When creating stories, we consider a few carefully chosen theories connected to human psychology and design thinking. A theory that we’ve most recently started experimenting with for storytelling is an ancient Indian performance arts theory. This is the Eastern theory of ‘rasa’. We started exploring the Rasa Theory because it directly involves evoking human emotions in the storytelling process.
Emotions are very important in decision-making and memory; Someone may forget what you said, but they will never forget how you made them feel.
What a business makes a consumer feel is directly linked to how people remember that brand: It is also linked to how they connect desires and emotional needs to what that business has to offer. This is why we think emotions are especially relevant to storytelling for businesses, and why we are interested in the Rasa Theory.
‘Rasa’—defined closest in English as ‘aesthetic flavours’. Although recent to our storytelling experiments, the Rasa Theory is by no means new; It originated in India sometime between the first century BCE and the third century CE, from where it spread throughout the South Asian region and as far as Bali and the Javanese islands. Rasa is the aesthetic flavour contained in a creative work—it is not what is mentioned outright or described, but rather, evoked in the minds of the audience as moods created through a mix of emotions. The classical Rasa Theory describes nine rasas—sensuality (shringāra); humour (hāsya); sorrow (karunā); anger (raudra); heroic (vīra); terror (bhayānaka), disgust (bībhatsa); wonder (adbūtha), and tranquillity (shānta). These pure rasas make sense for the dramatic arts where emotions are heightened beyond the everyday and made universally intelligible. But, when we bring the Rasa Theory to storytelling, we look at a much wider spectrum. For example, bhayānaka rasa from apprehension to blood-curdling terror, or vīra rasa in expressions of power, confidence, as well as courage. We’re also observing the polarities of each rasa considering both the negative and the positive. This means we find karunā rasa not only in sorrow but also in empathy and compassion; while we see raudra evoked through retribution as much as fury.
Even when we’re exploring beyond the original theory this way, we still find profound cues to each rasa expression in the art form where it was born—classical Indian drama. Dramatic expressions of each rasa are among our strongest cues to how they can be evoked; Like the shrinking expressions connected to bībhatsa which led us to discover it beyond the emotion of ‘disgust’ usually attributed to this rasa, and find it in evocations like humility.
Poetry is a powerful form of storytelling that goes beyond the peripheral layers of our mind to reach the more unconscious levels. This penetrating quality of poetry comes from the extreme emotivity inherent to the artform. Poetry triggers emotions through careful disposition of words. It is the mapping of a story felt in emotions with the use of words. We know how important emotions are in decision-making and memory; Someone may forget what you said, but they’re less likely to forget how you made them feel. This is the strength of a poem; This is where poetry and commercial storytelling begin to convene.
Poetry is a feeling-first artform. You work in the dark with your eyes closed, but your heart wide open. And, this is precisely why the heart also becomes the place where poetry meets the reader.
Poems can trigger mental imagery, musical sounds and even a sense of place. A poem is an experience with the potential to surround and immerse. This is why a story delivered with good use of poetics can be very successful in conveying the subtleties like value and desirability. For example, the poem below was created for a story which focused on a product with an unusually striking colour; it worked as a way to draw attention to what made the product so desirable, in connection to emotions, scenarios and memories that the target audience would most likely associate with.
The Sunday white walls, the blue glass sky, and the only man walking slowly down the narrow sea road— all barely alive. The cat, the houses, and the street have all been put to sleep in a warm, comfortable defeat from the April heat.
But, the pink bougainvilleas! Oh, those pink bougainvilleas! They’re ringing dangerously wild, impossibly alive.
Bougainvillea pink— like laughter in the wind.
This poem was created to evoke a sense of fantasy and place. It aims to transport the reader and create a dream-like nostalgia for this place that we want them to visit and experience.
There’s a morning worth waking up to; but, it’s lost in the Eastern sky behind the Kabala trees.
And, you wonder what makes the peacocks cry the way they do; in a sound that is a union between beautiful and sorrowful, otherworldly and wild.
The old man who lives across the street said that peacocks belong with the spirit of the old god Kadira—a warrior turned forest-dweller, turned ascetic, turned deity.
The old man is a poet—so he must be right.
The ocean and the sunset are laws you learn to instinctively follow, when you’re living in the Deep South.
There’s something about showering under the palms.
There’s something about walking under the stars.
There’s something about sitting in nature with your heart held out.
There’s something, there’s something…
There’s something about Kabalana days.
When a brand uses poetry in its communication, it engages the audience directly through emotions, and this is great; But, is poetry for all brands? We don’t think so. Not all brand personalities are emotionally rich and diverse. When we work with clients, we first work out the framework of the brand personality before we get into creating any stories. Depending on the outlined brand personality and voice, we create stories that would be appropriate for the client’s company, and bear resonance with the identified target audience.
Poetry is not for every audience, nor brand. Is your brand an emotive one, or a more cerebral one? Does your audience have an affinity towards literature and the arts? These are some of the many questions you need to answer before using poetry in your brand stories.
If you’d like to find out more about how we use poetry for brand stories, send me a message or reach out to my studio Public Works. We’re always happy to engage in a conversation that involves poetry, storytelling and business.
In the first part of this story, we looked at why endings are such a make-or-break element in storytelling, and how weak endings break the trust between the audience and the storyteller. In this second part, we’re going to explore how brands can consistently create good story endings by considering their company values, key personality traits and media goals.
One of my favourite lecturers at university spoke about how a mediocre work of art would lead the observer towards entertainment, a good work of art towards inspiration, a great work of art towards insight and a masterpiece towards realisation. This always stayed with me. Now I know that this applies a little differently to all forms of expression, including stories.
From our experience at Public Works, the ending of brand stories are most successful, consistent and memorable when they are connected to your brand personality and values. Some brands want to inspire, some want to entertain, some like to give insight, and others like to make a connection. In our storytelling process, we identify these aspects of a brand with the involvement of the client, at the very beginning of our work together.
We ask them questions about how they want to be remembered, how they want to influence the world, how they want to connect with others, and what they themselves are seeking for. Depending on what the client brand identifies as their preferred point of influence, connection, exploration, and legacy, we consistently build stories that lead to endings that generate the right brand perception.
In commercial storytelling, it’s through these desired brand perceptions, that storytellers can craft the most successful endings; Consider if your brand should be delivering the audience with endings of justice and satisfaction, surprising twists or thrilling cliff hangers; or is it a brand that delivers happily-ever-afters? Endings left unresolved, or abstract, can be tricky—unless the storyteller can make a point out of that uncertainty. In commercial storytelling, we find that endings with a ‘zoom out on a big picture’ work great for brands that want to deliver insight, while endings that create relief through a solution are particularly good to show how certain problems can be resolved.
Endings with prompts are particularly useful to inspire people to do something, or become part of something. One of my personal favourite endings to storytelling is ‘closing the circle’; returning the story observer to the beginning. If we’ve done our job as storytellers, ‘closing the circle’ type of endings highlight to the observer how their own understanding has shifted through the story, creating a sense of awe and a greater appreciation for their experience. Much of storytelling is cyclical. Sometimes it’s a metaphorical return home, such as in ‘The Hero’s Journey’ story pattern, while in other cases, the cycle is quite literal with the story ending where it started.
An all-important aspect to consider when crafting successful endings to brand stories are the current media goals of the client. What is the client intending to achieve from the stories? Sell? Inspire? Invite the audience to participate in an event? Build brand awareness?
These are important conversations to have at the beginning of the storytelling process. Of course, media goals shift over time; and we recommend clients to realign them to coincide with changing business strategies and market contexts every six months to one year. Framing story endings with media goals has given our clients stories that consistently contribute to their business.
Endings are one of the most important, effective and interesting aspects in storytelling; to understand how you can create stories with endings that lead to better business, get in touch with me at our storytelling studio Public Works.
Sometimes, brands find themselves in dangerous waters when trying to engage their audience through emotionally-charged popular narratives. Often enough, we see businesses initiating or tagging onto sensitive conversations involving race, politics, skin colour and gender; some nail it, others damage their brand catastrophically, and most end up making their conversations seem unauthentic. Remember how the race to position themselves right within the Black Lives Matter movement came out for most brands? Those who did not filter the narrative through their own brand personality, or present it through their true views and ideas, had their audiences disengaged, and sometimes even enraged.
When we were working with Rithihi—one of Sri Lanka’s most beloved saree boutiques—it became important to engage with certain topics that were sensitive. At the height of the Covid-19 pandemic in India as the death tolls were sky-rocketing, it was insensitive to talk about the beauty of sarees handmade in areas like Banaras, Kanchipuram and Ludhiana, that were devastated with disease. It was important to address this, and convey the brand’s authentic emotions towards the catastrophe; However, it was a highly emotionally-charged topic and there was already growing criticism on how some brands were delivering their messages.
We created a newsletter with stories that celebrated the skill and beauty of artisanal communities affected by the pandemic. The message was approached through Rithihi’s values, while the response to the situation was framed through the brand’s personality framework. The stories, as always, were delivered strictly through the established brand voice for Rithihi. As a result, the message was authentic in reflecting Rithihi’s true views and sentiments, and well-received; it led to creating many meaningful conversations between the brand and its audience.
These kinds of emotionally-charged narratives are where a brand’s true strength in communications is tested. Rithihi continues to have interesting and engaging conversations with its circle through relevant topics and narratives that really speak to people; The brand personality framework and the voice that we crafted for Rithihi have been the key tools in getting these stories right. This is why we often point to Rithihi as an example of a brand that effectively uses the tools that we developed to have meaningful conversations. If you want to find out more on how we consult and create stories to help brands navigate through complex narratives, send me a message.
I don’t judge a book by its cover, but I definitely judge it by the ending. I always read the ending of a book before I delve fully into it. If the ending is weak I usually become hesitant about investing my time on that book; And, I don’t think I’m alone there.
There’s no question about the significance of endings when it comes to stories. From the perspective of the observer, the ending is their last interaction with the story—the place where they leave the created world in the story, and return to their reality; It’s their moment to decipher meaning out of the story experience; the final takeaway. From the storyteller’s perspective, it is the last impression you get to make in your audience’s mind. It’s what we leave the audience with; it’s where you send them off to arrive at meaning.
As storytellers, we pay special attention to the ending for two major reasons; First, because we owe the audience an ending that returns the value of the time they invested into the story. This is why weak endings—worse, lazy and inconsiderate endings like ‘it was all a dream’—break the trust between the audience and the storyteller; in the case of brand stories, you can see why consistently weak endings definitely harm the consumer perception of your business. The ending must deliver something worthwhile to the audience. The second reason why we pay special attention to endings in the storytelling process, is that it is the component that audiences most consistently retain. Think about how much you remember from the ending of your favorite movies versus their beginning. People usually remember endings better. In commercial storytelling, this is why the ending is where a prompt, also called a ‘call to action’, is most commonly brought in.
How do you make sure that an ending is good? How do you ensure the quality of the final takeaway you give your audience is retained consistently? You give the audience something of value. You give them insight, entertainment, inspiration or a solution to fulfil a need; you reciprocate the investment they made with their time. With our work at Public Works, we often use a combination of image, sound and word to create effective endings that deliver heightened emotivity and interest to the audience.
In the second part of this story, we’ll talk about our process to create brand-appropriate endings and how story endings connect to company values and personality. Endings are one of the most important, effective and interesting aspects in storytelling; to understand how you can create stories with endings that lead to better business, get in touch with me at our storytelling studio Public Works.
What makes a story worthy of your attention? What makes it worth sharing with someone else? What kind of stories can move people to act upon an idea? This is something we’re constantly studying and analysing. When clients tell us that they want a story that ‘goes viral’, we know that it’s never as simple as creating great copy and visuals. We’ve been looking at why some amazingly told stories never catch on, what makes some stories gain momentum only years after and how some ridiculous ones get spread around enough to make us question human intelligence.
Last year, we had an interesting insight to how stories spread when my partner Alain Parizeau got into the book ‘The Tipping Point: How Little Things Can Make a Big Difference,’ by Malcolm Gladwell. Gladwell compared how ideas spread around to how viruses transmit, drawing quite interesting parallels between the two phenomena. We both thought that Gladwell’s analysis was quite spot on; especially because we were right in the middle of the COVID-19 pandemic at the time. Gladwell’s thoughts on how stories or ideas spread very much like a virus hit home with us as we watched the pandemic unfold in real life. Although the book was written over ten years ago, the insights were still very relevant.
Gladwell pointed out three key consistent elements in ideas that would reach a tipping point and ‘go viral’, so to speak. Although described and coined differently, Gladwell’s three-ingredient formula for the transmissibility of an idea made perfect sense with what we have been studying about stories ourselves. These were, having the right community, relevance and context. If you’re interested in learning what makes a story that spreads like wildfire, here’s a quick look at what we know.
Find the few who want to tell your story After hearing my partner analyse Gladwell’s first factor of a viral story—the law of the few—it became apparent to me as the phenomenon we all now know as ‘influencers’. What Gladwell calls the ‘law of the few’ identifies how a small number of people do the most important leg work in making a story popular. This is not difficult to understand today because we’ve all seen how social media influencers and celebrities make stories go viral within a matter of minutes. But, not everyone can afford to get Beyoncé to advocate their brand. So, how does this apply to your business? As part of our story design process, we always get clients to define their target audience, and within that, identify people who have actively shared the brand’s stories, participated in activities or events, and made attempts to connect with the brand in some way; These people become very important in the process of spreading brand stories to wider audiences. We think brand faces, or influencers are great, but only when these personalities are true embodiments of the brand’s own values. After Gladwell’s book, we started paying more attention to another group of people from the brand audience—these are the connoisseurs of the product or service of our clients’ business. Involving these experts from the audience is a great way to get the conversations going while building reliability and trust between the brand and its audience. Creating stories that are specific to the interests of these different niche groups is a sure way to get them involved in a meaningful conversation and get the story spreading for the right reasons. This, we find, is a far more effective way to get a story to spread, than placing an advertisement in a newspaper.
From our experience in creating stories for brands, we know that precise targeting of conversations, even to the degree of niche topics for hyper-specific audiences, is a great strategy that delivers results. This is because the storytellers then have the ability to analyse exactly what the audience is into at that given time, identify key narratives that are moving them, and create stories that bridge the brand and its consumer.
Make it relevant to make it memorable Something we can’t compromise when creating stories for brands is relevance. This means creating stories that actually bear relevance to what the audience is experiencing in their lives. When my partner was dissecting Gladwell’s book, this is what was highlighted as ‘the stickiness’ factor. A successful story is memorable. What makes a story better remembered is how effortlessly it can be retained in memory; This is especially true in the current media landscape, where we are inundated with information all day long. If a story appeals to what a consumer’s mind is already occupied with, it is much more likely to be remembered. This is why relevance is so important to brand storytelling.
How do brands build relevance? Research, research, research. We always encourage our clients to understand what their audiences are going through in life, even at the most gross, peripheral level that a brand can access. Even a little research is better than no research. Researching the audience is one of the most important steps in successful storytelling, and we’ve shown clients how their investment in audience research can go a long way when it comes to creating stories that drive sales and build brands.
Context is everything I remember how quiet our city street became when more people started working from home. One afternoon, a vehicle was parked outside our studio with a loud speaker attached to the roof; promoting something. The message and the company being advertised may have been relevant to us, and under different circumstances, we would have even found the story memorable; But, it was lost because of the inconsiderate ways of communicating, and the displacement of the message in our neighbourhood. This brand story simply had no context to the audience it was speaking to. We simply wanted the driver to leave the neighbourhood and for the quiet to return. It’s hard to think of any context where this form of brutal advertising strategy would be effective. So, the context is not just who is spreading the message; it’s also where it lives. The level of empathy, tact, and patience a company has when telling stories influences the contextual success; to gain someone’s attention, and maintain it.
So, the answer to the question ‘can stories be made as contagious as viruses?’, is ‘yes, they certainly can’. Often enough, we see this happen organically; But, devising a story to reach that tipping point and go viral, is a complex enough process that is worthwhile studying and understanding. If you want to find out more, talk to us at Public Works. We’re always up for making a great story.
Akuru Collective is Sri Lanka’s first and largest typographic collection. This amazing group uses their love for letters to pull off some groundbreaking work for type and language. AkuruCon and local editions of international type forums like AtypI (Association Typographique Internationale) and Typoday are all their initiatives to bring in global typographic knowledge to Sri Lanka, and create valuable discourse out of the island.
We were excited to write and design their manifesto from Public Works. The final outcome was a pretty great example of what you can do with great design, even when the budgets are tight. The manifesto was printed using Riso technique and was written to highlight what brings this unique group together and where their sights are set.
Places have stories. The language that place-stories are told in is complex, multidimensional and surrounding. Discovering the story of a place is not as easy as picking up a book and reading, or watching a documentary about it. You have to find it. You have to wait for it. You have to see it unfold as you watch its people wake up and go about making their morning. You have to pick it up through bits and pieces in conversations overheard on the street. You have to catch it in the nostalgia of someone who was born in that place, but had to leave. You have to dig it out of someone who hated it. You have to taste it in a tea shop frequented by its street labourers. You have to feel it seeping in through your pores while sitting alone at dusk, in its oldest quarter.
We were commissioned by @urbanislandcolombo to create bite-sized stories of three Sri Lankan cities; Colombo, Kandy and Galle— each with its distinct cultural aura. We were working with the already set identity of the concept store; At the same time, the stories had to be created to sync up with a contemporary island narrative that Urban Island was building parallel to the tropical modernism movement. Incorporating elements of cultural interest is already tricky. In order to avoid mainstream depictions of these places, the chosen elements could not be too popular; At the same time, they couldn’t be too subversive and completely miss the commercial audience’s understanding or experiences of these places. The stories had to sell; And, they did.
Although we created the stories specifically for postcards, Tshirts, cushions and poster prints, their popularity had Urban Island using the stories or their isolated elements on many different items. With the idea of travelling and discovering new places changing drastically in our post-pandemic times, we’re curious to see how people will continue to remember and hold on to places.
We were excited about this project for two reasons; it was a project that combined both our individual expertise in writing and visual art, and it was an opportunity for us to crystallise some of our favourite experiences and places in Sri Lanka. The series was to target both Sri Lankans and travellers. We understood that for travellers, the city stories series should be about taking back a fond memory from their time in Sri Lanka. Our strategy for the Sri Lankans, was to make the series about celebrating a memory about their hometown, or a place they have a connection to in their country.
The challenge for the writer was capture a special story, feeling, icon or an experience about each city, in just a few words; and, because we wanted to make the writing for this project to take the form mini poetry, the challenge also meant there had to be some form of rhythm or rhyme.
The project was fun to work on, and from what we hear from the Urban Island team, the series is becoming somewhat of a cult favourite among their shoppers.
Joan is a fascinating multi artist with a Sri Lankan burgher heritage. She lives in Denmark now, but returns to Sri Lanka every year to her family estate in North-West of the island. When she commissioned us to write a piece about her life and work, I went and met her at that beautiful old estate. We spoke about her exquisite embroidery work, and her love for painting. Joan’s life was a fascinating viewpoint into lives lived in Colombo over fifty years ago.
Hidden amidst the foliage of the outskirts of Wennappuwa, there is a coconut estate that is a breathtaking composition of human and nature. Coming in, you will be pleasantly warmed in the sunlight pouring through the cane palms standing guard along its impressive driveway. It nestles a charming planters’ bungalow with arched windows opening into sun spangled verandahs. Further in, a beautifully dimmed living space and cool sleeping chambers await. Between the fun play of the vintage furniture, rare heirloom treasures and a twist of Scandi-inspired postmodernism, there is an obvious air of creativity floating through the bungalow.
When you meet its hostess—you instantly know her as the source of that creativity. Joan Leth Pedersen is in the autumn of her years, and radiantly beautiful with a sense of style that could only speak for an intensely creative being. She’s the kind of hostess who excites you with her meticulous devotion to fine hospitality—you just know it’s going to be a good day.
Joan was born in Sri Lanka to Burgher parents who moved to the UK to educate their children. They also travelled between their island home and Malaysia for work in the plantations business. She met her husband, Jens Leth Pedersen in Malaysia fifty eight years ago, at a New Year’s Eve dance, ten minutes to midnight—he has remained smitten since. An accomplished hand embroidery artist with truly remarkable artistry, Joan practices in Denmark where she lives with Jens. But, for eight sunlit weeks a year, the family estate in Sri Lanka remains her home in paradise.
This year, Joan has brought down a large portion of her archive of handmade embroidery based wearable art. This is for a rare media exposure of her works. “It’s impossible for me to put a price on my work”, Joan declares, “because they are my babies,” she laughs. “But, seriously, it’s because my art has never equated to money. It’s not about that for me, it’s never been,” she explains. Joan believes that artistry does not always have to have a commercial element to it—in a sense, an artist does not have to cater to the incessant needs of a society. Art can simply exist—much like beauty or nature, without having to fulfil the human desire to own, to consume. Her work has an ethereal charm about it and draws inspiration from flora and fauna, abstract shapes and colour-play. Stylistically, she finds kinship with Chinese, Danish and Venetian embroidery techniques. But, the most impressive is her own style—an embroidery technique that Joan invented fusing patchwork and threadwork to bring about an unusual effect. Here, cut out fabric pieces are ironed on to ‘glue paper’ and pieced together with embroidered thread work to finally reveal one mosaic-like image held together with perfect thread work. “I don’t know how long it takes to do one piece—it takes hours and hours and hours. But, I love it, and I can immerse in it completely.”
Something striking about Joan’s work is its unapologetic femininity. Her work bears unrestrained female charm with soft colour palettes, dainty motifs and intricate filigrees. But, it’s anything but ordinary. The embroidery itself is unusual in its exotic mix of styles and technique while Joan’s decisive direction in their placement on the garment, and how they work with the female body also add to the unicity. “I always think of where this embroidery will go on a body, and I tend to embellish the unusual corners or the unnoticed curves…it does not always have to be on your upper chest tucked away to a side.”
Her process is fluid and natural, much like her work. “When I get an idea, I just have to do it,” she says echoing all impassioned artists. Her inspirations flood in through nature. In Denmark, the contained cool of Scandinavian landscapes influence her abstract oil painting and designed knitwear. While in Sri Lanka, the island’s paradisiacal abundance seems to translate to Joan’s vivid watercolours—often florals—and finally, to her intricate embroidery.
“Embroidery was always in our family,” she recalls the beginnings into her most accomplished form of artistry. Joan remembers being captivated by her mother’s hand drawn book documenting the baby clothes that she embroidered. She also remembers how she first fell in love with that incredible feeling of being enveloped in an exquisitely made outfit, through the finely embroidered dresses handmade by her mother. Later, she went to complete an embroidery and knitting course at the Denmark College of Handicrafts where she scored full marks, before plunging into the arts in full vigour. She went on to exhibit in unusual locations around Europe, such as the abandoned church in Aalborg commune, and the court house turned museum Tinghuset in Nibe. Beyond embroidery and knitting, Joan also began to see her art within the context of fashion. It came naturally to her, because style was simply in her.
“I always think that clothing should be a complete expression. Personally, I like to make underwear to match my work in order to avoid store-bought pieces that peek outside an otherwise perfect outfit!” she exclaims echoing a practice that still forces her to custom make intimatewear for every wearable item that displays her embroidery or knitting. In her heyday in Colombo, Joan was featured in the fashion and lifestyle pages of the local dailies for her bold sense of style and fashion. Her wedding gown with a spectacular floor-gracing train with hundreds of hand made flowers pressed out in silk in three layers, made fashion headlines and was borrowed by news pages. Style was definitely her thing.
With Joan seated on the verandah of her family bungalow, it is almost visibly evident in the background, how her mind has flown free through the space, touching it with her devotion to beauty; The fiery heliconias set off against the earthly terracotta of the vase, the perfect geometry in the arrangement of hand-painted porcelain…they all vouch for her. As her life approaches a tranquil sunset, Joan has developed a yearning to share her art as a teacher and a mentor. “I have taught several times in my life, and it has always been rewarding. I still keep in touch with some of my students.” She hopes to share her expertise and extraordinary techniques with young fashion designers, textile artists, embroiderers and entities in textile related arts, crafts and design—those who would appreciate it and hopefully, reinvent it in their own way. But, there’s more to it than that too. Joan sees that mastering your creativity as a way to live a wonderful life. “Creativity has helped me to live life on an even keel…being immersed in creativity means that troubles can’t trouble you. So, I’d like to share that.” And with that, Joan offers the greatest gift a creator could leave behind in this world.
This story was published in The Sunday Times in Sri Lanka, which you can still find online here.
This anniversary edition book was commissioned by Elpitiya Plantations of the blue chip conglomerate Aitken Spence Group. After twenty five years, the company has overcome serious challenges and moved from being a loss-making venture in deep debt, to Sri Lanka’s top rated plantation. The Elpitiya team was optimistic, inspired and victorious—a sentiment worth capturing in the anniversary book. The company’s evolution was told in this story bringing in the most important milestones, people and decisions that made up the company’s history. It ended in a high note of optimism, inviting new partners and collaborators to work with Elpitiya as the company entered the next phase of its development. The story received a fantastic response from Elpitiya plantations, and was distributed to its entire network in Sri Lanka and to partners abroad.
My favourite part of this project was the reactions that the Elpitiya team had to the writing; When I saw their emotional expressions, and was told about their experience of goosebumps while reading the ending, I knew that my job as a writer was done right.
The entire project came to fifty four hours of writing and editing in total. Below are some excerpts from the entire work.
They say love conquers all; All but, superhuman laws that are beyond our control. A drought of resources within a challenging global market context and a tea market meltdown at the worst possible time pulled Elpitiya down a bottomless well of debt.
It was the lowest of the lows.
Some leave it to the divine, others to fortune; but, us planters know that it is the drops of love we put into the land that would cloud the skies gravid come next season.
The little green buds have burst out in full bloom. Against all odds, Elpitiya has emerged out incredible. Amidst accolades and celebrations, the faces of friendship were remembered.
It was a beautiful day.
Being in an industry as volatile as the plantations, tunes your sixth sense to the elements of nature, to invisible forces, to something very much like instinct that is alive in the air. Eventually, you begin to recognise that same thing, in the depths of human spirit; in people’s courage, determination and faith. This is why people are Elpitiya’s most treasured asset; Because without them, the vast green fields of Elpitiya would have remained barren terrains.
A planter’s reward comes in gold. In twenty years Elpitiya has transformed a burden to a fortune. As the Elpitiya family takes a moment together, a second of collective breath to feel the magnitude of their efforts, it dawns on us that the fields are golden for as far as our eye could see.
Some said it was not possible, but we made it. The view from the top catches new vistas and a fresh sunrise in the horizon.
What an incredible place to be.
“We’ve come to the top, and the dream is to go higher. The way to do it is to not stand by, but keep moving, keep changing, keep reinventing, and thinking of new paths. There’s no stopping us,” promises J. M. S Brito, Chairman of Elpitiya Plantations, channelling the spirit of everyone.
Strong with a faithful force, a potent land, and groundbreaking new ideas, Elpitiya is ready. The plans are many. As they set out, there is talk of adventure parks, perfumery, hospitality, tourism, real estate…there is nothing stopping Elpitiya today.
It’s not going to be a lone journey, the team at Elpitiya knows. Fresh friendships, unconventional partnerships, and new patrons are welcome to join the expedition; Because now is a time for collaboration, creativity, and grand innovation.