From: officialflagrant
The world of combat sports, particularly MMA and boxing, relies heavily on storytelling to captivate audiences and sell tickets. Chael Sonnen, a prominent figure in fight sports, emphasizes that a great promoter is essentially a great storyteller, and a great fight is nothing more than a great story [02:59:00]. This perspective highlights the crucial role of narrative in generating interest and drawing in viewers, often transcending the actual athletic prowess of the fighters involved [03:01:00].
The Art of the Bad Guy
Chael Sonnen refers to his own approach as “the art of the bad guy” [01:49:10]. He believes that building a fight involves a master plan and perfect execution [01:13:15]. Unlike some fighters who naturally develop into a “heel” (bad guy) or “face” (good guy) due to their personality, Sonnen consciously analyzed these archetypes and worked to embody them [01:39:00]. From the early days of Hollywood, there have only been two fundamental characters: the good guy and the bad guy [13:12:00]. This dichotomy is central to creating compelling narratives in combat sports.
The Five Ws of Storytelling
Sonnen learned from a third-grade teacher that a good story requires the “Five Ws”: who, what, when, why, and where [02:55:00]. He applies this to fight promotion, particularly emphasizing the “why” [03:21:00]. Fighters must be fighting for something – be it ego, pride, or a specific purpose – beyond just a belt [03:50:00]. A simple belt, he argues, became important because someone used it to sell tickets at Madison Square Garden [03:45:00].
Authenticity and Audience Engagement
The audience is discerning and will “see through a fake” [07:02:00]. This underscores the importance of authenticity in storytelling. Fighters who try to portray a “nice guy” image when their real persona is different often fail to connect with fans [06:57:00]. For example, Conor McGregor’s more charitable persona before one fight was seen as less engaging than his infamous “your wife’s in my DM” trash talk [06:12:00].
Fighters who can genuinely embrace the role of the “heel” and withstand boos and criticism are often the ones who make the most money [05:17:00]. Sonnen himself experienced this, realizing that being booed was more monetizable than being cheered [13:04:00]. He even prepared “losing speeches” for fights, understanding that a compelling narrative could emerge regardless of the outcome [12:06:00].
Crafting Narratives and Characters
The “Cool Heel”
The “cool heel” is presented as the most monetizable character [24:14:00]. Examples like Stone Cold Steve Austin, The Rock, and Conor McGregor are cited as individuals who embraced being the antagonist but still managed to be perceived as cool [24:22:00]. McGregor’s ability to stay in character even when injured demonstrates his dedication to the gimmick [57:25:00].
The Power of the Call-Out
The “call-out” after a fight is a brilliant innovation in combat sports promotion [15:37:00]. It immediately sets up the next fight when the most eyeballs are on the victor, extending the narrative and building anticipation [15:39:00].
Belts as Illusion
While belts symbolize championships, they are often an “illusion of curiosity” rather than the primary driver of fight sales [16:06:00]. Fighters like Nate Diaz can draw huge audiences regardless of a belt, proving that compelling narratives and personalities often outweigh formal titles [16:13:00]. The loudest audience reaction, whether cheers or boos, ultimately determines who the true “star” is [16:42:00].
Case Studies in Storytelling Success and Failure
Valentina Shevchenko (“The Bullet”)
Valentina Shevchenko, despite being hailed as one of the greatest female talents in unarmed combat, struggles to draw large audiences [17:45:00]. Sonnen attributes this to her reluctance to embrace her true “heel” persona [19:00:00]. He suggests that if she were to acknowledge her “bad girl” traits, such as defending controversial figures like Jon Jones, a compelling narrative could be crafted to sell tickets [19:12:00]. He even improvises a dramatic storyline involving a love triangle between Shevchenko, Jon Jones, and Holly Holm to illustrate how engaging personal stories can be [20:15:00].
Francis Ngannou vs. Ciryl Gane
The fight between Francis Ngannou and Ciryl Gane, despite having a compelling backstory of former teammates and coaches, flopped commercially [29:24:00]. Sonnen argues this was because neither fighter was willing to tell the story and build the necessary narrative [29:43:00]. Ngannou, despite a captivating personal story of destruction, failed to turn it into a bigger draw due to his unwillingness to engage in the promotional aspects [30:30:00].
Chael Sonnen’s Infamous “Bus” Story
Chael Sonnen’s trash talk about the Nogueira brothers feeding a bus a carrot and petting it, believing it to be a horse, is highlighted as a masterclass in fight promotion [07:47:00]. This fabricated story was so effective that a Nevada athletic commission executive attempted to pull Sonnen’s license, believing the act was genuinely detrimental and reflecting a “bad guy” image for kids [09:16:00]. This incident underscores the power of creative, non-profane storytelling to generate intense reactions and sell fights [09:27:00].
Broader Implications
The principles of promotional strategies in combat sports and storytelling and character development in WWE are deeply intertwined. Vince McMahon, for instance, once considered buying the UFC but passed because he believed you couldn’t create a star without controlling the outcome of fights [02:32:15]. This highlights the foundational belief that narrative control is paramount for star creation and commercial success.
Sonnen draws parallels to the role of storytelling and myth in human culture, comparing his strategies to wrestling legends and even politicians. He views fight promotion as an extension of performance art, where creating intrigue and emotional investment is key to success [01:02:39]. This ethos makes for powerful fighting rivalries and enhances the drama of events.