Community Showcase: Theresa Francomacaro

Luis Malbas  
Hello, everybody. Thanks for joining us here are the training learning and development community. Thanks for joining sorry that we're having some technical issues. Theresa can't see me. I suspect no one else can see me either. And let's see if you can or if you can't just let us know the chat just so that I know because I have have been having a heck of a time with this platform lately. So hopefully, we'll be able to figure it out. They moved into a whole new different version. And so we've been having these issues, but I'm glad to see they're a bunch of people here. Let me just name off some of the folks that are joining us. Mugdha Bizzarri is here. Eva George Shelley is here. Nice to see you again. Shelly Nadia, Liliana Lopez and Spalding is here Misty, Mercedes pike. Lara. Diane Jones. Oh, and there's Trish W. Oh, you can't see me, Diane, great.

Speaker 2  
Can you say? No, I can't. So I'm wondering, can they see me? Maybe I just can't see you because we're backstage? I don't know.

Luis Malbas  
Kevin's saying it's all good. I guess they can see maybe the both of us. That's so bizarre. Okay. Well, this is something that I can take back to Crowdcast. And, and hopefully we'll see what happens. Maybe leave and

Speaker 2  
okay. They're saying they can see us both. So Wow. That's great. It's just I can't see you, Louise. All right, I can hear you. Excellent.

Luis Malbas  
Well, it since you can hear me I have a couple of questions, or I have like a bout 10 questions that I have to ask you or 10 there more than 10 questions, I think in there right now. Maybe somebody added some but, um, I know that I've had you on this broadcast a couple of times before, right. We've done another showcase. We found out a lot about you. When I came up with questions. I'm asking for things that are little bit more specific about your background. Okay, Theresa, it is always a pleasure to be able to talk to you You are so you know, just engaging and charming and wonderful to talk to and it's no surprise at all that you are somebody that specializes in story and can speak so well about about why story works, and business storytelling and all of that. So I have already pasted a couple links to two past videos that we've done together. One was, like I said, your Showcase. And then another one we did specifically about a storytelling event that we had done for TLT LDC?

Speaker 2  
Yes, yes. I got some great feedback from your members on that, by the way. Thank you so much.

Luis Malbas  
Yeah, yeah, absolutely. But let's start it out. Now I've got this first question, which is telling us more about your journey into l&d because it's interesting how you have this really, really, you have a background in facilitation and l&d but you also have this absolutely compelling background, in, in, in business storytelling. How did your background in program management, training coaching sales leadership? How did you get to this point?

Speaker 2  
Well, the we sat is a big question, right? So I'm sure like many of your audience members, if it's like a career that found me, and I'll reverse engineer this, if I may, briefly. I started out in the performing arts, nonprofit arts community, doing social issues, outreach theater for young people, using the arts as a vehicle to promote social change and healing. And I got a master's degree in performance from NYU, and I have my own theatre company for a while. But you know, like all people in the arts, and I'm sure you can relate, you have to have a side hustle, you have to have something that pays the bills. So I was always in sales. And a lot of times I was in sales management, Retail Management, retail sales, which, you know, I'm really glad that I'm not in retail sales anymore, because boy has retail changed. And many years ago, I was going back to work after being a stay at home mom for five years, and I went back to work in retail. And while I was in retail, I got hired immediately on the spot. And then my manager went off to another position. And she took me with her. And she's like, You need to be a sales trainer. I'm like, yeah, no. So for me, I got into training through retail sales, and I became an education executive for a fortune 500 company. And then I went on to another fortune 500 company and another one. And so every time I got into these companies, I would always end up doing training because either they didn't have a training department or the training department needed more customization. And so they would come to me like I was at a customer service team. and they had no trainer. And we needed it. And so I started building dreaming. So that's kind of what happened. And the way I tell people is, when I design a training, it's like I'm a playwright, because I'm a published author and playwright, my first play ran for five years, when I direct trainings, or do train the trainer sessions, that's like, I'm a director, when I create the whole encompasses meant, or in other words, the landscape, the project management, what we need to do from an infrastructure standpoint, then I become a producer. And then when I'm up there facilitating, then I'm an actress. So it's got all these different elements. And it all comes back to this role that I've started in ever since I was six years old. And I remember telling you that silly story of me on stage as the narrator, and Goldilocks and three bears when I had to, you know, bring the story back in alignment. And I've been telling stories ever since I've been using stories as a way to help people learn, and connect and sell their ideas, quite honestly. And that happens through stories.

Luis Malbas  
Wow. So but let me ask you this one. Um, the first thing that you'd mentioned, when I asked you started this question was you mentioned you had started teaching, the performing arts? That's what the you know, you started with education kind of first was that word all begin where you found the education then?

Speaker 2  
Yes, in fact, I was working for the New City Board of Education I'm doing like I said, social issues out which theater and I knew that as a performing artist, because I had my own theatre company at the time, doing educational theater and social issues, theater, especially for young people, and at risk youth was really aligned with my mission, which is to use stories as a way to help people get unstuck, to figure out who they are, to find a way to learn something new to change a past story or a past event. And so especially with my first play, which was called Family masks, which dealt with the struggle between the masked self and the real self, I knew that theater was a wonderful mechanism to help people learn. And that's really where my career started. And it's been going nonstop ever since in a way. But we had a big, big challenge about five years ago. Well, everybody did three years ago, but five years ago, I started why story works after the fortune 500 company I was with, eliminated our entire department mine included. And so I took my nice severance package and my health benefits. And I said, Okay, now's a great time to start out on my own. And then we were going along swimmingly in about 18 months in the pandemic hit, and I lost 90% of my revenue in 90 days. And so we had to pivot or perish. And so that's when we got to work on online trainings and email. How shall I say webinars and more the virtual format, which is how you and I met?

Luis Malbas  
Yes, yes, definitely. I mean, did you? Was it really, really different for you like moving into kind of forcing yourself to get into the virtual space? Oh, my God hoping the way that you did?

Speaker 2  
Yes. Oh, I'm sure your learners could agree. First off, digital is so different from in person. And I was so heavily invested in in person learning, and in person training, because I started out in the theater and theater is very different from television, as you know, or film. So it really was a mental mind shift. And then I had to find really awesome collaborators to help me with some of the technology, I'm not gonna lie to you. I needed to up my game, I needed to make PowerPoint presentations, make video content, everything I was doing from a webinar standpoint, really needed to be built from the ground up, because I didn't have that infrastructure. I was so used to training him in person, and collaborating with the team in person and working in person on site that I had to really learn new skills, like immediately.

Luis Malbas  
Yeah, yeah. So any specifics? Like what what about what what are some specifically some new skills that you learn that that that have really benefited you?

Speaker 2  
Well, I had to get really clear on how to collaborate virtually, as I'm sure all of us have in the last three years, right. So I had to learn zoom, I had to learn Trello, I had to learn slack. I had to learn Google share docs, I had to learn how to present on a virtual platform. I had to reach out to my community that I knew through in person networking and say, Well, how am I going to connect with somebody if I've never met them in person? And so I have friendships and people that I know you Were one of them that I've never met in person yet I've done several projects with them. So that digital that digital flexing was really and still continues to be hard. But I, you know, that's where I collaborate. I say No person is a, an island. And I do best when I work with a team. And that's what was so hard. Again, about the last three years, everything had to go in the cloud. So those virtual connections were so important. And then I had to learn how do I present? Virtually? Because, you know, it's very different, as you know, yeah, I can't see the audience. I don't know what they're thinking. A lot of times as a facilitator, I would catch what the audience was, was throwing my way through their eyesight, or their body language or their engagement. And so I had to find new ways to do that. And I'm still working on it. I mean, it's, it's still hard.

Luis Malbas  
Well, Teresa, I can say you've always been someone very to me, presentation wise, extremely engaging, you do a good job at it. So maybe you make it look easy. Now, there is something that stuck out to me when I was reading your profile about getting or getting the story straight. And that is, what that means and what it what it can mean for an individual or teams, you know, to make that to help them operate with clarity and purpose.

Speaker 2  
Yes, yes, it is so crucial. First off, when our stories aren't straight, we're out of alignment. So I would imagine, again, think of your audience, let's think of our audience right now that's on this, on this meeting right now, we've all been there, right? We've all had a training that maybe has gone a different way, or we're not quite sure what we're doing, or we've taken an assignment and we're like, I need the money. So I'm going to do it. And then it's wonky, and it doesn't quite fit. It's like wearing jeans that are two sizes too small, you can put them on, but they're not very comfortable. And so being out of alignment, that's what it is. And so I have developed this system, and I know you and I've spoken about it a lot. But those five neurological responses inherent in any good story, the fear, the love, the longing, the empathy and the action. And I talk about that every single time I go out there. And it means fleet, right. And if you don't want your audience to flee, or if you don't want to flee from yourself, like right away, you have to pay attention to the stories that are going on in your mind. And sometimes the story that's in your mind is not true. Just like what you said to me, you're like, Oh, well, Teresa, I never since you is not being able to participate in facilitating virtually. That's not something I see. But my internal company ahead. That story, that fear story is chattering away. So that's an example of being out of alignment and being hijacked by fear. And so that's a personal thing, the second part to your stories as a group or as a team, let's, I'll give you a simple sample of I was doing a training. I'm also a certified Dale Carnegie instructor, and I was doing facilitating an in person training. This was right in the middle of COVID, when they had a small little window where we could jump in there. And the training was just going off the rails. And I realized that the person in the audience who was giving me a hard time was out of alignment. They didn't like their job, they hated their job. And we could tell and they were trying to hijack the whole training, because they were out of alignment. So that internal story was you people don't deserve me, I need a better gig, but she was in that gig. So you know, understanding that, that what's happening from our participant level, sometimes as as as facilitators, we're not in charge of the whole story. We don't know the whole story half the time. We just need to be able to understand where the story is in that current moment, and then figure out a way to deliver what the audience needs to move forward. So I hope I answered your question. No,

Luis Malbas  
no, you did and I'm so curious about that the the whole Okay, so flee, right? That was the acronym. Right? You break that down, like give it some clarity for me like maybe another example of how maybe, like, say an instructional designer could potentially get the story straight using using that acronym.

Speaker 2  
Absolutely. In fact, I and I don't want to plug another company. I was on it, but you're members might find this interesting. I was on idle ID O L and yeah, with with Dr. Robin Sargent and she was asking the same thing. In fact, I'm going to be doing a training for them. And I DOL stands for instructional design online learning. And I think I probably didn't get the acronym right. But this idea of flee is understanding, where's your audience at any particular moment, and then design your training to help your audience be at ease, in other words, so they can pay attention, and they can get moving? So for example, if you're doing a new hire training, and you know, what's the first thing, any new hire training, a lot of times does? Do you know, what do they start off with?

Luis Malbas  
I don't know, why don't we ask the audience? Maybe we can get some.

Speaker 2  
So let's ask the audience. Open the chat audience, what are some of the things you see? Okay, we're gonna get into fleabites In a minute, I'll do that a little smaller. When you're doing a new hire training, a lot of times they'll start off with the company history, raise your hand or hit, you know, checkmark, if you if you know that that's true. We'll start off with the company history. Right. Okay. And or the company overview, right? And I'm sitting there thinking, well, a new hire, do they really care about the company history? The company overview, Louise? Do they really have a plan? Now? They're wanting love stories? They're wanting to know, did I make the right choice? What's the culture here? Do other people love it? What's my job going to be like, or I'm experiencing so much fear, I can't even focus. So if we think about the mnemonic, flee, F, when you have fear, you can't focus. Because cortisol is coursing all around your veins, and you can't get yourself organized. So you need to slow down and find a way to reduce some of that cortisol so your audience can focus. So fear happens when we're out of alignment. And fear elicits this cortisol, which can hijack our brains. And so then we can't think about anything, and we can't learn anything. So if your learners in fear, you've got to calm them down with stories that are going to eliminate the fear. So maybe you might tell a story or weave into your instructional design, especially in the very beginning for new hires, how other people have overcome fears, how what are some of your fears in joining us today? What What might you anticipate being what you need downstream to be successful in this position, and then maybe you sprinkle in some love stories. So that's the L inflate, love. And love releases dopamine, and dopamine is only in the body for about 90 seconds. So you might need to sprinkle some more dopamine stories in your journey as a learning designer, so that you can share the love, especially if you're feeling your audience is depleted. The other L is for longing, and that's the serotonin piece. So again, I'm reminded of, you know, learners are really stressed, there's a cognitive load, especially when we're dealing with the virtual space, people get back to back meetings. So maybe as an instructional designer, you need to schedule or train or put in there some serotonin stories, or just simply some silence, or some music, or some thinking and writing time, so your audience can catch their breath. So that's the longing, then there's the E with the empathy and empathy is that release of oxytocin. So as a facilitator or designer, if you know, your audience might be feeling other, or if you want to, let's say, Prop A leader up as being more engaging than maybe you tell some stories that will release oxytocin. And a lot of times those are failure stories. I hate to say it, but that's what happens. It's like, How can I overcome them? And they're like, oh, yeah, just just like me, she gets me. And then the last part of the mnemonic is a four action, and that releases adrenaline, and we know as l&d Folks, how many times have you done a training and the stakeholders are like, where's the ROI? And you have no idea because you're not tracking? The actions that are taken so many times is lnd. Folks will spend all our time on the event when we have to do pre work and post work. If it's all just about the event. intent, which is maybe three hours, how much learning transfer is going to happen in three hours, you need that practice, you need the time phased approach so that your actions can be repeated and repeated and repeated so it becomes part of your learner's DNA. So that's the way I take this idea of flee, fear, love, longing, empathy, and action, cortisol, dopamine, serotonin, oxytocin and adrenaline and weave it into instructional design. And it's my secret sauce. I talk a lot about it. I always talk about it. Some people get tired of me talking about it. I got published in a book recently called, what's it called anatomy of a book. If you want that it's on my website, you can go to Amazon, but there's a whole chapter on it. But I just explained it to you so long on that, but my apologies. Oh, no,

Luis Malbas  
no, not at all. The one thing that I hear when you talk about that is just how it's establishing connection. Yes, yes. And so And we've talked about it before. I know you've mentioned it before, and have helped other people understand it in broadcasts we've had before, but about how story establishes that connection?

Speaker 2  
It does, it does. Because stories activate emotion, and emotion propels action. So learning without action is just self vanity like l&d without action is a vanity project. Oh, great. PowerPoint. Oh, nice job, you know, you get those smile sheets at the end. And they're like, We loved her. Well, okay, great. But we're all gonna go back to the status quo, right? So sometimes you have to make your learner a little uncomfortable. And you kind of push them outside that comfort zone so that they do repeatable things, and maybe little micro movement moments or little mini modules that you can then measure with maybe even self selecting a survey, or how are you feeling about your, you know, onboarding experience in the first 90 days? What's happening, right? We can't just do love them and leave them.

Luis Malbas  
Right, right? Well, can you tell us a story about maybe, you know, a a challenge that you saw some leaders or a team's face? And how you using storytelling managed to help them overcome those challenges?

Speaker 2  
Sure, sure. So I can give you an example of one one simple example with a one on one and then one with a group. So I was doing an executive coaching session with a client whom I met through learner Palooza, which I'm sure a lot of your members understand are members of that's a learning and development community here in the Pacific Northwest. And I had done their trainings and been a coach for them for years. So she bought one of my Kickstarter story packages, which is you get 10 sessions and two hours of writing, and she wanted to up her game and get promoted and tell more stories. I'm like, great. Two weeks into it, Luis. She's like, I hate my job. Okay. She's like, I can't stand it, I need a new job. Because we started going down. What does she value? So another piece about the story is, we're hardwired for them. Humans love them. And we learn through them. And what we learn is, what we value that they convey, the values are really played through the stories we tell and the ones that we remember. So we got to work on helping her find a company that was in alignment with our values. We helped her change up her resume, we helped her with her LinkedIn profile, we helped with her headline, I helped her with her portfolio. I even gave her some ideas on how to do her virtual interview. And within three weeks, she had not one, not two, but three job offers making over six figures. And you know, she's she's happy. So that's the power story. When you really get in and you start digging in like, Oh, my God, I don't really like what I'm doing, or this isn't quite working. How can we get unstuck? What do we need to do? So that's a one on one. And that was a really great outcome. I had one that wasn't such great. People sometimes like to hear those two. Yeah. And I got news for you. It didn't turn out so well, because I think maybe I didn't. And this happened really early in my career. I'm gonna be very transparent when I was doing social issues, outreach theater for young people in New York City, and I had this mask workshop that I did that was dealing with this dynamics of chemical dependency in the family. We had all the roles seen in family systems theory. If we had the scapegoat, The Lost Child, the family hero, the chemically dependent the chief enabler, and that the the TN, the mascot and the team on site did not pre set or level set the expectations for the participants. And so I'm out there traipsing around with my masks. And I'm like, Okay, here's the activity, which I've done hundreds of times. And one young person in the room, took the mask off, threw it on the floor and said, Fu and walked out. And I'm like, Whoa, what, what just happened. And what happened was, as a trainer, I didn't make the on site facilitator, understand the emotional depth that we were going into, and the person in the audience was not set up for the expectations of what was coming at them. So as l&d Folks, you know, we've got to level set expectations. So people come in, and they know what's happening. We can't just throw them into something, otherwise, you're going to get pushback, you're gonna get people in the fear zone, and no learning happens in the fear zone. So that was a really tough lesson to learn. And I'm really glad that that happened, I feel horrible for the young person. But it was because I didn't, I didn't do my homework, really, and neither did the person who was bringing me in as a guest. And that happens, right? as facilitators, a lot of times, we're, if you're an on site facilitator getting brought in, to do work with a team, or even virtually, if you don't manage that team, you might not know that team. And so, you know, know your audience, know your audience, know your audience, it goes back to that human connection and knowing your audience, and where are they? And how can I deliver something that's going to help them not hurt them?

Luis Malbas  
Right, right. How important is it for us to all know, our own or have an individual story for ourselves to go through?

Speaker 2  
Wow, okay. I say not just one individual story you need to have. I mean, there's so many of them, right? You got to have, you know, who am I story? What, how do I get started, like your origin story, you got to be able to say, you know, I am a and I help people do x so that they can, that's a story in 20 seconds. So for example, I am a storyteller. I help leaders and learners tell great stories, so they can impact their audience to deliver on point in on purpose. You know, that's just a simple little 20 minute story. So people like, Oh, tell me more. And you've got to have stories in your tool belt that you can pop out at any time, especially when you're sensing the audience needs to shift. I say it's like story wardrobing. You know what I mean by that? No, go ahead. Okay. So you're a pretty sharp, snappy dresser, right? Even though I can't see you, I recall that from the times we've been together,

Luis Malbas  
rebroadcast. But go ahead.

Speaker 2  
Anyways, to a point where, let's say, because I spent years in retail, and fashion and cosmetics and beauty, and I think that's everything, there's a cell except vehicles, cars. But anyway, sometimes you need a reboot or refresh of your story like it's outdated. You're not going to be wearing you know, skinny jeans, if they're out, you know, you need to know when to move on, from a story when to edit that story. Or maybe you just catalog it for another day. Because it's not quite serving you now. I tell people, there are three golden rules to story be real, be relevant. Be brief, by God, please be brief.

Luis Malbas  
Yeah, yeah. I'm just wondering, because I have so you know, they're a good part of the CLBC audience, especially in the last couple of years have been teachers that have, you know, have shifted over to instructional design. And, you know, and, and, and that is a huge part of what I do. And what I love doing is hearing about people's stories, but it's feels like, we tend to sort of just discover them as we have these conversations and showcases like this, but I'm just wondering, career wise, how beneficial it would be to have some of those stories in your story bag, as well as, as a facilitator, being able to, to pull some of those out to help establish those connections with your audience, like, whenever the need comes up. And is, is that something that you do at all or?

Speaker 2  
Oh, absolutely, absolutely. Like I said, I've got my fleet. I got my fleet back right fear, love, longing, empathy and action and I take those five emotions and I bucket store Marie's in each one of those five buckets, and I tried to have three stories for each bucket, and I tried to tell a story no more than two minutes or less. And I teach people how to do that. And like I said, Fear stories sometimes can be overcoming adversity. I have a love story about how I fell in love with my husband, or how I fell in love with my job or how I didn't fall in love with it, right? I mean, you can tell a story about anything. The point is, you need to connect the dots for the learner. So if you just tell a story to just tell a story, then again, it's a vanity project, right? So your story has to have a point. You have to tell people what you want them to think feel and or do differently as a result of the story you're telling.

Luis Malbas  
Have you ever run into somebody who's just like, ah, oh, my stories are boring. I can't come up with something, you know. Oh, yeah. Yeah, people

Speaker 2  
tell me that all the time. Here's my classic one that people say, oh, you know, Teresa. Oh, I'm not in the rear view. I am a forward thinker. I have a growth mindset. And I'm like, Hey, good for you. And what happened to you today? That is story worthy. There's a great book that I'm reading right now by Matthew Dix. It's called story worthy. He's awesome. If you haven't read that book, I highly recommend it. He's like a moth Grand Slam winner so many times. And you know, he's also an educator. He's, I think he's a third grade teacher. Plus, he has his own business called story worthy. Anyway, Matthew talks about at the end of each night, he does instead a lot of people do gratitude journals. He does a story journal, he'll drop down three mini little moments that happened to him throughout the day, that may be a story worthy moment, and he doesn't write it all out. He'll just put like, dog rain underwear, and then he'll know all that's the story about how I got caught in the rain walking my dog in my underwear. And it's a funny story that he can then catalog and put that emotional response to it depending on what the audience needs to hear. He can make a love story for your story and action story adrenaline story serotonin strike, it really depends on what he needs in that moment of pain attention.

Luis Malbas  
Oh, I love it. It reminds me of I used to go to songwriting conferences and learn ones from somebody that instead of trying to write a song about this whole, you know, experience that you had just pick 30 seconds from that experience, and write about just that. And, um, yeah, that Yeah, well,

Speaker 2  
you gotta it's like the image I like to think of, it's like, skipping stones, right? You could skip this down, like, right, you take a small little rock, and it skips over. Or you could take a boulder and go deep. So again, depending on where your audience is, you might need to go deep, or you might just need to sprinkle it in. Usually, in the beginning of a training, I'm not going deep, you know, I'm gonna wait for a little while. But you do need to be specific. This is a T, as I say, all the time specific is terrific. You don't want to be so specific that your audience is like poking their eyeballs out saying how does this relate to me? But you want to be specific enough that you can give those examples kind of like what you're doing right now with these questions, right? Yeah, I love it, that the specificity is what's going to drive the story. And you have to have a structure to it. So you don't want to just get up there and be like, well, you know, let me tell you a story about a man named Jim. On and on, and people like, Oh, my God, I can study in this to get me out of here. So yeah, there's a formula to it. There's a two minute formula that I teach people how to do and there's there's a video of that on my website as well.

Luis Malbas  
Love it. Okay, got. I've got a couple more questions that I can ask you. I was just thinking about those, those folks that you know, that might have problems with coming up with a story or don't think that they're worthy. But how do you you talk about flipping that internal script? Yeah. How do you you know, can you share an example? How do you how you've helped somebody with that?

Speaker 2  
Yes. Well, I had a, again, this is an executive coaching client that I had through learner Palooza we were doing, helping her with her job search, job search optimization, and she had recently been let go from a fortune 500 company. So she was feeling really low, like, oh my god, do I have any worth? Is there any worth to me at all? And so we had to really reverse engineer and build up her self confidence again, so that she felt that she was worthy because sometimes it's the stories we tell ourselves that stick us in a place that is not so healthy. And one way, you know a simple technique you can use. If you're wondering how the heck am I going to tell the story? I have no good stories. I would invite everybody right now on this on this community in this community right now, to look in your physical space and find an object just find any old object that speaks to you. I'm going to find one right now. Okay, so find an object. Okay. You know me, you know, we, Louise, I always do something interactive. And I started telling stories. Yeah. So. So here's an object that I just found that was sitting on my desk. Can you see it? Yep, yep. It's a heart. So now I can use this heart to tell a story. If I'm having a hard time, right. Coming up with something, I could say, you know, the last three years have been really hard on my heart. And I know they've been hard on a lot of people's hearts. We've had to shutter our businesses, we've had to pivot, our intentions, we've lost our learners in the physical world, we're just now coming back. We some of us have lost our jobs, we don't know what's next. And I'm saying don't give up your heart. The world needs trainers and facilitators and instructional designers that have heart, it's probably the most important thing you will ever do, which is to keep your heart open, and to keep receiving and giving that love to your learners. Because we need it. It's been a hard couple of years. So that's a quick example of a simple little story that I could tell to my audience based upon an object.

Luis Malbas  
Oh, I love it. Teresa, that is wonderful. Thank you so much for doing that I, you know, just listening to that I will one I'm gonna probably clip that and share that like, you know, on LinkedIn or whatever just this is wrapped up. And and actually, I think I'm gonna end it right there. Because that is a great way to, to end this conversation. And Teresa, I would love to be able to work again with you and continue to,

Speaker 2  
oh, let's do it. You just you just raised the hand, say the word, I will be there. I love this community. And I love training. When I train, I am in my lane that I know and can't see or hear you. Kevin Cochrane says he cannot see or hear. So I don't know what that's all about.

Luis Malbas  
Oops. Yeah. And relatively new, because I you know, and I wanted to mention that because I know that, Theresa, you were in it. Well, just for the folks that came in a little late. Theresa actually can't see me and you're doing an absolutely amazing job. Theresa was staring at the camera at somebody that you can't see. And remaining engaging and, and fantastic. So so thank you for that. Okay, Cindy saying it dropped out for a minute. And she had to Okay.

Speaker 2  
Okay, so a little refresh. Okay, so that's good, you know, technology. And again, this is this is what's so hard sometimes about the virtual space, we're missing that human connection. We're staring at these little boxes, and these little white dots and unlike, share the love baby, share the love, right? Those connections are so important. And that's going to happen in stories. And so, as instructional designers, we need to, to keep telling stories and tell real relevant, brief stories. And if you want help with that, or you've got an instructional design that you're working on, and you're not sure where to add the stories of put in the stories, reach out to me, I met Teresa at y storyworks.com. I offer a compliment weary 20 minute initial coaching session, I've got a chunk outline on my website, you can download, you can do you know practice sessions, if you want with me, you got a TED talk you're working on and help somebody do that. So just know that you've got this everybody's got a story. And your story is the differentiator that's the only thing you have. That's gonna make you a stand out. Facilitator that's different from the rest. So trust it, lean into it. You got this.

Luis Malbas  
I love it. Thank you so much, Teresa. I pasted your website link in the chats for anybody that that is interested in. And I can vouch for Teresa. She is absolutely wonderful. And you know, maybe I'll be reaching out to you soon, Teresa. I'm actually looking to get some voice lessons, but I wouldn't mind some story lessons as well.

Speaker 2  
Oh, my gosh, Louise, you're on my calendar. You can go on there. Hit the Calendly link and find me. Let's do it. I want to help you. All right. Okay.

Luis Malbas  
Thanks, everybody. Sorry about the technical issues. Hopefully I'll get this figured out with crowd KitKat Crowdcast or I'm going to be looking for a new platform soon just to make sure we can have some content Send broadcast. But with that wrapping it up. Don't forget on Friday we are meeting with Bobby Lucy Vernon, who is going to be talking about the spamming of credentials, which is something that she's coming up with credentials maybe aren't as valuable as they used to be with some of these some organizations that are coming up with certificates and things that that aren't that great. So join us for that on Friday. And with that, I'm going to go ahead and close it out. See you later, Theresa. Thanks again for putting up with it.

Speaker 2  
Oh, I love it. It's my pleasure. Keep sharing the love keep sharing the love next

Transcribed by https://otter.ai

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