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Dr. Suzanne Waldman and Sean Havel DRDC CORA JTS

Updating the Concept and Execution of Narrative-Led Operations

PLACE L2 HERE (DG LEVEL)

DRAFT - UNCLASSIFIED

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“Narrative Led Operations is about putting the narrative at the heart of the operational planning process and letting it inform the planning of both the kinetic and non-kinetic activities in order to support the strategic intent articulated in the strategic narrative.” (Thomas Nissen-2013)

Narrative-Led Operations

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“States or coalitions and their military forces do not, however, have a monopoly on creating and projecting narratives. Through the telling of interlinked stories that together form the strategic narrative, their opponents, local and domestic audiences, media and for that matter their own soldiers all create and project narratives making the information environment saturated with competing and conflicting narratives - a competition that has been labelled the “Battle of Narratives”. (Thomas Nissen-2013)

The Battle of Narratives

So how do we compete in this battle …. and how do we in?

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A way of interpreting information that emables sense-making and meaning-formation
A set of patterns that interprets temporal and causal relationships between objects, associates emotions and values to them, and implies a role to assume in relation to them.

Audience

Goal

Protagonist

Antagonist

Climax

Resolution

Motive

Helper

So what is “A Narrative”?

There are a lot of different definitions of narrative from disciplines such as literary theory, describing things like narratives time-sequences of events and casual relationships between them. Where a lot of these definitions fall short in my view is in not capturing the emotional, cultural, and ideological work that narratives do.

Military science on narrative actually capture these qualities better, as it are interested in understanding how narratives contribute to influence.

A my encapsulation of a formula created a US military consultant named Kendall Haven describes, persuasive narratives structure a bunch of different objects in a selective way that puts them in a relationship for an audience.

It is the way narratives structure objects that creates the influence effect, as different emotions of the audience become associated in formulaic ways with the different elements in the narrative.

To the continue with the military relevance of narrative, narratives in the information environment create effects at two different stages of the OODA Loop.

It appears to contribute to sensemaking practice between the observe and orient stage, as the narratives you hold and see help you filter information, and then it contributes to meaning-formation between the decide and act stages, as the narratives you hold and see in turn determine how you take action in relation to what is going on around you.

Contemporary operations being conducted in highly complex and dynamic information environments in which audiences “sensemaking” and “meaning-making” is highly contested. Audiences are inevitably presented with numerous competing interpretations of the “what” and the “why” of Joint Force actions and the “who” behind them, as well as suggestions of appropriate behaviors audiences should take in response. These competing explanations will inform audiences’ Observe-Orient-Decide-Act cycles to varying degrees, depending on how available they are and plausible they seem. Into this decisive human domain—which increasingly overlaps with the complex, contested, and challenging online space—the Joint Force must consistently provide plausible, timely and accessible explanations of and justifications for their actions. This will ensure the Joint Force is contributing the sense-making and meaning-making practices of key audiences.

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Comedy	Stabilization of a new social formation
Romantic- comedy	Reinvigoration of a lapsed social formation
Romance	Transformation of a damaged social formation
Tragic-Romance	Fortification of an imperilled social formation
Tragedy	Termination of a corrupted social formation
Tragic-Irony	Petrification of a corrupt social formation
Irony	Endurance of a corrupted social formation
Ironic-Comedy	Disengagement from a corrupted social formation

Step One: Understand, refine and project your implicit narrative

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PAAIVE Parameters for Tragic Romance�

Plot	A high-stakes, uncertain struggle against a strong adversary
Archetypes	Courageous heroes; victimized innocents; nefarious adversaries
Associations	David & Goliath conflict; Last Stand
Imagery	Labyrinths and hellscapes
Values	Endurance, honour, sacrifice, justice
Emotions	Anxious, proud, fellowship
Pop Culture Example	Maze Runner

Step One: Understand, refine and project your implicit narrative

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�What is a Narrative?

Inconsistent

Consistent

Step Two: Ensure consistency with your implicit narrative

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Strategic

Agenda

Operational Narrative

Topic narrative

Event narrative

Story About Event

Content

Narrative Analysis

Narrative Development

Content Creation and Dissemination

Understand Adversary’s Narrative

Construct Friendly Narrative

Step Three: Project your narrative relevantly, coherently and with timeliness

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1. Mission

What is the mission to achieve the strategy?

2. Narratives

Which narratives do we need to communicate to advance the mission?

3. Audiences

What audiences need to receive the narratives?
What topics that matter to audiences can carry the narrative?

J2

Narrative Monitoring

J5-Strat

Narrative Strategy

1. Strategy Development

What geopolitical state do we want to achieve?

2. Strategic Narrative Formulation

What do we need actors to do so we can get there?

3. Narrative Mission Determination

What narratives need to unfold so we get there?

4. Strategic Actor Assessment

Who needs to have a role in the narratives, and what role?

J5-OPS

Narrative Targeting

J3-OPS

Narrative Targeting

DAILY REPORT

1. Information Gathering and Topic Modelling

What topics are audiences talking about?

2. Risk and Opportunity Assessment

How could conversations translate into – or = outcomes?

3. Audience Identification & Analysis

What are the strategic audience segments & their characteristics?

4. Audience Network Mapping

Who are the segments listening/talking to?

5. Communications Analysis

Where and how are the audiences talking or being talked to?

3. Fire and Report

1. Events

What events can we use to leverage the topic narratives as stories?

2. Content

How should story content be shaped for audiences?

*FOR INTERNATIONAL EXPEDITIONARY OPERATIONS ONLY

Step Three: Build a process to continuously iterate and target your narrative

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Questions?

Suzanne.waldman@forces.gc.ca

Sean.havel@forces.gc.ca