100 books like A Technique for Producing Ideas

Wharton Marketing Professor Jonah Berger has spent decades researching what makes ideas spread and marketing go viral. The best idea and brand story with the right archetype won’t make a difference if it isn’t seen. With today’s fragmented media landscape, you need to know what makes something catch on and drives word-of-mouth to spread your story.

This book outlines 6 characteristics of what makes things catch on with social currency, triggers, emotion, public, practical value, and story. Understanding these factors helped improve my brand stories. Even social media advertising only buys an interruption. It doesn’t guarantee action and spread.

David Aaker is an American Marketing Association Hall of Fame member and innovator in marketing management and branding through research, teaching, and books.

This book is his insight on brand storytelling with inspiration from his daughter Jennifer Aaker and other’s research on the power of stories. Aaker explains that stories are powerful in communicating strategic messaging. He also explains that in a digital age where content is king, stories are the key to content.

I especially liked his explanation of the types of signature stories and examples of brand signature stories – including the L.L. Bean story in the very beginning.

This book is all about brand building and it was integral to my advertising copywriting days.

Mark and Pearson use Jung’s 12 archetypes to classify brands, consumer markets, and consumers. We used their system to help our clients identify brand meaning and archetype and then used that as the basis for establishing relationships with customers.

Knowing the brand archetype helped me know what type of character’s story to tell. Brand and story archetypes become a shortcut to letting an audience and prospective customer know your brand story is about their story.

Like discovering the hidden process for generating ideas, discovering the hidden power of curiosity unleashed my capabilities and improved my efforts.

Leslie explains that curiosity declines as we grow older and as technology increases. Both work against a sustained quest for understanding that leads to insight, innovations, and ideas. If you know this, you can nurture your desire to know and stay curious in a modern world where we can seemingly answer any question almost instantly.

This book opened my eyes to new possibilities illuminating new ways to become a more engaging brand storyteller. 

A well-written and dispassionate review of the US advertising scene, written by a journalist in the nineteen-fifties, might just sound like (ancient) advertising history. But when I first read this, it came as a massive revelation to me.

I realised that all the core concepts we’d been taught about advertising – propositions, reasons why, message recall, attention, and the rest – were nothing more than phrases spouted by some glib ad man of the past. And we don’t have to believe any of them unless we choose to.

As the title suggests, Williams’ book focuses on identifying the Moral Premise at the heart of your story idea and building around it. It’s a very thematic approach to storytelling. This Moral Premise essentially breaks the story into four components: a positive “virtue”, a negative “vice”, desirable consequences (success), and undesirable consequences (defeat). You can use this to create a simple structure of “Vice leads to undesirable consequences (defeat), while Virtue leads to desirable consequences (success)”. I'm admittedly oversimplifying it, but it's a great tactic to get to the heart of your story's theme and strengthen your narrative. 

This book is different. After a slew of books all pedaling the same material based on the dreaded Hollywood formula, it was really good to find something that bucked the trend. 

Truby focuses on morality in stories. He maintains that every story is actually a moral argument, and gives his practical steps for harnessing that morality and using it to create a strong story. 

I feel there is a lot to be said for this. The only real flaw is that there are actually twelve sensible bases for a story and although the moral argument is undeniably one of those that generates a strong story, it is important for writers to understand all of them.

Stories come alive when people tell them to each other.

In my mid-20s, I happened upon a weekly gathering in Toronto, “1001 Friday Nights of Storytelling.” In a former synagogue turned art school – with candlelight shining on works in progress – people told old tales, by heart and with heart. This was the beginning of many things in my life, and this is the community that folklorist Kay Stone has written about.

She shows that the Toronto storytelling circle is part of a worldwide movement. She talks with great storytellers and explores favourite stories with them. And she shares her own struggle with a witch story from Grimms’ Fairy Tales, and how, as she told it again and again, she changed the story and the story changed her.

Wild at Heart is my #1 favorite historical romance. Unfortunately, it is out of print. The writing is beautiful, the story heart-wrenching, and the heroine adventurous in a subtle way as she challenges those who are studying a man raised by wolves to view him not as an object but as a person. I found this story to be perfection. If you can find a copy, you won’t be disappointed.

While we would love to think we are always rational, we are hard-wired for story not the rational data (albeit key data can be a strong anchor in a story). I started my career far more in the assumption of rational data trumps all, but recognised, through bumps and bruises, how stories can overtake decision-making. When I learned how to tell a better story, I learned how to get the results I needed. Gabrielle is such a down-to-earth, energising speaker and writer, and this book provided me with such a practical, relatable framework for always having a good story or two in my back pocket.