StoriedB
Two-plus decades of storytelling about complex subjects for mass audiences
EXPERIENCE:
Three years general assignment, municipal, election and arts-and-entertainment reporting; some photography
Two years as a newspaper crime-beat reporter covering the Navajo Nation and environs
Two years of magazine feature writing for cycling magazine Mountain Flyer, event coverage, interviews/profiles; analog photography
Five years writing and photographing to produce internal newsletters for most North American railroads
Eleven years writing about architecture, engineering and construction (AEC) for multinational design and construction firms; some photography
Three years general assignment, municipal, election and arts-and-entertainment reporting; some photography
Two years as a newspaper crime-beat reporter covering the Navajo Nation and environs
Two years of magazine feature writing for cycling magazine Mountain Flyer, event coverage, interviews/profiles; analog photography
Five years writing and photographing to produce internal newsletters for most North American railroads
Eleven years writing about architecture, engineering and construction (AEC) for multinational design and construction firms; some photography
EDUCATION:
BA in Print Journalism, minor in Creative Writing
from Keene State College in Keene, New Hampshire.
Graduate certificate in Documentary Photography from SALT at Maine College of Art.
Microsoft Certified Systems Engineer/Systems Administrator/Certified Professional
BA in Print Journalism, minor in Creative Writing
from Keene State College in Keene, New Hampshire.
Graduate certificate in Documentary Photography from SALT at Maine College of Art.
Microsoft Certified Systems Engineer/Systems Administrator/Certified Professional
Bunker Hill Community College 2000-2001
Boston University 2001-2002
Keene State College 2004-2007
Salt/Maine College of Art 2006
Boston University 2001-2002
Keene State College 2004-2007
Salt/Maine College of Art 2006
When I started working with clients as StoriedB in 2023, I saw a need for storytelling that evokes emotions commensurate with the incredible building achievements that were the subjects of my stories. Accessible storytelling conveys the significance to society without the audience having to be a developer, designer or project manager — and without glossing over the nuts and bolts of how it was actually accomplished. Those details frequently form the story's central conflict. And building something, anything, where once there was nothing, requires a tremendous collaborative effort. That is often what I find most compelling.
The need was for storytelling that captured the nuance of project teams and the collaboration of disparate collaborators, all of which contributes to a bigger narrative that pierces through the minutiae and impresses even casual eavesdroppers. When I write about people, I apply techniques from writing human-interest feature stories and magazine profiles, and I use literary devices from creative non-fiction.
The need was for storytelling that captured the nuance of project teams and the collaboration of disparate collaborators, all of which contributes to a bigger narrative that pierces through the minutiae and impresses even casual eavesdroppers. When I write about people, I apply techniques from writing human-interest feature stories and magazine profiles, and I use literary devices from creative non-fiction.
As a journalist, I accomplish my work the way I always have, through research, interviews and drafting. My clients have told me that they work on projects for years and still learn something new from my stories. That’s the inspiration behind StoriedB.
StoriedB in the Media
In this edition of Media Matters, Fublis’ series that delves into the minds of media professionals, we sit down with the founder of StoriedB, a unique storytelling platform that focuses on capturing the emotional nuances of architecture and design projects. As a PR strategist and writer, Phil has built a reputation for crafting compelling narratives that highlight the collaborative efforts behind complex projects, from innovative architectural designs to large-scale renovations.
Phil shares with us the inspiration behind StoriedB, the key strategies he employs to create narratives that resonate, and his approach to blending creativity with client expectations. Throughout the interview, he offers a glimpse into his writing process, his thoughts on current trends in architecture and design, and how emerging technologies like AI are shaping the future of storytelling.
Whether you’re a media professional, a designer, or simply someone interested in the intersection of creativity and communication, this interview provides valuable insights into the evolving role of storytelling in the built environment.
Read on as Phil explores the art and craft of storytelling and the projects that lie ahead.
What inspired you to start StoriedB, and what does it intend to offer to the creative industry?
Phil: I saw a need for storytelling that surfaces universal emotional responses to these marvelous building achievements — without skimming over the nuts and bolts of how it was actually accomplished. Designers, for example, are part of the story and necessarily see it from a designer’s perspective. And so is every other member of the project team, each contributing in subtle and nuanced ways, together and separately, to move the project forward. The need was for storytelling that captured the nuance of each and the role of each in the bigger narrative. My clients have told me that they work on projects for years and still learn something new from my stories. That’s the inspiration behind StoriedB.
Can you share an example of a project that truly embodies the ethos of StoriedB?
Phil: In 2023, I wrote the award submission for a project that earlier this year was named an ENR Best of the Best project. It was a renovation and enlargement of a one-of-a-kind, maritime facility. It was of massive scope and scale, requiring many specialists to work together in a very condensed and immovable time frame.
As a PR strategist, what key strategies do you employ to craft compelling narratives?
Phil: Some projects involve innovative structural designs or novel materials. Or the site itself could present the greatest challenge — for example, new construction in a dense metropolis versus the same building in a sprawling, less-congested context. The most compelling aspects of the story will inform strategies for capturing earned media as well as awards programs to target, and thought leaders to promote. A lot may be determined by the client’s brand identity and to what extent they would like to raise awareness, change attitudes or motivate action. I will sometimes outline a story in percentages of logos, ethos and pathos — based on the most compelling aspects of the narrative.
Can you take us through your writing process?
Phil: Sure, it really doesn’t start until I’ve finished gathering information. I think I learned early on that it’s no fun to write a story and then realize you missed the most interesting part entirely.
So I focus first on collecting notes from interviews and on reading as much as I can about the who, what, when, where, why and how of the context in which the story exists. Once I start writing, it’s a process of constant revision. I usually try to give myself about 10 minutes to think of a lede, and if I can’t, then I move on and come back to it. And in general, I will write headlines last — unless it’s one of those headlines that writes itself, which happens rarely for me.
How do you strike a balance between staying true to your own creative vision and meeting the expectations of your clients?
Phil: I think the balance is maintained because we have the same goal. It’s like a partnership. We both want to capture the story in all its color and complexity in order to celebrate an accomplishment, a project, a person, or a milestone. The parameters help define my creativity for me. For example, a press release has a different purpose than a project description. An award submission focused on architecture will read differently than an award submission for structural design/interior design/construction, etcetera. A lot is left out necessarily — out of respect for the reader’s time and level of interest. The tone is different. The creativity comes from seeing a massive lump of information and carving out what’s superfluous or redundant to reveal lean and economic prose that tells a compelling story for your target audience but is also accessible to a mass audience who is reading it cold.
What are some exciting trends that you have noticed within the contemporary architecture and design scene?
Phil: There is a lot of focus in the US right now on repurposing underused commercial and industrial buildings. Developers are working with architects and engineers to find candidates for repositioning as residential and mixed-use projects.
What’s next for you in your career? Are there any exciting projects, or new ventures that you’re particularly excited about?
Phil: I’ve been honing my skills with text-to-video and text-to-image, developing my AI chops to eventually create visual media. I think the technology is pretty exciting for writers who can visualize and render a tableau with words, who understand how to show rather than tell. It’s just a sandbox for me right now, but I’ll eventually be able to produce short films, tell stories much more visually, sans studios, especially as the tools continue to develop. These tools are already helping me develop visual concepts behind the scenes, but I have considered perhaps one day pitching small but smart AI visuals for client publication as well.
Future Talks by RTF: In conversation with StoriedB
Welcome to Future Talks by RTF, where we engage in enlightening conversations with the pioneers who breathe life into design narratives. In our upcoming session, we are thrilled to host Phil, an accomplished 18-year veteran writer, journalist, and PR strategist. With nearly a decade dedicated to exploring the realms of design and construction, Phil’s journey includes senior roles at global design firms HDR and LEO A DALY. In 2023, he embarked on his own venture, Storied B, a brand rooted in the belief that everything has a story.
Phil’s unique approach blends the precision of journalism with the artistry of creative nonfiction, allowing him to unravel and convey the captivating stories behind complex and technical projects, including megaprojects. His prowess in design storytelling has been recognized with awards from the American Marketing Association and the Public Relations Society of America.
Join us as we delve into the multifaceted world of design through Phil’s insightful experiences and storytelling mastery.
RTF: Hi Phil, We are glad to have you as a guest on Future Talks by RTF. Thanks for joining us. How crucial do you consider the idea of ‘constantly learning’ in the realm of journalism? How has it shaped the progression of your career?
Phil: Learning stands near the center of journalism and really all storytelling. At a minimum, I have to learn the who, what, when, where, why and how of every story. Design stories often require that I also learn about influences surrounding decisions — the context. I’m learning constantly about trends impacting particular markets, about geographies and cultures and subcultures. Workplace design, for example, changed during the pandemic, and the automotive industry is turning right now toward an electric future. Those changes spur trends in material choices, space requirements, design priorities, etcetera.
As far as my career, I have always been intellectually curious, which led me to study print journalism along with creative writing when I was in college. My post-grad work focused on creative nonfiction storytelling. And as my career has progressed, I have interviewed many people, all with varied expertise, backgrounds and communication styles. Learning from every interview and every story enables me to ask better questions, steer interviews down productive tangents — based on what I have learned or am learning.
RTF: Tell us about your stint with LEO A DALY.
Phil: I worked with very good designers there, and the timing worked out so that I had the opportunity to lead storytelling and PR for a milestone project in the United States. I reframed the narrative early on, centering on the project’s innovative delivery and elucidating in detail how it contributed to each discipline within engineering, architecture, interior design and construction. The story was compelling, contained many “subplots” and captured a lot of attention from trade pubs and awards programs, including the firm’s first ENR Project of the Year.
RTF: What does the balancing act of working for an organisation and building one’s brand look like?
Phil: It’s one and the same. My brand as an employee or contractor has always mirrored the values of Storied B: Integrity, credibility, curiosity, affability, efficient communication, thorough research and accessible storytelling.
RTF: What does it take for writers to get published in the top architecture and design platforms?
Phil: Credibility is important, and it accumulates over time from producing high-quality, well-researched, accurate content. A genuinely good story is always important to editors, but it also needs to align with their audience. There’s a galaxy of niche pubs in architecture and design — each with a target audience — so there exist many opportunities to reframe stories or pitch them from different angles, as long as it’s genuinely good. So it takes objectivity and empathy, the ability to see a story from the platform’s point of view.
RTF: What would be your advice to young professionals who are looking to take a plunge into writing and editing?
Phil: This is hard to answer because of all the diversity that exists in individual backgrounds. That said, I think time and experience help writers learn not to assume things or foist their beliefs or values into a story. This takes practice. Everything, every event, every person represents many stories, most of which are unavailable at a superficial level. Information may lead you away from your early assumptions — toward the story that exists, the story you should write, which may or may not be the same as the story you wanted to write at the outset. Stay open to the fact that there may be information or perspectives you do not have.
RTF: What is your opinion on the evolution of content throughout the years and how has social media affected it?
Phil: Content has grown more omnipresent, and social media is a big driver behind that. Even though content about design and construction comes from many different brands, most of it nevertheless creates similar experiences for consumers, which presents opportunities to differentiate.
RTF: What is your definition of a ‘convincing’ pitch?
Phil: A good pitch is brief and captivating, uses vivid language and answers “Why does this matter and why right now?”
RTF: After around 18 years as a journalist, editor, how rewarding do you find your job to be and what are the plans ahead?
Phil: I still get wowed by what diverse minds can build, what problems they can solve, when they work in concert. I enjoy learning about the details of great design accomplishments, crafting them into accessible narratives so that others can experience what I experienced – the same wow, and hopefully on both an emotional and an intellectual level. That is very rewarding.
RTF: How does your off-the-table life shape your professional life?
Phil: I write about design and construction but I also design and build things – I’m a welder and I build custom bicycles. I think this aids in my understanding of concepts, my ability to empathize with challenges and develop rapport during interviews.
Thank you so much for doing this interview with us. It has been a pleasure getting to know about you and your work. We’re sure that your insights will be highly valuable to our audience which includes architects and design students. We look forward to publishing this interview on our website soon.