Understanding Narrative Transportation Using NotebookLM

In a previous post I discussed Embracing Narrative Transportation as a way to enhance the impact of your personal stories. And while I enjoy writing articles about storytelling, I’ve been exploring AI (Artificial Intelligence) to broaden my research capabilities.

I have to say, it’s amazing to watch these Chatbots in action. They are fast, and comprehensive in their reach, but they don’t replace humans as they still don’t have human experiences that we have, but they are able to locate and analyze information faster than any human.

So I decided to see what some of the latest chatbots had to say about the topic of Narrative Transportation with regards to crafting impactful personal stories. In part two, I asked NotebookLM what it thought. While it’s a long article, if you have an interest in AI, it’s an interesting read.

Input:

As Google’s NotebookLM queries the sources that have been uploaded to a specific notebook, I added 42 sources that discussed some aspect of narrative transportation. Then I asked 8 questions, which are listed in the following text, along with the output from NotebookLM

Output:

Here’s what NotebookLM had to say:

Overview

The provided texts collectively explore the multifaceted nature and impact of narrative. Monika Fludernik‘s work offers a comprehensive introduction to narratology, defining narrative elements and theoretical frameworks for understanding storytelling across various media. Lisa Libby and Melanie Green examine the psychological phenomenon of narrative transportation, investigating how engagement with stories influences beliefs, attitudes, and self-perception, even in the face of conflicting information.

Helenq Bilandzic focuses on measuring narrative engagement, identifying its components and relationship to concepts like identification. Martin Payne’s “Narrative Therapy” discusses the application of storytelling principles in therapeutic contexts, emphasizing the power of personal narratives in shaping identity and facilitating change. Finally, Lucas Bietti and Kurt Braddock, along with Michael Dahlstrom and William Buchanan, investigate the adaptive functions of storytelling and the persuasive effects of narrative on beliefs and cognitive processes like recall and comprehension, highlighting the immersive “experience” of transportation into a story world.

Questions

(1) What are the core components and definitions of Narrative Transportation as described in the provided documents?

Narrative transportation is an experiential state of immersion in which all mental processes are concentrated on the events occurring in the narrative. It’s the process that enables narrative persuasion, occurring when a person becomes so immersed in a story that they feel as if they are truly experiencing it.

Here are some core components and definitions of narrative transportation as described in the sources:

    • Definition: Narrative transportation is defined as a convergent mental process where all mental systems and capacities become focused on events occurring in the narrative. It involves individuals becoming absorbed into a story world. This psychological state varies depending on the text or media product, the recipient, the situation, and interactions between these factors.
  • Key Components: Several key cognitive and emotional components contribute to narrative transportation:
    • Focused Attention: Receivers become so focused on the story that they do not think about distractions in their environment. A high level of focus or attention to the narrative is considered a necessary but not sufficient condition for transportation.
    • Emotional Engagement (including Empathy): There is a strong emotional response to the story with empathy for the characters. Transportation involves empathy, where story receivers try to understand the experience of a story character, knowing and feeling the world in the same way.
    • Mental Imagery: Receivers have a mental image of the story in their heads or try to predict what might happen in the future of the story. Story receivers generate vivid images of the story plot, feeling as though they are experiencing the events themselves.
    • Cognitive Detachment from Reality (Suspended Reality/Loss of Access to the External World): When transported, story receivers lose track of reality in a physiological sense. They mentally leave the real world behind and become entirely focused on the story world, although recent perspectives emphasize this is a dynamic process. This also includes a lack of awareness of surroundings.
  • Related Concepts and Distinctions:
    • Narrative transportation is distinct from a narrative itself, which is an antecedent of narrative transportation. Narratives are defined as a connected series of events that typically include the actions and experiences of one or more protagonists that are causally related.
    • While similar to other experiential constructs like absorption, flow, and immersion, narrative transportation has specific characteristics. Absorption is a personality trait, while transportation is temporary. Flow is more general, while transportation specifically entails empathy and mental imagery. Immersion is more related to aesthetic and visual elements, whereas transportation relies on a story with plot and characters. Identification emphasizes involvement with characters, while transportation concerns involvement with the entire narrative.
  • Outcomes: Narrative transportation can lead to several outcomes:
    • Belief and Attitude Shift: Transportation can influence receivers’ beliefs, attitudes, intentions, and behaviors, aligning them with the story’s content.
    • Reduced Counterarguing: When engrossed in a narrative, the receiver is less likely to challenge the story’s content.
    • Story-consistent beliefs and favorable evaluations of protagonists.
  • Factors Influencing Transportation: The degree of transportation depends on various factors related to the story (e.g., narrativity, quality, coherence, characters), the recipient (e.g., transportability, need for affect), the medium, and the situation. Narrativity, which includes content dimensions and structural features like a sequence of causally related events unfolding over time, contributes to transportation by enabling an easy flow of comprehension.

In essence, narrative transportation is a psychological state of deep engagement with a story, involving focus, emotion, imagination, and a temporary detachment from the real world, which can subsequently influence beliefs and attitudes.

(2) According to these documents, what factors contribute to or hinder an individual’s experience of Narrative Transportation?

According to the documents, several factors contribute to or hinder an individual’s experience of Narrative Transportation. These factors can be broadly categorized into story characteristics, recipient traits and individual differences, situational factors, and medium characteristics.

  1. Story/Narrative Characteristics: These are features inherent to the narrative itself that can influence how easily a person becomes transported.
  • Narrativity and Literariness: Stories with high narrativity, meaning they include protagonists with goals, ensuing conflicts, and follow canonical affective trajectories, tend to elicit stronger narrative transportation. Well-crafted, high-quality narratives are generally more transporting. Literariness can also contribute to transportation.
  • Coherence: A story that provides clear and sensible links between story events, character actions, and other elements is more transporting.
  • Character Development:Well-developed characters contribute to higher transportation. Identifiable characters, where the story receiver can clearly pinpoint the personas, facilitate transportation by allowing for vicarious experience of beliefs and emotions.
  • Emotional Intensity and Range: Stories with a greater emotional range or intensity can be more transporting.
  • Suspense and Dramatic Tension: The presence of suspense or dramatic tension can increase transportation.
  • Psychological Realism (Believability):Even in fantasy settings, the plot and characters should be plausible and act like real people to enhance transportation. Narratives that lack verisimilitude (realism or the appearance of being true) tend to be less transporting. However, this realism refers more to psychological realism than literal similarity to the real world.
  • Clarity and Ease of Comprehension: Narratives that are easy to read and understand facilitate transportation. Conversely, written narratives that are difficult to read, understand, or imagine tend to be less transporting.
  • Vividness and Detail: Rich detail may make stories more transporting. Stories containing rich, concrete imagery can increase levels of transportation.
  • Novelty: Foregrounding in a narrative can increase perceived novelty, potentially contributing to transportation.
  • Story Line Appeal and Quality of Production: These are suggested as important text factors influencing transportation.
  • Unobtrusiveness of Persuasive Subtext: When persuasive messages are presented subtly, transportation may be higher.
  • Similarity of Characters with the Self (Homophily): Characters who are similar to the reader can increase transportation. Personally relevant stories also tend to be more transporting.
  • Narrative Perspective: While third-person perspective stories can be transporting, there is some evidence that the first-person perspective might be particularly effective.
  • Coherence of Narrative Elements: A series of interrelated events that constitute a developed narrative, where the reader relies on the author, and the author relies on the reader’s ability to interpret, contributes to the experience.
  • Causal Information: Information that is part of the causal chain of the story may lead to greater engagement.
  1. Recipient Traits and Individual Differences: These are characteristics of the individual reading or experiencing the narrative.
  • Transportability: This is a generalized tendency toward being transported by a narrative. Individuals high in transportability are more likely to become transported. This trait involves subdimensions like suspense/curiosity propensity, emotional engageability, and ease of accepting fictional worlds.
  • Need for Affect: Individuals with a higher need for affect (a tendency to avoid emotion-inducing situations) are more likely to be transported into narratives.
  • Imaginative Engagement: A higher capacity for imaginative engagement is linked to increased transportation.
  • Narrative Comprehension Ability: How well a person understands the story, characters, and conflicts can affect transportability.
  • Tendencies Toward Mental Imagery Production: Individuals who are better able to imagine the events and characters in a narrative are more likely to be transported. However, individuals with a low ability to generate vivid mental imagery might be more transported by visual media like films than by texts.
  • Tendency Toward Emotional Responding: Individuals with a greater tendency toward emotional responding may have higher transportability.
  • Prior Knowledge: Familiarity with a story topic can increase transportation. Prior knowledge that makes it easier to understand and connect with characters can also make transportation more likely. However, if personal experience contradicts the story, transportation can be disrupted as individuals may adopt a critical mode of processing.
  • Attention: Paying attention to a story is a prerequisite for transportation.
  • Self-Concept Accessibility: The level of accessibility of an individual’s self-concepts upon entering a narrative world can influence experience-taking, which is related to transportation. High self-concept accessibility did not appear to increase distraction or reduce absorption but was associated with lower levels of experience-taking.
  • Literary Expertise: Readers with literary expertise may process texts differently due to their memory representations, including genre expectations.
  • Demographic Factors: Some research suggests that younger individuals and females may experience more narrative transportation. Education level has also been linked to transportation.
  1. Situational Factors: These are elements of the environment or context in which the narrative is experienced.
  • Pre-Narrative Instructions: Instructions given to readers or viewers before engaging with the narrative can affect transportation. For example, instructions to relax and enjoy the narrative can increase transportation, while instructions to focus on surface aspects like grammar can decrease it.
  • Prior Expectations (e.g., Reviews): Positive expectations created by prior positive reviews of a story can encourage greater transportation. Conversely, negative reviews might hinder it.
  • Distraction and Cognitive Load: Anything that distracts the individual or increases cognitive load can interfere with transportation.
  • Co-viewing: The presence and reactions of other people while experiencing a narrative (e.g., watching a movie) can influence transportation and its effects.
  1. Medium Characteristics: The format in which the narrative is presented can also play a role.
  • Type of Medium: Different media (e.g., written, audio, video, virtual reality) can influence the extent of narrative transportation. For example, virtual reality stories may evoke stronger physiological responses.
  • Features of the Medium: Elements such as music in video narratives can affect transportation. The sensory capabilities of a medium (e.g., VR haptic interfaces) can influence how stories can be told and experienced.
  • Visual Narrativity: For visual narratives, the presence of setting, a focal actor, and elements for viewer resonance contribute to visual narrative transportation.

It’s important to note that these factors can interact with each other, and the experience of narrative transportation is often a dynamic process that can fluctuate over time.

(3) How does Narrative Transportation, as explained in these texts, affect an audience’s beliefs, attitudes, and emotions in relation to a story?

Narrative Transportation, as explained in these texts, significantly affects an audience’s beliefs, attitudes, and emotions in relation to a story by immersing them in the narrative world, leading to various psychological and persuasive outcomes. This immersion, characterized by focused attention, emotional engagement, and vivid mental imagery, has several key effects:

  1. Belief Change:
  • Reduced Counterarguing: When individuals are transported into a narrative, they are often less likely to critically evaluate the information presented and may have a reduced tendency to counterargue claims made in the story. This can lead to the acceptance of story-consistent beliefs.
  • Perceived Realism: Higher levels of transportation can lead story receivers to perceive the story and its plot as more realistic and truthful, even if they know it is fictional. This perception of truthfulness can then prompt them to adopt story-consistent beliefs.
  • Influence of Characters’ Beliefs: Strong feelings and connections formed with story characters during transportation can enhance the influence of those characters’ experiences and beliefs on the audience’s own beliefs.
  • Memory Reinforcement: The mental imagery formed during transportation can be recalled later, potentially re-evoking the original communication and reinforcing story-relevant beliefs over time.
  • Generalization of Lessons: Audiences tend to generalize lessons learned from transported narratives and apply them to real-life situations, even if the stories focus on specific individuals and events.
  • Causal Information Acceptance: Information presented at causal locations within a narrative tends to be perceived as more truthful regarding the real world, and this effect can persist over time.
  1. Attitude Change:
  • Favorable Evaluations: Transportation can lead to more positive feelings and evaluations of sympathetic characters within the narrative.
  • Story-Consistent Attitudes: The engrossing experience of narrative transportation can result in more positive attitudes towards the story itself and story-consistent attitudes toward the experiences described within it.
  • Mediation by Affect and Cognition: Narrative transportation can cause both affective (emotional) and cognitive responses, which in turn mediate changes in attitudes. Higher transportation is associated with increased story-consistent affective responses and narrative thoughts, and decreased critical thoughts.
  • Persuasion: Narrative transportation is a key mechanism of narrative persuasion, influencing changes in consumers’ attitudes and intentions. Individuals more transported into narratives often show more positive attitudes towards related topics, such as products or social policies.
  • Reduced Resistance: Stories, particularly when transporting, can be less threatening than direct persuasive messages, helping to overcome resistance to attitude change.
  1. Emotional Impact:
  • Emotional Engagement: Transportation inherently involves emotional engagement with the narrative. Transporting narratives are effective partly because they evoke emotions.
  • Vicarious Experience: Through transportation, audience members can vicariously experience the emotions of the characters, leading to emotional responses aligned with the narrative events.
  • Emotional Flow: The pattern of emotional experiences throughout a story, including shifts in emotional tone and the creation and resolution of suspense, can help maintain audience interest and increase transportation.
  • Intensity of Response: Greater levels of narrative transportation can cause story receivers to perceive the story as more realistic, leading to more intense and story-consistent emotional responses.
  • Connection to Characters: Emotional connections formed with characters during transportation contribute to the overall emotional impact of the story.

In summary, Narrative Transportation acts as a powerful process that allows audiences to become deeply involved in a story world. This immersion reduces critical processing, enhances emotional engagement, and fosters connections with characters and the narrative, ultimately leading to shifts in their beliefs, attitudes, and emotional states that are often consistent with the story’s content and implications. This effect is distinct from more analytical forms of persuasion.

(4) Based on the uploaded documents, what are the key principles of Narrative Transportation that can be applied to crafting impactful personal stories?

Based on the uploaded documents and our conversation history, several key principles of Narrative Transportation can be applied to crafting impactful personal stories:

  • Narrative Quality and Coherence: A well-crafted personal story should have a clear and logical flow of events. The connections between different parts of the story, including cause-and-effect relationships, should be sensible and easy to follow. Ensuring that the actions and motivations of the storyteller (and any other characters involved) are consistent will enhance the coherence.
  • High Narrativity: Personal stories should possess strong narrativity, which encompasses both the content (the sequence of events and the individuals involved) and the discourse (how the story is told using literary devices). A compelling personal story will have identifiable elements of a story, such as a beginning, rising action, climax, falling action, and resolution (even if implicit).
  • Vivid Imagery: To facilitate transportation, a personal story should incorporate rich and descriptive language that allows the audience to form vivid mental images of the events, settings, and people involved. Engaging sensory details (what was seen, heard, felt, etc.) can significantly enhance this aspect.
  • Emotional Engagement: Impactful personal stories evoke emotions in the audience. Sharing your own genuine emotions and describing events in a way that resonates emotionally with listeners or readers is crucial. The emotional arc of your story, including moments of tension, joy, sadness, or reflection, can contribute to greater transportation.
  • Focused Attention: A well-crafted personal story will capture and maintain the audience’s attention. This can be achieved through compelling plot points, intriguing details, and a pace that keeps the audience engaged without overwhelming them.
  • Identifiable Characters (Especially Yourself): Even in a personal story where you are the central figure, making yourself relatable and allowing the audience to understand your experiences and emotions will foster empathy and connection. Sharing your inner thoughts, motivations, and vulnerabilities can help the audience identify with you.
  • Psychological Realism: While personal stories are factual, presenting them in a way that feels psychologically plausible – where the emotions and reactions feel genuine and understandable – can enhance transportation. Even when recounting unusual events, grounding the narrative in relatable human experiences is important.
  • Personal Relevance and Similarity: When crafting a personal story, consider how it might resonate with your intended audience. Highlighting themes, experiences, or emotions that the audience can relate to or find relevant to their own lives can increase their level of transportation. Similarities between the storyteller and the audience can also lead to higher levels of transportation.
  • Perspective: While not explicitly stated as a necessity, using the first-person perspective (“I”) in a personal story can naturally enhance the feeling of direct experience and foster a closer connection between the storyteller and the audience, potentially increasing transportation.

By thoughtfully applying these principles, individuals can craft personal stories that are not just accounts of events, but immersive experiences that can affect an audience’s beliefs, attitudes, and emotions, making the stories more impactful and memorable.

(5) What narrative elements or techniques, identified in these documents, are most effective in fostering Narrative Transportation in personal storytelling?

Based on the uploaded documents and our conversation history, several narrative elements and techniques are identified as being most effective in fostering Narrative Transportation in personal storytelling:

  • Coherence and Narrative Quality: A personal story that flows logically, with clear connections between events, character actions, and other elements, is more likely to be transporting. When the cause-and-effect links are sensible, the audience can more easily become immersed.
  • Strong Narrativity: This involves both the what (narrative content – the sequence of events and characters) and the how (narrative discourse – the literary devices used to tell the story). A well-defined sequence of events with relatable characters provides a foundation for transportation.
  • Vivid Mental Imagery: Using rich and descriptive language that appeals to the senses helps the audience create mental images of the story world and events, a key component of transportation. Concrete details and sensory information make the story more engaging and immersive.
  • Emotional Engagement:Stories that evoke genuine emotions in the audience are more transporting. Sharing your own emotions authentically and describing experiences in an emotionally resonant way allows the audience to connect with the story on a deeper level. The emotional arc of the story, including moments of suspense, joy, or reflection, also plays a crucial role.
  • Focused Attention: While the storyteller primarily influences this through the above elements, crafting a story that captures and holds the audience’s attention is vital for transportation. Avoiding unnecessary digressions and maintaining a compelling pace can aid in this.
  • Identifiable Characters (Especially the Teller): Making yourself and any other individuals in your personal story relatable and understandable fosters empathy and identification, which are closely linked to transportation. Sharing thoughts, feelings, and motivations can help the audience connect with your experience.
  • Psychological Realism: Even when recounting extraordinary personal events, grounding the story in believable human psychology – ensuring that actions and reactions feel plausible – enhances transportation. The audience should be able to understand the characters’ (including your own) motivations and emotional states.
  • Personal Relevance and Similarity: When the audience perceives the personal story as relevant to their own lives or identifies similarities between themselves and the storyteller or the situation, transportation is more likely. Highlighting universal themes or relatable experiences can bridge this gap.
  • Perspective (First-Person):While not explicitly stated as a definitive rule in the sources, using the first-person perspective (“I”) in personal storytelling naturally creates a sense of immediacy and direct experience, potentially drawing the audience more directly into your narrative and fostering transportation.

In essence, crafting impactful personal stories that foster Narrative Transportation involves telling a well-structured and coherent story with vivid details that evoke emotions, allowing the audience to connect with the storyteller and experience the narrative in a way that feels real and relevant to them.

(6) Are there any limitations or potential drawbacks of relying on Narrative Transportation to create impactful personal stories, according to these sources?

Based on the uploaded documents and our conversation history, there are several limitations or potential drawbacks of relying on Narrative Transportation to create impactful personal stories:

  • Distraction by Irrelevant Details: While vivid details are crucial for transportation, an overabundance of them, or details that are irrelevant to the main point of the personal story, can be a significant drawback. These details might obscure the relevant elements of the story and detract from the intended impact. Listeners or readers could become focused on less important aspects, potentially missing the core message or the intended emotional or attitudinal shift.
  • Potential for Misinterpretation and Misapplication: If the audience becomes highly transported but fixates on tangential similarities between the story and their own lives, they might draw incorrect or unintended conclusions. This “distraction by details” could lead to decisions or perspectives that are not aligned with the storyteller’s intention.
  • Risk of Perceived Manipulation: If a personal story is perceived as being overly crafted or manipulative in its attempt to induce transportation, it could backfire. Audiences might become aware of the persuasive intent, which can lead to increased skepticism and reduced effectiveness of the story. The sincerity and authenticity often expected in personal stories are crucial to avoid this perception.
  • Ethical Considerations: Depending on the content of the personal story, high levels of transportation could raise ethical concerns. For instance, if the story inadvertently normalizes or glorifies harmful behaviors, a transported audience might be more susceptible to these negative implications. Accuracy, potential for manipulation, and the portrayal of oneself and others with respect are important ethical considerations.
  • Focus on the Story Over the Message: The very elements that make a personal story highly transporting – engaging plot, vivid characters, and emotional resonance – might overshadow the specific belief, attitude, or behavior the storyteller intends to influence. The audience might remember the story and their emotional experience but not necessarily internalize the intended lesson or perspective.
  • Individual Differences in Transportability: Not everyone is equally susceptible to narrative transportation. Factors like “transportability” (a person’s general tendency to become absorbed in narratives), prior experiences, and the situational context can influence how deeply someone is transported. Therefore, a personal story that is highly transporting for one person might have less impact on another.
  • The Role of Critical Thinking: While transportation often reduces counterarguing, if the personal story contains inconsistencies or elements that strongly contradict the audience’s existing knowledge or beliefs, high transportation might not entirely suppress critical thinking. Instead, these inconsistencies might disrupt transportation and reduce the story’s impact.

In summary, while Narrative Transportation is a powerful tool for crafting impactful personal stories, storytellers need to be mindful of the potential for distraction through details, the risk of appearing manipulative, ethical implications, the possibility of the story overshadowing the message, and individual differences in audience responses. Carefully balancing the elements that foster transportation with a clear focus on the intended message and maintaining authenticity are key to mitigating these potential drawbacks.

(7) Can you identify any examples or case studies of successful personal storytelling within these documents that illustrate the principles of Narrative Transportation?

Based on the uploaded documents, there aren’t explicit, detailed examples or case studies of successful personal storytelling that are thoroughly analyzed to illustrate the specific principles of Narrative Transportation we have discussed. While the sources touch upon the power of narratives and their persuasive effects, the emphasis is often on broader categories of stories, such as public narratives, fictional narratives used in research, or the use of autobiographical storytelling in therapeutic contexts without specific examples dissected for their Narrative Transportation elements.

However, we can infer some potential examples and connect them to the principles based on the information provided:

  • The “Shopping Trolley Soldier (John Mulligan)” mentioned in: This is referred to as a dramatic example of someone benefiting from writing therapy. While the specifics of Mulligan’s story and its telling are not detailed, its effectiveness in resolving emotional issues suggests that it likely employed several principles of Narrative Transportation. For example, to have a “dramatic” impact, the story likely had a degree of narrative quality and coherence, presented events in a way that evoked emotional engagement, and perhaps allowed for some level of identification or psychological realism for the reader to connect with Mulligan’s experiences. However, without more details, this remains an inferred example.
  • The use of autobiographical stories in therapy described in: The text outlines how clients can be asked to choose significant autobiographical stories and clarify them through writing and discussion. The potential for these stories to be “helpful” and for clients to gain insights about their lives by reflecting on their own narratives suggests that when these stories are shared (even if primarily with a therapist), they can be impactful. For Narrative Transportation to occur in this context, the client’s ability to articulate their experiences with coherence, including vivid details of memories, and to convey the emotional significance of these events would likely be crucial. The therapist’s questions to help clarify the story could also enhance these elements. Again, no specific story is provided as a case study.
  • Stories used in health communication research: While not strictly “personal” storytelling in the sense of an individual sharing their own life story, the reference to using storytelling strategies in health messages and the example of a video story about cervical cancer screening having positive effects implies that well-crafted narratives, even if based on others’ experiences or fictionalized for a purpose, can be impactful. These stories likely leverage principles like narrative quality, emotional engagement (perhaps through relatable characters), and the potential for identification to achieve their persuasive goals.

In summary, while the documents highlight the importance and effects of narratives, they do not offer specific, detailed examples of successful personal storytelling that are then explicitly analyzed to showcase how principles of Narrative Transportation were employed. We can infer that instances of impactful storytelling, whether in therapy or health communication, likely benefited from these principles, but the sources do not provide the detailed case studies requested.

(8) How do the different terms provided (Narrative Transportation Theory, Narrative Theory, Transportation Theory, and Narratology) relate to or differ from each other within the context of these documents?

Based on the provided documents and our conversation history, here’s how the different terms relate to or differ from each other:

  • Narrative Theory is the broadest term, encompassing a wide range of approaches to texts that are considered to be, partially or wholly, narrative. It is described as a set of approaches to understand, analyze, and evaluate narratives across various forms, including texts, images, spectacles, and events. Narrative theory draws upon various disciplines like linguistics, semiotics, psychology, and cultural studies to study the forms, functions, and effects of narrative.
  • Narratology is a specific branch or discipline within Narrative Theory. It is often referred to as the theory or science of narrative. Narratology aims to develop systematic frameworks and tools for analyzing narrative structures, elements (like story and discourse), and categories. The sources indicate that narratology has its roots in structuralism and has evolved into various schools of thought and approaches, including classical and postclassical narratologies. Mieke Bal defines narratology as “the ensemble of theories of narratives, narrative texts, images, spectacles, events; cultural artifacts that ‘tell a story'”.
  • Transportation Theory (also referred to as Narrative Transportation Theory) is a psychological theory that focuses specifically on the experience of being immersed or “transported” into a narrative world. This theory examines the cognitive and emotional processes involved when individuals become highly engaged with a story, experiencing a sense of “going into” the narrative world. Key aspects of transportation include focused attention, imagery, and emotional engagement.
  • The relationship between Narrative Theory and Narratology is that narratology is a core component of narrative theory. While narrative theory is the overarching field of study, narratology provides many of the analytical tools, concepts, and frameworks used within this field to understand how narratives function.
  • Narrative Transportation Theory is a specific theory within the broader field of Narrative Theory, but it comes primarily from psychology and communication studies rather than literary studies, which have historically been central to narratology. While narratology might analyze the structural features of a story, Narrative Transportation Theory focuses on the psychological impact of engaging with that story, particularly its ability to transport the audience and potentially lead to persuasion.
  • Transportation Theory and Narrative Transportation Theory appear to be used interchangeably in the provided sources. Both terms refer to the same psychological construct of being immersed in a narrative.

In simpler terms:

  • Think of Narrative Theory as the entire field of studying stories.
  • Narratology is a key set of theories and methods within narrative theory, focusing on the structure and workings of narratives.
  • Narrative Transportation Theory (or Transportation Theory) is a specific psychological theory within narrative theory that explains how people become immersed in stories and the effects of this immersion, such as persuasion.

Therefore, while all these terms relate to the study of narrative, they operate at different levels of generality and come from different disciplinary perspectives. Narratology offers tools for analyzing narratives, while Narrative Transportation Theory explains a particular psychological experience of engaging with narratives.

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Understanding Narrative Transportation Using Manus AI

In my last post I talked about Embracing Narrative Transportation as a way to enhance the impact of your personal stories. And while I enjoy writing articles about storytelling, I’ve also been exploring AI (Artificial Intelligence) as a way to broaden my research capabilities.

I have to say, it’s amazing to watch these Chatbots in action. They are fast, and comprehensive in their reach, but they don’t replace humans as they still don’t have human experiences that we have, but they are able to locate and analyze information faster than any human.

So I decided to see what some of the latest chatbots had to say about the topic of Narrative Transportation with regards to crafting impactful personal stories. In part one, I asked Manus AI what it thought. Below is the prompt that I used, its initial response, and the output it generated. Warning, it’s a long article, but should you have an interest in AI, it’s an interesting read

Prompt:

I’m trying to understand the topic of Narrative Transportation in depth, as it relates to storytelling in general, but more specifically, how we can use Narrative Transportation to create impactful personal narratives.

Response:

I’ll help you understand Narrative Transportation in depth, both in general storytelling and specifically for creating impactful personal narratives. I’ll research this topic thoroughly and provide you with comprehensive information. Let me get started right away./em>

Output:

Here’s what Manus AI had to say:

Understanding Narrative Transportation: Creating Impactful Personal Narratives

Introduction

Narrative transportation is a powerful psychological phenomenon that occurs when individuals become completely immersed in a story. This comprehensive guide explores the concept of narrative transportation, its application in storytelling, and specifically how it can be leveraged to create impactful personal narratives. By understanding the mechanisms of narrative transportation and implementing specific techniques, you can craft personal narratives that deeply engage audiences, foster connections, and potentially transform beliefs and attitudes.

Part I: Understanding Narrative Transportation

The Concept of Narrative Transportation

Narrative transportation refers to the psychological experience of being completely immersed in a story. When a person is transported into a narrative, they become absorbed cognitively, emotionally, and in the imagery of the story, regardless of the medium (print, film, podcasts, video games, etc.).
The concept was first formally defined by Richard Gerrig in his 1993 book “Experiencing Narrative Worlds,” where he used travel as a metaphor for reading. He described it as a state in which the reader—referred to as the traveler—becomes detached from their original reality due to deep engagement with the story.
Melanie Green and Timothy Brock later expanded on this idea, describing narrative transportation as “a distinct mental process, an integrative melding of attention, imagery, and feelings.” They conceptualized it as the experience of being carried away by a narrative.

Key Features of Narrative Transportation

  1. Focused attention – Receivers become so focused on the story they do not think about distractions in their environment
  2. Emotional Engagement – There is a strong emotional response to the story with empathy for the characters
  3. Mental Imagery – Receivers have a mental image of the story in their heads or try to predict what might happen in the future of the story
  4. Cognitive Detachment from Reality – Receivers feel like they are really in the story and not in their real-world environment
  5. Belief and Attitude Shift – Narrative transportation can influence receivers’ beliefs, attitudes, and behaviors, aligning them with the story’s content
  6. Reduced Counterarguing – When transported, the receiver is less likely to challenge the story’s content
  7. Long-term Efficacy – The receiver is impacted even after the story ends, affecting long-term behavior and attitude change

Psychological Mechanisms of Narrative Transportation

Reduced Counterarguing

Transporting stories create a more open, accepting mindset for individuals. When readers are transported in an entertaining narrative, they may not want to interrupt their enjoyment to argue with the story. This reduced counterarguing can occur even when the persuasive intent is obvious.

Connections with Characters

Audience members may:

  • See themselves in story characters
  • Come to see characters as friends
  • Admire the characters

Through these connections, audiences may change their attitudes and beliefs to align with those of narrative characters. Identification with and liking of story characters has been shown to increase the adoption of beliefs advocated by the character.

Mental Imagery

The transportation-imagery model highlights the role of visual imagery in transportation-based belief change. The experience of being transported into a story links vivid images with beliefs implied by the story. This connection between images and beliefs may be one basis for the power of narrative persuasion.

Emotional Engagement

Stories are particularly powerful when they evoke strong emotions. The pattern of emotional experience that occurs as readers progress through a story (emotional flow) can help maintain interest, particularly for longer narratives.

Reminding Readers of Personal Experiences

Stories can prompt self-examination and change by reminding readers of experiences in their own lives that relate to those in the narrative. Individuals who are more immersed in a story show greater generalization of the beliefs implied by the story, but additionally, whether the story brings to mind events from the readers’ real lives seems to be important in determining narrative impact.

Factors Affecting Narrative Transportation

Audience Factors:

  • World view (e.g., pro-environmental)
  • Prior knowledge and experience
  • Attitudes and beliefs
  • Empathy
  • Political ideology
  • Religiosity
  • Transportability (individual tendency to become immersed)
  • Need for affect (enjoyment of emotional experiences)
  • Need for cognition (enjoyment of thinking)

Story Factors:

  • Fiction vs nonfiction
  • First-person vs third-person
  • Well-developed characters
  • Intent of character
  • Personally relevant stories
  • Stories that stay engaging
  • Coherence and structure
  • Emotional intensity
  • Suspense and dramatic tension
  • Psychological realism
  • Cultural appropriateness

Part II: Narrative Transportation in Personal Narratives

Unique Aspects of Personal Narratives

Personal narratives differ from fictional narratives in several key ways when it comes to narrative transportation:

Authenticity and Vulnerability

  1. Authenticity as a Bridge: In personal narratives, authenticity serves as a bridge between the storyteller’s world and the audience’s. When authors share their genuine experiences, emotions, and vulnerabilities, they create a unique connection that can be more immediate than in fictional narratives.
  2. Vulnerability Creates Intimacy: Personal narratives that expose vulnerability create a level of intimacy that fictional narratives may struggle to achieve. Research by Hagmann et al. (2024) found that “self-revealing personal narratives create vulnerability by exposing the speaker to others’ negative judgment.” This vulnerability signals authenticity and honesty to listeners, increasing trust and connection.
  3. Real-life Consequences: Unlike fictional narratives, personal narratives carry real-life consequences for the storyteller, which can heighten the audience’s emotional investment. The willingness to incur potential interpersonal costs through self-disclosure signals that the speaker values honesty.

Identification and Social Identity

  1. Shared Experience Identification: In personal narratives, identification often occurs through shared experiences rather than character traits. Research on patient identification in cancer narratives found that shared experiences can create powerful connections regardless of demographic differences.
  2. Social Identity Influence: Personal narratives can activate social identities that influence transportation. According to social identity theory, perceived risk to a patient’s identity increases identification with salient social groups who possess a similar identity.
  3. Transportability Across Divides: Personal narratives have shown the ability to build trust across ideological divides. Research has found that people judge ideological opponents as more trustworthy when opposing opinions are expressed through a self-revealing personal narrative than through either data or stories about third parties.

Mechanisms of Narrative Transportation in Personal Narratives

Personalization and Intimacy

  1. Personalization Effect: Research suggests that personal narratives create a sense of “personalness” that drives effectiveness. Personalness is defined as “the level of intimacy delivered when narrating an experience, or the capability of eliciting a sense of intimacy with the ‘other.'”
  2. <Mental Representation: This sense of intimacy motivates engagement with the content and enables the mental representation of the narrative (narrative transportation), consequently increasing the likelihood of accepting the recommendation or message.

Self-Related Control Beliefs

  1. Empowerment Through Transportation: Research has found that “narratives in both written text and video form with protagonists displaying high versus low self-efficacy can, at least temporarily, affect recipients’ own self-related control beliefs when they experience strong transportation into the stories.”
  2. Mediation Through Transportation and Identification: The effect of narrative manipulation on self-related control beliefs was mediated by experienced transportation and identification, suggesting that personal narratives that facilitate transportation can influence how readers view their own capabilities.

Reduced Counterarguing in Personal Contexts

  1. Disarming Effect: Personal narratives may reduce counterarguing more effectively than fictional narratives because questioning someone’s lived experience can seem inappropriate or insensitive.
  2. Trust Building: Research has found that “trust does not suffer when explanations grounded in self-revealing personal narratives are augmented with data, suggesting that our results are not driven by quantitative aversion.”

Impact of Personal Narratives

Building Trust and Changing Beliefs

  1. Trust Across Differences: Personal narratives have shown the ability to build trust across ideological divides. People are more willing to collaborate with ideological opponents who support their views by embedding data in a self-revealing personal narrative, rather than relying on data-only explanations.
  2. Changing Health Behaviors: Research has found that “identification with the main character in the vignettes was a significant predictor of intentions to participate in cancer research, but only when the mediating role of narrative transportation was considered.”
  3. Self-Concept Changes: Personal narratives can influence how readers view themselves. Research has demonstrated that stories featuring strong protagonists who display high self-efficacy can increase recipients’ own self-related control beliefs when they are highly transported into the stories.

Profound Connections with Audiences

  1. Solace and Belonging: Stories that expose the raw, unfiltered emotions of their creators have the power to resonate with readers in a way that is impossible to replicate. In our own struggles and triumphs, we recognize a reflection of ourselves, and it’s in those moments that we find solace, encouragement, and a sense of belonging.
  2. Shared Human Experience: Personal narratives remind us that we are not alone in our experiences. They create a sense of shared humanity that can be particularly powerful for individuals facing challenges or difficult situations.

Part III: Techniques for Creating Impactful Personal Narratives

Structural Techniques

1. Clear Narrative Structure

A well-structured personal narrative guides readers through your emotional journey with ease. The basic structure includes:

  • Beginning: Establish your core idea and hook your readers
  • Middle: Develop your central idea using descriptive language to define your story, setting, characters, and plot
  • End: Summarize lessons learned, relate your core theme back to readers’ lives, and include a call to action

The ABCDE storytelling framework (from Anne Lamott’s book “Bird by Bird”) provides an excellent structure:

  • Action: Drop the reader right into the action. No need to “set the scene.”
  • Background: Once you have the reader’s attention, tell them why it matters.
  • Development: Build the story up. Where is the story going? What’s at risk?
  • Climax: This is the tipping point. The “aha!” The “oh no!” The “SURPRISE!”
  • Ending: Explain what it was all for. What was the lesson?

2. Start with a Strong Hook

Begin your personal narrative with something that immediately captures attention. This could be:
  • A surprising statement
  • A vivid scene
  • A provocative question
  • A moment of tension
The hook should relate to the core message of your narrative and give readers a reason to keep reading.

3. Focus on Transformation

Personal narratives are most impactful when they demonstrate transformation. Structure your narrative around:
  • Who you were before
  • The challenge or catalyst for change
  • The process of transformation
  • Who you became as a result
  • What this means for the reader

Emotional Connection Techniques

1. Vulnerability and Authenticity

The most powerful element in a personal narrative is the emotional connection you establish with readers. To create this:

  • Be honest and open about how experiences have impacted you
  • Include all relevant details, even embarrassing or painful ones
  • Share your feelings as well as your pain
  • Never be afraid to show vulnerability—this gives readers permission to accept their own
  • Write from a foundation of authenticity rather than trying to persuade or sell ideas

2. Descriptive Language and Sensory Details

Use descriptive language to paint a vivid picture in your reader’s mind:

  • Help readers visually experience colors and shapes
  • Create sensations of temperature, texture, and physical feelings
  • Incorporate scents, tastes, and sounds
  • Use all five senses to connect with readers’ emotions
  • Don’t limit your narrative to a sequence of causes and effects

3. Emotional Flow

The pattern of emotional experience throughout your narrative helps maintain interest:

  • Create and then resolve suspense about outcomes
  • Include changes in emotional tone across the course of the story
  • Balance difficult emotions with moments of insight or relief
  • Build emotional intensity toward key realizations
  • End with emotional resolution that feels satisfying

Connection with Readers

1. Make the Reader the Main Character

Your story isn’t really about you—the reader is the main character. To achieve this:

  • Have clarity around why your personal story is interesting to the READER
  • Connect your perspective with universal truths
  • Ask yourself: What’s the problem you want the reader to solve?
  • Consider: What’s the realization you want the reader to have?
  • Focus on: What’s the obstacle you want to help the reader overcome?

2. Identify the Takeaway

The takeaway explains why your story is important and creates a deeper emotional tie with the reader:

  • Connect your experience to something bigger
  • Identify the universal truth at play
  • Clarify what your experience says about you, life, or the world
  • Determine if your story is about frustration, injustice, loyalty, hope, etc.
  • Make the connection between your story and the message explicit

3. Relevance to Reader’s Life

Make your personal narrative relevant to readers’ lives:

  • Give readers a “heads up” so they can avoid pain you experienced
  • Provide relief if they’re currently going through a similar experience
  • Show how your lessons apply to their situations
  • Create points of similarity between your experience and theirs
  • Focus on shared human experiences that transcend specific circumstances

Finding Story-Worthy Material

1. Daily Reflection Practice

Use the “Homework for Life” framework (from Matthew Dicks’ book “Storyworthy”):

  • Take five minutes daily to reflect on your day
  • Ask: If you had to tell a story from today, what would it be?
  • Write one sentence about it
  • Look for difficult times, moments of growth, and proud or awkward experiences
  • Create two columns: date and story

2. Identify Emotional Significance

Pay attention to events that leave a strong impression:

  • What moments do you replay in your mind?
  • What makes you uncomfortable?
  • What reveals your vulnerability?
  • What forces you to confess a character flaw?
  • What challenges your core beliefs about yourself?

3. Choose Meaningful Experiences

Select experiences that have been transformational:

  • Events that caused you to rethink or reconsider your point of view
  • Circumstances that resulted in personal or professional growth
  • Painful situations that forced you to change your beliefs
  • Unique life experiences that taught you important lessons
  • Moments where you overcame adversity

Refinement Techniques

1. Editing and Revision

After completing your first draft:
  • Edit for grammar, spelling, and punctuation errors
  • Add any extra details you may have forgotten
  • Remove irrelevant information that doesn’t serve the core message
  • Ensure transitions between sections are smooth
  • Check that your narrative has a clear beginning, middle, and end

2. Seek Feedback

Get perspective from others:

  • Ask friends or family members to read your narrative
  • Be clear about what kind of feedback you’re looking for
  • Listen to their responses without taking criticism personally
  • Consider whether readers connect with your story as intended
  • Revise based on feedback to improve clarity and impact

3. Maintain an Enjoyable Process

While writing a personal narrative can be emotionally challenging:

  • Have fun with the process
  • Relax and tell your story naturally
  • Remember that the more relaxed you are, the more authentic your narrative will feel
  • View the process as potentially therapeutic and liberating
  • Recognize that sharing your story can benefit both you and your readers

Part IV: Practical Applications of Personal Narratives

Therapeutic and Personal Growth

Personal narratives can be used for:

  • Processing difficult experiences
  • Gaining clarity about life events
  • Discovering patterns in your behavior or thinking
  • Building self-awareness
  • Creating meaning from challenging circumstances

Professional and Leadership Contexts

Personal narratives are valuable in:

  • Building trust with teams or clients
  • Demonstrating values in action
  • Illustrating problem-solving approaches
  • Creating connection in professional relationships
  • Establishing credibility through lived experience

Educational and Inspirational Purposes

Share personal narratives to:

  • Teach important life lessons
  • Inspire others facing similar challenges
  • Provide practical guidance based on experience
  • Create empathy for different perspectives
  • Motivate positive change in others

Part V: A Framework for Applying Narrative Transportation in Personal Narratives

Step 1: Understand Your Purpose

Before crafting your personal narrative, clarify:
  • What you want to achieve with your story
  • Who your audience is
  • What change you hope to inspire
  • What beliefs or attitudes you want to influence
  • What emotional response you want to evoke

Step 2: Select the Right Experience

Choose an experience that:
  • Has transformed you in some way
  • Contains universal themes or lessons
  • Evokes strong emotions
  • Demonstrates vulnerability and authenticity
  • Has clear stakes and consequences

Step 3: Structure for Maximum Impact

Organize your narrative to:
  • Begin with a compelling hook
  • Establish context and background
  • Build tension through challenges and obstacles
  • Reach a climactic moment of realization or change
  • Resolve with reflection and meaning-making

Step 4: Enhance Transportation Elements

Deliberately incorporate elements that facilitate transportation:

  • Rich sensory details to create mental imagery
  • Emotional authenticity to create connection
  • Vulnerability to build trust
  • Universal themes to create relevance
  • Transformation to inspire hope

Step 5: Connect to the Reader

Make your narrative relevant by:

  • Explicitly stating the takeaway or lesson
  • Connecting your experience to broader human experiences
  • Addressing how your story might help the reader
  • Creating points of similarity between your journey and theirs
  • Inviting the reader to reflect on their own experiences

Step 6: Refine and Test

Improve your narrative by:

  • Getting feedback from trusted readers
  • Assessing whether it creates the intended emotional response
  • Checking if the core message is clear
  • Ensuring the narrative flows smoothly
  • Confirming that it feels authentic and honest

Conclusion

Narrative transportation offers a powerful framework for understanding how stories captivate us and influence our beliefs, attitudes, and behaviors. By applying the principles of narrative transportation to personal narratives, you can create stories that not only engage readers but potentially transform them.

Personal narratives have unique strengths in creating transportation through authenticity, vulnerability, and shared human experience. When crafted with intention and skill, they can build trust, foster connection, and inspire change in ways that other forms of communication cannot.

The techniques outlined in this guide provide practical approaches to enhancing narrative transportation in your personal stories. By focusing on structure, emotional connection, reader relevance, and meaningful content, you can create personal narratives that transport readers into your experiences and leave lasting impressions.

Whether you’re writing for personal growth, professional development, or to inspire others, understanding narrative transportation will help you craft more impactful personal narratives that resonate deeply with your audience.

References

  • Gerrig, R. J. (1993). Experiencing narrative worlds: On the psychological activities of reading.
  • Green, M. C., & Brock, T. C. (2000). The role of transportation in the persuasiveness of public narratives.
  • Hagmann, D., Ho, E. H., & Loewenstein, G. (2024). Personal narratives build trust.
  • Isberner, M. B., Richter, T., Schreiner, C., Eisenbach, Y., Sommer, C., & Appel, M. (2020). Empowering stories: Transportation into narratives with strong protagonists increases self-related control beliefs.
  • Lamott, A. (1994). Bird by Bird: Some Instructions on Writing and Life.
  • Neil, J. M., Gough, A., Kee, F., George, T. J., Pufahl, J., & Krieger, J. L. (2020). The influence of patient identification and narrative transportation on intentions to participate in cancer research.
  • Strange, J. J., & Leung, C. C. (1999). How anecdotal accounts in news and in fiction can influence judgments of a social problem’s urgency, causes, and cures.
  • Valenzuela, A., & Galli, L. (2024). The personalization effect: How personal narratives drive electronic word-of-mouth effectiveness.
  • Van Laer, T., De Ruyter, K., Visconti, L. M., & Wetzels, M. (2014). The extended transportation-imagery model: A meta-analysis of the antecedents and consequences of consumers’ narrative transportation.

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Embracing Narrative Transportation

We’ve all had the experience of being pulled into a story — fiction or nonfiction — to the point where the rest of the world seems to fade away. Reading books and watching movies are common examples, but this phenomenon also occurs when we’re watching a play, listening to a podcast or watching a public speaker delivering a talk stage. In each case, we’ll experience the storyteller’s story. This doesn’t happen every time, of course, as a story must capture our attention to such an extent that the narrative’s world becomes our world. And although it’s often associated with fictional stories, it applies equally to personal stories.

Narrative Transportation with a couple watching a movie

So what do we mean by narrative?

Well, if you ask a dozen people and you’ll most likely get a dozen answers to that question, but here’s my take. In personal storytelling, a narrative builds a world in which you (and other characters) interact with life through the properties of space, time, and events. Beyond the characters, settings, and experiences, this narrative also touches on thoughts, emotions, insights, and reflections.

An impactful personal story, which is what I’m all about, seeks to present each narrative element, each story block, in a way that transforms a simple memory into a compelling and authentic story that conveys deeper truths about our life, values, beliefs, insights, and lessons learned.

When well-crafted, personal stories inform, inspire, connect, and engage others. But as I’ve mentioned, not all personal stories are equally effective in this regard. In the balance of this post, we’ll take a look at how we can create more impactful stories by understanding and using the principles of narrative transportation.

This is a subject that has been studied extensively during the past twenty years. Cognitive scientists & social psychologists, as well as literary & communication scholars, have all weighted in on this and a handful of related topics which I’ve included below to provide a fuller picture of what it all means.

Narrative Transportation is the psychological experience of being so fully immersed in a story that you temporarily feel transported into its world, losing awareness of your physical surroundings and experiencing the events alongside the characters. This powerful storytelling effect occurs when a narrative captures your imagination so completely that you emotionally respond to the story as if it were happening to you, often leading to stronger message retention, attitude changes, and even behavioral shifts after the story ends. When stories achieve narrative transportation, audiences don’t just understand the plot—they live it, making this phenomenon one of the most valuable tools in a storyteller’s arsenal.

Immersion in storytelling is the powerful sensation of being mentally and emotionally transported into a fictional world, where readers or viewers temporarily forget their surroundings and become deeply engaged with the characters and events unfolding before them. When a story successfully creates immersion, the audience experiences the narrative as if they were living through it themselves, with all their senses activated and their attention fully captured by the plot, setting, and characters. This state of being completely absorbed in a story world is what allows people to laugh, cry, or feel fear while experiencing fiction, making immersion one of the most sought-after qualities in effective storytelling across books, films, games, and other media.

Absorption in storytelling refers to the state where readers or viewers become so deeply engaged with a narrative that they lose awareness of their surroundings, experiencing a mental transportation into the story world. Effective storytelling creates this absorption by combining compelling characters, rich sensory details, emotional resonance, and well-paced action that captures attention so completely that time seems to pass unnoticed, leaving the audience fully immersed in the fictional experience rather than merely observing it from the outside.

Engagement in storytelling refers to the ability of a narrative to capture and hold a reader’s or audience’s attention, creating an emotional and intellectual connection that makes them invested in the story’s outcome. Effective engagement occurs when audiences become so immersed in the characters, plot, and world that they temporarily set aside their awareness of reality, experiencing genuine emotional responses—whether tension, joy, sadness, or surprise—and feeling compelled to continue following the story to its conclusion. This connection is achieved through relatable characters, meaningful conflicts, authentic dialogue, and pacing that balances revelation with anticipation, all working together to create an experience that resonates with the audience long after the story ends.

Involvement in storytelling refers to the ability of a narrative to emotionally engage and immerse its audience, creating a connection that makes readers or viewers feel invested in the characters and outcome. An effective story draws people in through relatable characters, compelling conflicts, and authentic emotional stakes that resonate with universal human experiences. When a story achieves strong involvement, the audience temporarily forgets they’re experiencing fiction—instead, they empathize with the characters’ struggles, celebrate their victories, and feel genuine concern for their wellbeing. This deep level of engagement is what separates forgettable tales from stories that linger in our minds and hearts long after they’ve ended.

Narrative Transportation Billboard Steampunk City
I have captured a number of phrases from the above descriptions that illustrate the effect engrossing stories have on an audience. As you’ll see, while there’s an intellectual aspect to the process, the emphasis is largely on the emotional response that well-crafted stories invoke in an audience.

  • emotional resonance
  • emotionally engaging
  • psychological experience
  • transported into its world
  • fully immersed in the story
  • stronger message retention
  • achieves strong involvement
  • time seems to pass unnoticed
  • completely absorbed in a story world
  • mentally and emotionally transported
  • invested in the characters and outcome
  • empathizes with the characters’ struggles
  • losing awareness of physical surroundings
  • experiencing genuine emotional responses
  • resonates with universal human experiences
  • senses activated, and attention fully captured
  • deeply engaged with the characters and events
  • experiencing the events alongside the characters
  • creating an emotional and intellectual connection
  • experiencing a mental transportation into the story

How do these expressions align with your experiences? I think the concept of transportation is most appropriate, as there’s movement, a shift that occurs in our perception of reality. We care about what happens; we get excited and sad, we laugh and cry, we feel tension and relief.

But are these shifts temporary, or is there a longer term effect? Does the effect linger, or is the spell broken once the story ends? That depends on a number of factors, such as how relatable and relevant the story is, but the simple answer is that personal stories based on our experiences, as opposed to fictional stories built for entertainment, resonate more deeply, leaving a lasting impression.

During narrative transportation, our mental energies — encompassing attention, emotions, and imagery — become primarily focused on events unfolding within the story, and in turn, we will become cognitively, emotionally, and imaginatively absorbed in the narrative. By fostering connections with characters and evoking relevant emotions, personal stories can effectively influence how audiences feel about certain subjects or individuals.

What Factors Support Narrative Transportation?

I’m often asked what makes a personal story compelling, and the components of narrative transportation reveal a number of topics to consider. You’ll find some overlap in the list below, as the terms do relate to each other in important ways, but they’re worth considering individually, and they all play a role in telling your personal story.

  • fluency — refers to the smooth, effortless way a story flows, naturally transitioning between scenes and ideas, allowing readers or listeners to become fully immersed in the narrative world and lose awareness of their physical surroundings.
  • similarity — refers to the connection an audience feels between themselves and story elements, such as characters, experiences, backgrounds, cultures, beliefs, and values, making a story more relatable and engaging.
  • relevance — refers to how well a narrative connects with the audience’s existing experiences, values, or concerns, mirroring their own lives in important ways, making the story feel personally meaningful and relatable. 
  • coherence — refers to the logical and meaningful connection between all elements of a narrative — characters, events, settings, and themes — with events unfolding in ways that make sense within the theme of the narrative.
  • familiarity — refers to the degree to which elements of a story, such as settings, characters, situations, or emotional truths, resonate with a reader’s existing knowledge, experiences, or expectations. 
  • immersion — refers to the feeling of being mentally and emotionally absorbed into a story’s world, engaging our attention, imagination, and emotions to the point where the real world temporarily fades into the background.
  • logical flow — refers to the invisible thread that connects each scene to the next, each character decision to its consequences, without any inconsistencies that may force an audience to question why events are unfolding as they are.
  • anticipation — refers to the delightful tension or suspense created when an audience is made aware that something significant is about to happen, causing them to become emotionally invested in what comes next.
  • believability — refers to the quality that makes a narrative feel true, authentic, and coherent within its own internal logic, while not including any obvious errors or inconsistencies within the story.
  • engagement — refers to the emotional and mental connection created when an audience is fully immersed in a story and often results in increased empathy and a lasting impact on thoughts, attitudes, or behaviors.
  • identification — refers to the process by which an audience emotionally connects with a character or perspective within a story, allowing them to see themselves in the character’s experiences, values, or struggles.
  • sensory details — refers to the vivid descriptions of sights, sounds, smells, tastes, and textures that help create a rich and engaging atmosphere, thus immersing an audience in the narrative.
  • mental imagery — refers to the process of mentally “seeing” the scenes, “hearing” the dialogue, or “feeling” the emotions described in a narrative, as if they were happening in real life.
  • narrative quality — refers to how well a story compasses elements like compelling characters, a coherent plot, vivid descriptions, and emotional resonance that draw people in and hold their attention.
  • engaging dialogue — refers to the artful construction of conversations within a story that reveals characters’ personalities, motivations, and relationships while maintaining authenticity and purpose.
  • mental simulation — refers to the cognitive process whereby individuals simulate a story’s events, actions, and emotions in order to feel they’re part of the story, thus enhancing understanding and emotional connection.
  • psychological realism — refers to authentically portraying the inner thoughts, emotions, and motivations of characters, which can foster empathy and engagement and influence beliefs, attitudes, and behaviors.
  • emotional connection — refers to the bond or resonance a person feels when hearing a story that evokes feelings such as empathy, joy, sadness, or excitement, making the story’s messages or lessons more memorable and impactful.
  • character development — refers to the process of creating and evolving characters in a story, revealing a character’s traits, motivations, and backstory over the arc of the narrative.
  • cultural appropriateness — refers to the alignment of a story’s themes, characters, language, and values with the cultural norms, beliefs, and experiences of its intended audience, making it more relatable.

Steampunk Woman Speaking Passionately

A very consistent finding over a number of studies, across a number of different topics, by a number of different researchers is that transportation leads to greater attitude and belief change. So when people become immersed in these stories, they’re more likely to take the messages of the stories and apply it outward to the real world.
~ Dr. Melanie Green

Why Is Narrative Transportation Relevant?

Dr. Green’s quote explains it rather well, especially the ending. The point of an impactful personal story is to share your experiences, lessons learned, insights, or ideas in a way that fosters understanding, allowing others to take elements of your story and weave them into their story — apply it outward to the real world. The extent to which this happens is related to the extent to which they connect to you and your narrative. Narrative Transportation is how that happens, which is why reviewing the text above can help improve your story’s impact.

This improvement not happens during the writing / editing process, but during your rehearsals. Ideally, you’re able to rehearse your story in front of a trusted friend or family member. That’s when you can solicit feedback. Ask them what feelings arose while hearing your story, or what they were thinking. And if your narrative included descriptive prose, what did the “see”, what mental imagery came to mind?

What Factors Prevent Narrative Transportation?

It’s important to think about how the various aspects of narrative transportation can improve your story, but it’s also vital to consider what might reduce impact. Those factors that limit the positive effects. Here are a few things to consider.

  • Lack of coherence or clarity — anything in the story that doesn’t make sense?
  • Lack of realism — does your story depart from reality, or seem false at times?
  • Errors or inconsistencies — are there any notable mistakes in your narrative?
  • Confusing narrative structure — are there any disruptions to the story’s flow?
  • Audience alignment — does your story contradict the audience’s experiences?
  • Sense of being manipulated — do you come off as having a hidden agenda?

Such situations tend to pull people out of your narrative as they question what you’re saying or why you’re saying it. And as before, this is where feedback from the rehearsal process can identify if any of these issues are present. Ask them if there were times when something you said didn’t make sense, or seemed false in any way. Did it feel as though a certain element could be expanded upon for clarity, or if an important element was missing altogether?

Is There a Downside to Narrative Transportation?

Unfortunately, yes. When engrossed in the narrative world, individuals are less likely to critically evaluate the information presented, making them more open to accepting the story’s perspective. That’s a positive outcome for true stories, but when stories are based on lies — con artists, unscrupulous politicians, and dishonest business leaders, for example — people may be persuaded to adopt beliefs and ideologies that are harmful to themselves, and possibly society as a whole.

History — as well as present times — are full of examples where individuals, organizations, and governments intentionally lie in order to manipulate the thoughts, feels, and actions of the public. We’ll cover that aspect in a future article.

Conclusion

Since our desire is to maximize the impact when sharing our personal stories, reviewing your manuscript from the standpoint of narrative transportation is one way to make that happen!

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100% My Fault from the StoryCorps Podcast

I’m thankful that I’ve never been in a life-threatening situation, but millions of people around the world have, and those who made it through the experience have riveting stories to tell.

In this case, it wasn’t just a single person in danger; it was two friends. And that means there are two story lines, two unique narratives. So in this episode of the StoryCorps Podcast we hear a recount of events as they unfolded, as well as a reunion of sorts where their innermost feelings are finally shared.

In addition to Alex Lewis and Matt Koch — the pair of storytellers who were up on the mountain — Michael Garofalo, StoryCorps chief content officer, also narrated this story. It’s an interesting format where the two main characters take turns telling their story, with the narrator jumping in to carry the plot along. It’s why I’ve included the transcript. Listen to the episode, then give the transcript a read. While you hear distinct voices on the audio, the script reads much more fluid, allowing you to appreciate out the episode was put together.

It’s also worth noting that a full recounting of this story could take hours, yet this version comes in under 15 minutes. Try to imagine what was cut out, and think about what was left in. As you craft your own story — life-threatening or not — consider all that could be in your story, and which elements tell the most impactful story in a limited time frame.

Transcript

Michael Garofalo (MG): In December 2016… longtime friends Alex Lewis and Matt Koch hiked into a mountain pass in Colorado for a backcountry ski trip. This wasn’t a casual thing— they would be in the mountains for days… miles away from the nearest town.

Alex Lewis:  We got to the trailhead and it was snowing fairly constantly and a decent wind. We had the feeling of feeling small because you’re in these big mountains, but you couldn’t even really see much of them because of the snow.

MG: Alex and Matt were pretty serious outdoorsy guys… and this is exactly the kind of adventure that their friendship was built on… camping… hiking… But they hadn’t been able to do anything like that in a while.

The year before… Matt had been diagnosed with Hodgkin lymphoma. After a difficult year of treatments, Matt was declared cancer-free. And what better way to celebrate than a backcountry ski trip with his buddy…

Matt Koch:  This trip was kind of a opportunity for me to prove to myself that I could do things that required a physical fitness level I thought maybe I’d never have if I was a cancer survivor.

This was my message to the universe of like, you didn’t get me. I’m still here.

And then… things unravel.

MG: Matt and Alex had never really talked about what happened in that mountain pass… until now. I’m Michael Garofalo. It’s the StoryCorps Podcast from NPR.

MG: Matt and Alex were headed towards a ski hut… which would be their home base for the weekend. It was nothing fancy, just bare bones – think hostel, not hotel – but there was a staff, heat, they’d get two meals a day, and beds for the night. And the only way Matt and Alex could get there was by skiing 3 miles UPHILL through a steep, snowy mountain pass.

Matt Koch: I think as we were hiking, Alex, I was becoming aware that I was not physically prepared for this; I wasn’t where I should be. Every step my pack just felt heavier and heavier.

Alex Lewis: The first time that I had some concerns, you said something to the effect of, ‘Well, I dumped out my water because I felt like it was too heavy.’ I was like, oh man, we need that water.

Matt Koch: You had stopped and said, like, ‘Give me your pack. I’ll carry it for you.’ And I, I kind of remember being a tough guy and saying, ‘No, no, no, I got it. I got it.’

Alex Lewis: It was starting to become nightfall, and the wind was picking up, and the snow was picking up.

Matt Koch: The discussion was, you know, we’re, we’re further in than we are out and we just needed to let this storm go through.

Alex Lewis: And we decided the best course of action was to go off into the trees and build a snow pit where we could stay for the night.

MG: Matt and Alex started burrowing into the snow with their hands… to make a shelter where they could stay the night.

Matt Koch: Couldn’t have been more than a big dog bed size. It was pretty tiny.

Alex Lewis: We crammed as close together as possible to stay warm. And one of the things I remember overnight is hearing the howling wind.

Matt Koch: Yeah, the wind was just relentless.

Alex Lewis: It’s a little scary to wake up in the middle of the night to see the makeshift shelter that you’re sleeping in starting to fall apart and deteriorate.

Matt Koch: God, it was just cold, and, bundled up inside of my coat and couldn’t get comfortable. The situation was bad.

MG: They woke up the next morning happy to still be alive… and they could see the ski hut by that point. There wasn’t much farther to go.

Alex Lewis: The weather was continuing to get worse and extremely snowy and windy there. Our progress was pretty slow, because of the steep terrain and fresh snow. And I just remember taking this step, and, all of a sudden, hearing kind of, this rushing water sound.

Alex Lewis: And being knocked off my feet onto my hip and starting to slide. And I realized that I had triggered an avalanche right underneath me.

And I slide about a hundred feet and see these trees that are in my path. I was able to pin my skis to the trees and let the avalanche slide right past me, and continuing on down the mountain as I stood there in disbelief.

And I recall, yelling out ‘Avalanche, avalanche’, so that you could at least hear my voice and know where I was.

MG: Alex looked around for Matt… who was okay. But he also realized that with these conditions… it was too dangerous to keep going.

Alex Lewis: I remember taking a deep breath and realizing that this was the, the final straw. We weren’t going to make it to the hut. It was time for us to head down the mountain.

MG: But by this point… Matt was struggling to go anywhere.

Matt Koch: Every footstep hurt. And what little I had left in my batteries drained. I sat down and I just quit, and I don’t think you could move me if you wanted to.

Alex Lewis: I remember saying something like, ‘You didn’t let cancer kill you. You can’t stop here. You can’t quit now.’

Matt Koch: But I was resigned. I just had nothing left.

Alex Lewis: We had a, a really hard conversation around what to do. Then I took off. And I…it was extremely hard to leave you, but I also didn’t think we had another option. I needed to continue down the hill to get help.

MG: While Matt huddled alone in the cold and snow, Alex skied down the mountain pass… trying to get reception on his phone.

Alex Lewis: I got down the trail, was almost back to the car, and I got through to the sheriff. And he said, you know, ‘The avalanche dangers and risk are so high, I can’t send in three search and rescue team members to potentially save one knowing that I might lose all of them. If we can’t respond, what’s your backup plan?’

MG: Calling the sheriff HAD been the backup plan… and now it seemed like Matt was truly stranded.

Alex Lewis: When you were up there, after I left you, did you think you were going to die?

Matt Koch:  I don’t, I don’t ever remember thinking about dying. I just, I kept thinking about you. I kept thinking about if you were ok.

I think I was pretty delirious, being hypothermic. It was like being drunk. I started realizing how thirsty I was. I knew that if I would eat snow, it would lower my core temperature. I had one little guy on one shoulder telling me not to, and another guy on the other telling me, “But you’re so thirsty.” I kind of negotiated with myself that I could have just a little bit like, you know, help is on the way.

MG: For six hours, Matt didn’t move from the spot where Alex had left him… until finally a rescue team was able to get there.

Matt Koch: I was apologetic. I, I was so weak and demoralized and just frustrated and angry with myself for allowing this to happen. I just completely did not respect mother nature and her power.

I don’t remember pain of any sort, but my hands were definitely purple. I couldn’t really use them, they were so stiff. The toes were just frozen solid.

A helicopter came and got me. And when I got to the hospital in Denver, just kind of being a joker, I looked at the doctor and I said, ‘How bad on the fucked-ometer am I?’ And he goes, and ‘You’re nine out of 10, man. I don’t know if you’re gonna keep your fingers.’ I wasn’t ready for that.

MG: Coming up… when you’ve left your friend alone… knowing he might die without you… what do you say to each other after that?

Alex Lewis:  I was apprehensive about visiting you in the hospital because I wasn’t sure what would happen to our friendship.

MG: Matt spent several days at the hospital being treated for severe frostbite. It was so bad they had to put him in the burn unit. And all those days lying there in bed… unable to use his arms or legs… Matt had nothing but time to think about how he had gotten there.

Matt Koch: It ended up becoming kind of a slap in the face that, because I had cancer, I wasn’t physically ready for this trip. This was my fault, and it could have been avoided. Everybody was putting themselves in danger to save me, and they didn’t have to.

MG: Matt had plenty of visitors… his family was there with him… but the visitor he was most anxious to see… was Alex.

Matt Koch: What did you feel when you saw me?

Alex Lewis: I was nervous to go to the hospital, and I remember coming into the hospital and you’re kind of sitting there, wrapped up kind of like a mummy in multiple layers of bandages.

Matt Koch:  I think my mom was in the room and I asked her to leave so I could thank you. I don’t know if it was shame or embarrassment, but, um, I was thankful. I was glad to see you were ok. I was sad that I, uh, put you in that spot. I would never want for somebody to get hurt because of my actions, and that’s exactly what almost happened, um…

Do you harbor any anger towards me because of this?

Alex Lewis: No.  I helped get us in that position where we needed to do something to save your life. Plenty of things happened that day that were my fault. And so I was concerned you would feel that I was responsible for what had happened.

Matt Koch: I, I had no idea that you felt any level of guilt. I’m sorry that we’ve never had this conversation until now. This was 100 percent my fault. I knew the risks, and I wasn’t fit enough to be in the backcountry. You did everything within your power. I hope you know that. You did everything right. You rescued me, you saved my life.

Alex Lewis:  Yeah, and I think – you know, I appreciate you saying it because it does paint it in a different light. We had never really discussed it and kind of, always danced around it, but coming from you, it means the world to me.

Matt Koch:  Yeah. Well, I think the accident and cancer shifted my perspective because I’ve been a lot closer to death than many others. It’s made me realize what’s important to me. And I’m so thankful that we’re friends, because if I didn’t have you, I would be dead right now.

Alex Lewis: It’s what I would have done anyway for you and for our friendship.

Matt Koch: Well, I know I feel it now, and I think I felt it then, that I’m thankful to have you in my life. Not just because of this incident, but, no matter where I go, if I need you I know you’ll be there.

MG: It’s been almost a decade since that trip… and every year now, on the anniversary, Matt calls Alex to thank him for saving his life.

Matt’s injuries ended up being much less severe than they could have been. He kept his fingers… although he does have lasting nerve damage.

Today he lives on a boat in Florida… so he never has to feel cold again.

MG: We love it when you leave us voicemails… and this week we’d like to know: What’s the craziest thing you’ve ever done for a friend? Tell us about it in a message at 702-706-TALK. That’s 702-706-T-A-L-K.

This episode was produced by Max Jungreis. Jud Esty-Kendall is our Senior Producer. Our Technical Director is Jarrett Floyd. And our Executive Producer is Amy Drozdowska. The art for this episode was created by Liz McCarty.

I’m Michael Garofalo. Thanks for listening.

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Navigating Carbon Markets from the Climate Rising Podcast

As climate change continues to be the most significant threat our planet has ever faced, telling stories about this crisis — sometimes focused on personal experiences, but other times focused on the efforts intended to mitigate the issue. In either case, storytelling is one of the most powerful tools available, considering its ability to shine a light on what is happening, and what we are presently doing about it. The Climate Rising Podcast is a brilliant example of telling stories about climate change solutions.

On the Climate Rising Podcast, business and policy leaders join Harvard Business School faculty to discuss what businesses are doing, can do, and should do to confront climate change. Each episode dives into a particular topic with a subject matter expert in the field. While not presented in a true storytelling fashion, if you’re personal story involves a technical or scientific topic, there is much to learn about how complex issues can be dissected and presented in a way the general public will understand.

Alexia Kelly, Managing Director of the Carbon Policy and Markets Initiative (CPMI) at the High Tide Foundation, joins host Mike Toffel for the fifth episode in our series on voluntary carbon markets. Alexia has worked for nearly two decades at the intersection of carbon markets, policy, and finance, with roles spanning government, private industry, and nonprofits.

In this episode, Alexia discusses how voluntary carbon markets are evolving, the critical role of policy in shaping carbon finance,and how standards and governance can improve market integrity. She also explores how advances in digital technology, data transparency,and AI-driven monitoring are transforming carbon credit verification and market confidence.

Additionally, she shares her perspective on the integration of voluntary and compliance markets, including recent developments in Article 6 of the Paris Agreement.Alexia also offers career advice for those looking to enter the field and shares resources for staying informed on carbon markets and climate finance.

Okay, so there’s a lot of technical information here, along with acronyms, policies, and agencies. But note how Mike steers the conversation — at times diving deeper, while in other cases changing direction or seeking clarification.

You can use this technique by asking a trusted friend to interview you. They do need to have a basic understanding of your topic, of course, but having another person ask questions allows you to think about your story differently. Give this episode a listen and peruse the transcript to uncover new ways that complex stories can be told. The world needs to hear you, but also understand your message.

Transcript

Note: The following was AI generated, and may not perfectly match the interview.

Mike Toffel:

Alexia, thank you so much for joining us here on Climate Rising.

Alexia Kelly:

Thanks for having me, Mike.

Mike Toffel:

So, you have a really interesting biography. You’ve worked in the nonprofit sector. You’ve worked in the private sector. You’ve worked in the government sector. Tell us a little bit about your background and how you ended up where you are today.

Alexia Kelly:

Yeah, sure. Great to be here and have this conversation today. I’ve had the opportunity to work on carbon markets really since some of the earliest days. So, I started my career in 2006, actually the first regulation of the greenhouse gases in the United States at a nonprofit in Oregon called the Climate Trust, which was established under the 1997 carbon dioxide regulation. And so basically ran parallel to the development of the Kyoto Protocol under UNFCCC. So, over the course of nearly two decades working in and around carbon markets and carbon pricing, I’ve worked in the nonprofit sector, including with the World Resources Institute on Waxman-Markey when we were trying to get federal legislation passed in the 2009, 2010 era. I was recruited to join the State Department team in 2010 at the beginning of the Obama administration and had the opportunity to spend a number of years there working both on international development work through our Enhancing Capacity for Low Emissions Development Strategies program, as well as our lead negotiator for emissions trading under the UNFCCC, which was pre Article 6, but we’ll talk a little more about Article 6 later, which are the emissions trading provisions of the Paris Agreement.

And then after that, I wanted to go into the private sector. So, I ended up working in a family office trying to understand why we had this big finance gap between all of the investment opportunities we were seeing in the climate clean energy space, particularly in emerging markets, and why that money wasn’t moving. So did a bunch of work on understanding capital markets and really tried to understand what motivates the private sector to take action, which led me to joining Netflix in 2019 to help establish its inaugural sustainability program. So, they had no sustainability program prior to that, not even a greenhouse gas footprint. And so, we really built the program all the way from the ground up. And so, I served as our director of Net Zero in nature there for about three years before joining the High Tide Foundation just a couple of years ago to establish on what is now the Carbon Policy and Markets Initiative.

Mike Toffel:

Great. So, it’s such an interesting and varied history. Let’s talk about the High Tide Foundation. What was it formed? It’s a family office. It’s a funder. And it has a few different sorts of lines of interest. So, if you could tell us about each of them, then we’ll dive more into the Voluntary Carbon Market’s piece of it.

Alexia Kelly:

Yeah, absolutely. So, the High Tide Foundation is a private family office philanthropy focused exclusively on addressing the climate crisis. There are two primary areas of focus for the foundation. We do a tremendous amount of work on methane through our funding of Carbon Mapper, the Methane Hub and other major initiatives to help really address and tackle methane pollution, which of course is one of the fastest kinds of emergency breaks we have to pull as we’re looking at addressing the climate crisis.

I lead our work focused on carbon markets and carbon pricing. And so that’s through the carbon policy and markets initiative, which we established just two years ago, to really help bridge what we observed was an increasing divide between where civil society and the science wants companies to be and where companies operating in the real economy actually are.

And so, I joke that now I’m just a professional board member and we spend lots and lots of time really trying to build bridges and establish high integrity rules of the road that accelerate action and ambition while also recognizing that there are very real constraints that folks operating in the global economy are facing as we seek to advance decarbonization solutions.

Mike Toffel:

Great. Now, we’ve spoken with Mark Kenber at VCMI and Amy Merrill at ICVCM, some of the organizations that you directly work with. Can you tell us a little bit about the bridges between the High Tide Foundation and your role and those organizations as well as others that you’re also helping to coordinate and sync up?

Alexia Kelly:

Absolutely. Yeah. So, I serve on the, as a board alternate, a high tide foundation was a major funder of the ICVCM, the integrity council for voluntary carbon markets predecessor, which was called the task force for voluntary carbon markets. and that you think you’ll cover that when you talk to Amy, but really coming in and having real capital markets actors looking for the first time at this artisanal baby carbon market that’s been out in operation for a number of years and really thinking, okay, what’s it going to take to grow that market?

So, the High Tide Foundation has been a primary funder of that. We also invest significant in-kind resources there. I serve on the standard oversight committee of the ICVCM as well as the, as the chair of our continuous improvement work programs, which I can talk a little bit more about later.

I also sit on the expert advisory group of the Voluntary Carbon Markets Integrity Initiative and on the US Technical Advisory Group of ISO, which is the International Standards Organization. So really spending a lot of time helping to connect dots and accelerate connective tissue among and between all of the different standard-setting bodies that are out there that are now really deciding what constitutes credible, voluntary corporate climate action and how do we do the accounting for those actions so that we know what’s working and what’s not working and really have a basis upon which to compare level of effort and engagement across this set of issues.

Mike Toffel:

So all these, as I understand it, all of these organizations basically are trying to lift the tide of standards so that the critiques that have befallen much of the voluntary carbon markets are addressed by, again, raising the bar, setting standards, say, you have to be at least some level of integrity in order to even be in the market of voluntary carbon markets. Because to the extent that there’s these laggards, it pulls down the whole industry. Is that the right way to think about it?

Alexia Kelly:

Absolutely. I mean, you need that strong floor. And actually, when I was at the Climate Trust in 2008, we established something called the Offset Quality Initiative because there was a lot of concerns over whether or not we were really going to be able to set that bar for offsets because this endeavor of pricing and measuring and quantifying the impact of actions that we’re taking to mitigate climate change is so challenging.

And so, we’ve really needed to agree on what a rule set is for how you do that accounting and how you do that measurement, because it didn’t exist. Like we’ve been literally making all of this up as we go for the last two and a half decades. And we’ve learned a lot. But I think it’s important to remember that this is really the first time we’ve ever tried to do this. And certainly, when we were writing the rules, the first time, you know, 15, 20 years ago,

We lacked a lot of the technologies, science, and data that we have available to us today, which means that you sort of have to set rules with what you have, right? As a policymaker, that’s what you do. You take the best available information, and you set the policy in the best, most rigorous way you think possible.

And so, we’ve seen that kind of continue to evolve in the carbon markets over the last 20 years and we’ve also gotten a lot better at doing this. And I think that doesn’t get enough credit and attention. We have actually a fair degree of uniformity and agreement now on what the core rules should be for what constitute high-quality carbon credit.

And we have a much better sense of what needs to happen between now and the next five years to really get this market to scale because it’s still not operating on the scale, right? It represented about $750 million in value last year. Like it’s a baby market still relative to almost any other capital market that’s out there.

Mike Toffel:

So, can you say that you’re seeing some progress in these areas and getting some consensus? Can you describe an example or two of what that looks like? So, what would have been allowed in the past that’s now not going to meet the minimum bars that these organizations are lobbying for?

Alexia Kelly:

Yeah, it’s a really good question because what we’ve seen over the last couple of years, particularly through the work of the Integrity Council for Voluntary Carbon Markets, is an emerging consensus on what global thresholds quality standards look like. So the core carbon principles that we’ve laid out, thinking about things like additionality, things like permanence, those key tenets of what constitute a credible way to measure the impact of the things we’re doing are pretty well established now. I think we’ve explored that from just about every avenue and there’s broad consensus on how you do that. The assessment framework that the ICVCM published a couple of years ago, which is the rule book by which we measure how these core carbon principles are implemented by the programs, also represents a really important step forward in terms of the consensus of what right looks like.

But one of the things that struck me the most as we’ve been going through, so what we do at the ICVCM is we go through methodology by methodology, and we look at all of the methodologies that the programs are using for a given type of project. So maybe a landfill gas destruction project, for example, or renewable energy credits or RED+ or improved forest management.

So, there’s different methodologies that have emerged to measure the impact of all of those things. And it often comes down to one or two key decisions or like emissions factors in each of those methodologies that determine how much credit you get for that particular project and determine whether we’re doing a good job of assessing the net impact of that particular project.

That set of work has been particularly challenging. So, we’ve assessed about 37 % of the market at the ICVCM right now, and we’ve only approved 3 % of the core methodologies. And one of the reasons that that’s the case is because of renewable energy. And renewable energy is kind of a fascinating example of how this market has evolved because when the first renewable energy projects were getting going, 25 years ago, 30 years ago, they were substantially more expensive than their fossil fuel incumbent alternatives, orders of magnitude more expensive. And over the last 20 years, we’ve seen just a precipitous decline in the cost of renewables, which is a wonderful thing. That’s exactly what all the policies we’ve put in place is what we wanted to see happen. But it calls into question whether a lot of those projects really need now the carbon finance to help close that financial viability gap. And yeah, sorry.

Mike Toffel:

Right. Let me just interject a minute. So just to make sure people are following this and make sure I’m following this. So, one of the criteria to have a carbon credit issued is it has to pass these many tests, but one of them is this additionality test, which essentially states, this project, does the project success in terms of being profitable depend, is it hinge on the climate finance coming from the carbon credits? Because if it would be profitable on its own, well then you don’t really need the carbon credits. And only if the carbon credit pushes it over that threshold, that’s when it can be issued a carbon credit. That’s the game, saying I’m going to invest in one carbon credit in order to create emissions reductions or removals that wouldn’t otherwise have happened. So, this is all about the counterfactual, just to catch folks up.

Alexia Kelly:

Exactly. Yeah. Thanks so much for that explanation. And that’s exactly right. And so we have about eight different ways in which we test for what’s called additionality, ranging from a peer financial additionality test, which are the carbon credits helping you meet your internal rate of return threshold, for example, all the way through to what we call positive list of technologies where we say, okay, we know that this technology is still more expensive and not common practice. And so therefore, up until a certain rate of penetration, all of that’s going to be considered additional and you don’t even have to think about it. If you meet this technology test, then you’re good to go.

Testing for additionality is extremely difficult, right? Because what we’re trying to do is develop a universally applicable sort of set of tests that can accommodate the almost infinite range of individual project circumstances, while also setting a pretty good threshold bar that’s enabling us to separate out the stuff that really didn’t need the carbon finance from the stuff that did. And, you know, as in most other fields, it’s not going to be perfect every time.

That’s just not the way the world works. And that’s OK. And I think that’s one of the things that the carbon market has really suffered from is this expectation that it’s perfect all the time. And it’s not going to be. And we don’t need it to be. What we need to do it to be is effective. And we do need it to be actually delivering the environmental impact that it needs in order to help us solve this problem. Because for me, if I’m going to spend $1 on climate change mitigation, I want to make sure that that dollar is doing something that wasn’t going to happen anyways, that has a lasting atmospheric impact.

And that’s really helping us move the needle on the climate fight because otherwise I’m wasting my money. And so that is what the carbon markets enable us to do. It’s the first place I always joke that, you know, the carbon markets aren’t the worst. They just went first. Like they were the first time we ever tried to do this huge, complicated thing. And we are getting much, much better at it than we used to be. And I’m feeling particularly optimistic that, you know, moving forward, we’re really going to be able to do that granular assessment much more robustly and rigorously, you know, in no small part, as we talked about yesterday, you know, just around the advent of new technologies and data and sources of information that we just simply didn’t have available the first time around.

Mike Toffel:

Great. And I want to dive into that in just a minute. Before I do that, one of the organizations that you mentioned you’re working with is ISO, or the International Organization for Standardization, Swiss-based with lots with national, in a sense, national offices or national outreach in each of the countries, including the US, under other names that are like ANSI and so on. And ISO has lots and lots of standards. I’ve done research in this area for some time. They have ISO 14,001, which is an environmental management standard, the 9,000-quality management standard, a more recent occupational health and safety, 45,000 in one standard. And they so far don’t have a standard, I understand it, on voluntary carbon markets and what constitutes like an ISO meets an ISO bar. And so, it sounds like they’re working on that. It’s taken… I don’t know, you mentioned 20 years for us to get there and we’re not there yet. Tell us a little bit about what ISO’s angle on this and why it has taken so long?

Alexia Kelly:

Yeah, there’s two things happening at ISO that are related to both supply and the quality of the credits and then demand. And I’ll touch briefly on both of those. The supply side is actually interesting because ISO has had a standard on how you do project-based greenhouse gas accounting for a very long time. We finished it in, I think, 2006 maybe, 1464-2, for those of you who want to go look it up. And what that does is basically provide very high level guidance around how you do this quantification. So, you need to think about additionality. You need to think about permanence. But it’s really at a principles level.

So, ISO tends to deliver standards that are at a relatively high level. And then you layer underneath it in more detail at the other standard level. So, as we’ve noted, what’s happened in this space in particular is that because it’s not regulated and because we haven’t been able to come up with a uniform global system to address this problem, we’ve seen this kind of thousand-flowers-blooming approach in the voluntary carbon market where a bunch of different nonprofits and regulatory regimes around the globe have sort of popped up and said, okay, this is important. We need to figure out how to do this. And somebody should really be bringing some transparency and oversight to this space. We’re going to do that on a nonprofit basis.

And so, you hear about the big four, Verra, ACR, and other carbon crediting standards that are active. Those are nonprofit organizations. They are often built on top of the ISO 1464-2 rules. So, what’s happened is that’s become the backbone. And then you have other organizations that have come in and kind of put the muscles and the flesh on the whole system so that you have a system for actually getting all the way through to market issuance and crediting. So, they are in the process of reviewing some of those core standards around what are the principles of defining quality.

On the other hand, and I think of interest to folks, you there’s been a lot of debate around what defines a credible net zero claim for companies that are taking voluntary action and what should be allowed to count. How do you set your target? How do you account for progress towards your target? What does that all mean? That’s the other half of the work that we do at CPMI quite actively. And that’s really part of this debate.

If we want a functional market, you need high quality supply. And you need high quality demand. We have to have both of those things. A market with no demand is not a market. And there are real ideological divisions in civil society and in the nonprofit space in particular around whether markets can ever be an appropriate way to solve environmental challenges. I think, over the course of my career, we’ve seen a number of instances where they’ve been harnessed very effectively to do that.

But there’s also been high profile failures, right? And if you read the New Yorker article about some of the stuff that’s happened in the voluntary carbon market, like the lack of oversight and regulation has been a real problem. And there are opportunities for carbon cowboys to come in and take advantage of the system. And so that’s really eroded trust and confidence, think, particularly among young people who are sort of saying, look, you guys have had 20 years to implement these market systems.

They aren’t working. We’re still in a climate crisis. And it’s a real honest and important and legitimate conversation to be having about where do we deploy market-based solutions effectively and where do we just need regulation? I think if you ask most of us who’ve worked in this space a long time, we’d prefer to have regulation hands down every time. But we’ve also really struggled to get regulation in place. And so now we’re in this world where voluntary action plays a really important role.

So ISO has actually established a process now to write rules around what a net zero standard might look like and what type of information you would need to disclose if you wanted to make a claim and have it, what we call assured or have a third party come in and look at what you’re saying to make sure it’s legitimate and meets the rules of an existing standard that’s out there in the world. So that conversation is happening right now under this big international umbrella in ISO’s incredibly complicated and kind of Byzantine architecture that frankly is worse than the UN. It’s kind of amazing. But those conversations are moving forward apace, and the hope is that they will have a kind of initial agreement on what our credible net zero standard looks like that’s internationally applicable in the next 18 months or so.

Mike Toffel:

Got it. I want to circle back to something you said earlier, where you said these markets have been evolving, and they don’t need to be perfect every time. I don’t know. wonder if, in fact, you mentioned the New York article has been a number of articles of instances when things haven’t worked, when the measurement has been proven to be overestimating, for example, how much carbon is actually being sequestered, or reversals occur. You prevent a stand of trees that had intended to be felled from, in fact, being felled and you’ve addressed leakage, no one else’s forest is falling instead, but then there’s a hurricane that knocks them down anyway or a forest fire.

So those emissions aren’t sort of secured for the long run, the permanence concept. So, my sense is that they don’t have to be perfect, but there has to be consequences when those imperfections arise because, just like when you buy a product or a service and you have an expectation that it’s going to work, if it doesn’t work, you have some recourse for a warranty. And I do know that there’s some mechanisms in place that are called buffer pools where you can tap into if in a reversal case, or there’s even insurance that can arise. My sense is that those mechanisms are not widely understood, and they’re often not in the

And maybe they don’t always exist. I don’t actually know. What’s your sense about that? When these failures do occur, do you feel like the systems are in place actually to nonetheless sort of compensate for the losses? Or are there still cases where those losses occur and then you’re just at a loss?

Alexia Kelly:

Yeah, this is one of my favorite questions and most important issues facing us. And I’ll take baselines and permanents separately because they’re two distinct but related issues. The permanent one is interesting because as you know, we actually have quite extensive systems in place to manage reversals and address the risk of reversal and storage. And they are not well understood. I think they don’t get talked about enough and people really don’t understand how they work.

A fundamental principle of almost all crediting systems is this notion of conservativeness. So almost always, you’re going to be the most conservative number across the board. And so, what we find is often projects are already pretty significantly discounted even before they get to issuance and the credits are out there. So, there’s this whole additional layer of protection that the system has built in that the public really never even sees because it all happens before the credits are issued. As you’re looking, so say I have a forestry project, I’m going to be applying my methodology. I’m going to be bringing my experts to collect the data. They do it all through statistically validated sampling systems, right? So, they’ll go out and they’ll do random plots and they’ll send people out into the middle of these woods and they have to go out and do direct measurements.

This is being helped and accelerated a bunch by remote sensing and AI, but we still do on the ground verification. So, it will often take a week to cover an entire project, and they send scientists out to go do direct measurement of the trees and then use really complicated sort of stratification systems in order to make sure that we’re getting a statistically valid representation of the carbon stored in that particular project. That then gets run through this whole process and you have a series of discounts that are applied before you even get to the credit issuance. So, there’s conservativeness built into the system there. Then after issuance, you have long-term monitoring requirements where farmer foresters will sign up and say, look, I’m signing up legally to make sure that this carbon stays sequestered in this particular project area for X number of years. And it varies. You have to figure it out, and the challenge here is that what we’re trying to do is design a system that delivers real atmospheric benefit.

And there’s been a raging debate in the academic and scientific community for a very long time about, we like to say as long as it matters, how long does carbon need to be stored in order for it to have a real meaningful atmospheric impact? And the answer actually turns out to be not very long, right? So at this point, particularly given where we are with CO2 loading in the atmosphere, anything we can do to store and defer the release of carbon has an atmospheric benefit. How much atmospheric benefit, right, is the thing that’s in question? And there’s the additional complexity of if I’m using that credit to compensate for a fossil-based emission somewhere else, then you need to think about the equivalent impact.

So, there’s two parts to permanence that you have to think about as we’re thinking about this system design. So, it gets very complicated. The way the standards have dealt with this is that they, in addition to the discounting and conservative calculations, also have what are called buffer pools. So, post issuance, they’ll look, and you are actually required to basically take a portion, and it varies across standards. It’s anywhere from 5 % for the jurisdictional level programs down to as much as 30 % 40 % of your total credits must be set aside in case there is a reversal. If a reversal occurs, then there’s an extensive process that they go through to actually directly measure the amount of carbon that was released from the project. And then they will go back and cancel an equivalent number of in the buffer reserve to make sure that the atmosphere is made whole and that the credit

And you’re not allowed to issue more credits until you’ve paid the buffer reserve back. So, it acts basically like an insurance mechanism. There’s lots of debate about how big those buffer reserves should be? What types of credit should be in them? What are the rules around administering them? Should we be looking at a two to one cancellation? Like there’s a lot of pieces to unpack as we design that system, but I believe that having nature in these markets is not optional. We must use the power of nature, which is our original carbon removal machine. Trees and forests and wetlands and soils play just an essential role in regulating the climate and in helping us fight climate change cost effectively and efficiently. And so, we’re going to need to take a system level approach to addressing this challenge. And I believe we can do that.

I actually think that we have both science and the system capacity to set up really robust safety nets so that if reversals do occur, we can still make the atmosphere whole because that of course is the most important objective of any of these systems.

Mike Toffel:

Is there transparency around the levels of these buffer pools, like an annual report that would declare these as assets and the usage of them?

Alexia Kelly:

So, the treatment of assets is a whole separate ball of wax, but generally, no. And that was actually one of the things that ICVCM really came in and did was to establish minimum transparency requirements across the board. actually, co-chair our continuous improvement work program on permanence. And one of the things that we’re looking at is doing buffer reserve stress testing. So, we’re working with the standards to go in and say, OK, guys, let’s look at how you do this. Because I have to say, you know, the standards get a lot of criticism for this, but the fact of the matter is nobody else cared or was paying attention when we were setting this stuff up the first time. And so, they’ve had to be judge, jury and executioner, you know, in terms of managing and building this infrastructure to make sure that we can deliver long-term atmospheric benefit and assurance.

And so, there’s a lot of really exciting conversations happening right now about, what would a global permanence approach look like? And how could we think about these types of systems in a more comprehensive way so that you don’t have these small nonprofits trying to stand up these systems and manage this big problem by themselves but actually think about it more holistically from a market wide perspective. So, I’m expecting that there’s going to be a lot of really exciting and interesting progress in this set of topics in the next couple of years. But we still have a way to go. There’s the system is not where I think any of us would like it to be if you asked the people who work in the market today.

And this I think is just a fundamental question that we have to ask ourselves is, know, is it better to have something that is working well, but maybe not perfectly, but actually doing things in the real world or which we can easily do, should we wait until we have the perfect design, and we’ve got it all figured out and we talk to each other about it for another 20 years and then maybe we set something up once we’re sure that we have absolutely every T crossed and every I dotted. I’m very much, especially after working in the private sector for so long in the camp of it is much better to be doing things even if they aren’t delivering 100 % of what we need them to be doing because we’re in a climate emergency. And I want to throw water on the fire, not debating the color of bucket of throwing the water.

Mike Toffel:

Yeah, and even if every drop of that water doesn’t reach the fire, the majority of it is doing so, and there’s these mechanisms to reroute those drops, it sounds like.

Alexia Kelly:

And I do just have to say also, the thing about the markets and the reason why I’m still like here and doing this work is because A, I don’t think we get to where we need to be in terms of transforming capitalism without putting a price on carbon. And that’s what carbon markets do. And B, I have never, ever, ever seen a better instrument, not even in all my years working with USAID and managing hundreds of millions of international assistance dollars.

I’ve never seen a better system for getting money from where it is today to where it needs to be in the global South and to frontline communities and ecosystems in particular. It is one of the best, most transparent, most rigorous systems we have for getting that money deployed into the things that really, really matter today for helping us address climate change and in addressing, you know, historic environmental inequity and providing support to frontline communities.

And I’ll just give one super-fast anecdote on that. When I was at Netflix, there was due diligence in our project that we were buying for our portfolio. And it was this amazing rainforest for dry lands protection project in Kenya. And there’s one paragraph, like one line in their kind of spec sheet that caught my eye. And I asked about it. And they said, it’s, the headwaters of a major river. And I asked in the interview about it, and they said, yeah, that’s the, actually is also the headwaters of the drinking water source of a city of a million people down river.

So, these projects like that wasn’t quantified. It was literally just a line in the report. But the fact that this forest was providing drinking water for a million people in an area that has severely affected by drought is just an example of what we call core benefits, not co-benefits of these projects and the climate resilience and adaptation benefits that they deliver along with biodiversity and economic justice and financial transfer. So, you know, we’re big believers in the power of these markets because we’ve seen them work and we’ve seen firsthand the impact and benefits that they deliver to people.

Mike Toffel:

Not to mention the whole point of carbon pricing is to try and reduce carbon at the most efficient way possible system-wide. That’s why economists are so in favor of this as a regulatory tool and the absence of regulations, borrowing that same logic in these, in the voluntary market; that’s the goal which I think often gets overlooked.

Alexia Kelly:

It very much does. And I think in this debate too, it’s getting a little lost. We talk in the net zero conversation, there’s a big focus on how do we drive supply chain decarbonization, right? Like we want companies that have a net zero target to reduce their emissions, which is totally fair. That’s true. We do want them to reduce their emissions. We also want their money to fund all of the other mitigation that is often, actually almost always substantially lower cost than what it’s going to cost them to reduce their emissions internally, particularly in the United States.

And so, balancing that in net zero kind of rules is really important and one of the big debates we’re having right now is how do we do that so that we can keep companies focused on the hard work of decarbonizing their actual operations, right? Getting electric vehicles in, deploying energy efficiency, buying renewable energy, doing all of that really important work, while also mobilizing the money we need for nature and all of the other core of carbon removal and building that whole ecosystem and set of technologies. It’s all going to take money, and we need to be doing it all simultaneously and as quickly as possible.

Mike Toffel:

So let me pivot a bit. Now, you mentioned these markets have been around in one form or another for quite some time. And more recently, we’ve seen the injection of all sorts of interesting data revolution pieces here, whether it’s the satellites collecting CO2 and methane data, including I think methane sat you guys were involved with. EDF has just recently launched a satellite, which we did an episode on, to monitor methane emissions.

There’s all this new data; there’s machine learning and AI technologies out there. Digitization is just really like the force that and climate change seems to be like two of the next gen, like disrupt everything forces. How do you view this revolution affecting the voluntary carbon market?

Alexia Kelly:

Yeah, great question. I’m so excited about what remote sensing, AI, machine learning, and internet of things is going to enable us to do to build really excellent monitoring reporting and verification systems. We call them MRV systems. And it’s the whole system you build to make sure that the thing you’ve done is actually doing what it was supposed to do. So High Tide has invested heavily in remote sensing capability and building out that ecosystem of both technologies and support nonprofits that are doing work. So, we are an early investor and instrumental in getting Carbon Mapper up and out, which is a compliment to EDF’s methane set. Carbon Mapper does very precise measurements of super emission sources of methane around the globe.

And these emission sources were going undetected because we didn’t have granular enough data review technology. So, we’re very excited about what that transparency is. And having philanthropy come in and fund this work means that this data is available to the public. So, there’s been a lot of work that’s happened in the remote sensing and satellite space because it’s very expensive to do, right? These satellites cost tens of millions of dollars each. There’s been a lot of that that’s been built behind proprietary paywalls.

And so having philanthropic dollars coming in means that we get to build the things and then make them publicly available, which then, of course, unleashes a whole new world of accountability and transparency. And we’re seeing that it really plays out in the carbon markets in big ways as well. So, what happened a few years ago as some of these new satellite technologies were coming on board, as folks were able to look at and see at much lower cost what was actually going on in a lot of these project areas. And in some instances, they found that we were underestimating the amount of carbon that was being stored. Those stories don’t tend to make headlines. What does make the headlines are the instances, and these also existed, where we overestimated the amount of deforestation that was happening.

And that, I think, it’s a wonderful thing that we have all of this new data and information, but it also means that it’s caused sort of a reset in the market in some ways, because when we wrote these methodologies the first time, we didn’t have any of that information available. And so, it’s caused, I think, a revolution in the way in which we are thinking about and making measurements for carbon projects and overall, incredibly exciting ways. I feel so much better knowing that we have this data and information because it enables us to say with much more precision and accuracy, this is working and this isn’t working. And that’s essential to building out this entire system.

So, I, and you know, I’ll also say the internet of things. So, often, particularly in developing countries, you’ll have a bunch of cook stoves, right? You’ll have thousands of cook stoves distributed over a bunch of countries. We know there’s real environmental and atmospheric benefits to those projects. But precisely measuring exactly the amount of wood that’s going into the cook stove on a daily basis in places that often don’t even have electricity is extremely challenging, right? So, we rely on statistics, which we should continue to do. We rely on sampling and survey technologies. But we can also now put sensors on that are just automatically pinging data all the time so that we can measure much more precisely and consistently; the atmospheric impact of these things and what’s really happening on the ground.

So it’s hard to overstate the importance of these technologies for enabling us to build out that really comprehensive MRV system that’s also going to enable us to help build better permanent systems overall, inform how much should be going into buffer reserves and do a much better job of setting baselines, which as you mentioned earlier, is that counterfactual projection into the future of what would have happened in the absence of the project. And so, we can get much better historical data at much lower cost now. So, we’re really excited to see this set of technologies come to fruition and it’s going to have huge impacts on the market moving forward.

Mike Toffel:

Got it. Let’s just dive in for just a second on the cook stove example, because I want to provide a little bit of background or seek a little background. So typically, cook stoves projects involve someone financing the deployment of cook stoves to enable folks, in some cases, to, for example, use less wood or use wood more efficiently in cooking. And so, the idea is it reduces deforestation. It still allows people to cook their meals.

And the reduction in the deforestation is the carbon credit claim and the financing that these cook stoves wouldn’t be available without carbon financing. That’s the additionality claim. And the issue, as I understand it, is like the measurement question, which, for example, is, well, if we give out 1,000 cook stoves, are all 1,000 of those being used every day? Are some of them maybe breaking and therefore like only 900 in year two are being used? And then maybe some people use two of them.

And so, there’s actually, they’re getting twice as much cooked. So that’s good for the family. But they’re still using the same amount of forest, for example. So, there’s all these different question marks in the deployment. Is that the type of thing? And you’re saying with technology, we can perhaps identify the extent to which these cook stoves are being deployed to take away some of the assumptions that one would otherwise have to do or the manual census every year for X years to sort of check in on this. Is that what we’re talking about?

Alexia Kelly:

That’s right. Yeah. I think the cook stove is actually an interesting example because as you noted, a lot of these impact numbers are tied to the relative deforestation rates around the project area where people are collecting the fuel wood from.

And there’s been a lot of debate about what is the right number, how do you measure it? It’s obviously enormously variable depending on cultural, geographic, know, a wide range of conditions that are in place all over the place. And so, there’s a new model that’s being developed using remote sensing data in order to do a better job of calculating the net impact of cook stove projects in surrounding areas. And so, it’s just a good example of how new technologies are enabling us to do better and more accurate measurement. But it also is causing corrections in the market because the data we had before wasn’t as good as the data we have now. And so, most of the standards are now in the process of rewriting the rules to reflect and accommodate this new data that we have. Does that mean that everything that came before is garbage? No, it doesn’t. But it does mean that we are now even better at more accurately measuring what’s happening on the ground.

Mike Toffel:

Great. OK, so I want to pivot again. You had mentioned earlier in your intro, of course, that you’d worked for the State Department. You’d mentioned that you’d sort of helped negotiate the Paris Agreement. And so, I want to take advantage of that expertise that you bring to talk a little bit about the compliance markets, which are working in parallel to these voluntary carbon markets, and just to sort of explore the use of carbon credits in that market, which I think date all the way back to the Kyoto Protocol in the late 90s and the CDM or Clean Development Mechanism, which set up some rules for how you can, in countries that didn’t themselves have to reduce, they could nonetheless reduce and sell the benefits of that to the countries that had to reduce, which sounds a lot like a carbon credit, but maybe at the more national level, with the of the endorsement and backing of the UN, which again is different from the voluntary carbon market.

So, give us a brief history of carbon credits in the compliance market. And then all the way to today, where most recently in Baku, the most recent COP, as I understand it, there was finally some real precision around, you mentioned Article 6 of the Paris Agreement, which sets up some rules again for going above and beyond regulatory requirements using mechanisms that seem a lot like the carbon credits we’ve been talking about.

Alexia Kelly:

Yeah, absolutely. And it’s important to note that the unit of measures in carbon markets, regardless of whether they’re in voluntary or compliance systems, is the same. So, it’s one ton of carbon dioxide reduced, removed, or avoided, and typically measured in metric tons. And so, the difference comes in the methodologies, typically. and the issuing bodies for the credits. And so, one of the disadvantages of the fact that we haven’t had a global system in place so far is that there is no kind of one decider on what quality looks like in the market. So, we have this patchwork of both regulatory and voluntary standard setting bodies that have emerged over the course of the last 20 years to say, this is how you measure a ton of carbon.

These are the rules under the UNFCCC, the United Nations Framework Convention on Climate Change, which is of course where we negotiate international agreements related to climate change, under the UN has been working for almost 30 years on trying to broker an international global deal to address the climate crisis. I joined the UN process in 2010 when I joined the beginning of the Obama administration and we had just come out of Copenhagen where the US came and said, we’re back.

But the system we built under Kyoto that we helped architect, we didn’t really like so much anymore because it differentiated between developed and developing countries. And in order to get a deal through Congress, the US felt that it needed to, we needed to be on equal footing with China and India and some of our economic competitors or we were never going to get a deal done.

Mike Toffel:

Right, because those were categorized at the time as developing countries which didn’t have obligations unlike, for example, Europe and the US.

Alexia Kelly:

Correct. So, under Kyoto, global North countries, the US, the EU, Australia, Canada had emission reduction obligations that were quantified, and the global South did not. Which look, there are good reasons for that. The global North is responsible for most of historic emissions, and it’s only been until the last decade or so that the emissions profiles have flipped pretty dramatically and China and India, South Africa have all emerged as large, globally important, and impactful emitters.

So, we came to Copenhagen and, after Copenhagen, and basically said, we need a new deal. We’re going to have to renegotiate everything because we need developing countries. We know your emissions are increasing, and we need developing countries at the table and on equal fitting with the US. And so, it took us six years, but that’s what the Paris Agreement is.

It is a normative system that enables us to bring all countries to the table. In order to get all countries to the table though, what it basically meant is that the countries demanded that they were able to write their own rules by and large for what they wanted to do domestically. And so, we have these things called nationally determined contributions, which is where every country kind of sits down and says, this is what I’m willing to contribute.

These are the targets I’m setting. These are the coverage requirements. And we have reporting and transparency about that at the UN. We also have a court of public opinion where you come and you bring your report, you have this thing called a biennial report, you bring it to the UN, you stand up in front of the UN, you report on your progress and you defend it and countries ask you questions about your report.

What are you saying? What are you doing? How is this policy working? What happened here? Why did you do that? But that is now the kind of international architecture and system we have emissions training has always been a contentious part of the UN system as well. Historically, under Kyoto, there was a bidirectional, it was one-way flow. There are the clean development mechanism and a variety of other instruments, but mostly the EU, which was really the only country that had a significant carbon price and obligation, bought from developing countries who generated credits and sold them through a UN administered mechanism called the Clean Development Mechanism.

Because we are now in a world where all countries have emission reduction obligations, accounting gets a little more complicated and so do the kind of flows of credits and the potential flows of credits. So, there’s three articles or three paragraphs under Article 6, which are the emissions trading provisions of the UN. Article 6.2 covers bilateral agreements. Its countries now are able to sort of write their own rules for how they want to do emissions trading.

If two countries want to cooperate on a bilateral basis, they can do that. They set up their program. They set up their systems and they report it to the UN on this is what we’re doing. Article six, four is the centralized UN body. So, we have a centralized UN body that works a little bit like the CDM did where there is a decision-making group that sets the rules, approves the methodologies and issues the credits supported by the UN secretariat.

And it’s called Article 6 supervisory body. And they are responsible for writing and approving the rules under Article 6.4. So that’s for countries that would really like to have that UN oversight and want a centralized and administrative, you know, it’s like a system that’s all kind of taken care of for them. That’s what 6.4 is. And then the third paragraph is 6.8, which are non-market-based approaches, which is in there at the assistance of countries that don’t believe in market based mechanisms. I wanted to have a note in there. So that’s the story about over a beer. The important ones are really 6-2 and 6-4.

Mike Toffel:

Great, so what’s the recent. What happened in Baku? Because these paragraphs were in from the beginning, or are these paragraphs new? Yeah, okay.

Alexia Kelly:

Those are the original paragraphs. And then what we needed to do was write all the rules for how you did that because 6.4 just says we’re establishing this body. And then you had to go out and write all of the what we call modalities and procedures, all of the rules for how the body was going to work, who was going to sit on the body, how many times was it going to meet, who was going to be responsible for making the decisions, what were the criteria that you’re using to make the decisions, like all of that had to be written up. And that ended up taking 10 years.

So, they worked for the last nine years. So, what happened in Baku that’s so significant is that we finally agreed to the rule set. So that means that in the next year or so, we should start to see credit flowing through this UN system as methodologies get approved and as projects and pipelines start to come in. So that’s net-net a great thing because it hopefully means that we’ll get that money going again into mitigation globally.

But we’re going to need to watch it as well because the thing I personally don’t like about the Paris Agreement is that it is normative, and it is largely voluntary, and it doesn’t have as much oversight as I would like of stuff that’s happening in different parts of the world. We rely very heavily on transparency. So, it’s going to be important for civil society and others to keep an eye particularly on 6-2 and these bilateral agreements that countries are writing because here you have two parties that are both interested in potentially inflating baselines or creating credits because it’s going to make it cheaper and easier for them to meet their international commitments.

So that’s a place where I think folks are going to need to keep a close watch and that we’re certainly watching closely, and we’ll be seeking to advocate. I think it’s also a place where the ICVCM is going to help a lot because we are becoming truly a global benchmark for both voluntary and systems about what right looks like and what good looks like. So, making sure that we push the whole world towards that threshold is going to be incredibly important in the next few years.

Mike Toffel:

Yeah, a very interesting enmeshing of the voluntary institutions and the compliance markets that are emerging. OK, so before I let you go, let me ask you the same question I ask all of our guests before I let them go, which is advice. So, for folks who are listening to this podcast, some might be interested in learning more, maybe thinking about career opportunities in the voluntary carbon markets or maybe now in the compliance carbon markets, now that there’s some interesting evolution going on – What advice do you have for them as far as podcasts or conferences or websites or newsletters, whatever it might be?

Alexia Kelly:

Yeah, but well, before I give you my quick list, I will say I really encourage people to go work in government. Go work in government. You learn a tremendous amount. Our civil society and government institutions are really fragile right now. And whether it’s the local level, the federal level, we need good people filling those jobs. And so, it is the best way to develop your career I can possibly imagine. And its’ incredibly important work for keeping the fabric of our society knit together. If you want to get more involved in carbon markets, there’s lots of good resources out there. So, there’s the Navigating the American Carbon World Conference that happens every year in Los Angeles in March.

That’s hosted by the Climate Action Reserve and the International Emissions Trading Association. The International Emissions Trading Association is an industry association that is basically the carbon market. And they host a number of conferences as well that are quite good. Then if you can, go to a COP or go to the UN because that is where a lot of these conversations end up happening. So that’s a really excellent place to learn more as well.

Mike Toffel:

Great. Terrific. And you’re launching a podcast?

Alexia Kelly:

I am launching a podcast, yep, just in the next couple of months. It’ll be called Navigating Net Zero and we’ll cover both corporate decarbonization perspectives as well as really dig into some of these meaty issues that you did such a great job raising here today, Mike, in terms of how does the carbon market work, what’s happening, where is it going, and how do I stay abreast of the rapidly moving and evolving spaces.

Mike Toffel:

Well, I look forward to subscribing once that’s launched. It was a wonderful conversation, Alex. Very wide-ranging and I’ve learned a lot. So, thank you so much.

Alexia Kelly:

Thanks so much and thanks so much for having me today. This is great.

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