Here is a story telling method:

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1. Pose the Mystery. Most people are familiar with legendary cigarette advertising campaign successes featuring Joe Camel, the Marlboro Man, and Virginia Slims’s “You’ve come a long way, baby.” But perhaps the most effective marketing decision ever made by the tobacco companies lies buried and almost unknown in the industry’s history: after a three-year slide of 10 percent in tobacco consumption in the United States during the late s, Big Tobacco did something that had the extraordinary effect of ending the decline and boosting consumption while slashing advertising expenditures by a third. What was it?

2. Deepen the Mystery. The answer also seems extraordinary. On July 22, 1969, during US congressional hearings, representatives of the major American tobacco companies strongly advocated a proposal to ban all of their own ads from television and radio, even though industry studies showed that the broadcast media provided the most effective routes to new sales. As a consequence of that unprecedented move, tobacco advertising has been absent from the airwaves in the United States since 1971.

3. Home In on the Proper Explanation by Considering (and Offering Evidence Against) Alternative Explanations. Could it be that American business interests, sobered by the 1964 Surgeon General’s report that detailed the deadly denouet of tobacco use, decided to forgo some of their profits to improve the well-being of fellow citizens? That appears unlikely, because representatives of the other major US business affected by the ban—the broadcast industry—filed suit in US Supreme Court to overturn the law one month after it was enacted. Thus, it was only the tobacco industry that supported the restriction on its ads. Could it have been the tobacco company executives, then, who became suddenly concerned with the health of the nation? Hardly. They didn’t reduce their concentrated efforts to increase tobacco sales one whit. They merely shifted their routes for marketing their products away from the broadcast media to print ads, sports sponsorships, promotional giveaways, and movie products. For instance, one tobacco company, Brown & Williamson, paid for product placements in twenty-two films in just a four-year period.

4. Provide a Clue to the Proper Explanation. So, by tobacco executives’ logic, magazines, newspapers, billboards, and films were fair game; only the airwaves should be off-limits to their marketing efforts. What was special about the broadcast media? In 1967, the US Federal Communications Commission (FCC) had ruled that its “fairness doctrine” applied to the issue of tobacco advertising. The fairness doctrine required that equal advertising time be granted on radio and television—solely on radio and television—to all sides of important and controversial topics. If one side purchased broadcast time on these media, the opposing side must be given free time to counterargue.

5. Resolve the Mystery. That decision had an immediate impact on the landscape of broadcast advertising. For the first time, anti-tobacco forces such as the American Cancer Society could afford to air counterarguments to the tobacco company messages. They did so via counter-ads that disputed the truthfulness of the images displayed in tobacco company commercials. If a tobacco ad featured healthy, attractive, independent characters, the opposing ads would counterargue that, in fact, tobacco use led to diseased health, damaged attractiveness, and slavish dependence.
During the three years that they ran, those anti-tobacco spots slashed tobacco consumption in the United States by nearly 10 percent. At first the tobacco companies responded predictably, increasing their advertising budgets to try to meet the challenge. But, by the rules of the fairness doctrine, for each tobacco ad, equal time had to be provided for a counter-ad that would take another bite out of industry profits. When the logic of the situation hit them, the tobacco companies worked politically to ban their own ads, but solely on the air where the fairness doctrine applied—thereby ensuring that the anti-tobacco forces would no longer get free airtime to make their counterargument. As a consequence, in the year following the elimination of tobacco commercials on air, the tobacco companies witnessed a significant jump in sales coupled with a significant reduction in advertising expenditures.

6. Draw the Implication for the Phenomenon Under Study. Tobacco opponents found that they could use counterarguments to undercut tobacco ad effectiveness. But the tobacco executives learned (and profited from) a related lesson: one of the best ways to enhance audience acceptance of one’s message is to reduce the availability of strong counterarguments to it—because counterarguments are typically more powerful than arguments.
At this stage in the sequence, the teaching point about the superior impact and necessary availability of counterarguments is an explanation. As such, it produces more than recognition of basic facts (for example, “US tobacco companies argued successfully for a ban of their ads from TV and radio”) or answers to related questions (“What was the result? The companies witnessed a jump in sales and a reduction in advertising costs”). It produces an understanding of how certain psychological processes associated with the prepotency of counterarguments brought about both of those otherwise baffling events. 47, 48

Notice that this type of explanation offers not just any satisfying conceptual account. Owing to its intrigue-fueled form, it carries a bonus. It’s part of a presentational approach constituted to attract audiences to the fine points of the information—because to resolve any mystery or detective story properly, observers have to be aware of all the relevant details. Think of it: we have something available to us here that not only keeps audience members focused generally on the issues at hand but also makes them want to pay attention to the details—the necessary but often boring and attention-deflecting particulars—of our material. What more could a communicator with a strong but intricate case want?""

Use it the above storytelling method on the prompt below (business case study):

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J.C. Penney's "Fair and Square" Pricing Strategy

As a he gets ready to release 2nd quarter 2012 results, Ron Johnson, the new CEO of department store J.C. Penney, is reconsidering the dramatic changes he initiated for the business model and brand image of his company. A new pricing scheme he put in place in February, dubbed "Fair and square", was a central component of the new strategy. The scheme initially had three pricing tiers and eliminated typical sales promotions in an attempt to simplify the shopping experience for consumers; thus moving J.C. Penney off its previous high-low pricing practice. Other components of the new strategy included a new store layout, the inclusion of several well-known brands, and having special lines designed by well-known designers. However, troubling first quarter results that continued into the summer months seemed to indicate that J.C. Penney shoppers, accustomed to receiving JCP Cash coupons and circulars advertising the week's specials, were slow to embrace the new pricing format and began leaving the retailer in droves. Under enormous pressure to turn things around as the all-important back-to-school and holiday shopping seasons were imminent, Johnson decided to make adjustments to the initial pricing scheme that were set to go into effect August 1st. Were these changes enough to turn things around? Should Johnson stay the course on the other elements of his repositioning efforts? Is Johnson's experience in setting up Apple stores helping or hurting him as he tries to achieve his goal of making J.C. Penney "America's favorite store"?

Once the story has been written I want you to follow this prompt:

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Let's bring this business case study to the screen in the form of a whiteboard animation. Please generate a range of relatable characters that reflect the narrative. The characters should bring a range of visual metaphors that embody paradigms, problems and solutions to life. Use metaphors, supported by a range of other icons, to present clearly what the story is telling.  The result should be focused descriptions, with a strong visual language, that clearly follow and support the narrative.

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