbara described how he has to walk through a world that won't adjust to him. That's its own form of learning to cope when circumstances are beyond your control. She displaced her genuine grief into the character's different but parallel struggle. When I asked her about the difference between writing for therapy and writing for an audience, she drew on her experience teaching creative writing to veterans through a collaboration between the US Department of Defense and the National Endowment for the Arts. She said she's found that she can pour her heartache into her characters and process it through them, even when writing professionally, and that the genuine emotion is what touches readers. We've all been through our own losses and griefs, so seeing how a character copes can be deeply meaningful. I've always found that putting my own pain onto the page is the most direct way to connect with a reader's soul. My character Morgan Sierra's musings on religion and the supernatural are often my own. Her restlessness, her fascination with the darker edges of faith—those come from me. But her Krav Maga fighting skills and her ability to kill the bad guys are definitely her own. That gap between what's mine and what's hers is where the fiction lives. Barbara also said something on that episode that I wrote down and stuck on my wall. She said the act of producing itself is a balm to the soul. I've been thinking about that ever since. On my own wall, I have “Measure your life by what you create.” Different words, same truth. Actionable step: If you're carrying something heavy—grief, anger, fear, regret—consider how you might displace it into a character's different but emotionally parallel struggle. Don't copy your exact situation; transform it. The emotion will be genuine, and the reader will feel it. 8. Write Diverse Characters as Real People When I spoke with Sarah Elisabeth Sawyer on episode 673—Sarah is Choctaw and a historical fiction author honoured by the Smithsonian's National Museum of the American Indian—she offered a perspective that every fiction writer needs to hear. The key message was to move away from stereotypes. Don't write your American Indian character as the “Wise Guide” who exists solely to dispense mystic wisdom to the white protagonist. Don't limit diverse characters to historical settings, as though they only exist in the past. Place them in normal, contemporary roles. Your spaceship captain, your forensic scientist, your small-town baker—any of them can be American Indian, or Nigerian, or Japanese, and their heritage should be a lived-in part of their identity, not the sole reason they exist in the story. I write international thrillers and dark fantasy, and my fiction is populated with characters from all over the world. I have a multi-cultural family and I've lived in many places and travelled widely, so I've met, worked with, and had relationships with people from different cultures. I find story ideas through travel, and if I set my books in a certain place, then the story is naturally populated with the people who live there. As I discuss in my book, How to Write a Novel, the world is a diverse place, so your fiction needs to be populated with all kinds of people. If I only populated my fiction with characters like me, they would be boring novels. There are many dimensions of difference—race, nationality, sex, age, body type, ability, religion, gender, sexual orientation, socio-economic status, class, culture, education level—and even then, don't assume that similar types of people think the same way. Some authors worry they will make mistakes. We live in a time of outrage, and some authors have been criticised for writing outside their own experience. So is it too dangerous to try? Of course not. The media amplifies outliers, and most authors include diverse characters in every book without causing offence because they work hard to get it right. It's about awareness, research, and intent. Actionable step: Audit the cast of your current work in progress. Have you written a mono-cultural perspective for all of them? If so, consider who could bring a different background, perspective, or set of cultural specifics to the story. Not as a token addition, but as a real person with a real life. 9. Respect Tribal and Cultural Specificity Sarah Elisabeth Sawyer on episode 673 was emphatic about one thing: never treat diverse groups as monolithic. If you're writing a Native American character, you must research the specific nation. Choctaw is not Navajo, just as British is not French. Sarah described the distinct cultural markers of the Choctaw people—the diamond pattern you'll see on traditional shirts and dresses, which represents the diamondback rattlesnake. They have distinct dances and songs. She said that if she saw someone in traditional dress at a distance, she would know whether they were Choctaw based on what they were wearing. She encouraged writers who want to write specifically about a nation to get to know those people. Go to events, go to a powwow, learn about the individual culture. She noted that a big misconception is that American Indians exist only in the past—she stressed that they are still here, still living their cultures, and fiction should reflect that present reality. I took a similar approach when writing Destroyer of Worlds, which is set mostly in India. I read books about Hindu myth, watched documentaries about the sadhus, and had one of my Indian readers from Mumbai check my cultural references. For Risen Gods, set in New Zealand with a young Maori protagonist, I studied books about Maori mythology and fiction by Maori authors, and had a male Maori reader check for cultural issues. Research is simply an act of empathy. The practical takeaway is this: if you're going to include a character from a specific cultural background, do the work. Use specific cultural details rather than generic signifiers. Sarah talked about how even she fell into stereotypes when she was first writing, until her mother pointed them out. If someone from within a culture can fall into those traps, the rest of us certainly can. Do the research, try your best, ask for help, and apologise if you need to. Actionable step: If you're writing a character from a specific culture, identify three to five sensory or behavioural details that are particular to that culture—not the generic version, but the real, researched, lived-in version. Consider hiring a sensitivity reader from that community to check your work. 10. Give Your Protagonist a Morally Neutral ‘Hero' Status Matt Bird was clear about this on episode 624: the word “hero” simply means the protagonist, the person we follow through the story. It's a functional role, not a moral label. We don't have to like them. We don't even have to root for their goals in a moral sense. We just have to find them compelling enough to invest our attention in their problem-solving. Think of Succession, where every member of the Roy family is varying degrees of awful, and yet the show was utterly compelling. Or WeCrashed, where Adam Neumann is a narcissistic con artist, but we can't look away because he's trying to solve the enormous problem of building an empire from nothing, and the tradecraft he employs is fascinating. As I wrote in How to Write a Novel, readers must want to spend time with your characters. They don't have to be lovable or even likable—that will depend on your genre and story choices—but they have to be captivating enough that we want to spend time with them. A character who is trying to solve a massive problem will naturally draw investment from the audience, even if we wouldn't want to have tea with them. Will Storr extended this idea by pointing out that the audience will actually root for a character to solve their problem even if the audience doesn't actually want the character's goal to be achieved in the real world. We don't really want more billionaires, but we invested in Adam Neumann's rise because that was the problem the story posed, and our brains are wired to invest in problem-solving. This connects to something deeper: what does your character want, and why? As I explore in How to Write a Novel, desire operates on multiple levels. Take a character like Phil, who joins the military during wartime. On the surface, she wants to serve her country. But she also wants to escape her dead-end town and learn new skills. Deeper still, her father and grandfather served, and by joining up, she hopes to finally earn their respect. And perhaps deepest of all, her father died on a mission under mysterious circumstances, and she wants to find out what happened from the inside. That layering of motivation is what turns a flat character into a three-dimensional one. The audience doesn't need to be told all of this explicitly. It can emerge through action, dialogue, and the choices the character makes under pressure. But you, the writer, need to know it. You need to know what your character really wants deep down, because that desire—more than any external plot device—is what drives the story forward. And your antagonist needs the same depth. They also want something, often diametrically opposed to your protagonist, and they need a reason that makes sense to them. In my ARKANE thriller Tree of Life, my antagonist is the heiress of a Brazilian mining empire who wants to restore the Earth to its original state to atone for the destruction caused by her father's company. She's part of a radical ecological group who believe the only way to restore Nature is to end all human life. It's extreme, but in an era of climate change, it's a motivation readers can understand—even if they disagree with the solution. Actionable step: If you're struggling to make a morally grey character work, make sure their problem is big enough and their methods are specific and interesting enough that we invest in the how, even if we're ambivalent about the what. 11. Build Vibrant Side Characters Gail Carriger made a point on episode 550 that was equal parts craft advice and business strategy. In a Heroine's Journey model, side characters aren't just fodder to be killed off to motivate the hero. They form a network. And because you don't have to kill them—unlike in a hero's journey, where allies are often betrayed or removed so the hero can be further isolated—you can pick up those side characters and give them their own books. Gail said this creates a really voracious reader base. You write one series with vivid side characters, and then readers fall in love with those side characters and want their stories. So you write spin-offs. The romance genre does this brilliantly—think of the Bridgerton books, where each sibling gets their own novel. The side character in one book becomes the protagonist in the next. Barbara Nickless experienced this firsthand with her Dr. Evan Wilding series. She has River Wilding, Evan's adventurous brother, and Diana, the axe-throwing research assistant, and her editor has already expressed interest in a spin-off series with those characters. Barbara described creating characters she wants to spend time with, or characters who give her nightmares but also intrigue her. That's the dual test: are they interesting enough for you to write, and interesting enough for readers to demand more? As I wrote in How to Write a Novel, characters that span series can deepen the reader's relationship with them as you expand their backstory into new plots. Readers will remember the character more than the plot or the book title, and look forward to the next instalment because they want more time with those people. British crime author Angela Marsons described it as readers feeling like returning to her characters is like putting on a pair of old slippers. Actionable step: Look at your supporting cast. Is there a side character who is vivid enough to carry their own story? If not, what could you add—a specific hobby, a distinct voice, a compelling backstory—that would make readers want more of them? 12. Use Voice as a Rhythmic Tool Voice is one of the most important elements of novel writing, and Matt Bird helped me think about it in a technical, mechanical way that I found really useful. He pointed out that the ratio of periods to commas defines a character's internal reality. A staccato rhythm—lots of periods, short sentences—suggests a character who is certain, grounded, or perhaps survivalist and traumatised. Katniss in The Hunger Games has a period-heavy voice. She's in survival mode. She doesn't have time for complexity or qualification. A flowing, comma-heavy style suggests someone more academic, more nuanced, or possibly more scattered and manipulative. The character who qualifies everything, who adds sub-clauses and digressions, is a different kind of person from the character who speaks in declarations. This is something you can actually measure. Pull up a passage of your character's dialogue or internal monologue and count the periods versus the commas. If the rhythm doesn't match who the character is supposed to be, you've found a mismatch you can fix. Sentence length is the heartbeat of your character's persona. And voice extends beyond rhythm to the words themselves. As I discussed in the metaphor families tip, each character should draw from a distinctive well of language. But voice also encompasses their relationship to silence. Some characters talk around the thing they mean; others say it straight. Some are self-deprecating; others are blunt to the point of rudeness. All of these choices are character choices, not just style choices. I find it useful to read my dialogue aloud—and not just to check for naturalness, but to hear whether each character sounds distinct. If you could swap dialogue lines between two characters and nobody would notice, you have a voice problem. One practical test: cover the dialogue tags and see if you can tell who's speaking from the words alone. Actionable step: Choose a key passage from your protagonist's point of view and read it aloud. Does the rhythm match the character? A soldier under fire should not sound like a philosophy professor at a wine tasting. Adjust the ratio of periods to commas until the voice feels right. 13. Link Character and Plot Until They're Inseparable Will Storr made the case on episode 490 that the number one problem he sees in the writing he encounters—in workshops, in submissions, even in published books—is that the characters and the plots are unconnected. There's a story happening, and there are people in it, but the story isn't a product of who those people are. He said a story should be like life. In our lives, the plots are intimately connected to who we are as characters. The goals we pursue, the obstacles we face, the same problems that keep recurring—these are products of our personalities, our flaws, our specific ways of being in the world. His framework is that your plot should be designed specifically to plot against your character. You've got a character with a particular flaw; the plot exists to test that flaw over and over until the character either transforms or doubles down and explodes. Jaws is the perfect example. Brody is afraid of water. A shark shows up in the coastal town he's responsible for protecting. The entire plot is engineered to force him to confront the one thing he cannot face. Will pointed out that the whole plot of Jaws is structured around Brody's flaw. It begins with the shark arriving, the midpoint is when Brody finally gets the courage to go into the water, and the very final scene isn't the shark blowing up—it's Brody swimming back through the water. Even a film that's ninety-eight percent action is, at its core, structured around a character with a character flaw. This is the standard I aspire to in my own work, even in my action-heavy thrillers. The external plot should be a mirror of the internal struggle. When those two are aligned, the story becomes irresistible. Will also made an important point about series fiction, which is where most commercial authors live. I asked him how this works when your character can't be transformed at the end of every book because there has to be a next book. His answer was elegant: you don't cure them. Episodic TV characters like Fleabag or David Brent or Basil Fawlty never truly change—and the fact that they don't change is actually the source of the comedy. But every episode throws a new story event at them that tests and exposes their flaw. You just keep throwing story events at them again and again. That's a soap opera, a sitcom, and a book series. As I wrote in How to Write a Novel, character flaws are aspects of personality that affect the person so much that facing and overcoming them becomes central to the plot. In Jaws, the protagonist Brody is afraid of the water, but he has to overcome that flaw to destroy the killer shark and save the town. But remember, your characters should feel like real people, so never define them purely by their flaws. The character addicted to painkillers might also be a brilliant and successful female lawyer who gets up at four in the morning to work out at the gym, likes eighties music, and volunteers at the local dog shelter at weekends. Character wounds are different from flaws. They're formed from life experience and are part of your character's backstory—traumatic events that happened before the events of your novel but shape the character's reactions in the present. In my ARKANE thrillers, Morgan Sierra's husband Elian died in her arms during a military operation. This happened before the series begins, but her memories of it recur when she faces a firefight, and she struggles to find happiness again for fear of losing someone she loves once more. And then there's the perennial advice: show, don't tell. Most writers have heard this so many times that it's easy to nod and then promptly write scenes that tell rather than show. Basically, you need to reveal your character through action and dialogue, rather than explanation. In my thriller Day of the Vikings, Morgan Sierra fights a Neo-Viking in the halls of the British Museum and brings him down with Krav Maga. That fight scene isn't just about showing action. It opens up questions about her backstory, demonstrates character, and moves the plot forward. Telling would be something like: “Morgan was an expert in Krav Maga.” Showing is the reader discovering it through the scene itself. Actionable step: Look at the main plot events of your novel. For each major turning point, ask: does this scene specifically test my protagonist's flaw? If not, can you redesign the scene so that it does? The tighter the connection between character and plot, the more powerful the story. 14. The ‘Maestra' Approach: Write Out of Order If you're a discovery writer like me, you may feel like the deep character work I've been describing sounds more suited to plotters. But Barbara Nickless gave me a beautiful metaphor on episode 732 that reframes it entirely. Barbara described her evolving writing process as being like a maestra standing in front of an orchestra. Sometimes you bring in the horns—a certain theme—and sometimes you bring in the strings—a certain character—and sometimes you turn to the soloist. It's a more organic and jumping-around process than linear writing, and Barbara said she's only recently given herself permission to work this way. When I told her that I use Scrivener to write in scenes out of order and then drag and drop them into a structure later, she was genuinely intrigued. And this is how I've always worked. I'll see the story in my mind like a movie trailer—flashes of the big emotional scenes, the pivotal confrontations, the moments of revelation—and I write those first. I don't know how they hang together until quite late in the process. Then I'll move scenes around, print the whole thing out, and figure out the connective tissue. The point is that discovery writers can absolutely build deep characters. Sometimes writing the big emotional scenes first is how you discover who the character is before you fill in the rest. You don't need a twenty-page character worksheet or a 200-page outline like Jeffery Deaver. You need to be willing to follow the character into the unknown and trust that the structure will emerge. As Barbara said, she writes to know what she's thinking. That's the discovery writer's credo. And I would add: I write to know who my characters are. Actionable step: If you're stuck on your current chapter, skip it. Write the scene that's burning in your imagination, even if it's from the middle or the end. That scene might be the key to unlocking who your character really is. 15. Use Research to Help with Empathy Research shouldn't just be about factual accuracy—it's a tool for finding the sensory details that create empathy. Barbara Nickless described research as almost an excuse to explore things that fascinate her, and I feel exactly the same way. I would go so far as to say that writing is an excuse for me to explore the things that interest me. Barbara and I both travel for our stories. For her Dr. Evan Wilding books, she did deep research into Old English literature and the Viking Age. For my thriller End of Days, I transcribed hours of video from Appalachian snake-handling churches on YouTube to understand the worldview of the worshippers, because my antagonist was brought up in that tradition. I couldn't just make that up. I had to hear their language, feel their conviction, understand why they would hold venomous serpents as an act of faith. Barbara also mentioned getting to Israel and the West Bank for research, and I've been to both places too. Finding that one specific sensory detail—the smell of a particular location, the specific way an expert handles a tool, the sound of a particular kind of music—makes the character's life feel lived-in. It's the difference between a character who is described as living in a place and a character who inhabits it. As I wrote in How to Write a Novel, don't write what you know. Write what you want to learn about. I love research. It's part of why I'm an author in the first place. I take any excuse to dive into a world different from my own. Research using books, films, podcasts, and travel, and focus particularly on sources produced by people from the worldview you want to understand. Actionable step: For your next piece of character research, go beyond reading. Watch a documentary, visit a location, talk to someone who lives the experience. Find one sensory detail—a smell, a sound, a texture—that you couldn't have invented. That detail will make your character feel real. Bonus: Measure Your Life by What You Create In an age of AI and a tsunami of content, your ultimate brand protection is the quality of your human creation. Barbara Nickless said that the act of producing itself is a balm to the soul, and I believe that with every fibre of my being. Don't be afraid to take that step back, like I did with my deadlifting. Take the time to master these deeper craft skills. It might feel like you're slowing down or going backwards by not chasing the latest marketing trend, but it's the only way to step forward into a sustainable, high-quality career. Your characters are your signature. No AI can replicate the specificity of your lived experience, the emotional truth of your displaced trauma, or the sensory details you've gathered from a life of curiosity and travel. Those are yours. Pour them into your characters, and they will resonate for years to come. Actionable Takeaway: Identify the Dramatic Question for your current protagonist. Can you state it in a single sentence with the kind of specificity Will Storr described? Is it as clear as “Are you ordinary or extraordinary?” or “Are you the only adult in the room?” If you can't answer it with that kind of precision, your character might still be a sketch. Give them a diagonal toast moment today. Find the one hyper-specific detail that proves they are not an imitation of life. And then ask yourself: does your plot test your character's flaw in every major scene? If you can align those two things—a precisely defined character and a plot that exists to test them—you will have a story that readers cannot put down. References and Deep Dives The episodes I've referenced today are all available with full transcripts at TheCreativePenn.com: Episode 732 — Facing Fears, and Writing Unique Characters with Barbara Nickless Episode 673 — Writing Choctaw Characters and Diversity in Fiction with Sarah Elisabeth Sawyer Episode 624 — Writing Characters with Matt Bird Episode 550 — The Heroine's Journey with Gail Carriger Episode 490 — How Character Flaws Shape Story with Will Storr Books mentioned: The Secrets of Character: Writing a Hero Anyone Will Love by Matt Bird The Science of Storytelling by Will Storr The Heroine's Journey by Gail Carriger How to Write a Novel: From Idea to Book by Joanna Penn You can find all my books for authors at CreativePennBooks.com and my fiction and memoir at JFPennBooks.com Happy writing! How was this episode created? This episode was initiated created by NotebookLM based on YouTube videos of the episodes linked above from YouTube/TheCreativePenn, plus my text chapters on character from How to Write a Novel. NotebookLM created a blog post from the material and then I expanded it and fact checked it with Claude.ai 4.6 Opus, and then I used my voice clone at ElevenLabs to narrate it. The post Writing Characters: 15 Actionable Tips For Writing Deep Character first appeared on The Creative Penn.

Welcome to episode #1027 of Thinking With Mitch Joel (formerly Six Pixels of Separation). Will Storr is an award-winning author, journalist and storytelling researcher whose work explores one of the most powerful forces shaping human behavior… the stories we tell ourselves about the world. Over the course of a career that blends psychology, neuroscience, investigative journalism and narrative craft, Will has become one of the most compelling voices examining how stories shape identity, belief and culture. His bestselling books include The Science of Storytelling, Selfie: How We Became So Self-Obsessed And What It's Doing To Us, and The Status Game, each offering a deeper look at the hidden forces driving human motivation and social behavior. In his latest book, A Story Is A Deal - How To Use The Science Of Story To Motivate And Persuade, Will explores how storytelling operates as a powerful psychological transaction… a kind of deal between storyteller and audience that shapes what we believe, who we trust and how we act. Drawing on research from neuroscience and psychology alongside examples that range from ancient rituals to modern brand campaigns, Will shows how narratives influence everything from the leaders we follow to the products we buy. In this conversation, Will explores why people so often believe stories before they believe facts, how identity and status shape the narratives we embrace, and why character-driven storytelling remains the most powerful way to influence human behavior. At the same time, he wrestles with the darker side of narrative… the way stories can fuel misinformation, reinforce tribal identities and manipulate audiences when used without care. As artificial intelligence begins to play a role in creating and distributing stories, the conversation also turns to questions of authenticity, creativity and the future of narrative itself. I'm a huge fan of Will's work and it was truly a honor to host him. Enjoy the conversation… Running time: 54:58. Hello from beautiful Montreal. Listen and subscribe over at Apple Podcasts. Listen and subscribe over at Spotify. Please visit and leave comments on the blog - Thinking With Mitch Joel. Feel free to connect to me directly on LinkedIn. Check out ThinkersOne. Here is my conversation with Will Storr. A Story Is A Deal - How To Use The Science Of Story To Motivate And Persuade. The Science of Storytelling. Selfie: How We Became So Self-Obsessed And What It's Doing To Us. The Status Game. Will's other books. Follow Will on LinkedIn. Follow Will on Instagram. Follow Will on X. Chapters: (00:00) - Introduction to Storytelling and Its Significance. (02:47) - The Power of Story in Belief Systems. (05:43) - The Role of Story in Climate Change Narratives. (08:56) - Navigating Complex Conversations and Identity. (11:45) - Storytelling as a Business Tool. (15:41) - Consciousness and Story: An Indivisible Connection. (18:18) - Persuasion vs. Manipulation in Storytelling. (20:29) - AI and the Future of Storytelling. (27:29) - The Emergence of AI-Generated Content. (29:36) - The Emotional Connection to Art. (31:31) - The Future of Cultural Art and AI. (32:54) - AI's Role in Creative Writing. (36:35) - The Formula of Storytelling. (40:39) - The Impact of AI on Writing Quality. (44:14) - The Science of Storytelling. (49:41) - The Role of Character in Business Narratives. (56:34) - Understanding Religion as a Status Game.

Will Storr on Status Games: Politics, Podcasts, Storytelling, and the Future of AI In the second half of Jimmy's Jobs to the Future with author Will Storr, they discuss how status works in practice, from status signals inside Number 10 (proximity, key meetings, and especially influence) to modern politics as entertainment and the media's “gotcha” incentives that push politicians toward soundbites. Storr argues social media amplifies status games and notes similar “flame wars,” cancellation, and pronoun debates existed on an early online network, The WELL. They explore how status shifts with age, why self-control and conscientiousness predict professional success, and why being easy to work with matters (including why Nigel Farage is easy to book). Storr explains how Marco Pierre White made chefing high status, influencing Gordon Ramsay and British food culture, reflects on appearing on Rogan, Diary of a CEO, and Modern Wisdom, and discusses AI's impact on writing and the growing importance of distinctive author brands. TIMESTAMPS 00:00 Second Half Setup 00:55 Status Inside Number 10 03:00 Influence As Real Status 04:42 Media And Political Personalities 06:34 Journalism And Gotcha Culture 09:37 Long Form Politics And Respect 15:57 Status After Forty 19:58 Traits For Career Success 24:05 Praise And Being Easy 27:04 Work Rhythms And Deep Thinking 28:39 Writing Retreats And Walking 29:33 AI And The Future Of Work 29:39 AI Threat to Authors 30:14 Original Voice Wins 31:55 AI as Writing Editor 33:21 Story Structure Stays 35:21 Teaching Storytelling Courses 36:53 Marco Pierre White Status 42:46 Men Competence Subcultures 44:45 First Social Media Troll 48:21 Podcast Circuit Reflections 54:26 Next Writers and Farewell ********** Follow us on socials! Instagram: https://www.instagram.com/jimmysjobs Tiktok: https://www.tiktok.com/@jimmysjobsofthefuture Twitter / X: https://www.twitter.com/JimmyM Linkedin: https://www.linkedin.com/in/jimmy-mcloughlin-obe/ Want to come on the show? hello@jobsofthefuture.co Sponsor the show or Partner with us: sunny@jobsofthefuture.co Check out our clips channel here! ⬇️ https://www.youtube.com/@JimmysJobsClips Credits: Host / Exec Producer: Jimmy McLoughlin OBE Producer: Sunny Winter https://www.linkedin.com/in/sunnywinter/ Junior Producer: Thuy Learn more about your ad choices. Visit podcastchoices.com/adchoices

Why do humans care so much about what other people think? This week on Jimmy's Jobs of the Future, Jimmy sits down with bestselling author and journalist Will Storr to explore one of the most powerful forces shaping our lives: status. Will has spent years investigating the hidden psychological forces that drive human behaviour. In this conversation, he explains why our brains are wired to seek status, why we constantly misjudge how status works in modern society, and how these instincts shape everything from work and politics to social media and success. They also dive into Will's career as a journalist and storyteller, how his reporting led him deep into the science of human behaviour, and the ideas behind his latest work on status and the stories we tell ourselves about who we are. Expect a conversation about human psychology, ambition, storytelling, and the invisible rules that govern social hierarchies - and why understanding them might change how you see the world. ********** Follow us on socials! Instagram: https://www.instagram.com/jimmysjobs Tiktok: https://www.tiktok.com/@jimmysjobsofthefuture Twitter / X: https://www.twitter.com/JimmyM Linkedin: https://www.linkedin.com/in/jimmy-mcloughlin-obe/ Want to come on the show? hello@jobsofthefuture.co Sponsor the show or Partner with us: sunny@jobsofthefuture.co Check out our clips channel here! ⬇️ https://www.youtube.com/@JimmysJobsClips Credits: Host / Exec Producer: Jimmy McLoughlin OBE Producer: Sunny Winter https://www.linkedin.com/in/sunnywinter/ Junior Producer: Thuy Dong Learn more about your ad choices. Visit podcastchoices.com/adchoices

The idea of status — how we see ourselves and how others see us — has always shaped human behaviour, from the playground to the boardroom. But in today's hyperconnected world, where likes, followers, and digital validation reign supreme, status feels more complex and more powerful than ever. Author and journalist Will Storr delves deep into this very phenomenon in his thought-provoking book, The Status Game: On Human Life and How to Play It. Drawing on psychology, anthropology, and storytelling, Storr explores how the pursuit of status drives everything from our daily choices to the rise and fall of societies. It's a compelling read that asks uncomfortable questions: Are we really in control of our ambitions, or are we all just playing the same invisible game? Join the Full e-Booked team as we unpack the book's key ideas, stories, and insights to discover whether The Status Game offers a guide to understanding human behaviour — or simply reveals how easily we can be driven by it. Full e-Booked Team! @full_e_booked

The idea of status — how we see ourselves and how others see us — has always shaped human behaviour, from the playground to the boardroom. But in today's hyperconnected world, where likes, followers, and digital validation reign supreme, status feels more complex and more powerful than ever. Author and journalist Will Storr delves deep into this very phenomenon in his thought-provoking book, The Status Game: On Human Life and How to Play It. Drawing on psychology, anthropology, and storytelling, Storr explores how the pursuit of status drives everything from our daily choices to the rise and fall of societies. It's a compelling read that asks uncomfortable questions: Are we really in control of our ambitions, or are we all just playing the same invisible game? Join the Full e-Booked team as we unpack the book's key ideas, stories, and insights to discover whether The Status Game offers a guide to understanding human behaviour — or simply reveals how easily we can be driven by it. Full e-Booked Team! @full_e_booked

The idea of status — how we see ourselves and how others see us — has always shaped human behaviour, from the playground to the boardroom. But in today's hyperconnected world, where likes, followers, and digital validation reign supreme, status feels more complex and more powerful than ever. Author and journalist Will Storr delves deep into this very phenomenon in his thought-provoking book, The Status Game: On Human Life and How to Play It. Drawing on psychology, anthropology, and storytelling, Storr explores how the pursuit of status drives everything from our daily choices to the rise and fall of societies. It's a compelling read that asks uncomfortable questions: Are we really in control of our ambitions, or are we all just playing the same invisible game? Join the Full e-Booked team as we unpack the book's key ideas, stories, and insights to discover whether The Status Game offers a guide to understanding human behaviour — or simply reveals how easily we can be driven by it. Full e-Booked Team! @full_e_booked

The idea of status — how we see ourselves and how others see us — has always shaped human behaviour, from the playground to the boardroom. But in today's hyperconnected world, where likes, followers, and digital validation reign supreme, status feels more complex and more powerful than ever. Author and journalist Will Storr delves deep into this very phenomenon in his thought-provoking book, The Status Game: On Human Life and How to Play It. Drawing on psychology, anthropology, and storytelling, Storr explores how the pursuit of status drives everything from our daily choices to the rise and fall of societies. It's a compelling read that asks uncomfortable questions: Are we really in control of our ambitions, or are we all just playing the same invisible game? Join the Full e-Booked team as we unpack the book's key ideas, stories, and insights to discover whether The Status Game offers a guide to understanding human behaviour — or simply reveals how easily we can be driven by it. Full e-Booked Team! @full_e_booked

Most of us spend some part of our lives feeling bad about ourselves and wanting to feel better. But this preoccupation is a surprisingly new one in the history of the world, and can largely be traced back to one man: a rumpled, convertible-driving California state representative named John Vasconcellos who helped spark a movement that took over schools, board rooms, and social-service offices across America in the 1990s. This week, we look at the rise and fall of the self-esteem movement and ask: is it possible to raise your self-esteem? And is trying to do so even a good idea?Special thanks to big thank you to the University of California, Santa Barbara Library for use of audio material from their Humanistic Psychology Archives and to their staff for helping located so many audio recordings. EPISODE CREDITS: Reported by - Heather Radke and Matt Kielty Produced by - Matt KietlyFlute performance and compositions by -  Ben BatchelderVoiceover work by - Dann FinkFact-checking by - Anna Pujol-Mazzini and  Angely Mercadoand Edited by  - Pat WaltersEPISODE CITATIONS:Articles - UCSB Humanistic Psychology Archive (https://zpr.io/HfVjUmvcVevE)Books - Selfie: How We Became So Self-Obsessed and What It's Doing to Us (https://zpr.io/eGRyqz9zNQHu) by Will Storr. Counterpoint, 2018.A Liberating Vision (https://zpr.io/tJn7BR5m84fv) by Vasconcellos, John. Impact Publishers, Inc., 1979The Therapeutic State (https://zpr.io/tJn7BR5m84fv) by Nolan, James, Jr. NYU Press, 1998Our newsletter comes out every Wednesday. It includes short essays, recommendations, and details about other ways to interact with the show. Sign up (https://radiolab.org/newsletter)!Radiolab is supported by listeners like you. Support Radiolab by becoming a member of The Lab (https://members.radiolab.org/) today.Follow our show on Instagram, Twitter and Facebook @radiolab, and share your thoughts with us by emailing radiolab@wnyc.org.Leadership support for Radiolab's science programming is provided by the Gordon and Betty Moore Foundation, Science Sandbox, a Simons Foundation Initiative, and the John Templeton Foundation. Foundational support for Radiolab was provided by the Alfred P. Sloan Foundation.

The idea of status — how we see ourselves and how others see us — has always shaped human behaviour, from the playground to the boardroom. But in today's hyperconnected world, where likes, followers, and digital validation reign supreme, status feels more complex and more powerful than ever. Author and journalist Will Storr delves deep into this very phenomenon in his thought-provoking book, The Status Game: On Human Life and How to Play It. Drawing on psychology, anthropology, and storytelling, Storr explores how the pursuit of status drives everything from our daily choices to the rise and fall of societies. It's a compelling read that asks uncomfortable questions: Are we really in control of our ambitions, or are we all just playing the same invisible game? Join the Full e-Booked team as we unpack the book's key ideas, stories, and insights to discover whether The Status Game offers a guide to understanding human behaviour — or simply reveals how easily we can be driven by it. Full e-Booked Team! @full_e_booked

The idea of status — how we see ourselves and how others see us — has always shaped human behaviour, from the playground to the boardroom. But in today's hyperconnected world, where likes, followers, and digital validation reign supreme, status feels more complex and more powerful than ever. Author and journalist Will Storr delves deep into this very phenomenon in his thought-provoking book, The Status Game: On Human Life and How to Play It. Drawing on psychology, anthropology, and storytelling, Storr explores how the pursuit of status drives everything from our daily choices to the rise and fall of societies. It's a compelling read that asks uncomfortable questions: Are we really in control of our ambitions, or are we all just playing the same invisible game? Join the Full e-Booked team as we unpack the book's key ideas, stories, and insights to discover whether The Status Game offers a guide to understanding human behaviour — or simply reveals how easily we can be driven by it. Full e-Booked Team! @full_e_booked

The idea of status — how we see ourselves and how others see us — has always shaped human behaviour, from the playground to the boardroom. But in today's hyperconnected world, where likes, followers, and digital validation reign supreme, status feels more complex and more powerful than ever. Author and journalist Will Storr delves deep into this very phenomenon in his thought-provoking book, The Status Game: On Human Life and How to Play It. Drawing on psychology, anthropology, and storytelling, Storr explores how the pursuit of status drives everything from our daily choices to the rise and fall of societies. It's a compelling read that asks uncomfortable questions: Are we really in control of our ambitions, or are we all just playing the same invisible game? Join the Full e-Booked team as we unpack the book's key ideas, stories, and insights to discover whether The Status Game offers a guide to understanding human behaviour — or simply reveals how easily we can be driven by it. Full e-Booked Team! @full_e_booked

The idea of status — how we see ourselves and how others see us — has always shaped human behaviour, from the playground to the boardroom. But in today's hyperconnected world, where likes, followers, and digital validation reign supreme, status feels more complex and more powerful than ever. Author and journalist Will Storr delves deep into this very phenomenon in his thought-provoking book, The Status Game: On Human Life and How to Play It. Drawing on psychology, anthropology, and storytelling, Storr explores how the pursuit of status drives everything from our daily choices to the rise and fall of societies. It's a compelling read that asks uncomfortable questions: Are we really in control of our ambitions, or are we all just playing the same invisible game? Join the Full e-Booked team as we unpack the book's key ideas, stories, and insights to discover whether The Status Game offers a guide to understanding human behaviour — or simply reveals how easily we can be driven by it. Full e-Booked Team! @full_e_booked

The idea of status — how we see ourselves and how others see us — has always shaped human behaviour, from the playground to the boardroom. But in today's hyperconnected world, where likes, followers, and digital validation reign supreme, status feels more complex and more powerful than ever. Author and journalist Will Storr delves deep into this very phenomenon in his thought-provoking book, The Status Game: On Human Life and How to Play It. Drawing on psychology, anthropology, and storytelling, Storr explores how the pursuit of status drives everything from our daily choices to the rise and fall of societies. It's a compelling read that asks uncomfortable questions: Are we really in control of our ambitions, or are we all just playing the same invisible game? Join the Full e-Booked team as we unpack the book's key ideas, stories, and insights to discover whether The Status Game offers a guide to understanding human behaviour — or simply reveals how easily we can be driven by it. Full e-Booked Team! @full_e_booked

The idea of status — how we see ourselves and how others see us — has always shaped human behaviour, from the playground to the boardroom. But in today's hyperconnected world, where likes, followers, and digital validation reign supreme, status feels more complex and more powerful than ever. Author and journalist Will Storr delves deep into this very phenomenon in his thought-provoking book, The Status Game: On Human Life and How to Play It. Drawing on psychology, anthropology, and storytelling, Storr explores how the pursuit of status drives everything from our daily choices to the rise and fall of societies. It's a compelling read that asks uncomfortable questions: Are we really in control of our ambitions, or are we all just playing the same invisible game? Join the Full e-Booked team as we unpack the book's key ideas, stories, and insights to discover whether The Status Game offers a guide to understanding human behaviour — or simply reveals how easily we can be driven by it. Full e-Booked Team! @full_e_booked

The idea of status — how we see ourselves and how others see us — has always shaped human behaviour, from the playground to the boardroom. But in today's hyperconnected world, where likes, followers, and digital validation reign supreme, status feels more complex and more powerful than ever. Author and journalist Will Storr delves deep into this very phenomenon in his thought-provoking book, The Status Game: On Human Life and How to Play It. Drawing on psychology, anthropology, and storytelling, Storr explores how the pursuit of status drives everything from our daily choices to the rise and fall of societies. It's a compelling read that asks uncomfortable questions: Are we really in control of our ambitions, or are we all just playing the same invisible game? Join the Full e-Booked team as we unpack the book's key ideas, stories, and insights to discover whether The Status Game offers a guide to understanding human behaviour — or simply reveals how easily we can be driven by it. Full e-Booked Team! @full_e_booked

The idea of status — how we see ourselves and how others see us — has always shaped human behaviour, from the playground to the boardroom. But in today's hyperconnected world, where likes, followers, and digital validation reign supreme, status feels more complex and more powerful than ever. Author and journalist Will Storr delves deep into this very phenomenon in his thought-provoking book, The Status Game: On Human Life and How to Play It. Drawing on psychology, anthropology, and storytelling, Storr explores how the pursuit of status drives everything from our daily choices to the rise and fall of societies. It's a compelling read that asks uncomfortable questions: Are we really in control of our ambitions, or are we all just playing the same invisible game? Join the Full e-Booked team as we unpack the book's key ideas, stories, and insights to discover whether The Status Game offers a guide to understanding human behaviour — or simply reveals how easily we can be driven by it. Full e-Booked Team! @full_e_booked

Will Storr talks about his book The Status Game with EconTalk host Russ Roberts, exploring how our deep need for respect and recognition shapes our behavior. The conversation delves into how we constantly judge others and compare ourselves to them, the pain of losing status, and the freedom of escaping judgment. Storr and Roberts discuss how status drives everything from workplace hierarchies to social media, and how aging can shift the games we choose to play. They also examine tribalism, moral outrage, and politics through the lens of status, suggesting that much of what we call morality or justice reflects our desire for recognition.

The idea of status — how we see ourselves and how others see us — has always shaped human behaviour, from the playground to the boardroom. But in today's hyperconnected world, where likes, followers, and digital validation reign supreme, status feels more complex and more powerful than ever. Author and journalist Will Storr delves deep into this very phenomenon in his thought-provoking book, The Status Game: On Human Life and How to Play It. Drawing on psychology, anthropology, and storytelling, Storr explores how the pursuit of status drives everything from our daily choices to the rise and fall of societies. It's a compelling read that asks uncomfortable questions: Are we really in control of our ambitions, or are we all just playing the same invisible game? Join the Full e-Booked team as we unpack the book's key ideas, stories, and insights to discover whether The Status Game offers a guide to understanding human behaviour — or simply reveals how easily we can be driven by it. Full e-Booked Team! @full_e_booked

In this episode, we talk with Will Storr, author of The Science of Storytelling, about why humans are wired for narrative. From identity and status to simplicity and surprise, Will shares how marketers can craft stories that persuade, stick, and move people to action.

The idea of status — how we see ourselves and how others see us — has always shaped human behaviour, from the playground to the boardroom. But in today's hyperconnected world, where likes, followers, and digital validation reign supreme, status feels more complex and more powerful than ever. Author and journalist Will Storr delves deep into this very phenomenon in his thought-provoking book, The Status Game: On Human Life and How to Play It. Drawing on psychology, anthropology, and storytelling, Storr explores how the pursuit of status drives everything from our daily choices to the rise and fall of societies. It's a compelling read that asks uncomfortable questions: Are we really in control of our ambitions, or are we all just playing the same invisible game? Join the Full e-Booked team as we unpack the book's key ideas, stories, and insights to discover whether The Status Game offers a guide to understanding human behaviour — or simply reveals how easily we can be driven by it. Full e-Booked Team! @full_e_booked

The idea of status — how we see ourselves and how others see us — has always shaped human behaviour, from the playground to the boardroom. But in today's hyperconnected world, where likes, followers, and digital validation reign supreme, status feels more complex and more powerful than ever. Author and journalist Will Storr delves deep into this very phenomenon in his thought-provoking book, The Status Game: On Human Life and How to Play It. Drawing on psychology, anthropology, and storytelling, Storr explores how the pursuit of status drives everything from our daily choices to the rise and fall of societies. It's a compelling read that asks uncomfortable questions: Are we really in control of our ambitions, or are we all just playing the same invisible game? Join the Full e-Booked team as we unpack the book's key ideas, stories, and insights to discover whether The Status Game offers a guide to understanding human behaviour — or simply reveals how easily we can be driven by it. Full e-Booked Team! @full_e_booked

The idea of status — how we see ourselves and how others see us — has always shaped human behaviour, from the playground to the boardroom. But in today's hyperconnected world, where likes, followers, and digital validation reign supreme, status feels more complex and more powerful than ever. Author and journalist Will Storr delves deep into this very phenomenon in his thought-provoking book, The Status Game: On Human Life and How to Play It. Drawing on psychology, anthropology, and storytelling, Storr explores how the pursuit of status drives everything from our daily choices to the rise and fall of societies. It's a compelling read that asks uncomfortable questions: Are we really in control of our ambitions, or are we all just playing the same invisible game? Join the Full e-Booked team as we unpack the book's key ideas, stories, and insights to discover whether The Status Game offers a guide to understanding human behaviour — or simply reveals how easily we can be driven by it. Full e-Booked Team! @full_e_booked

Will Storr, award-winning author and science writer, reveals why the Buddhist rejection of ego and ambition completely misunderstands human nature, and how status is the hidden force driving everything we do. In this episode of The Problem With… James and Will unpack the uncomfortable truth: without wanting, striving, and competing for recognition, civilisation itself would collapse. Will Storr is the author of The Status Game and The Science of Storytelling, and his work spans psychology, neuroscience, and culture. He explains why our obsession with hierarchy and belonging is baked into evolution, how status loss drives everything from online hate to violence and suicide, and why “connection and respect” are as fundamental to survival as food and water. He explains: ◼️ Why Buddhism gets human motivation wrong ◼️ How every person plays invisible “status games” daily ◼️ Why humiliation can trigger violence ◼️ How storytelling and culture shape our sense of self ◼️ The link between status, social media, and modern mental health I'm on a mission to help men check their levels of Testosterone, more info here: https://www.manual.co/smith Please check out and try Neutonic here: https://www.neutonic.com/jamessmith For a free trial of my online personal training app go here: https://www.affordableonlinecoaching.com Learn more about your ad choices. Visit podcastchoices.com/adchoices

******Support the channel******Patreon: https://www.patreon.com/thedissenterPayPal: paypal.me/thedissenterPayPal Subscription 1 Dollar: https://tinyurl.com/yb3acuuyPayPal Subscription 3 Dollars: https://tinyurl.com/ybn6bg9lPayPal Subscription 5 Dollars: https://tinyurl.com/ycmr9gpzPayPal Subscription 10 Dollars: https://tinyurl.com/y9r3fc9mPayPal Subscription 20 Dollars: https://tinyurl.com/y95uvkao ******Follow me on******Website: https://www.thedissenter.net/The Dissenter Goodreads list: https://shorturl.at/7BMoBFacebook: https://www.facebook.com/thedissenteryt/Twitter: https://x.com/TheDissenterYT This show is sponsored by Enlites, Learning & Development done differently. Check the website here: http://enlites.com/ Will Storr is a British author, journalist and former photographer. He has been a contributing editor at Esquire and GQ Australia. He is the author of several books, including The Science of Storytelling, The Status Game, and A Story is a Deal: How to use the science of storytelling to lead, motivate and persuade. In this episode, we focus on A Story is a Deal. We discuss what storytelling is, the evolution of storytelling, the process of identification, how storytelling develops in infants, identity growth and identity anxiety, connection and status, underdog stories, and storybeing. We also talk about what constitutes persuasive storytelling, examples of successful and unsuccessful marketing campaigns, and how to write persuasive stories. Finally, we talk about Theranos, and how storytelling can be used to deceive people.--A HUGE THANK YOU TO MY PATRONS/SUPPORTERS: PER HELGE LARSEN, JERRY MULLER, BERNARDO SEIXAS, ADAM KESSEL, MATTHEW WHITINGBIRD, ARNAUD WOLFF, TIM HOLLOSY, HENRIK AHLENIUS, FILIP FORS CONNOLLY, ROBERT WINDHAGER, RUI INACIO, ZOOP, MARCO NEVES, COLIN HOLBROOK, PHIL KAVANAGH, SAMUEL ANDREEFF, FRANCIS FORDE, TIAGO NUNES, FERGAL CUSSEN, HAL HERZOG, NUNO MACHADO, JONATHAN LEIBRANT, JOÃO LINHARES, STANTON T, SAMUEL CORREA, ERIK HAINES, MARK SMITH, JOÃO EIRA, TOM HUMMEL, SARDUS FRANCE, DAVID SLOAN WILSON, YACILA DEZA-ARAUJO, ROMAIN ROCH, DIEGO LONDOÑO CORREA, YANICK PUNTER, CHARLOTTE BLEASE, NICOLE BARBARO, ADAM HUNT, PAWEL OSTASZEWSKI, NELLEKE BAK, GUY MADISON, GARY G HELLMANN, SAIMA AFZAL, ADRIAN JAEGGI, PAULO TOLENTINO, JOÃO BARBOSA, JULIAN PRICE, HEDIN BRØNNER, DOUGLAS FRY, FRANCA BORTOLOTTI, GABRIEL PONS CORTÈS, URSULA LITZCKE, SCOTT, ZACHARY FISH, TIM DUFFY, SUNNY SMITH, JON WISMAN, WILLIAM BUCKNER, PAUL-GEORGE ARNAUD, LUKE GLOWACKI, GEORGIOS THEOPHANOUS, CHRIS WILLIAMSON, PETER WOLOSZYN, DAVID WILLIAMS, DIOGO COSTA, ALEX CHAU, AMAURI MARTÍNEZ, CORALIE CHEVALLIER, BANGALORE ATHEISTS, LARRY D. LEE JR., OLD HERRINGBONE, MICHAEL BAILEY, DAN SPERBER, ROBERT GRESSIS, JEFF MCMAHAN, JAKE ZUEHL, BARNABAS RADICS, MARK CAMPBELL, TOMAS DAUBNER, LUKE NISSEN, KIMBERLY JOHNSON, JESSICA NOWICKI, LINDA BRANDIN, VALENTIN STEINMANN, ALEXANDER HUBBARD, BR, JONAS HERTNER, URSULA GOODENOUGH, DAVID PINSOF, SEAN NELSON, MIKE LAVIGNE, JOS KNECHT, LUCY, MANVIR SINGH, PETRA WEIMANN, CAROLA FEEST, MAURO JÚNIOR, 航 豊川, TONY BARRETT, NIKOLAI VISHNEVSKY, STEVEN GANGESTAD, TED FARRIS, ROBINROSWELL, KEITH RICHARDSON, HUGO B., JAMES, JORDAN MANSFIELD, AND CHARLOTTE ALLEN!A SPECIAL THANKS TO MY PRODUCERS, YZAR WEHBE, JIM FRANK, ŁUKASZ STAFINIAK, TOM VANEGDOM, BERNARD HUGUENEY, CURTIS DIXON, BENEDIKT MUELLER, THOMAS TRUMBLE, KATHRINE AND PATRICK TOBIN, JONCARLO MONTENEGRO, NICK GOLDEN, CHRISTINE GLASS, IGOR NIKIFOROVSKI, AND PER KRAULIS!AND TO MY EXECUTIVE PRODUCERS, MATTHEW LAVENDER, SERGIU CODREANU, ROSEY, AND GREGORY HASTINGS!

Hello everyone, Jim here. We're taking a brief two-week break from new episodes to spotlight a couple of golden oldies from the archive. Years later, these remain some of my favorite conversations. We'll be back soon with fresh episodes, but in the meantime,  here's my September 2022 chat with the always interesting Will Storr.  _________________ Will Storr is an award winning journalist and author. His book ‘The Status Game' transforms our understanding of human nature by demonstrating how our unconscious desire for status ultimately drives our behaviour. Important Links: Twitter: https://twitter.com/wstorr?s=21&t=ZdtIqP9eE3_a5qZocDjEXQ Website: https://willstorr.com The Science of Storytelling: https://www.thescienceofstorytelling.com Show Notes: Will's origin story The strange case of David Irving The fundamental nature of status games The Stanford prison experiment and dominance games The status games played by cults Luxury beliefs Why we are all moral hypocrites The importance of being funny Social status and socioeconomic status Human OS and the education system How status seeking leads to the “very best of human nature” The murderous nature of reputation destruction The post WW1 humiliation of Germany Loaded magazine Finding the true reason behind seemingly crazy beliefs The value of religion Trading status Spreading humility Why we could be wrong about our closest beliefs Books Mentioned: The Unpersuadables: Adventures with the Enemies of Science; by Will Storr The Lucifer Principle: A Scientific Expedition into the Forces of History; by Howard Bloom The Genius of the Beast: A Radical Re-Vision of Capitalism; by Howard Bloom The WEIRDest People in the World: How the West Became Psychologically Peculiar and Particularly Prosperous; by Joseph Henrich The Science of Storytelling; by Will Storr Slaughterhouse-Five; by Kurt Vonnegut Selfie: How We Became so Self-Obsessed and What It's Doing to Us; by Will Storr The Status Game: On Social Position and How We Use It; by Will Storr

It's a psychological principle that helped end South African apartheid.  It reversed the Pope's declining popularity.  It reduced university students' binge drinking by 30%.  And can predict romantic breakups with 60% accuracy.  Today, bestselling author Will Storr reveals the surprisingly effective way to persuade (almost) anyone. ---  Access the bonus episode: https://nudge.kit.com/0d88279296 Read Will's book: https://shorturl.at/yUGRC Visit Will's website: https://www.thescienceofstorytelling.com/ Sign up for my newsletter: https://www.nudgepodcast.com/mailing-list Connect on LinkedIn: https://www.linkedin.com/in/phill-agnew-22213187/ Watch Nudge on YouTube: https://www.youtube.com/@nudgepodcast/ ---  Sources: Aune, R. K., & Basil, M. D. (1994). A relational obligations approach to the foot-in-the-mouth effect. Journal of Applied Social Psychology, 24(6), 546–556. Berger, J. (2013). Contagious: Why things catch on. Simon & Schuster. Bruch, E. E., & Newman, M. E. J. (2019). Aspirational pursuit of mates in online dating markets. Science Advances, 5(8). Haslam, S. A., Reicher, S. D., & Platow, M. J. (2020). The new psychology of leadership: Identity, influence, and power (2nd ed.). Routledge. Sharot, T. (2017). The influential mind: What the brain reveals about our power to change others. Little, Brown. Suedfeld, P., Bochner, S., & Matas, C. (1971). Petitioner's attire and petition signing by peace demonstrators: A field experiment on reference group similarity. Journal of Applied Social Psychology, 1(3), 278–283. Tanner, R. J., Ferraro, R., Chartrand, T. L., Bettman, J. R., & Van Baaren, R. (2008). Of chameleons and consumption: The impact of mimicry on choice and preferences. Journal of Consumer Research, 34(6), 754–766. https://doi.org/10.1086/522322

Why do we fight over politics, follow cults, and smoke even when we know it kills us? Bestselling author and journalist Will Storr joins Tim Green to unpack how storytelling, status, and tribalism drive human behavior. From nearly being executed in South Sudan to ghostwriting memoirs, Will reveals the hidden scripts we live by and how they both save and sabotage us. Get Will's new book: https://geni.us/AStoryIsADealHB SPONSORS: ElevenLabs: Thanks to ⁠⁠⁠⁠⁠⁠ElevenLabs⁠⁠⁠⁠⁠⁠ for supporting this episode and powering Tim's voice. SOCIAL: Website: ⁠⁠⁠⁠⁠⁠tgnlu.com⁠⁠⁠⁠⁠⁠ Twitter: ⁠⁠⁠⁠⁠⁠@nlutimgreen⁠⁠⁠⁠⁠⁠ Facebook: ⁠⁠⁠⁠⁠⁠facebook.com/NLUpod⁠⁠⁠⁠⁠⁠ Instagram: ⁠⁠⁠⁠⁠⁠@nlupod⁠⁠⁠⁠⁠⁠ AUDIO ONLY: Spotify: ⁠⁠⁠⁠⁠⁠Listen on Spotify⁠⁠⁠⁠⁠⁠ Apple Podcasts: ⁠⁠⁠⁠⁠⁠Listen on Apple Podcasts⁠⁠⁠⁠⁠⁠ PERSONAL: Tackle ALS: ⁠⁠⁠⁠⁠⁠tackleals.com⁠⁠⁠⁠⁠⁠ Tim Green Books: ⁠⁠⁠⁠⁠⁠authortimgreen.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Most marketers will remember Apple's 1984 ad.  Many consider it the “greatest ad of all time”.  But you probably don't know that just 12 months earlier, Apple released a similar ad that failed.  Why?  Today on Nudge, bestselling author and storytelling expert Will Storr explains why.  ---  Access the bonus episode: https://nudge.kit.com/0d88279296 Read Will's book: https://shorturl.at/yUGRC Visit Will's website: https://www.thescienceofstorytelling.com/ Sign up for my newsletter: https://www.nudgepodcast.com/mailing-list Connect on LinkedIn: https://www.linkedin.com/in/phill-agnew-22213187/ Watch Nudge on YouTube: https://www.youtube.com/@nudgepodcast/ ---  Sources: Bransford, J. D., & Johnson, M. K. (1972). Contextual prerequisites for understanding: Some investigations of comprehension and recall. Journal of Verbal Learning and Verbal Behavior, 11(6), 717–726. Flock Associates – Recife Sport club: Immortal Fans. Integrated Campaign by Ogilvy Brazil. https://youtu.be/E99ijQScSB8?si=TS3poMArJIqb-FtE Muth, C., Pepperell, R., & Carbon, C.-C. (2013). Give me Gestalt! Preference for cubist artworks revealing high detectability of objects. Leonardo, 46(5), 488–489. Walker, R., & Glenn, J. (2009). Significant Objects. Retrieved from https://significantobjects.com/ Wiessner, P. W. (2014). Embers of society: Firelight talk among the Ju/'hoansi Bushmen. Proceedings of the National Academy of Sciences USA, 111(39), 14027–14035. https://doi.org/10.1073/pnas.1404212111

Odemkni celý tenhle díl + další díly a k tomu desítky krátkých úderných VIP dílů! na našem Spotify⁠⁠⁠⁠⁠⁠⁠⁠⁠ jen za stovku / měsíc. Odemkneš jich tím rovnou 47!⁠⁠⁠⁠⁠⁠⁠⁠⁠https://podcasters.spotify.com/pod/show/brainweare/subscribeCo nám ukazuje "neetický" experiment s AI? A co nám ukazuje technologie o opravdové povaze člověka? Tahle epizoda je o tom, co s námi dělá digitální tlak na výkon, úspěch a neustálou sebereflexi. Ale mimo to se dozvíte spoustu novinek ze světa - biologie, AI i současných trendů v duševním zdraví (v tom pozitivním i negativním slova smyslu)Bavíme se o vnitřním prostoru, který se často ztrácí mezi notifikacemi a očekáváními. O tom, že nejsme rozbití – jen unavení z nutnosti stále dokazovat svou hodnotu. A taky o tom, že zpomalení není slabost. Je to akt odporu i návratu k sobě.

Will Storr is an award-winning author, journalist, and former photographer whose work explores the deep psychology of human behavior and storytelling. He's the author of several critically acclaimed books including The Science of Storytelling, Selfie, The Status Game, and The Heretics. His writing has appeared in The Guardian, The New Yorker, and The Sunday Times, and he's lectured on narrative science all over the world.His storytelling frameworks have been adopted by elite creatives—from Hollywood screenwriters to comedians like Jimmy Carr and Andrew Schulz—to craft more powerful, resonant narratives.Stories mould who we are, from our character to our cultural identity. They drive our ambitions, shape our politics, and determine who we trust. But what if storytelling isn't just art—it's science?Expect to learn how we use stories to gain status, why narratives are central to how we process reality, what most people get wrong about storytelling, and how to find the “sacred flaw” driving your own life story.Sponsors:Fireflies.AIFireflies.ai is an AI-powered meeting assistant that transcribes, summarizes, and analyzes your conversations, making it easier to focus on what truly matters. Whether you're recording a podcast, leading a team meeting, or brainstorming your next big idea, Fireflies ensures you never miss a detail. It's like having a personal assistant who never sleeps.Beyond Baseline and BetterMan by Ross AndersonBeyond Baseline and BetterMan, founded by Ross Anderson, offer transformative experiences aimed at helping men optimize their minds and bodies for peak performance. Through retreats, coaching, and a supportive community, they provide the tools and insights needed to become the best version of yourself.​I'm incredibly grateful for their support and the value they bring to our listeners.​Get in touch: David@davidmcintoshjr.comInstagram: instagram.com/davidmcintoshjrBuy Merch:originstoryclub.co.uk

Plus more surprising information on this fundamental human drive.   Will Storr is a multi award-winning writer and Sunday Times bestselling author. His latest book is A Story is a Deal: How to use the science of storytelling to lead, motivate and persuade.   Waking Up, a top-notch meditation app with amazing teachers and a ton of courses for all levels. If you subscribe via this link: wakingup.com/tenpercent, you'll get a 30-day free trial—and you'll be supporting the 10% Happier team, too. Full and partial scholarships are available. In this episode we talk about: The key elements of a properly deployed story The different ways to measure status The three main ways humans compete for status The benefits of altruism as a source of status The  balance between self interest and altruism  How mindfulness factors into the status drive Managing our relationships with social media Related Episodes: Why You Can't Pay Attention - And How to Think Deeply Again | Johann Hari   Sign up for Dan's newsletter here Follow Dan on social: Instagram, TikTok Ten Percent Happier online bookstore Subscribe to our YouTube Channel Our favorite playlists on: Anxiety, Sleep, Relationships, Most Popular Episodes

Will Storr has written 7 books and he's basically a scientist for storytelling. Now you might be thinking: Do we really need another storytelling guy? But Will is different. That's because he doesn't just talk about plot or the hero's journey, he focuses on character. Great stories don't start with plot… they start with people. The best part? By the time you're done with the episode, you'll have the tools to be a better storyteller in your next conversation.   Learn more about your ad choices. Visit megaphone.fm/adchoices

Keren Eldad is the author of Gilded: Breaking Free from the Cage of Ambition, Perfectionism, and the Relentless Pursuit of More. She specializes in taking high achievers out of the futility of constant pursuit and into their greatest levels of success and fulfillment. Her coaching clients include Olympic athletes, politicians, Hollywood stars, supermodels, Special Forces operatives, and serial entrepreneurs. Keren is a former C-suite executive who has lived and worked in 17 countries and on four continents, and who now coaches leaders all around the globe in four languages: English, Spanish, Hebrew, and French. Mentioned on the ShowKeren's website: https://kereneldad.com/home/Connect with Keren on LinkedIn: https://www.linkedin.com/in/keren-eldadKeren's book, Gilded: Breaking Free from the Cage of Ambition, Perfectionism, and the Relentless Pursuit of More: https://a.co/d/2D8JJGeThe Status Game by Will Storr: https://a.co/d/4MgVu2J10x is Easier than 2x by Dan Sullivan: https://a.co/d/7iQ0HivRichistan by Robert Frank: https://a.co/d/745PSeZGood by Jocko Willink: https://youtu.be/IdTMDpizis8?si=Etj6h7iQx2X8BVcFThe Man in the Arena, excerpt from Teddy Roosevelt: https://youtu.be/A311CnTjfos?si=tx-9Jz5zjllcRkcg_______________________Connect with O'Brien McMahon on LinkedIn: https://www.linkedin.com/in/obrienmcmahon/Learn more about O'Brien: https://obrienmcmahon.com/________________________Timestamps(2:40) - Meet Keren Eldad.(2:58) - How did you come to do the work that you do today?(9:18) - Why are overachievers reluctant to admit they're overachievers?(10:38) - What's the difference between healthy and unhealthy achievement?(16:51) - What does it mean to want to become "nobody"?(18:47) - How do you coach people to let go of status without losing the natural achiever desires?(26:04) - How does a person rein in their ego and stop playing the status game?(33:01) - What is and what isn't self-acceptance?(38:41) - How do you help people break up with anger?(50:35) - What do people get wrong about happiness?(54:25) - How do we cultivate more of a service mindset?(55:03) - True purpose: Climbing the "second mountain".(57:33) - Final thoughts for overachievers.

Nir's Note: This guest post is by Will Storr, an acclaimed author and journalist known for his deep exploration into human behavior, storytelling, and psychology. His newest book, “A Story is a Deal: How to Use the Science of Storytelling to Lead, Motivate, and Persuade,” reveals how powerful storytelling techniques can be harnessed in business, leadership, and communication to drive impactful results.Every successful leader, marketer, or entrepreneur is, at heart, a great storyteller. Storytelling is not just an art—it's a science, grounded in psychology, neuroscience, and behavioral design. Here are four science-backed principles for crafting persuasive narratives, adapted from my new book, A Story is a Deal.You can read the Nir And Far blog post on: https://www.nirandfar.com/storytelling-for-business/Nir And Far, a podcast about business, behaviour and the brain by Nir Eyal. If you enjoy this podcast, please subscribe on iTunes and leave an iTunes review. It will greatly help new listeners discover the show. Please visit my website Nir and Far for other info about my writing, books and teaching: http://www.nirandfar.com/

My guest today is Anne-Laure Le Cunff, founder of Ness Labs and author of Tiny Experiments: How to Live Freely in a Goal-Obsessed World. On paper, Anne-Laure had it all: top grades, a high-flying job at Google, and a life that seemed to hit all the markers of success. But something was off. No matter how “traditionally” successful she became, she felt… “empty.” So, she decided to do something about it. A neuroscience PhD, 100,000+ newsletter subscribers, and a newly published book later, she's developed a new model of success — one built around conducting “tiny experiments” that help her build a life on her own terms. She joins me to discuss how we get trapped in cognitive scripts, the hidden dangers of productivity culture, how we can experiment our way to a better life and MUCH more! I hope you enjoy this conversation as much as I did. For the full transcript, episode takeaways, and bucketloads of other goodies designed to make you go, “Hmm, that's interesting!”, check out our Substack. Important Links: Anne-Laure's Twitter/X Ness Labs Tiny Experiments Book Show Notes: How do you know you are bored out? People who love us the most might turn out to be our biggest blockers Don't confuse activity with effectiveness We will do virtually anything to gain what is really an illusion of control The map is not the territory, the menu is not the meal. And yet, words are magic spells. The Winner's Script and the Loser's Script "You got to run at the top speed if you just want to stay in place.” Let go of the linear and replace it with the loop- a more cyclical approach for growth Can you sit alone in a room for 15 minutes? Procrastination is just a signal from your brain that something is not quite working right now We know nothing AI is a rocket ship for the mind In 100 years, nobody will remember you Books Mentioned: Why Greatness Cannot Be Planned; by Ken Stanley Thinking in Bets; by Annie Duke Collective Illusions; by Todd Rose Maybe Logic; by Robert Anton Wilson Beginning of Infinity; by David Deutsch Science and Sanity: An Introduction to Non-Aristotelian Systems and General Semantics; by Alfred Korzybski The Science of Storytelling: Why Stories Make Us Human and How to Tell Them Better; by Will Storr

Today, we're sitting down with Will Storr, author of the dazzling new book A Story Is a Deal, to talk about humanity's greatest invention: story. More than just entertainment, Will argues, story is what we do and who we are. It's how we make sense of the world, captivate, and persuade. And yet for all its power, storytelling isn't some elusive magic trick — it's a skill. One you can learn. Will's here to show you how.

What if everything we experience is shaped by the stories we tell ourselves? In this episode, Oliver sits down with one of his intellectual heroes. Will Storr, bestselling author of The Science of Storytelling, The Status Game and now A Story is a Deal to explore how stories define our reality, shape our decisions, and influence human behavior. Will explains why humans live in two worlds, the world of survival and the world of story, and how understanding this duality can transform the way we communicate, lead, and persuade. From the evolutionary origins of storytelling to the impact of identity and status, he unpacks why narratives are the foundation of human success.Packed with fascinating insights, psychological research, and real-world examples, this episode is a must-listen for anyone looking to harness the power of storytelling. Check out more about Will Storr's latest book on his substack https://willstorr.substack.com/ Make sure you're subscribed to the Speak Like a CEO newsletter to become a top 1% communicator: https://eoipsocommunications.com/newsletter/Do you want to speak with confidence, inspire your team, and accelerate your career? You can now join the Speak Like a CEO Academy and work with Oliver over the next 90 days to become a top 1% communicator and transform your career.https://speaklikeaceoacademy.com/

In today's episode, Nicola Barron is joined by Will Storr—an acclaimed journalist, bestselling author, and storytelling guru. Will is widely regarded as one of the leading experts on how stories shape human behaviour, decisions, and relationships.In his latest book, A Story is a Deal, Will uncovers the hidden psychological contract between storytellers and their audiences. He explains why stories are so powerful, not just for entertainment, but for persuasion and connection. This episode is a must-listen for anyone who wants to understand how storytelling can change the way people think and act.He'll also be hosting a live online masterclass where he'll share the storytelling techniques that can make your business messaging, presentations, and content stand out.Don't miss Will's Masterclass:Join Will for The Science of Storytelling for Business and Persuasion on February 20th—the same day A Story is a Deal is released! For more details, head to standard.co.uk/masterclasses. Hosted on Acast. See acast.com/privacy for more information.

DEEE-lighted to welcome this ABSOLUTE JOKER on the poddy Henry Hayes creates f*cking hilarious content Behind the comedy is a whopper-big-brain, whipper-smart wittyHenry is Head of Marketing at Passionfruit - who work with PepsiCo, AB InBev, MarsIn This Is Strategy Seth Godin, all ideas are built on TimeGame Empathy Systems Marketing Strategy is like Comedy Marketing like Comedy is built on empathyMarketing like Comedy is playing games Marketing like Comedy is understand the system you're in, like a fish knowing it's in water Marketing like Comedy is understanding the complexity of the human soul Marketing like Comedy is seeing things no one else noticesLoved the Seth Godin, Will Storr podcasts? Similar poddy with a heavy seasoning of scatty, profanity, debauchery ON THE MENU:1. Jimmy Carr: How to Find Your Edge: Weird complimentary strengths + lean into weird idiosyncrasies2. The Hidden Pressure of going to Eton (god, we sound like w*nkers) - “you're meant to do great 3. How Henry Turned His Life Around: Swapping Prozac for Purpose 4. The Genius of Raff and Passionfruit: more starts ups must allow employees to build their own personal brands 5. Nike's Brand Building Strategy Secrets: Global vs. Local - “you only need to be important in 12 cities” 6. The Art of Small, Meaningful Life Changing Events “Value first; Product second”. 7. If you put blood, sweat and tears into it, people can feel hard work in their bones 8. Marketing Lessons from Shakespeare's Comedy: Understand Complexity of Human Beings==============================================

If you want someone to change their mind, it's best if they persuade themselves. And they're much more likely to do that if they actually *do* something new, rather than just pathetically feeling like they *should*. There's nothing like getting yer metaphorical hands dirty to show you you can do things you never thought you could  - from bleeding radiators to leading climate marches. And everyday stories of people *doing stuff* are far more effective than simply telling people there's a climate crisis going on - so why don't we tell more of them? This episode, welcome to the noggin and work of Kris de Meyer - neuroscientist, documentarian, and science communicator par excellence. Kris is the director of the UCL Climate Action Unit and one of the most requested guests for Your Brain on Climate. There ain't much about your brain that he doesn't know, so strap yourself in for some lessons in how minds really change.  Kris even has an answer to how come Dave ended up nearly getting nicked dressed as a beagle - and how societies drift slowly apart, one tiny step at a time. These new-format episodes take a long time to record, script, and edit. If you like it - that'll make me happy. Let me know your thoughts on the show - hello@yourbrainonclimate.com. Please rate, review and subscribe, and share the show on socials. Please consider chucking this humble indie podcaster a few quid at www.patreon.com/yourbrainonclimate. Owl noises = references: 06:22 - Here's Kris's TED talk about the pyramid ... 06:40 - ... and here's his other one, 'Why we need to change how we talk about climate change'. 08:50 - A nice little primer on the information deficit model. 13:31 - I loved my chat with Anil Seth back in 2022. 20:47 - Strong recommend for Will Storr's The Science of Storytelling. 24:47 - The Single Action Bias, over at the always excellent Decision Lab. Your Brain on Climate is a podcast about human psychology vs the climate crisis. Contact the show:  @brainclimate on Twitter, or hello@yourbrainonclimate.com. Support the show on Patreon: www.patreon.com/yourbrainonclimate. The show is hosted and produced by me, Dave Powell, who you can find @powellds on Bluesky and X/Twitter, although I don't use the latter any more. YBOC theme music and iterations thereof, by me.  Show logo by Arthur Stovell at www.designbymondial.com. 

I interview Dan Malikin about “The Wreckage of Us”I also review “Witchcraft for Wayward Girls” by Grady Hendrix, “How to Tell a Haunted House” by Grady Hendrix, “House of Frank” by Kay Sinclair“The Proof of My Innocence” by Jonathan Coe.Dan Malakin recommends:Why Don't You Love Me? by Paul B RaineySelfie by Will Storr, All The Little Liars by Victoria Selman LINKS:Facebook Group: https://www.facebook.com/groups/533022350711635/Bluesky: https://bsky.app/profile/quickbookreviews.bsky.socialInstagram: https://www.instagram.com/quick_book_reviewsThreads: @quick_book_reviewsTikTok: https://www.tiktok.com/@quickbookreviewsTwitter: https://x.com/quickbookrevie3 Hosted on Acast. See acast.com/privacy for more information.

******Support the channel****** Patreon: https://www.patreon.com/thedissenter PayPal: paypal.me/thedissenter PayPal Subscription 1 Dollar: https://tinyurl.com/yb3acuuy PayPal Subscription 3 Dollars: https://tinyurl.com/ybn6bg9l PayPal Subscription 5 Dollars: https://tinyurl.com/ycmr9gpz PayPal Subscription 10 Dollars: https://tinyurl.com/y9r3fc9m PayPal Subscription 20 Dollars: https://tinyurl.com/y95uvkao   ******Follow me on****** Website: https://www.thedissenter.net/ The Dissenter Goodreads list: https://shorturl.at/7BMoB Facebook: https://www.facebook.com/thedissenteryt/ Twitter: https://x.com/TheDissenterYT   This show is sponsored by Enlites, Learning & Development done differently. Check the website here: http://enlites.com/   Will Storr is a British author, journalist and former photographer. He has been a contributing editor at Esquire and GQ Australia. He is the author of several books, including The Science of Storytelling, and The Status Game: On Human Life and How to Play It.   In this episode, we focus on The Status Game. We discuss what status is in human societies, the different ways it can manifest, and how we can acquire status through cooperation and prosociality. We then delve into an evolutionary account of status, as well as gender differences in how men and women compete for status, the psychological effects of low and high status, status games on social media, in-group/out-group competition, and how status works in egalitarian societies. We talk about how status games link to the development of personal preferences and social norms. Finally, we discuss seven rules to succeed in the status game, and whether we could create societies without status. -- A HUGE THANK YOU TO MY PATRONS/SUPPORTERS: PER HELGE LARSEN, JERRY MULLER, BERNARDO SEIXAS, ADAM KESSEL, MATTHEW WHITINGBIRD, ARNAUD WOLFF, TIM HOLLOSY, HENRIK AHLENIUS, FILIP FORS CONNOLLY, ROBERT WINDHAGER, RUI INACIO, ZOOP, MARCO NEVES, COLIN HOLBROOK, PHIL KAVANAGH, SAMUEL ANDREEFF, FRANCIS FORDE, TIAGO NUNES, FERGAL CUSSEN, HAL HERZOG, NUNO MACHADO, JONATHAN LEIBRANT, JOÃO LINHARES, STANTON T, SAMUEL CORREA, ERIK HAINES, MARK SMITH, JOÃO EIRA, TOM HUMMEL, SARDUS FRANCE, DAVID SLOAN WILSON, YACILA DEZA-ARAUJO, ROMAIN ROCH, DIEGO LONDOÑO CORREA, YANICK PUNTER, CHARLOTTE BLEASE, NICOLE BARBARO, ADAM HUNT, PAWEL OSTASZEWSKI, NELLEKE BAK, GUY MADISON, GARY G HELLMANN, SAIMA AFZAL, ADRIAN JAEGGI, PAULO TOLENTINO, JOÃO BARBOSA, JULIAN PRICE, EDWARD HALL, HEDIN BRØNNER, DOUGLAS FRY, FRANCA BORTOLOTTI, GABRIEL PONS CORTÈS, URSULA LITZCKE, SCOTT, ZACHARY FISH, TIM DUFFY, SUNNY SMITH, JON WISMAN, WILLIAM BUCKNER, PAUL-GEORGE ARNAUD, LUKE GLOWACKI, GEORGIOS THEOPHANOUS, CHRIS WILLIAMSON, PETER WOLOSZYN, DAVID WILLIAMS, DIOGO COSTA, ALEX CHAU, AMAURI MARTÍNEZ, CORALIE CHEVALLIER, BANGALORE ATHEISTS, LARRY D. LEE JR., OLD HERRINGBONE, MICHAEL BAILEY, DAN SPERBER, ROBERT GRESSIS, IGOR N, JEFF MCMAHAN, JAKE ZUEHL, BARNABAS RADICS, MARK CAMPBELL, TOMAS DAUBNER, LUKE NISSEN, KIMBERLY JOHNSON, JESSICA NOWICKI, LINDA BRANDIN, GEORGE CHORIATIS, VALENTIN STEINMANN, PER KRAULIS, ALEXANDER HUBBARD, BR, MASOUD ALIMOHAMMADI, JONAS HERTNER, URSULA GOODENOUGH, DAVID PINSOF, SEAN NELSON, MIKE LAVIGNE, JOS KNECHT, ERIK ENGMAN, LUCY, MANVIR SINGH, PETRA WEIMANN, CAROLA FEEST, STARRY, MAURO JÚNIOR, 航 豊川, TONY BARRETT, BENJAMIN GELBART, NIKOLAI VISHNEVSKY, STEVEN GANGESTAD, AND TED FARRIS! A SPECIAL THANKS TO MY PRODUCERS, YZAR WEHBE, JIM FRANK, ŁUKASZ STAFINIAK, TOM VANEGDOM, BERNARD HUGUENEY, CURTIS DIXON, BENEDIKT MUELLER, THOMAS TRUMBLE, KATHRINE AND PATRICK TOBIN, JONCARLO MONTENEGRO, AL NICK ORTIZ, NICK GOLDEN, AND CHRISTINE GLASS! AND TO MY EXECUTIVE PRODUCERS, MATTHEW LAVENDER, SERGIU CODREANU, BOGDAN KANIVETS, ROSEY, AND GREGORY HASTINGS!

Earlier this week, Jonathan Haidt joined us to discuss the crisis in youth mental health caused by smartphones and social media. Now he's back to talk solutions. ✉️ We launched a Substack! Check it out now at bookoftheday.nextbigideaclub.com

“Life is a game. There's no way to understand the human world without first understanding this. Everyone alive is playing a game whose hidden rules are built into us and that silently directs our thoughts, beliefs and actions. This game is inside us. It is us. We can't help but play.” So begins The Status Game by acclaimed science writer Will Storr. He continues: “We play for status, if only subtly, with every social interaction, every contribution we make to work, love or family life and every internet post. We play with how we dress, how we speak and what we believe. … Life is not a journey towards a perfect destination. It's a game that never ends. And it's the very worst of us.” Does it have to be? We may not be able to quit the status game, but Will says we can learn to play it better. In this episode, he explains how. (This conversation first aired in October 2022.)

One of my favourite writers, Will Storr, is on the show to explain the psychology behind virtue signalling, and how we try to be dominant, successful or virtuous to gain status within our tribes.  Get The Status Game here: https://www.amazon.co.uk/Status-Game-Will-Storr/dp/0008354634 Visit his website: http://willstorr.com  _____________ Visit ExpressVPN.com/HERETICS, and get three extra months for free! _____________ Get my book The Psychology of Secrets: https://amzn.to/3Wo5p7U  Listen to our extra content: http://andrewgold.locals.com  Andrew on X: https://twitter.com/andrewgold_ok  Insta: https://www.instagram.com/andrewgold_ok Heretics YouTube channel: https://www.youtube.com/@andrewgoldheretics Learn more about your ad choices. Visit megaphone.fm/adchoices

Public intoxication. Fraud. Larceny. What are the crimes Americans love to commit most?On this episode, petty crime expert Trevin Bartee returns to the show to guess the Top 10 Most Common Reasons Americans Get Arrested, according to FBI data from 2013-2022.PLUS... defining each cause of arrest, crime stats in America, our own personal experiences with crime, "I'm an egg!", incarceration rates, spanking a horse, and MUCH more.WATCH FULL VIDEO VERSION OF THIS EPISODE:https://youtu.be/YMaguY5WemU----------------------------------------------Hear more from Trevin on Live, Laugh, Larceny, a genre-bending comedy podcast that parodies true crime by telling real life petty crime stories like an over-the-top audio drama. Listen now at https://www.livelaughlarceny.com/listen----------------------------------------------Get EARLY, AD-FREE access to 10ish Podcast episodes (and bonus content!) on the new-and-improved 10ish Pod+. Now easier to sign up than ever, and listenable on all podcast apps (including Spotify): https://10ishpod.com/plusNEW EPISODE OF "THE BOOK BUSTER" PODCAST OUT NOW! Hear Dr. Buster's 10-minute review of "The Status Game: On Human Life and How to Play It: On Social Position and How We Use it" by Will Storr. Available exclusively for 10ish Pod+ members.----------------------------------------------NEWSLETTER: https://www.10ishpod.com/newsletterMERCH: https://www.10ishpod.com/merchTIKTOK: https://www.tiktok.com/@10ishpodYOUTUBE: https://www.youtube.com/10ishpodcastTWITTER: https://www.twitter.com/10ishpodINSTAGRAM: https://www.instagram.com/10ishpod----------------------------------------------Read a full transcript of this and all 10ish Podcast episodes at https://www.10ishpod.com/episodes.----------------------------------------------Become a supporter of this podcast: https://www.spreaker.com/podcast/10ish-podcast--5968552/support.

Do you struggle with perfectionism? Do you always feel that you are not achieving enough? Or doing enough? Or being enough?Feel Better Live More Bitesize is my weekly podcast for your mind, body, and heart. Each week I'll be featuring inspirational stories and practical tips from some of my former guests. Today's clip is from episode 354 of the podcast with award-winning journalist and author of the bestselling book ‘The Status Game', Will Storr.Will argues that as humans, we're programmed to compare ourselves to others – and to care about how we stack up.In this clip, we discuss why perfectionism is becoming a modern epidemic and how we can start to overcome it.Thanks to our sponsor https://www.drinkag1.com/livemoreSupport the podcast and enjoy Ad-Free episodes. Try FREE for 7 days on Apple Podcasts https://apple.co/feelbetterlivemore. For other podcast platforms go to https://fblm.supercast.com.Find out more about my NEW Journal here https://drchatterjee.com/journalShow notes and the full podcast are available at drchatterjee.com/354Follow me on instagram.com/drchatterjeeFollow me on facebook.com/DrChatterjeeFollow me on twitter.com/drchatterjeeuk DISCLAIMER: The content in the podcast and on this webpage is not intended to constitute or be a substitute for professional medical advice, diagnosis, or treatment. Always seek the advice of your doctor or other qualified health care provider with any questions you may have regarding a medical condition. Never disregard professional medical advice or delay in seeking it because of something you have heard on the podcast or on my website. Hosted on Acast. See acast.com/privacy for more information.

Thanks to this weeks sponsors: This is an advertisement from BetterHelp therapy online. BetterHelp online therapy. GO TO https://www.betterhelp.com/JRER for 10% off your first month www.JREreview.com For all marketing questions and inquiries: JRERmarketing@gmail.com This week we discuss Joe's podcast guests as always. Review Guest list: Bret Weinstein, Will Storr & Chris Williamson A portion of ALL our SPONSORSHIP proceeds goes to Justin Wren and his Fight for the Forgotten charity!! Go to Fight for the Forgotten to donate directly to this great cause. This commitment is for now and forever. They will ALWAYS get money as long as we run ads so we appreciate your support too as you listeners are the reason we can do this. Thanks! Stay safe.. Follow me on Instagram at www.instagram.com/joeroganexperiencereview Please email us here with any suggestions, comments and questions for future shows.. Joeroganexperiencereview@gmail.com Learn more about your ad choices. Visit podcastchoices.com/adchoices

Will Storr is a writer, journalist, and photographer. He is the author of several books, the most recent of which is "The Status Game: On Human Life and How to Play It." www.thescienceofstorytelling.com