And then I got to break this down even further, because it's it's not as explicit as this framework. So that's the caveat to begin with. But the five building blocks to begin our character is that sounds kind of obvious, but we are also abusing the term story within the sector is that we're calling everything almost a story, whether it is or is not, in the academic world, reading all those scholarly things, I read all that so other people don't have to, there is not one central definition, by the way of a story. This always fascinates me. There might be some commonalities, but it's really interesting, especially qualitative research that I'm doing, to explore how would people categorize right or define a story, it's very personal at times, but I think character is a central ingredient is that a story is actually about a person. Second is trajectory. Something happens in a story, we normally hear a beginning, middle, and an end that can be, but a story can move around in different directions, right? Third is authenticity. Or I would even call that a genuine This is that we're utilizing words. And we're putting people in an environment kind of like what I was doing trying to bring into when I first met Jane Goodall at that Montessori convention, even if somebody hasn't been there, is really trying to bring them there in terms of their mindset and things like that. Then, is action oriented emotions. Another key ingredient is emotions. How do you want people to feel when you're communicating a story? And we're really complex as Homo sapiens, right, but also homo narratives, meaning narrative? And so as we're thinking about the social impact is really how do you want people to feel on that emotional spectrum. And then lastly, is a hook if you can't capture people's attention, they're not going to want to listen to the rest. So really thinking kind of purposely about those beginnings of the story. But are you ready? Here's the sixth one that I think is really, really crucially important. That's not mentioned in that report. And that's the storyteller. And that really means who should be communicating that story. And so what I see a lot with the research that I'm doing, which I'd like to break out of this paradigm, as a sector, is that sometimes and we don't even realize it, we're taking ownership of other people's stories, again, sometimes for that fundraising benefit that we're trying to have in an organizational setting, but who actually owns a story. Arguably, it's somebody whose personal truth it is, so is part of our, you know, kind of call to action as a sector going forward. Not just being the storytellers. But being the story listeners and the story conveners and the story amplifiers have other stories that are out of out there in community. And there's so many different ways in which we can kind of define and think about community. But though that's the formal definition of a story. So those are stories that we're actually trying to create and get there in a different sense. But there's also an informal side of storytelling. This is really interesting to me. So back to what is actually a story. Not all of us consider ourselves to be a storyteller, but in reality, we are, at least according to the narrative paradigm theory. And sometimes we don't appreciate theories because they sound so boring and you don't understand how they're applied. But I think it's important to think about them and to apply them. So in a nutshell, what the narrative paradigm theory says is that it's in contrast to the rational world paradigm, thinking about logic in traditional terms. Instead, we make sense of the world through stories, their narrative. fidelity, and coherence. And we judge things that we encounter based on that. And that we really are all storytellers, and story consumers. So if that's the case, all organizations and communities that we're part of, are also this cohesive, but yet fragmented body of all these different stories going on within that. So sometimes we don't appreciate all this informal storytelling that goes on, sometimes that's forms of gossip, by the way, is that we make sense of our organizational worlds, through forms of gossip. Often gossip has negative connotations. But it doesn't have to be. Gossip is usually so good that when we're physically in the office, you have to close the door. So think about the formal story is the organizational email that goes out that says, so and so is leaving our nonprofit organization, you know, here's what they're doing next. Please congratulate them. But then the gossip, the informal stories might be us, your colleague, why are they really leaving, right? And you're trying to fill in the gaps or find the alternative aspects of the story to make meaning in the world. So what this says to me is that we really have to as a sector, we've got to not only appreciate but really increase our awareness of not only the formal stories, you know, which might be, you know, only kind of positive stories that might fall kind of into testimonial territory. But what are all these informal stories that really are stories as dialogue, right, and not just the the monologue aspect. So these stories kind of coexist within the work. And often we don't realize that. So part of my work is kind of on the quest with both research and application and teaching to really increase within our sector. Really, what I would call narrative intelligence, is really being aware of all of these factors at play, it's much more complex than I think meets the I initially,