GABRIEL GARC\u00cdA DE ORO is an alumnus of the EEC, where he has completed the Executive Copaching certification, the Team Coaching programme, among others... Gabriel holds a degree in Philosophy from the University of Barcelona, works as executive creative director & strategy advisor at Ogilvy Barcelona, and combines his profession with his work as a writer of children's and young adult literature, as well as non-fiction books. This Storycoaching Workshop is the result, in his own words, of the union of the world he has had inside him since he was a child (stories) and the learning he discovered at the EEC.<\/p>\n
1. You have just published a new book \"StoryCoaching Workshop. The power of stories at the service of personal growth\" (RBA, 2021). How does telling the story of our life help us?<\/strong><\/p>\n The starting point of Storycoaching Workshop is that we are stories, that we are made of stories. This means that when we remember the past, we tell it to ourselves in the form of a story. The present (who we are being today, here and now), we also tell ourselves in the form of a story and, most importantly, we project ourselves into the future in the form of a story. We can then use the techniques of those who know how to build a story that works to make our own story work. What needs to happen so that I can get closer to the ending I want? Am I at the beginning of this story (e.g. finding a new job, improving my relationship or developing my artistic side) or am I in the middle? Is this story already over and I am not able to leave it and move on? What to do? What kind of protagonist do I need to be? That's what we will put into practice in this book, in this workshop!<\/p>\n 2. In reality, we are all made of stories, of many stories at the same time. By telling them to each other, do we get to know each other a little better?<\/strong> <\/p>\n Well, in the end we are all a narrative universe. Thousands and thousands of stories that shape us. Some of these stories have had a result with which we are satisfied, others we are not. There are even some that are still there, pending. Moreover, as the narrative universes that we are, they sometimes merge and also collide with other narrative universes, with other people's stories. That said, when we are aware of what we are telling ourselves, what we want to tell ourselves and what we need to tell ourselves, it helps us to be more aware, of course, but above all it allows us to be protagonists and creators of our own stories. To design them and prepare ourselves to live the adventure. Then we stop being mere passive spectators and become... yes, protagonists, a beautiful word whose etymology means \"main fighter\". So that's it...<\/p>\n 3. In your book you encourage us to take a new notebook, to use it for the first time, with blank pages like the future that is about to be created, you tell us, and that to create is to believe and vice versa. Tell us how telling and writing are powerful tools to create a new life, to create that version of oneself that we want to become.<\/strong> <\/p>\n Writing is probably the closest thing we have to magic. And writing by hand already... It's as if we were writing spells, spells and sorceries with a wand. Or without the \"how\", after all, we invoke magical powers with words, in many cases written words. But apart from these other realities, there are studies that claim that writing helps us to put our ideas in order, to reduce stress... but also to connect with our emotions, to shed light on those parts that are not illuminated and that, for the moment, we are blind to. Writing, yes, is putting a mirror in front of us and, in this way, getting to know ourselves better... recognising ourselves better and acting on the basis of this knowledge and this recognition.<\/p>\n 4. In storytelling we discover our beliefs, the ones that expand our potentials and also the limiting ones... how do we address those limitations through storytelling?<\/strong><\/p>\n It all depends on what you are telling yourself and, more importantly, what I need to tell myself. Imagine that I think, I believe, that I am presenting badly in public. I'll tell you how I'm going to explain myself at the next meeting: I'm going to have a terrible time, I'm going to look bad in front of my colleagues and it's going to be hell. Whether consciously or not, I assure you that if I believe that, it's going to be very difficult for that presentation to go well. I'm going to enter the room badly, very badly. So, if I detect that in myself, I can tell myself something else. Obviously it's not about lying to oneself, but it's about finding a narrative that makes it possible for me instead of insisting on one that limits me. Let's say that from now on, I tell myself that I'm still not very good at presenting in public, but from now on I'm going to work to improve it and that each new presentation will be a new opportunity to learn and develop that ability that I don't have so far, but I will have. How do you think, then, that I'll go into the next presentation? With a desire to learn, to get better and better! That's the power of storytelling, it can change reality! Intervene in it. Enable us. This is the basis of the Storycoaching Workshop. To create is to believe... and vice versa.<\/p>\n 5. The stories in the new notebook act as a compass, a guide on which to draw the plans we want to achieve... Is there a recipe for structuring the stories?<\/strong><\/p>\n Well, this question is as simple as it is complicated. In the end, every story has an introduction, a middle and a denouement. That's it, that's all. What happens is that each of these parts has specific functions, \"they are there for a purpose\" and, above all, they advance the protagonist in a specific way. The magic of all this is that we know, perfectly well, for example, that the link between introduction and plot is the appearance of the antagonist, that is, that which opposes the protagonist. Without this opposition there is no story, without this obstacle the hero or heroine will not be able to live any story. What happens then? That we must be aware that the obstacles are the ones that will make us move forward. So, by seeing them as part of the story, by understanding their function, we will face these obstacles not as complications but as parts that we must pass through to get there. And the same goes for meaningful endings, the search for allies, the role of the mentor... Well, I'll stop or, I know me, I'll write the whole book here again ^__^.<\/p>\n 6. Emotions are linked to experiences, to stories, they can arouse joy or anger, to oneself and to the other, how do we make the story therapeutic?<\/strong><\/p>\n Emotions also take the form of history. Or rather, we understand them in the form of a story. Let me explain. Emotions are valuable information about what happens to us with what happens in the world. That information, that story, we can use it to our advantage or we can, as we often do, kill the messenger or decide not to listen to him or her. Big mistake! I give an example with an emotion that I like very much because it is the basis of philosophy. Boredom. Yes, what is the story of boredom? What does this emotion tell us about the world? Well, that there is nothing here for me and, therefore, I disconnect. This is what we experience when we experience the emotion of boredom. Understanding this is the possibility of asking ourselves powerful questions. For example, what am I doing here if there is nothing for me? Where is there something for me? Why am I not there? Can I go and look for it? Do I dare? What prevents me? This happens with anger, which tells us that an important boundary for me has been crossed and I feel unjustly treated. Very good, because we can value those limits that are important to us. And so we can go on with each and every emotion we experience.<\/p>\n 7. In your book you talk about the role played by archetypes, heroes,... do we need references to discover our talents, like hidden powers?<\/strong><\/p>\n To answer this question, let me rely on a great, Boris Cyrulnik, the creator of the concept of resilience. In his book Super(heroes): Why do we need them?<\/em>My heroes are made of my blood, we go through the same trials: abandonment, the malevolence of human beings and the injustice of societies. Their epics told me that it was possible to rise above tragic moments or an unhappy life. When they tell us of their misfortunes over which they have triumphed, our heroes show us the way\".<\/p>\n 8. You say that life is a team sport, that if you want to go far, it's better to be accompanied... Sometimes protagonists, sometimes secondary characters in other people's stories... do we also get to know each other better through other people's stories? <\/strong> <\/p>\n Of course it is! Besides, it's a humbling experience, I think. Because yes, of course, in my life I am the protagonist, but in the lives of others... What am I being? How does the other see me? Am I behaving like the hero I want to be or like a villain? After all, don't we all belong to a bigger story, a great common story? For me, these reflections make me think, think of others and try, above all things, to be kind, that is, to act as if I deserve to be loved. That is surely the great lesson I have learned from storytelling.<\/p>\n 9. Practising storytelling is like going on a journey of self-discovery, emotionally, physically and spiritually... and it takes you as far as you want to go. In your book you give us many exercises to fill our new notebook and make the journey... Can you recommend an easy and powerful exercise to start with?<\/strong><\/p>\n I will tell you the one I repeat and practice the most, which has to do with emotional connection. The secret of stories, of good stories, is that they connect with us on an emotional level. A story moves you, that is, it makes you move from one emotion to another. That is the etymology of moving. So, to achieve that effect, we must be able to connect with our own emotions. That said, in the Storycoaching workshops we do an exercise that is always... how shall I put it? Revealing. Very revealing. It is to think of an emotionally significant event in your life. That one. The one that has come to your mind. Don't dodge it. Don't rationalise it. Don't change it. That one. Write that one. You'll see that when you do, it will be a perfect story. It will have its introduction, middle, denouement, protagonists, settings, motivations and plot. That emotionally significant event, written from the heart, will touch the hearts of others. Why? Because it is sincere. Because we are all storytellers. What happens is that we don't know it yet. This exercise will prove it to you...<\/p>\n 10.Can you tell us about a case of change through stories that has been revealing to you?<\/strong><\/p>\n Well, certainly my case. When I discover my own purpose. When, as I quote in the book, I see that all the techniques I use to write stories for children I can use to write and live my own story in a more meaningful way... When I see this, everything changes. It all makes sense. Suddenly I am no longer a person who \"does a lot of things, but I am always doing the same thing. Encouraging the hopes and dreams of others through stories, through stories, through storytelling. Whether as a creative, as a writer, as a coach, as a parent! It's always the same, trying to inspire others through stories. That, of course, has changed my life.<\/p>\n 11. What learnings from the book are most relevant to your own way of living coaching?<\/strong><\/p>\n The starting point of Storycoaching Workshop is that we are stories, that we are made of stories. This means that when we remember the past, we tell it to ourselves in the form of a story. The present (who we are being today, here and now), we also tell ourselves in the form of a story and, most importantly, we project ourselves into the future in the form of a story. We can then use the techniques of those who know how to build a story that works to make our own story work. What needs to happen so that I can get closer to the ending I want? Am I at the beginning of this story (e.g. finding a new job, improving my relationship or developing my artistic side) or am I in the middle? Is this story already over and I am not able to leave it and move on? What to do? What kind of protagonist do I need to be?<\/p>\n 12.What tools from the book can be used in a coaching process?<\/strong><\/p>\n One of the great phrases that stayed with me during my certification process at the school was that Don't buy the coachee's story... which means that... well, that many times we tell ourselves stories that make it impossible for us and one of the coach's functions is to accompany the coachee so that they can tell themselves other kinds of things; things that make it possible for them... So, to detect those stories, a little awareness in the universe of Storytelling will certainly not be a bad thing for us. Because Storycoaching Workshop is just that, putting the tool of Storytelling at the service of the coaching process.<\/p>\n 13.At what point in the learning process as coaches might it be advisable to read it?<\/strong><\/p>\n Well, at any time, because it's a good tool to have in our coach's boot. We can certainly also use it for ourselves... Where am I in my own coaching history?<\/p>","protected":false},"excerpt":{"rendered":" GABRIEL GARC\u00cdA DE ORO is an alumnus of the EEC, where he has completed the Executive Copaching certification, the Team Coaching programme, among others... 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