Annotations (12)
“You steelman the dominant worldview: how you believe the world works today and what people believe makes a good world, because everyone most of the time believes they're doing what is the right thing. It needs to be done the way it's done for a reason. They're mostly not wrong. So there's a sort of almost intractable philosophical belief of how the world works and why that's a good thing.”— Wolfgang Hammer
p. 2
Philosophy & Reasoning · Strategy & Decision Making · Leadership & Management
DUR_ENDURING
Steelman opposition before positioning your alternative
“Story works in three layers. One, there's the external mechanics of how the character interacts in the world, and you can substitute character for product. That's a requirement. And in the case of technology, it's technical. You gotta have something that works. And then there are two more layers, which is a subjective layer of why is this series of events important to me and what does it mean to me personally? And then there is a philosophical layer.”— Wolfgang Hammer
p. 2
Creativity & Innovation · Business & Entrepreneurship · Leadership & Management
DUR_ENDURING
External, emotional, philosophical: complete narrative stack
“Robert Towne, who was a great screenwriter and wrote Chinatown, and he recently died, wonderful life and a wonderful career, he said this to me at lunch years ago when I was a young executive. He said, stories are either desires fulfilled or anxieties purged. And I think he's right. These are great minds who've made great films, and it's never left me. I think it has to do with overcoming basic human condition.”— Robert Towne
p. 7
Psychology & Behavior · Creativity & Innovation
DUR_ENDURING
All stories: desires fulfilled or anxieties purged
“Raymond Loewy, the designer, had a similar rule around 80/20. The most tolerable amount of 'new' before the human mind rejects it as incomprehensible. With the idea of originality and creativity, there's a sort of tension. Originality is highly prized. And there's sort of this belief that only the very new is truly novel.”— Wolfgang Hammer
p. 4
Psychology & Behavior · Creativity & Innovation · Business & Entrepreneurship
DUR_ENDURING
80% familiar, 20% new: optimal innovation bandwidth
“Someone called me, I hadn't heard from them in a while, and they said, we realized we've been selling to the wrong level. We have to sell to C-level as opposed to frontline manager level. And the sales pitch didn't work to the C-level. It was because they had not changed the framework, the subjective personal philosophy. The C-level has a very different worldview of what's happening in company than the line manager. And we worked on it and it was like magic. It was like magic.”— Wolfgang Hammer
p. 5
Business & Entrepreneurship · Psychology & Behavior · Leadership & Management
DUR_ENDURING
Match narrative to buyer's worldview, not product
“There's a sort of story about. I think it was a British actor who knew absolutely everyone in English society and for some reason was unsuccessful at getting what they wanted. And he said when he overplayed his status, he would be hated. When he underplayed his status, he wouldn't get what he wanted. Everyone liked him, but he wouldn't get what he wanted. When he matched status, he would get whatever he asked for.”— Wolfgang Hammer
p. 10
Psychology & Behavior · Leadership & Management
DUR_ENDURING
Match status exactly to maximize effectiveness
“All society is communication, and because of its complexity, communication breaks down into buckets of specialty. But it's in essence being a master communicator of an almost infinite amount of buckets, and knowing to context switch between them and understanding the language games that each one of these buckets plays, but never forgetting the core principles underneath all this.”— Wolfgang Hammer
p. 6
Leadership & Management · Psychology & Behavior
DUR_ENDURING
Fixed philosophy, variable emotional framing per audience
“It was a project where simply there's a camera installed in the room, and the camera would move back and forth across the room and each time uncover a little bit more of the room. And nothing else happens. There's no payoff to it. But the suspense of seeing a little bit more information about the room is absolutely riveting. Even just this tiny amount of new information being given creates enormous suspense. Because somehow we're good at anticipating. We're really always anticipating.”— Wolfgang Hammer
p. 4
Psychology & Behavior · Creativity & Innovation
DUR_ENDURING
Suspense from incremental information revelation
“That's the definition of story. This is a Faulkner quote, but great conflict is the heart in conflict with itself. That's a great story. So you want two conflicting things at the same time. You're very invested in your fear. You create situations in the original state where this investment in your fear pays off. And at the same time, there's a part of you, mostly subconscious but can be conscious, that has a dream of greatness.”— Wolfgang Hammer
p. 13
Psychology & Behavior · Creativity & Innovation
DUR_ENDURING
Heart in conflict with itself: definition of story
“I come back to this ability and willingness to take ultimate responsibility, which is really not what most people want to do at all. And for some reason, especially filmmakers, have a true vision of what it is they want to be doing, which means they're birthing this project and they take ultimate responsibility from beginning to end and then do it again, and then do it again, each time risking total failure, staking their entire being on this one next thing.”— Wolfgang Hammer
p. 6
Leadership & Management · Creativity & Innovation · Psychology & Behavior
DUR_ENDURING
Ultimate responsibility repeated: filmmaker as model
“The mind obviously is very good at projecting into the future and can imagine really anything. And in many ways, what is possible, even emanating from our own subconscious, is so much bigger than what the left hemisphere brain, the rational analytical brain, can handle. So I think there is a fear of the bigness of the world. That fear of the bigness of the world is also reflected in the inner world. So much of story is actually an inner transformation.”— Wolfgang Hammer
p. 12
Psychology & Behavior · Philosophy & Reasoning
DUR_ENDURING
Fear of greatness: potential overwhelms rational mind
“Courage, complete comfort with calculated failure, as in, if you know what you're doing, you're trying something and you know it's a trial balloon, it's totally all right if it goes wrong as long as you really thought about it and there's a calculated risk as opposed to a random, let's see what sticks kind of risk. Really incredible ability to map out sort of in an imaginary way what could be. Always allowing that you're not seeing something but really mapping it out.”— Wolfgang Hammer
p. 11
Strategy & Decision Making · Psychology & Behavior
DUR_ENDURING
Calculated risk: thoughtful trial, not random bet
Frameworks (1)
The Three-Layer Narrative Framework
Building Stories That Resonate on External, Emotional, and Philosophical Levels
Every compelling narrative operates on three simultaneous layers: the external mechanics (what happens in the world), the emotional layer (why it matters personally), and the philosophical layer (how it challenges or reframes worldviews). To construct a narrative that moves people, you must articulate all three layers, with particular attention to steelmanning the dominant worldview before positioning your alternative philosophy through direct refutation.
Components
- Define the External Layer
- Identify the Emotional Layer
- Steelman the Dominant Worldview
- Articulate Your Counter-Philosophy
Prerequisites
- Deep understanding of your own work and motivations
- Research into customer or stakeholder worldviews
- Willingness to articulate controversial positions
Success Indicators
- Narrative resonates immediately with target audience
- Differentiation is clear without requiring explanation
- Story remains consistent across contexts while adapting emotional framing
- Team can articulate all three layers independently
Failure Modes
- Philosophical layer feels bolted-on or insincere
- Emotional layer is too generic to create connection
- External layer is weak or unproven
- Steelmanning is halfhearted and the refutation feels shallow
Mental Models (2)
Steelmanning
Decision MakingThe practice of articulating the strongest possible version of an opposing position before attempting to refute it. Steelmanning requires genuinely understanding why intelligent people hold views different from your own, what legitimate values or concerns drive those views, and presenting them fairly and completely. This is the opposite of strawmanning, where you create weak versions of opposing arguments to knock down easily. Steelmanning builds credibility, forces intellectual honesty, and creates the conditions for genuine persuasion.
In Practice: Wolfgang Hammer described steelmanning as essential to the philosophical layer of narrative construction, emphasizing the need to understand and fairly represent dominant worldviews before positioning alternatives
Demonstrated by Leg-wh-001
Anticipation and Information Drip
PsychologyThe psychological principle that humans derive enormous suspense and engagement from incremental information revelation.
In Practice: Wolfgang Hammer described a film where a camera simply pans across a room
Demonstrated by Leg-wh-001
Connective Tissue (4)
Raymond Loewy's MAYA Principle: Most Advanced Yet Acceptable
Industrial designer Raymond Loewy articulated a rule that optimal design sits at the intersection of familiarity and novelty: the 80/20 principle where 80% of a design should feel familiar and only 20% genuinely new. This is the most that the human mind can tolerate before rejecting something as incomprehensible. Loewy applied this to physical product design, but the principle extends to any form of communication or innovation: the new is most easily adopted when it is built on a foundation of the recognizable. This explains why breakthrough innovations often feel obvious in retrospect, why effective founders position their products as evolutions rather than revolutions, and why storytelling power comes from variations on familiar patterns rather than pure originality.
Wolfgang Hammer cited Loewy's principle when explaining why storytelling and innovation work best when they blend the familiar with the new, challenging the conventional wisdom that prizes pure originality
Filmmakers as Temporary Startup Founders
Great film directors function as founders of temporary startups: they assemble teams, raise external capital, execute against a vision, deliver a product to market through third-party distribution, and then dissolve the organization and do it all again. Each project risks total failure and stakes their reputation. The parallel illuminates what exceptional leadership looks like: willingness to take ultimate responsibility, courage to espouse a specific worldview that may be contrarian, and the capacity to do it repeatedly despite the certainty of eventual failure. The filmmaker's courage to articulate a particular vision of the world, find funding for it, and execute it without compromise offers a model for how CEOs should think about their role.
Wolfgang Hammer drew the parallel when discussing what business leaders can learn from filmmakers about taking ultimate responsibility and espousing worldviews
The British Actor's Status Calibration
An apocryphal story about a British actor who knew everyone in English society but struggled to get what he wanted until he discovered the principle of status matching. When he overplayed his status, he was hated. When he underplayed it, he was liked but got nothing. When he matched status precisely with his counterpart, he got whatever he asked for. The principle extends beyond acting to all negotiation and persuasion: effectiveness comes not from dominance or deference, but from accurate calibration of relative standing. This explains why founders often fail when they either oversell their vision or undersell their accomplishments, and why the most effective communicators instinctively adjust their positioning to mirror their audience's self-perception.
Wolfgang Hammer shared this story when discussing how status dynamics shape all human interactions and how understanding status is essential to effective communication
Faulkner's Heart in Conflict With Itself
William Faulkner defined great storytelling as showing 'the heart in conflict with itself,' the internal struggle between opposing desires or values. This is not external conflict between characters or forces, but the psychological tension of wanting two incompatible things simultaneously. The literary principle extends to personal transformation and leadership: meaningful change happens not through simple choice between good and bad options, but through the resolution of deeply held internal contradictions. The leader who wants both security and greatness, the founder who craves both acceptance and differentiation, the person invested in their fear while simultaneously harboring dreams of potential. Transformation requires making these contradictions conscious and working through them, not suppressing one pole in favor of the other.
Wolfgang Hammer cited Faulkner's definition when explaining why internal conflict drives both compelling narratives and personal transformation
Key Figures (5)
Mitch Lasky
2 mentionsFormer Benchmark Partner, Chairman of Wolfgang's Film Studio
Marc Andreessen
2 mentionsInvestor in Wolfgang's Film Studio
Raymond Loewy
1 mentionsIndustrial Designer
Articulated the MAYA principle (Most Advanced Yet Acceptable).
- Articulated the cognitive threshold for novelty: 80% familiar, 20% new
Robert Towne
1 mentionsScreenwriter (Chinatown)
William Faulkner
1 mentionsNovelist
Glossary (1)
steelman
DOMAIN_JARGONTo articulate the strongest possible version of an opposing argument
“You gotta steelman this—and it's very easy to strawman it, but you got to steelman it—how you believe the world works today.”
Key People (3)
Raymond Loewy
(1893–1986)20th-century industrial designer who created the MAYA principle
Robert Towne
(1934–2024)Acclaimed screenwriter of Chinatown
William Faulkner
(1897–1962)American novelist
Concepts (1)
language games
CL_PHILOSOPHYWittgensteinian concept: specialized communication systems within domains requiring context-specific understanding
Synthesis
Synthesis
Migrated from Scholia