I don’t really get to watch WWE any more. But I remain committed to the idea that it’s not as dumb as it looks, and I’m incredibly fascinated by the sports entertainment industry. I’d recommend reading Grantland’s the Masked Man, like I do every time I write about how WWE isn’t completely trashy. It holds the attention of boys and men (and girls and women, but men are its main audience) from all over the world. It uses storytelling. Or rather, it is storytelling. Preachers, communicators, and would-be storytellers can learn from the guys between the ropes, but we can also learn from the guys who are helping us see the in-ring action as part of a story.
Not all WWE storylines are good. Some are putrid. Some are inane. I’m not here to defend the content of these stories, but the mode is fascinating. Vince McMahon is the all-powerful owner of the WWE, he grew up in the industry and transformed it from a regional circus into a multi-national media business. So he knows his stuff. His handbook of rules for announcers who call the matches on TV have leaked recently, and I think they’re a fun insight into storytelling in a multi-media environment, and where small narratives happen as part of a larger story, and a larger universe. Just like preaching. When we pick a passage from a part of the Bible, featuring certain characters in the Bible, these characters relate to the whole story of the Bible in some way, and it pays to think about how.
I’ve summarised the good bits of advice under these headings. These combine various points, everything here is either a quote or a paraphrase from the document. I think following rules like this, but applying them to the context of other stories, will make a person a better storyteller/preacher/communicator. I think it’s mostly evident how this works with telling the Bible’s story, which is ultimately about the ultimate superstar — Jesus.
- Announcers are NOT THE STARS.
It’s not about them, it’s about the Superstars. The Announcer’s job is to enhance the SUPERSTARS stories. To help our fans learn more about their characters and develop emotional attachments to them. - Announcers are fans!
We need to be fans and enjoy the product and ask questions that fans would ask. Manufactured passion is the kiss of death. Have fun. If you don’t like this, why should anyone else? - Tell the audience something they are not thinking. And don’t tell them what to think.
It adds another dimension to the story. Everyone hates being told what to think. No one cares about what you are thinking. Avoid words like “obviously”, “I tell you”, “no doubt.” Engage the audience, ask provocative questions rather than telling them what to think. - Listen to yourself, and others.
“An announcer should critique themselves. They should always watch a replay of their shows. They should be their own worst, most nit-picky critics. Listen to other announcers and styles. We are always learning.” - Always go back a little in your story telling.
Take 30 seconds to set the stage before diving into a discussion. Not everyone knows who or what you are talking about. - Personalise this story for us.
Make us care. What’s the emotional story behind this match? When using a hold description of name it never hurts to succinctly explain why the hold works and what it does to the afflicted one’s body or body part. Other human beings can feel pain and can live vicariously through what they see in the ring. Always ask yourself, why is this hold or manoeuvre effective? - Once the match is over — what does this mean?
What are the consequences? What’s next for this superstar. - Think about delivery, have your delivery be shaped by what you’re talking about
Use intensity levels in telling the story of a match — you have high spots too! Tone and inflection are more important than volume. Lower your voice and use hushed tones when talking about something serious. Use more breathing room with transitions, particularly when something is emotional. Don’t scream. Be conversational. Slow down. - Prepare.
Read lots. Know the characters. Know how this story fits in their stories. Be totally familiar with each segment and what the bottom line message is to “get over” in each segment that we work. Dig for more information to enhance storytelling. The use of topical info as analogies and examples is effective if not forced. Be aware of major international events and be sensitive to those people in those areas. Don’t inadvertently insult them and others by using language that could be hurtful. - Use words that build the story.
The words you choose are important. They can build or bury someone. Think about your vocab. Have a list of synonyms that can be used for all the major categories we address for a specific talent. Such as good guy terms like courage, character, etc. Bad guy terms like evil, dangerous… there are many words that will fill the bill without using the same ones time and time again on a weekly basis. The goal is to make each superstar elicit an emotional reaction and investment from the viewer so that the viewer is compelled to tune in next week. Use descriptive adjectives. Enhance characters — describe their physical, emotional, and mental state. Avoid insider words, meaningless words and cliches. Maybe have a list of words to avoid. Keep comments and observations believable and plausible. - Never read copy.
Always internalise it. Tell the story in your own words. Be yourself. You should not use verbiage written by a Producer. Our audience can always tell when an Announcer is reading and it is a total disconnect. Take the suggested verbiage and make it your own words. Try this. Read the copy, turn the page over, and tell me what you’re supposed to be conveying.