I've been working with UCL SMILE Programme, Queen Mary, and UKTI Tech City lately (among others) and am happy to report that entrepreneurship is in rather wonderful shape in London.
Although with specialised incubator programmes like Springboard young companies have always been impressive, the calibre of companies has improved exponentially since last year in open enrollment classes.
Here's something, too, coming up for all you younger folk who want to try your hand. I'll be doing the pitch training, and I very much look forward to meeting you.
The 2012 Young Entrepreneurs Festival, organised by The Tech City Investment Organisation, in partnership with the Creative Pioneers Can-Start programme of the IPA and Metro, and supported by ad:tech London, brings together 150 of the brightest aspiring young entrepreneurs to compete for a chance to pitch to angel investors and potentially raise seed funding for their business idea.
For 2 days before the final, the contenders (in 2 age groups, 16-24 and 25+), will have been judged and supported by dozens of mentors, successful entrepreneurs, experienced business people, creatives and technologists, giving their time and expertise completely free of charge in order to help aspiring talent achieve greater potential. On Day 1, the 150 young entrepreneurs are whittled down to the best 50%, who advance through to Day 2. After more intensive support, coaching and scrutiny, at the end of day two, the top 10 will be announced.
Each of the 10 finalists has 3-5 minutes to present to the audience at Ad:Tech on Day 3, which will include a number of specially invited angel investors. There will be a judging panel. After hearing all 10 pitches, the top 3 and overall winner of the contest will be announced, and there will be prizes of generously donated business support.
Monday, September 10, 2012
Friday, July 20, 2012
What it Would Be Great to Have Known at 20
A friend sent me this clip of Tina Selig from Stanford's Technology Programme.
More on why every problem is an opportunity. How do you teach creativity?
More on why every problem is an opportunity. How do you teach creativity?
Friday, June 29, 2012
Pitching: Change the Physics of Data
Today we'll have the London Tech City Mentoring event for which start-ups have been preparing.
Pitching is really just saying what you want others to hear, in the way you want them to hear it. I'll take here David White's vision for his own company, Kusiri.
Pitching can transform the physics of data.
In this paradigm for pitching (maybe it also applies to Kusiri?), the Law of Integrity is governed by the addition of conviction. If you feel that what you say is important, then others will, too.
Empathy is a chemical reaction.
Pitching is really just saying what you want others to hear, in the way you want them to hear it. I'll take here David White's vision for his own company, Kusiri.
Pitching can transform the physics of data.
In this paradigm for pitching (maybe it also applies to Kusiri?), the Law of Integrity is governed by the addition of conviction. If you feel that what you say is important, then others will, too.
Empathy is a chemical reaction.
Wednesday, June 27, 2012
Springboard in Action
Yesterday I worked as pitch doctor with Springboard's start-up teams for a second time to help them prepare for Demo Day on 5 July. Impressive progress from our first round two weeks ago. They'll now practice every day until we meet again on 4 June for a final run-through.
The challenge here is both content and performance -- you can say all the right things, but if you don't sound like you care, listeners won't either.
This matters a lot when you're pitching for investment.
To make things more challenging for our heroes, Estonia's Wise Guys incubator start-ups are pitching in the morning before Springboard even arrives. Springboard's companies must really shine if they want to be noticed after investors have already had a morning of listening for opportunities.
For now, here's evidence that at least one of the teams, Teddle, does actually do what it says on the tin.
Teddle found Jess Williamson, key player in Springboard's success, a local hairdresser immediately, which is when she needed one. In fact, the treat made Jess, with very few hours sleep, look a lot like a Bond Girl.
Here's the proof -- and stay-tuned for more on Springboard.
The challenge here is both content and performance -- you can say all the right things, but if you don't sound like you care, listeners won't either.
This matters a lot when you're pitching for investment.
To make things more challenging for our heroes, Estonia's Wise Guys incubator start-ups are pitching in the morning before Springboard even arrives. Springboard's companies must really shine if they want to be noticed after investors have already had a morning of listening for opportunities.
For now, here's evidence that at least one of the teams, Teddle, does actually do what it says on the tin.
Teddle found Jess Williamson, key player in Springboard's success, a local hairdresser immediately, which is when she needed one. In fact, the treat made Jess, with very few hours sleep, look a lot like a Bond Girl.
Here's the proof -- and stay-tuned for more on Springboard.
Friday, June 22, 2012
Don't Like How Your Business is Going? Tell a Different Story
In Harvard Business Review, Rosabeth Moss Kantor sums up very succinctly how the wrong narrative can sink your business and the right one can get you back on track.
The first step is recognizing that the right story is THAT important. The second is finding the right person to script it.
I spent the last week in NY with Emma Gilding, a rebranding expert, working with a small company to raise their profile.
Just a tip on hiring -- those of us who started in theatre have an instinctive grasp of effective narrative and how to make it work. Our training? Make something believeable to a crowd of people you've never met out of absolutely nothing, on deadline.
Emma began in the theatre with many similar convictions as I. In fact, we even overlapped at Central School of Speech and Drama in London. She was a student -- I was only helping out a friend.
In any case, find the underlying truth, create the right script, play it with conviction, and it's hard for your business to fail.
The first step is recognizing that the right story is THAT important. The second is finding the right person to script it.
I spent the last week in NY with Emma Gilding, a rebranding expert, working with a small company to raise their profile.
Just a tip on hiring -- those of us who started in theatre have an instinctive grasp of effective narrative and how to make it work. Our training? Make something believeable to a crowd of people you've never met out of absolutely nothing, on deadline.
Emma began in the theatre with many similar convictions as I. In fact, we even overlapped at Central School of Speech and Drama in London. She was a student -- I was only helping out a friend.
In any case, find the underlying truth, create the right script, play it with conviction, and it's hard for your business to fail.
Saturday, June 16, 2012
Second Pitching Event: Lessons Learned
The second pitching event at Hackney House, leading to a Speed Mentoring session on 29 June, was even more well attended than the first. Everyone worked very hard, and after 4 hours, we had all stories reframed and ready for practice.
One of the participants, Peter Johnston of Hedgho.gg wrote to me afterwards: "I wanted to thank you for the feedback from Friday, I've digested a lot of it, and will be much stronger next time I hope."
Where Does Hope Come Into It?
Here's a big challenge: the first time you transform a story whose telling has become habit, you're left in the in the space between the comfort zone you had before and the dazzling effect you're like to achieve.
In other words, it's unfamiliar territory.
The only way to go back to a place where you feel comfortable -- with material more effective than that which you had a habit of repeating - is to practice. You then have replaced ineffective habits with more effective ones.
All the participants promised to do some homework -- to write their pitches on cards and learn it so that if someone were to wake them in the middle of the night, they could rattle off the story by heart. Only once you know something cold can you improvise - as you must with each new set of listeners -- because you know how far you can go out on a limb before you have to come back.
It's a lesson Max Roach taught me at 21 on my first day working at La Mama Cafe back in my days as a theatre dramaturg. It's one that I relearn every time I work with a new client.
So here's the very impressive Peter Johnston and me -- come hear his story on the 29th.
One of the participants, Peter Johnston of Hedgho.gg wrote to me afterwards: "I wanted to thank you for the feedback from Friday, I've digested a lot of it, and will be much stronger next time I hope."
Where Does Hope Come Into It?
Here's a big challenge: the first time you transform a story whose telling has become habit, you're left in the in the space between the comfort zone you had before and the dazzling effect you're like to achieve.
In other words, it's unfamiliar territory.
The only way to go back to a place where you feel comfortable -- with material more effective than that which you had a habit of repeating - is to practice. You then have replaced ineffective habits with more effective ones.
All the participants promised to do some homework -- to write their pitches on cards and learn it so that if someone were to wake them in the middle of the night, they could rattle off the story by heart. Only once you know something cold can you improvise - as you must with each new set of listeners -- because you know how far you can go out on a limb before you have to come back.
It's a lesson Max Roach taught me at 21 on my first day working at La Mama Cafe back in my days as a theatre dramaturg. It's one that I relearn every time I work with a new client.
So here's the very impressive Peter Johnston and me -- come hear his story on the 29th.
Friday, June 08, 2012
Calling All Start-Ups to Hackney House
I led a pitching event at Hackney House last week. I've never seen a Pop-Up Venue so elaborate. It's very much worth checking out.
On 15 June, there will be another that will qualify start-ups for the Speed-Mentoring event on 30 June. You can win a Kindle if you're the best at it.
It's all free of charge, sponsored by UKTI, so register by emailing Karen Ball as soon as possible: karen.ball@ukti.gsi.gov.uk.
All you Start-Ups who need a place to work and be inspired, visit even without the pitching event. You'll probably need to wear headphones to prevent distraction. It's full of genuinely interesting-looking people and events. And the furniture is rather fabulous, too (Philip Stark, eat your heart out).
Wednesday, June 06, 2012
Blah Blah Blah Investment Blah Blah Blah
Following on from the last post on investment pitches, I'm clearly not the only one to read Gary Larsen. And investors aren't the only ones known for their strategy of listening through pattern recognition.
A friend and client, Angelica Robinson of Jobs4Creatives, sent me this:
A friend and client, Angelica Robinson of Jobs4Creatives, sent me this:
Investor Pitches - Hear Here
One of the ways I describe how and what investors hear in a pitch is through the cartoon "What a Dog Hears" by Gary Larson.
Where Gary Larsen puts "Ginger," insert "when-will-I-get-my-money-back?", "How-big-is-the-market-so-I-will-get-my-money-back?", "what-is-your-usp-so-I-will-get-my-money-back?," and so forth. No disrespect intended -- we all are creatures of pattern recognition because it saves time and attention.
No disrespect intended - we're all creatures of pattern recognition because it saves time and energy. So know the patterns your listeners attend, and you can't help but be heard.
Where Gary Larsen puts "Ginger," insert "when-will-I-get-my-money-back?", "How-big-is-the-market-so-I-will-get-my-money-back?", "what-is-your-usp-so-I-will-get-my-money-back?," and so forth. No disrespect intended -- we all are creatures of pattern recognition because it saves time and attention.
No disrespect intended - we're all creatures of pattern recognition because it saves time and energy. So know the patterns your listeners attend, and you can't help but be heard.
Thursday, May 24, 2012
Me(e)ta Language Close-Up
It's always best to get rid of as much jargon as possible when articulating a business proposition. Obvious perhaps -- it's best to engage as many and exclude as few prospects as possible, and words shouldn't divide.
This non-jargonated discourse is usually called natural language, however even the terms we use to get rid of obfuscation is jargon. My friend and writer, Carl Honore, introduced me to a great set of pod casts produced by Slate.
The series is called Lexicon Valley and goes into the most wonderful detail about English grammar and the meaning behind it.
Check it out.
This non-jargonated discourse is usually called natural language, however even the terms we use to get rid of obfuscation is jargon. My friend and writer, Carl Honore, introduced me to a great set of pod casts produced by Slate.
The series is called Lexicon Valley and goes into the most wonderful detail about English grammar and the meaning behind it.
Check it out.
Tuesday, May 01, 2012
The Internet is a Very Big Place
Who knew I was listed in Bloomberg/Business Week?
I certainly didn't. Not a big point, but the Internet is a very big place.
I certainly didn't. Not a big point, but the Internet is a very big place.
Friday, April 20, 2012
Gaming for Good Causes: Playmob
Saw an ex-client today who is doing very well -- always a great thing to feel one has been useful.
Jude Ower, CEO of Playmob, after winning the pitching competition at the Tech City Festival this summer in London, the company also continues to gain recognition for a Playmob's very smart business model and the good work it can do.
Playmob allows game companies to offer fund raising campaigns to charities through gamers' purchase of virtual objects to navigate the game. The game company makes 30%, Playmob makes 20%, and the charity makes 50% of the proceeds.
Don't get me wrong -- this is no not-for-profit. Jude's just come up with a fun, smart way to accomplish a task that usually makes both fundraisers and givers anticipate a task not unlike that of Sisyphus.
Jude Ower, CEO of Playmob, after winning the pitching competition at the Tech City Festival this summer in London, the company also continues to gain recognition for a Playmob's very smart business model and the good work it can do.
Playmob allows game companies to offer fund raising campaigns to charities through gamers' purchase of virtual objects to navigate the game. The game company makes 30%, Playmob makes 20%, and the charity makes 50% of the proceeds.
Don't get me wrong -- this is no not-for-profit. Jude's just come up with a fun, smart way to accomplish a task that usually makes both fundraisers and givers anticipate a task not unlike that of Sisyphus.
Friday, March 16, 2012
Dragon's Den Success
I must congratulate my client for getting through the fire and other scary stuff (like humiliating questions) rife in The Dragon's Den.
The Den demands all stay shtum about contestants before airing, so I can't tell you much. But I can tell you that this particular person went from not knowing what to say to poised pitch in three days.
Knowing your story by heart, and then underlying it with conviction, is the most potent combination for seemingly effortless and persuasive performance.
Very much like acting onstage, effective pitching is 95% practice, 5% inspiration, once you have the right feedback. Even an amateur can become a professional in a relatively short period of time.
Watch this space for more, once I'm allowed to give more information.
The Den demands all stay shtum about contestants before airing, so I can't tell you much. But I can tell you that this particular person went from not knowing what to say to poised pitch in three days.
Knowing your story by heart, and then underlying it with conviction, is the most potent combination for seemingly effortless and persuasive performance.
Very much like acting onstage, effective pitching is 95% practice, 5% inspiration, once you have the right feedback. Even an amateur can become a professional in a relatively short period of time.
Watch this space for more, once I'm allowed to give more information.
Sunday, March 04, 2012
Douglas Rushkoff Redux
I attended a St. George's House consultation that has made me think about many of the very smart friends give new perspectives on what we take for granted.
It's not an easy feat to come up with a credible alternative to behavior and attitudes that have become invisible to us, particularly in business.
First on my list is Doug Rushkoff whose Life, Inc. is certainly worth considering. Here's an older link to Doug's Ofcom talk about the history and relationships among corporations, economics, and work.
See what you think.
It's not an easy feat to come up with a credible alternative to behavior and attitudes that have become invisible to us, particularly in business.
First on my list is Doug Rushkoff whose Life, Inc. is certainly worth considering. Here's an older link to Doug's Ofcom talk about the history and relationships among corporations, economics, and work.
See what you think.
Wednesday, February 01, 2012
Getting Young People Into Work in the UK (and Everywhere)
In the UK, there are more young people out of work than ever before. According to The Guardian, a record 18% of people between 18 and 24 don't have a job. For those of you outside the UK, these kids are being called the lost generation.
As we who have been unemployed before know, sending blind cv's to job sites usually bring no answer. If you're lucky, you get a polite form letter to announce receipt or your application or to say the job went to someone else.
So what can one do? My experience has been that times of crisis are opportunities for the enterprising and entrepreneurial. Don't wait for a job, make one.
More in the next post.
As we who have been unemployed before know, sending blind cv's to job sites usually bring no answer. If you're lucky, you get a polite form letter to announce receipt or your application or to say the job went to someone else.
So what can one do? My experience has been that times of crisis are opportunities for the enterprising and entrepreneurial. Don't wait for a job, make one.
More in the next post.
Wednesday, July 06, 2011
Working in Cambridge at Springboard: Great Teams
I've taken time off from blogging, and I'm back -- now to tell you about a remarkable programme in Cambridge, UK called Springboard.
Springboard is an incubator that gathers 10 lucky, accomplished teams at Cambridge University. Not only are the resources wonderful but you couldn't ask for a more beautiful place to spend a summer.
Jon Bradford, amazingly adept at shepherding start-ups through the challenges of getting investor-ready, has chosen some wonderful teams. Check out all the wonderful mentors who participate in Springboard as well.
Consider getting involved by filling out a Springboard application or becoming a mentor yourself.
Looking forward to two more rounds with the group this month.
Springboard is an incubator that gathers 10 lucky, accomplished teams at Cambridge University. Not only are the resources wonderful but you couldn't ask for a more beautiful place to spend a summer.
Jon Bradford, amazingly adept at shepherding start-ups through the challenges of getting investor-ready, has chosen some wonderful teams. Check out all the wonderful mentors who participate in Springboard as well.
Consider getting involved by filling out a Springboard application or becoming a mentor yourself.
Looking forward to two more rounds with the group this month.
Monday, May 09, 2011
Fits.me Fashion 2.0 Meet-Up Event - NYC
I attended a Fashion2.0 MeetUp in NY, sponsored by Fits.me, and it was hosted by the new New York sales representative, Erika Wasser.
Great fun. Aside from Heikki Haldre, Fits.me's CEO, the most articulate, compelling panel member was Alex Richardson. Fantastic stuff he knows and is doing for retail brands.
Here's a snap of Erika and me -- look out for more of these events if you live in NY and want to find out what's hot in web-based fashion thinking. Fascinating, innovative technology arising in retail that will transform the way we shop.
Great fun. Aside from Heikki Haldre, Fits.me's CEO, the most articulate, compelling panel member was Alex Richardson. Fantastic stuff he knows and is doing for retail brands.
Here's a snap of Erika and me -- look out for more of these events if you live in NY and want to find out what's hot in web-based fashion thinking. Fascinating, innovative technology arising in retail that will transform the way we shop.
Tuesday, May 03, 2011
Strategy and Business: Hot Off the Press
Fits.me, a client of mine, is innovative, smart, and ripe for investment. Strategy and Business seems to share my opinion.
Friday, February 04, 2011
Mixing Metaphors for Better Balance, in Business and Elsewhere
Yesterday, I acted as a mentor at the School of Communication Arts 2.0, a pleasure under any circumstances. Bright, versatile, articulate and ready to jump deftly from one idea to another, the students are game for any new way of thinking.
It was delightful, if unsurprising, to meet the head of Ideapreneurship with exactly the same way of thinking, Andrew Missingham. He began as a musician, went on to business, and combines disciplines in a way that gives useful structure to improvisation.
It was delightful, if unsurprising, to meet the head of Ideapreneurship with exactly the same way of thinking, Andrew Missingham. He began as a musician, went on to business, and combines disciplines in a way that gives useful structure to improvisation.
Tuesday, January 04, 2011
New Industry, New Ideas
I acquired a client, Fits.me (http://fits.me), in September as a new business development gig.
I first worked with the CEO, Heikki Haldre, last year on communication skills and pitching for investment. Because they company has grown up, and I've taken on a new role, I've been underground learning about the industry for a few months.
Back this week with some of what we're doing. Crossing disciplines is the best way to remember what one knows, I find -- and to learn more about it.
I first worked with the CEO, Heikki Haldre, last year on communication skills and pitching for investment. Because they company has grown up, and I've taken on a new role, I've been underground learning about the industry for a few months.
Back this week with some of what we're doing. Crossing disciplines is the best way to remember what one knows, I find -- and to learn more about it.
Thursday, September 16, 2010
The Chair: Interviewing on Camera
I went along to Canary Wharf with my friend Stewart Townsend the other day to see him interviewed about the remarkable schools he runs with his partner, Kirsty, outside Manchester. Stewart's soft-spoken approach enhances his powerful personality and tremendous ability to articulate persuasively -- this is very rare.
It's really a testament to Jez Kay and Ruth Elkins that they can bring out the best in people so different from each other as those who sit in The Chair.
This is the kind of work that is most important when helping people with difficulty presenting themselves:
Rather than turning them into someone else, how do you show help them show enough of themselves to engage in business to the same extent they do with people in the rest of their lives?
And voila -- here's Annette Kramer on film -- if you have a chance, take a look at all the videos and how Jez and Ruth got everyone in the same shot to look very different from each other indeed.
It's really a testament to Jez Kay and Ruth Elkins that they can bring out the best in people so different from each other as those who sit in The Chair.
This is the kind of work that is most important when helping people with difficulty presenting themselves:
Rather than turning them into someone else, how do you show help them show enough of themselves to engage in business to the same extent they do with people in the rest of their lives?
And voila -- here's Annette Kramer on film -- if you have a chance, take a look at all the videos and how Jez and Ruth got everyone in the same shot to look very different from each other indeed.
Sunday, August 29, 2010
Networking with Effect
I've been working with United Kingdom Trade and Investment in Tallinn to prepare for a conference where they will show off talent and innovation born in Estonia.
The challenge? How to make it clear how exciting the talent and innovation really is, even beyond Skype.
Part of the workshop was on transforming presentations into conversations listeners want to continue after your presentation is done.
And part was devoted to informal networking.
The Estonians fancy themselves introverts, but this hasn't been my experience. The people I worked with simply have a strict sense of protocol and the habit of not putting themselves forward too forcefully.
It only took a little practice and an understanding of the benefits of breaking habits to get people into a very social mode.
Here are the networking tips we discussed:
1. Find out in advance, where possible, who you should meet before the event takes place or before a networking break. Begin to think about how to make the exchange of cards meaningful.
2. Make your goals lead your behavior and choice of what you say. The desired result? To continue the conversation outside the room in which you exchange cards.
3. Approach a qualified lead/total stranger with the intention of beginning a conversation you can continue later. Hold out your hand, look the person in the eye, and introduce yourself, saying you’re from Tallin, Estonia (if, indeed you are -- why? Because it's interesting). If the person you approach doesn’t give a name, ask for it.
4. Make it easy for those you meet to help you learn quickly what the possibilities of your relationships could be. Begin the conversation with a question, and when conversation lags, ask a question again.
5. Through questions what you add, make it easy for them to show you how you could be of use to them, how they could be of use to you. The key word is “how”. Do they know someone who might be a better fit? Do you, for them?
6. Remember to be genuinely CURIOUS -- with purpose. Make it easy for those you meet to show you the connections that are possible between ideas, vested interests and opportunities you share and how you can cooperate.
7. When possible, save exchange of cards for the end of the conversation. It gives you a way to end the conversation, and it doesn’t cause a lot of fumbling at the beginning when you meet. It allows you to look each other in the eye.
8. Once you get a card, write on the back what is meaningful about the connection and what you will follow up with.
9. Follow up that day by email, if possible. See if you can set up a phone call or a meeting to continue the conversation.
10. Be persistent – don’t push, but continue being curious about how you can help each other. Even when you get back to your home base. See how long you can make the conversation last. Sustainable curiosity is your most valuable resource.
11. Practice.
12. Practice.
13. Practice.
The challenge? How to make it clear how exciting the talent and innovation really is, even beyond Skype.
Part of the workshop was on transforming presentations into conversations listeners want to continue after your presentation is done.
And part was devoted to informal networking.
The Estonians fancy themselves introverts, but this hasn't been my experience. The people I worked with simply have a strict sense of protocol and the habit of not putting themselves forward too forcefully.
It only took a little practice and an understanding of the benefits of breaking habits to get people into a very social mode.
Here are the networking tips we discussed:
1. Find out in advance, where possible, who you should meet before the event takes place or before a networking break. Begin to think about how to make the exchange of cards meaningful.
2. Make your goals lead your behavior and choice of what you say. The desired result? To continue the conversation outside the room in which you exchange cards.
3. Approach a qualified lead/total stranger with the intention of beginning a conversation you can continue later. Hold out your hand, look the person in the eye, and introduce yourself, saying you’re from Tallin, Estonia (if, indeed you are -- why? Because it's interesting). If the person you approach doesn’t give a name, ask for it.
4. Make it easy for those you meet to help you learn quickly what the possibilities of your relationships could be. Begin the conversation with a question, and when conversation lags, ask a question again.
5. Through questions what you add, make it easy for them to show you how you could be of use to them, how they could be of use to you. The key word is “how”. Do they know someone who might be a better fit? Do you, for them?
6. Remember to be genuinely CURIOUS -- with purpose. Make it easy for those you meet to show you the connections that are possible between ideas, vested interests and opportunities you share and how you can cooperate.
7. When possible, save exchange of cards for the end of the conversation. It gives you a way to end the conversation, and it doesn’t cause a lot of fumbling at the beginning when you meet. It allows you to look each other in the eye.
8. Once you get a card, write on the back what is meaningful about the connection and what you will follow up with.
9. Follow up that day by email, if possible. See if you can set up a phone call or a meeting to continue the conversation.
10. Be persistent – don’t push, but continue being curious about how you can help each other. Even when you get back to your home base. See how long you can make the conversation last. Sustainable curiosity is your most valuable resource.
11. Practice.
12. Practice.
13. Practice.
Monday, August 16, 2010
Back to the Baltics
I'm off to Tallinn next Tuesday to work with UKTI start-ups. The Director will be writing a piece on the venture, and I'm fascinated to learn how the start-up community fits into the bigger business picture within the Baltics.
Just in time for the trip, The ArcticStartUp has published my piece on better communication for in business.
Just in time for the trip, The ArcticStartUp has published my piece on better communication for in business.
Wednesday, July 07, 2010
Markets Are (Still) Conversations Because They Are Still Made Up of People
Cluetrain might be old news, but exploring role of conversations -- as, within, between, among -- markets is still topical. See Josh Klein's discussion on how companies should decide whether or not to use Twitter, just for example.
No one likes being talked at. Most pitches and presentations fall flat for just this reason. Much better to start a conversation listeners want to continue.
If no one wants about your product to other people (including you), it's probably a good idea to avoid social media.
Silence is always better than spam.
No one likes being talked at. Most pitches and presentations fall flat for just this reason. Much better to start a conversation listeners want to continue.
If no one wants about your product to other people (including you), it's probably a good idea to avoid social media.
Silence is always better than spam.
How To Build A Business
Jon Bradford's The Difference Engine has got some nice press in the Guardian today.
Although Paul is singled out, the whole group came a long long way during the 13-week intensive programme.
For more about my experience with the group, see The Difference Engine Blog.
Although Paul is singled out, the whole group came a long long way during the 13-week intensive programme.
For more about my experience with the group, see The Difference Engine Blog.
Sunday, June 20, 2010
Oracle's Innovation Expert, Stewart Townsend
I have the great good fortune to work with Stewart Townsend when offering help to start-ups on communicating more effectively to investors.
He is a brilliant guy and a lovely one. Stewart was interviewed about European Innovation, and it's worth checking out.
He is a brilliant guy and a lovely one. Stewart was interviewed about European Innovation, and it's worth checking out.
Presentation Skills 101: Who is Your Audience (Other than You)?
What Makes Presentations Fail?
The biggest challenge to improving communications for clients is the art of perspective.
Everything good (or bad) comes from the ability (or inability) to see the forest for the trees and visa versa. In the case of pitching to investors or clients, it entails understanding where your communication ends and your audience's understanding begins.
All the stock phrases for improving communication sound simple: know your audience, be passionate, speak to (rather than at) your listeners.
In fact, as in Buddhist statements everyone takes for granted to be true (be here now, for example), nothing could be more complicated. All require a kind of perspective that is difficult to maintain when you are the one speaking.
As in any relationship that feels important, the one between you and your listeners requires the ability to observe and change behavior (or tactics) when you're not getting through. The challenge, of course, is that the more important a relationship feels, the less perspective we tend to have on ourselves.
With technologists, one often has to curb the discussion of a product or operation in order to focus on its effect's relevance to the listener.
With high-level executives, it's often a challenge to get rid of jargon that might feel transparent to them but abstracts an issue when it should be directly felt.
Those Who Teach Are Not Exempt
I'm not immune to the tendency to lose perspective, but I have created a habit of checking to ensure my client and I are working well together.
My challenge for myself is always checking to ensure that I'm not talking at -- but with -- the person to whom I'm giving feedback. There's always the risk of taking over the conversation. However, it's essential to remember to listen rather than talk when appropriate because my goal is to bring out the strengths in a client rather than change him or her into someone else.
It never works to try to change someone into something else -- the conversation becomes a performance that doesn't engage 9 out of 10 times. Each person's strengths is his or her biggest asset. And my job is to ensure that each client is being the most engaging self (himself or herself) possible.
Sometimes Grown Ups are Just Tall Children
My friend, Kate Quardfort, who teaches drama in the South Bronx, wrote a great piece for the Huffington Post about the challenge of creating trust and perspective. Check it out.
The biggest challenge to improving communications for clients is the art of perspective.
Everything good (or bad) comes from the ability (or inability) to see the forest for the trees and visa versa. In the case of pitching to investors or clients, it entails understanding where your communication ends and your audience's understanding begins.
All the stock phrases for improving communication sound simple: know your audience, be passionate, speak to (rather than at) your listeners.
In fact, as in Buddhist statements everyone takes for granted to be true (be here now, for example), nothing could be more complicated. All require a kind of perspective that is difficult to maintain when you are the one speaking.
As in any relationship that feels important, the one between you and your listeners requires the ability to observe and change behavior (or tactics) when you're not getting through. The challenge, of course, is that the more important a relationship feels, the less perspective we tend to have on ourselves.
With technologists, one often has to curb the discussion of a product or operation in order to focus on its effect's relevance to the listener.
With high-level executives, it's often a challenge to get rid of jargon that might feel transparent to them but abstracts an issue when it should be directly felt.
Those Who Teach Are Not Exempt
I'm not immune to the tendency to lose perspective, but I have created a habit of checking to ensure my client and I are working well together.
My challenge for myself is always checking to ensure that I'm not talking at -- but with -- the person to whom I'm giving feedback. There's always the risk of taking over the conversation. However, it's essential to remember to listen rather than talk when appropriate because my goal is to bring out the strengths in a client rather than change him or her into someone else.
It never works to try to change someone into something else -- the conversation becomes a performance that doesn't engage 9 out of 10 times. Each person's strengths is his or her biggest asset. And my job is to ensure that each client is being the most engaging self (himself or herself) possible.
Sometimes Grown Ups are Just Tall Children
My friend, Kate Quardfort, who teaches drama in the South Bronx, wrote a great piece for the Huffington Post about the challenge of creating trust and perspective. Check it out.
Tuesday, June 08, 2010
The Difference Engine Pitches at Microsoft
The Demo day at Microsoft in London for The Difference Engine offers proof that boot camps work.
In the 13 weeks in which I helped teams communicate their ideas more effectively, every participating entrepreneur has come so far that (as another mentor said) the pitches were unrecognizable. The teams began with nascent ideas and ended up with complex and persuasive products – and engaging stories to match.
It is remarkable how these teams have transformed themselves. Living for almost a fortnight in Middlesborough university digs, they worked around the clock to prepare for investor presentations in Newcastle and in London. Most of their days were spent in a great new building SeedCamp has nothing on the work put in here.
I was the teams' pitch coach, and although my contributions helped, credit really goes to Jon Bradford. North East Finance gave the money, but Jon miraculously found a way to help each team in ways that met myriad unique needs.
Check out The Difference Engine FAQs -- the website is great. And if you are a start-up and have not applied for the September’s Difference Engine programme, do it today.
It was sad saying goodbye, but I'm sure we'll be hearing about most (if not all) of them as they get their funding and build their businesses.
In the 13 weeks in which I helped teams communicate their ideas more effectively, every participating entrepreneur has come so far that (as another mentor said) the pitches were unrecognizable. The teams began with nascent ideas and ended up with complex and persuasive products – and engaging stories to match.
It is remarkable how these teams have transformed themselves. Living for almost a fortnight in Middlesborough university digs, they worked around the clock to prepare for investor presentations in Newcastle and in London. Most of their days were spent in a great new building SeedCamp has nothing on the work put in here.
I was the teams' pitch coach, and although my contributions helped, credit really goes to Jon Bradford. North East Finance gave the money, but Jon miraculously found a way to help each team in ways that met myriad unique needs.
Check out The Difference Engine FAQs -- the website is great. And if you are a start-up and have not applied for the September’s Difference Engine programme, do it today.
It was sad saying goodbye, but I'm sure we'll be hearing about most (if not all) of them as they get their funding and build their businesses.
Saturday, June 05, 2010
Difference Engine TV: Episode 5 - Presentation Skills
I am thrilled to be involved in The Difference Engine's first year's boot camp. On Monday, the teams will present at Microsoft in London as a finishing touch.
If you're a start-up, it's definitely worth checking out The Difference Engine TV - a very generous series of videos that work through the process of preparing your tools for investors.
There is a lot on presentation skills in Episode 5, but check out the other segments as well.
If you're a start-up, it's definitely worth checking out The Difference Engine TV - a very generous series of videos that work through the process of preparing your tools for investors.
There is a lot on presentation skills in Episode 5, but check out the other segments as well.
Friday, May 28, 2010
On My Way to Estonia
I have been invited by the Estonian government to help entrepreneurs pitch to investors. Am visiting a friend, Heikki Haldre of Fits.me, and the work is a bonus.
I learned a lot about the country from Ross Mayfield's blog -- all great stuff.
As for me, I'll be working with 10 start-up teams helping them get their story-telling skills as strong as possible for an event called Innovate on June 2nd.
I can't think of anything more fun. More when I get there.
I learned a lot about the country from Ross Mayfield's blog -- all great stuff.
As for me, I'll be working with 10 start-up teams helping them get their story-telling skills as strong as possible for an event called Innovate on June 2nd.
I can't think of anything more fun. More when I get there.
Thursday, May 13, 2010
Telling Your Story: The First Step to Doing Business
I had the pleasure to work with The Difference Engine teams in Middlesborough. The group is being funded by a group of North East UK government schemes to generate business in the area.
Last week marked my second visit, and I continue to be impressed with these start-ups' energy, intelligence, and speed of uptake.
Transforming Presentations through Storytelling
A month ago, I focused on helping teams understand how to present in general terms. This time, we worked on creating business cases within stories (or pitches) that would transform presentations into conversations listeners (here, investors) would want to continue.
In the event you might need such information, here is the strategy I suggested and tips to get there.
1. Be aware that you are telling a story. Stories have a beginning, a middle, and an end with transitions that lead from one to the other and tell the listener where you’re going.
2. If you are unclear what the structure looks like for your story – which elements lie in the beginning, middle, and end – put each piece of your presentation on colored note cards that distinguish the sections of the story. It’s a good exercise no matter what-- so that you really understand how you’re telling your story and why.
3. The point of the pitch is for the investors to feel it’s obvious to meet you and to learn more about your company. However, the reason for telling the story must have it’s own, more specific internal logic. This is the logic that drove you to your start-up/product design journey – and now drives you to give the highlights. It’s what gets the investors to feel (not think) that you have it going on. Even if you’re only doing it for the money, your investment in this project needs to be felt. If so, it will be contagious.
4. No one ever made a decision based entirely on data – it’s how much/in what way the data supports the feelings you can generate in the rest of the story that will win your audience over.
5. It helps your audience to engage to give specific, concrete stories within the story. These can be very short, but any time you offer an abstract concept, offer a concrete example.
6. The key elements you should address are: Problem, Solution, Current Market, *How Much Money You Want, *Exit (eg When Investors Get Their Money Back), Financials, Team.
Obviously, the asterisk items are very important to investors.
7. The key elements do not have to be in the order I’ve listed.
Note: There are two exceptions:
(1) You should get to your money sections by the third minute of a five-minute presentation and (2) the team should always go last in order.
However, if you want to say How Much Money You Want or any other financial issue before the third minute and get back to money later, that’s fine, too. The important thing is that your story has its own coherence, flow, and reason for each piece to be in its place.
8. The key elements do not have to be separate but can be grouped together: for example: The Current Market might be the Problem or Solution, or it might be tucked inside the
Competition section.
All comments are welcome -- is there anything we didn't address at the Difference Engine sessions that you find important when you pitch?
Last week marked my second visit, and I continue to be impressed with these start-ups' energy, intelligence, and speed of uptake.
Transforming Presentations through Storytelling
A month ago, I focused on helping teams understand how to present in general terms. This time, we worked on creating business cases within stories (or pitches) that would transform presentations into conversations listeners (here, investors) would want to continue.
In the event you might need such information, here is the strategy I suggested and tips to get there.
1. Be aware that you are telling a story. Stories have a beginning, a middle, and an end with transitions that lead from one to the other and tell the listener where you’re going.
2. If you are unclear what the structure looks like for your story – which elements lie in the beginning, middle, and end – put each piece of your presentation on colored note cards that distinguish the sections of the story. It’s a good exercise no matter what-- so that you really understand how you’re telling your story and why.
3. The point of the pitch is for the investors to feel it’s obvious to meet you and to learn more about your company. However, the reason for telling the story must have it’s own, more specific internal logic. This is the logic that drove you to your start-up/product design journey – and now drives you to give the highlights. It’s what gets the investors to feel (not think) that you have it going on. Even if you’re only doing it for the money, your investment in this project needs to be felt. If so, it will be contagious.
4. No one ever made a decision based entirely on data – it’s how much/in what way the data supports the feelings you can generate in the rest of the story that will win your audience over.
5. It helps your audience to engage to give specific, concrete stories within the story. These can be very short, but any time you offer an abstract concept, offer a concrete example.
6. The key elements you should address are: Problem, Solution, Current Market, *How Much Money You Want, *Exit (eg When Investors Get Their Money Back), Financials, Team.
Obviously, the asterisk items are very important to investors.
7. The key elements do not have to be in the order I’ve listed.
Note: There are two exceptions:
(1) You should get to your money sections by the third minute of a five-minute presentation and (2) the team should always go last in order.
However, if you want to say How Much Money You Want or any other financial issue before the third minute and get back to money later, that’s fine, too. The important thing is that your story has its own coherence, flow, and reason for each piece to be in its place.
8. The key elements do not have to be separate but can be grouped together: for example: The Current Market might be the Problem or Solution, or it might be tucked inside the
Competition section.
All comments are welcome -- is there anything we didn't address at the Difference Engine sessions that you find important when you pitch?
Monday, May 10, 2010
Engaging with India
Communication skills are challenging even when the workplace is relatively homogeneous. Presenting the same information to different stakeholders can take a lot of work, both in terms of content and of performance.
Last Wednesday, I participated in ThinkPlank's first Engage programme that offers context, challenges, solutions, and case studies for UK executives and managers who either work with Indian off-shore teams or are considering the prospect.
We got very good feedback, and I was a little surprised given the diverse range of experience in the group. But everyone seems to have taken something away to try at work.
In the meantime, here's a piece on the flood of Indian companies coming to Britain. Get in touch if you'd like to learn more about how to work with them.
Last Wednesday, I participated in ThinkPlank's first Engage programme that offers context, challenges, solutions, and case studies for UK executives and managers who either work with Indian off-shore teams or are considering the prospect.
We got very good feedback, and I was a little surprised given the diverse range of experience in the group. But everyone seems to have taken something away to try at work.
In the meantime, here's a piece on the flood of Indian companies coming to Britain. Get in touch if you'd like to learn more about how to work with them.
Friday, April 30, 2010
Branding Haiti: Humanizing Crisis
For every country, in crisis or not, there is a branding initiative. Sometimes it's created by the press to get viewers. Sometimes it's reinforced or changed by stakeholders to create new impressions and effects.
Haiti is no exception. Its crisis has been covered extensively, and for me, the branding of a country in desperate straits has lost its impact. Right or wrong, that's what happens with overexposure.
This is as true for businesses as well. Vary your theme -- talking points only go so far until no one hears them anymore.
And So?
Here is a different view of Haiti -- the continuation of everyday life. I think the press and charities should add some of these images to their package to give a fuller and more accessible take on the connections between the people in crisis and those who can help.
What do you think?
These photos were taken by Sendra Dorce weeks after the earthquake.
Haiti is no exception. Its crisis has been covered extensively, and for me, the branding of a country in desperate straits has lost its impact. Right or wrong, that's what happens with overexposure.
This is as true for businesses as well. Vary your theme -- talking points only go so far until no one hears them anymore.
And So?
Here is a different view of Haiti -- the continuation of everyday life. I think the press and charities should add some of these images to their package to give a fuller and more accessible take on the connections between the people in crisis and those who can help.
What do you think?
These photos were taken by Sendra Dorce weeks after the earthquake.
Monday, April 26, 2010
What Does It Mean to Be Authentic?
What does it mean to be authentic when you communicate within an organisation? My clients have been struggling with this lately because of the recession's push to restructure.
An Example: Banking on Change
One executive at a large bank told me that the current climate has created fear and distrust in messages disseminated through her organisation.
High-level managers have told her that even the announcements about new (and real) benefits don't "feel" genuine to employees. This lack of belief has made project uptake, new initiatives -- and even morale -- a big challenge.
What's In a Word?
There was an interesting comment made on this subject by Richard Exon on the Channel 4 discussion about communication skills of Britain's three contenders for Prime Minister. He defined "authenticity" as the ability to be believed.
This means that being authentic -- once understood as telling the truth -- has become to mean seeming to be honest. This is a huge shift to jargon for a word that used to represent unmitigated truth.
And with communication, it's all that matters in the short-term. In the long-term, of course, you need to live up to your words.
Credibility vs. Truth: Bringing it Back to Business
My client and I worked on her challenges by taking this as a motto:
Successful business communication is about credibility.
Brand, for example, is a set of promises and beliefs. If experience proves to consumers that the promises feel fulfilled and beliefs are upheld, the brand is strong. If not, the brand is weak and probably not doing a company much good.
Internal brand is where every successful organisation must start. Without it, the external brand will show gaps and peel away in important places.
To help strengthen my client's internal communication, we went back to the core values and beliefs around which the brand was formed. Then we wrote communications from there.
It worked like a charm.
An Example: Banking on Change
One executive at a large bank told me that the current climate has created fear and distrust in messages disseminated through her organisation.
High-level managers have told her that even the announcements about new (and real) benefits don't "feel" genuine to employees. This lack of belief has made project uptake, new initiatives -- and even morale -- a big challenge.
What's In a Word?
There was an interesting comment made on this subject by Richard Exon on the Channel 4 discussion about communication skills of Britain's three contenders for Prime Minister. He defined "authenticity" as the ability to be believed.
This means that being authentic -- once understood as telling the truth -- has become to mean seeming to be honest. This is a huge shift to jargon for a word that used to represent unmitigated truth.
And with communication, it's all that matters in the short-term. In the long-term, of course, you need to live up to your words.
Credibility vs. Truth: Bringing it Back to Business
My client and I worked on her challenges by taking this as a motto:
Successful business communication is about credibility.
Brand, for example, is a set of promises and beliefs. If experience proves to consumers that the promises feel fulfilled and beliefs are upheld, the brand is strong. If not, the brand is weak and probably not doing a company much good.
Internal brand is where every successful organisation must start. Without it, the external brand will show gaps and peel away in important places.
To help strengthen my client's internal communication, we went back to the core values and beliefs around which the brand was formed. Then we wrote communications from there.
It worked like a charm.
Saturday, April 24, 2010
More on the Relationships Among Communication, Organisations, and National Culture
As those of you who have read previous posts know, I'm working with Ved Sen and ThinkPlank on a training programme that helps Indian and Western organisations communicate more effectively -- both within and across national and business cultures. The programme is called Engage.
Engage was designed to facilitate successful off-shoring endeavors for both Indians and Brits. In his new article, begins to scratch the surface of difference by tying together assumptions British/Westerners make about truth and morality and the influence of religion.
Here's the first paragraph of Gods, CEOs, and Politicians:
We are all shaped by religion. Some more so than others. Some of us are formed by the beliefs we are exposed to. Some by a reaction to them. We may stray very far from our roots, and turn our backs on many or all of the ritualistic observance of religion that we were born into and grew up following. But the vestigial framework of our understanding of the universe, its power structures and our role and working within them seems to persist. I’m not an expert on religion or sociology. So what follows is just my armchair observation of how our religious beliefs explain a lot of our behaviour as Indians – both social and organizational.
Continue reading here.
Engage was designed to facilitate successful off-shoring endeavors for both Indians and Brits. In his new article, begins to scratch the surface of difference by tying together assumptions British/Westerners make about truth and morality and the influence of religion.
Here's the first paragraph of Gods, CEOs, and Politicians:
We are all shaped by religion. Some more so than others. Some of us are formed by the beliefs we are exposed to. Some by a reaction to them. We may stray very far from our roots, and turn our backs on many or all of the ritualistic observance of religion that we were born into and grew up following. But the vestigial framework of our understanding of the universe, its power structures and our role and working within them seems to persist. I’m not an expert on religion or sociology. So what follows is just my armchair observation of how our religious beliefs explain a lot of our behaviour as Indians – both social and organizational.
Continue reading here.
Friday, April 23, 2010
Engage: Article on Working with Indian Teams
ThinkPlank's Ved Sen wrote, and I edited, a piece or Knowledge for the Digital Economy on the challenges of working with off-shore teams in India --and the necessity. Take a look.
Thursday, April 22, 2010
Change is Disorganizing: Communicating through the Fear
Learning is disorganizing -- as change occurs, we are forced to navigate unfamiliar territory to get to a new place. For most people, it's very uncomfortable.
We have a couple of choices. We can find a way to survive the unknown, despite the sense that we're riding waves and don't know where we'll land. We take control where we can find it, holding onto a branch here or there for the moment we float past.
The other alternative is to grit our teeth and refuse to budge, but we will move, or circumstances will move around us, regardless of our desire to stay put and keep everything the same.
What Does This Mean for Organisations?
Those who have responsibility for communication can either offer information in ways that help employees feel better OR give them impression that they're about to drown.
Unfortunately, as constant as change is in all organisations, even the most experienced communicators too often disseminate information without considering what the employee needs to feel more in control.
Even if it is all you can offer as a manager, do everything in your power to make those who work for you feel heard. Consider not only the content but the medium and tone through which you're communicating. It will make a world of difference.
You might want to see a previous post on politics for an example where UK parties blew a perfect opportunity to do just that and get ahead in the polls.
We have a couple of choices. We can find a way to survive the unknown, despite the sense that we're riding waves and don't know where we'll land. We take control where we can find it, holding onto a branch here or there for the moment we float past.
The other alternative is to grit our teeth and refuse to budge, but we will move, or circumstances will move around us, regardless of our desire to stay put and keep everything the same.
What Does This Mean for Organisations?
Those who have responsibility for communication can either offer information in ways that help employees feel better OR give them impression that they're about to drown.
Unfortunately, as constant as change is in all organisations, even the most experienced communicators too often disseminate information without considering what the employee needs to feel more in control.
Even if it is all you can offer as a manager, do everything in your power to make those who work for you feel heard. Consider not only the content but the medium and tone through which you're communicating. It will make a world of difference.
You might want to see a previous post on politics for an example where UK parties blew a perfect opportunity to do just that and get ahead in the polls.
Sunday, April 18, 2010
Engaging Indian Teams
Learning across contexts is a fascinating area, and my clients in London and New York hail from all over the world.
I am now working with a company called ThinkPlank, "a consulting and projects company that helps clients navigate the continuing business challenges and opportunities presented by digital convergence."
Ved Sen, Progga Sen, and I are conducting a training workshop in London on engaging the Indian workforce for those doing business or considering expanding to India.
We'll be focusing on face-to-face communication, telephone contact, and getting problems solved when working on both the individual and organisational level.
Come along if you're in town. It should be a lot of fun.
I am now working with a company called ThinkPlank, "a consulting and projects company that helps clients navigate the continuing business challenges and opportunities presented by digital convergence."
Ved Sen, Progga Sen, and I are conducting a training workshop in London on engaging the Indian workforce for those doing business or considering expanding to India.
We'll be focusing on face-to-face communication, telephone contact, and getting problems solved when working on both the individual and organisational level.
Come along if you're in town. It should be a lot of fun.
Saturday, April 17, 2010
A Funny Thing Happened on the Way to the UK Debate: Social Media Effects Old Media in a New Way
In watching the BBC UK political coverage on the night of the debate, it occurred to me that a more interesting precedent was being set than the televised candidates together talking.
It also reminded me why I created my business -- people can understand how to listen and respond in theory without much skill at actually doing it. I help clients transform presentations into conversations people want to continue. In the case of the debate, they needed a hand. Change is challenging for everyone.
Before the Debate, and Because of It . . .
Channel 4 News offered two ordinary voters the opportunity to confront representatives of the major parties live on television without notes, scripts, or rules. Not only that, Jon Snow facilitated challenging questions from the ordinary voters and pushed the politicians to answer.
Really A Big Deal?
It's not new to have ordinary voters interviewed on camera outside the studio -- and it's not new to have experts argue with an anchor or each other. But it IS new to find a real discussion going on, live and unedited, between non-experts and the people who they might elect.
This would not be possible without Twitter. National news in Britain has been "taking email" and quoting Tweets for ages. Supposedly from the horses mouth, perhaps the News management felt that live people in the studio would offer the same sort of information.
Acceptance of Social Media allows people to talk face to face. New media makes old media possible again.
Of course, Tweets, email, and canned interviews are selected for very specific effect and to underline a pre-determined point. You don't actually know what people will do if you put them with other people in a room together. Even with facilitation, you don't have complete control.
The effect was rather fun. The two voters were aware of the candidates' positions but couldn't believe a word. The expert (yes, there has to be an expert somewhere) who joined them had an explanation -- people in Britain are engaged in politics but not in the main political parties or with the candidates.
How much better market research could you possibly get as a candidate? Polls and Twitter (and other social media) are all hearsay. Live human beings reacting candidly on camera (and without TV prep) is really all you have to know.
The results in the candidates' response (again) demonstrates why my business is booming: people have a very hard time breaking bad habits and in listening. Here you had a chance for political representatives to offer proof of concept -- and all they had to do was demonstrate that they heard their constituents.
Change hit the candidates, and they couldn't adjust. They were televised -- everyone could see them not acknowledging the views of people on whom they depend for their jobs. Voters didn't have to guess anymore whether they were heard -- they could see that they weren't.
Not Restricted to Political Life: Business Life is Rife with Non-Listeners
This is not an issue restricted to politicians. My much less well known business clients struggle with it every day.
Too often, it's hard for people with an agenda to listen. It can feel threatening to show you hear others' perspectives. Worse, sometimes it simply not occur to them. But you need to be able to at least fake it effectively.
Demonstrating that you hear when someone speaks is only the beginning. But it IS essential to any further communication. This all might sound obvious, but my business clients struggle with the same issues.
It also reminded me why I created my business -- people can understand how to listen and respond in theory without much skill at actually doing it. I help clients transform presentations into conversations people want to continue. In the case of the debate, they needed a hand. Change is challenging for everyone.
Before the Debate, and Because of It . . .
Channel 4 News offered two ordinary voters the opportunity to confront representatives of the major parties live on television without notes, scripts, or rules. Not only that, Jon Snow facilitated challenging questions from the ordinary voters and pushed the politicians to answer.
Really A Big Deal?
It's not new to have ordinary voters interviewed on camera outside the studio -- and it's not new to have experts argue with an anchor or each other. But it IS new to find a real discussion going on, live and unedited, between non-experts and the people who they might elect.
This would not be possible without Twitter. National news in Britain has been "taking email" and quoting Tweets for ages. Supposedly from the horses mouth, perhaps the News management felt that live people in the studio would offer the same sort of information.
Acceptance of Social Media allows people to talk face to face. New media makes old media possible again.
Of course, Tweets, email, and canned interviews are selected for very specific effect and to underline a pre-determined point. You don't actually know what people will do if you put them with other people in a room together. Even with facilitation, you don't have complete control.
The effect was rather fun. The two voters were aware of the candidates' positions but couldn't believe a word. The expert (yes, there has to be an expert somewhere) who joined them had an explanation -- people in Britain are engaged in politics but not in the main political parties or with the candidates.
How much better market research could you possibly get as a candidate? Polls and Twitter (and other social media) are all hearsay. Live human beings reacting candidly on camera (and without TV prep) is really all you have to know.
The results in the candidates' response (again) demonstrates why my business is booming: people have a very hard time breaking bad habits and in listening. Here you had a chance for political representatives to offer proof of concept -- and all they had to do was demonstrate that they heard their constituents.
Change hit the candidates, and they couldn't adjust. They were televised -- everyone could see them not acknowledging the views of people on whom they depend for their jobs. Voters didn't have to guess anymore whether they were heard -- they could see that they weren't.
Not Restricted to Political Life: Business Life is Rife with Non-Listeners
This is not an issue restricted to politicians. My much less well known business clients struggle with it every day.
Too often, it's hard for people with an agenda to listen. It can feel threatening to show you hear others' perspectives. Worse, sometimes it simply not occur to them. But you need to be able to at least fake it effectively.
Demonstrating that you hear when someone speaks is only the beginning. But it IS essential to any further communication. This all might sound obvious, but my business clients struggle with the same issues.
Monday, March 22, 2010
Brand Manga: New Collaboration with Management Sushi
I've recently begun working on a project with Bernie Ritchie of Management Sushi -- to do this, we created Brand Manga. It's not online yet -- but I've written up some notes for feedback, if you've got some.
It continues to be an interesting journey.
Brand Manga
Success depends on the quality of the pitch, not the volume.
Why Brand Manga?
Your brand is a promise of a particular kind of experience for customers. Fulfilling that promise consistently and over time generates a belief in and loyalty to your company, products, and services.
Manga is a Japanese art that has gone global. It tells stories through cartoon on every imaginable subjects and represents the infinite possibilities of representing ideas, objects, and relationships through immediately accessible and engaging new worlds.
Brand Manga is a new communication strategy aimed at helping clients gain wider recognition, trust, and relationships from customers. The goal is to expand, re-energize, and unify the way a company engages with a global, wired world.
Tools are Easy: Strategy is Hard
At the conferences I've attended lately, people talk more about specific new media tools than anything else. But as Chris Brogan said at LikeMinds, "We never would consider having a conference about the telephone."
No doubt, digital Media offers extended numerous tools to expand a company's reach. However, tools are easy – and using them well requires careful planning. We can help you create an effectively unified communications strategy across media and stakeholders – in person, within your company, and with external markets.
With 24/7 networks across multiple media, it’s never been more important to create belief in the consistency and quality of experience that a business offers.
To do that, core values and talent need to come across consistently and frequently in the relationships in the world and online.
Customers develop trust and loyalty only over time, with evidence that a brand delivers the experience it promises.
You can get your message out there as much as you want -- in as many ways as you want. But it's the quality of the pitch, not the volume that counts. So before buying fancy equipment or signing up for piece-meal marketing approaches, sit down with someone like us and look at the big picture.
It continues to be an interesting journey.
Brand Manga
Success depends on the quality of the pitch, not the volume.
Why Brand Manga?
Your brand is a promise of a particular kind of experience for customers. Fulfilling that promise consistently and over time generates a belief in and loyalty to your company, products, and services.
Manga is a Japanese art that has gone global. It tells stories through cartoon on every imaginable subjects and represents the infinite possibilities of representing ideas, objects, and relationships through immediately accessible and engaging new worlds.
Brand Manga is a new communication strategy aimed at helping clients gain wider recognition, trust, and relationships from customers. The goal is to expand, re-energize, and unify the way a company engages with a global, wired world.
Tools are Easy: Strategy is Hard
At the conferences I've attended lately, people talk more about specific new media tools than anything else. But as Chris Brogan said at LikeMinds, "We never would consider having a conference about the telephone."
No doubt, digital Media offers extended numerous tools to expand a company's reach. However, tools are easy – and using them well requires careful planning. We can help you create an effectively unified communications strategy across media and stakeholders – in person, within your company, and with external markets.
With 24/7 networks across multiple media, it’s never been more important to create belief in the consistency and quality of experience that a business offers.
To do that, core values and talent need to come across consistently and frequently in the relationships in the world and online.
Customers develop trust and loyalty only over time, with evidence that a brand delivers the experience it promises.
You can get your message out there as much as you want -- in as many ways as you want. But it's the quality of the pitch, not the volume that counts. So before buying fancy equipment or signing up for piece-meal marketing approaches, sit down with someone like us and look at the big picture.
Thursday, March 11, 2010
Tools are Easy: Storytelling is Hard
I have been considering the nature of effective storytelling lately.
I work with a range of clients who all need to tell their stories through different media. Ideally, they will be open to exploring stories across media -- from in-person communication at length to the 140-character Tweet.
The question is: how do you make the most of each medium?
In-Person Pitching
My clients need to pitch for both business and for investment. The question always becomes: how do you transform a presentation into a conversation people want to continue?
After all, business takes place after your last word is spoken - usually, after you've left the room.
Take Doug Richards' video from School for Start-Ups, for example. Doug has invited me to his event to help with the storytelling because he thinks I have a different take. He's right.
Doug talks about compelling stories for investors with dragons, bad guys, good guys, and so on. It sounds good, but how would you translate that for someone who wants to present?
What's true is that it always makes sense to engage listeners' feelings (at least) as much as their minds. One always remembers the way a communication feels -- whether it's in a meeting (competitive? generous?), on a conference call (dull? impatient?), or in writing (rude? friendly?). The same, of course, goes for those who communicate in front of a room.
But where do you go from there?
Storytelling Means More Than One Thing
Vocabulary might be a problem -- perhaps we need other words for articulating one's value proposition with a beginning, middle, and end?
When I was hired last week by an investor team to work with entrepreneurs , the programme's head interpreted my request to transform the data into a story to mean "tell me something that happened in your life."
Indeed, this can be a useful strategy. Specificity always helps listeners engage, and if done well in context, personalising abstract concepts or challenges will set your pitch apart from others.
On the other hand, the investors wouldn't want 10 teams in a row telling a specific story about the connection between their lives and projects. The format would become predictable, and people would tune out.
So What Makes a Good Story?
The secret to effective storytelling can't really be defined by any particular format. It's true that all stories usually have characters, place, conflict, and resolution. However, creating a narrative is not straightforward -- there is no formula -- if you want your audience engaged.
One strategy that can be effective is to make the story meaningful to you. It must create a feeling in YOU that feels contagious to your listeners.
Quite simply, this is empathy.
But Wait: There's (Always More)
In addition to feeling the truth of what you say, perspective and context must be a factor in the way you express yourself. Are you creating the right kind of chemistry with listeners by making your experience accessible?
If there is a secret, it is that there is no single recipe for effective communication except listening well and interpreting the needs of your listener as you go. Call it improvisation, if you like. The key is to remember that as effortless as improv can appear, no one is born knowing how to do it well.
It doesn't happen without a lot of practice.
I think that's why I enjoy my work so much. It's not training. It's learning, both for me and my clients. Every time is different.
More on other media in the next post.
I work with a range of clients who all need to tell their stories through different media. Ideally, they will be open to exploring stories across media -- from in-person communication at length to the 140-character Tweet.
The question is: how do you make the most of each medium?
In-Person Pitching
My clients need to pitch for both business and for investment. The question always becomes: how do you transform a presentation into a conversation people want to continue?
After all, business takes place after your last word is spoken - usually, after you've left the room.
Take Doug Richards' video from School for Start-Ups, for example. Doug has invited me to his event to help with the storytelling because he thinks I have a different take. He's right.
Doug talks about compelling stories for investors with dragons, bad guys, good guys, and so on. It sounds good, but how would you translate that for someone who wants to present?
What's true is that it always makes sense to engage listeners' feelings (at least) as much as their minds. One always remembers the way a communication feels -- whether it's in a meeting (competitive? generous?), on a conference call (dull? impatient?), or in writing (rude? friendly?). The same, of course, goes for those who communicate in front of a room.
But where do you go from there?
Storytelling Means More Than One Thing
Vocabulary might be a problem -- perhaps we need other words for articulating one's value proposition with a beginning, middle, and end?
When I was hired last week by an investor team to work with entrepreneurs , the programme's head interpreted my request to transform the data into a story to mean "tell me something that happened in your life."
Indeed, this can be a useful strategy. Specificity always helps listeners engage, and if done well in context, personalising abstract concepts or challenges will set your pitch apart from others.
On the other hand, the investors wouldn't want 10 teams in a row telling a specific story about the connection between their lives and projects. The format would become predictable, and people would tune out.
So What Makes a Good Story?
The secret to effective storytelling can't really be defined by any particular format. It's true that all stories usually have characters, place, conflict, and resolution. However, creating a narrative is not straightforward -- there is no formula -- if you want your audience engaged.
One strategy that can be effective is to make the story meaningful to you. It must create a feeling in YOU that feels contagious to your listeners.
Quite simply, this is empathy.
But Wait: There's (Always More)
In addition to feeling the truth of what you say, perspective and context must be a factor in the way you express yourself. Are you creating the right kind of chemistry with listeners by making your experience accessible?
If there is a secret, it is that there is no single recipe for effective communication except listening well and interpreting the needs of your listener as you go. Call it improvisation, if you like. The key is to remember that as effortless as improv can appear, no one is born knowing how to do it well.
It doesn't happen without a lot of practice.
I think that's why I enjoy my work so much. It's not training. It's learning, both for me and my clients. Every time is different.
More on other media in the next post.
Thursday, January 28, 2010
Two pieces commissioned by a conference company . . .
Here are two pieces - one on the art of (re)presentation per se and one with presentation tips, a version of which was already published on this blog. They were commissioned from a conference company to help speakers. Enjoy.
Monday, January 18, 2010
Learning vs. Training
In the course of a recent spate of client assignments in which I was retained to do Business Development and Presentation Training it struck me that we might need a new word for "training." Training implies learning a narrow group of skills in a single context. Learning, on the other hand, implies a wider group of capabilities that are inspired in a client. These abilities tend to cross contexts.
Sometimes my clients refer to me as a Presentation Trainer, yet as I interact with those who run businesses, those with products or services geared toward industry or the Enterprise, business school representatives, and expats seeking Executive MBAs in cultures not their own, what I've noticed is that none of my clients really want "training." They want to learn business techniques, and they want those in their charge to learn as well.
The difference is in the creativity and curiosity one sustains and carries, again, across contexts.
The topics might be different, but the goal is the same. How do you make connections among resources that will meet business and monetary challenges, both now and in the future?
Here's a formula that will help anyone perform better in business:
1. Inspiration is the meeting point between emotional and intellectual insights. Everyone feels so much better (and accomplishes so much more) when they can invoke it.
2. The best way to get inspired is to stay curious. Curiosity can be a bridge to creativity. (do you agree with that?)
3. Curiosity is sustainable if feelings are allowed. Your emotional reactions are as important as your thinking. In fact, innovative thinking couldn't exist without feeling -- inspiration is that meeting point, after all.
4. The most effective communicators evoke a desire to accomplish, know, perform. When my clients remember why they care about their topic, so do their listeners.
5. It's not magic, but it feels like it. Getting people to communicate that effectively an extraordinary challenge, and it's thrilling when my clients make it work. Sounds simple, and all it requires to get listeners to feel something new takes practice and the right kind of feedback.
This goes beyond training -- anyone got another word?
Either way, I feel very lucky to do this work.
Sometimes my clients refer to me as a Presentation Trainer, yet as I interact with those who run businesses, those with products or services geared toward industry or the Enterprise, business school representatives, and expats seeking Executive MBAs in cultures not their own, what I've noticed is that none of my clients really want "training." They want to learn business techniques, and they want those in their charge to learn as well.
The difference is in the creativity and curiosity one sustains and carries, again, across contexts.
The topics might be different, but the goal is the same. How do you make connections among resources that will meet business and monetary challenges, both now and in the future?
Here's a formula that will help anyone perform better in business:
1. Inspiration is the meeting point between emotional and intellectual insights. Everyone feels so much better (and accomplishes so much more) when they can invoke it.
2. The best way to get inspired is to stay curious. Curiosity can be a bridge to creativity. (do you agree with that?)
3. Curiosity is sustainable if feelings are allowed. Your emotional reactions are as important as your thinking. In fact, innovative thinking couldn't exist without feeling -- inspiration is that meeting point, after all.
4. The most effective communicators evoke a desire to accomplish, know, perform. When my clients remember why they care about their topic, so do their listeners.
5. It's not magic, but it feels like it. Getting people to communicate that effectively an extraordinary challenge, and it's thrilling when my clients make it work. Sounds simple, and all it requires to get listeners to feel something new takes practice and the right kind of feedback.
This goes beyond training -- anyone got another word?
Either way, I feel very lucky to do this work.
Thoughts on Presentation Among Media
I was brought into a project recently that made me keenly aware of the similarities between what marketers (like me) do to improve both written and in-person presentation.
This is a (continuing) research project -- a literature review for an international marketing symposium. The subject was erudite and technical, but it became immediately apparent how to work on the outline and structure, despite my unfamiliarity with the topic. The more my intermediary and content expert described the context in which the material would be read, the more insight I was able to give on how to present the information in a way that would be credible and clear to a reader.
It reminded me of my work with CEOs of companies coaching client and investor pitches. I don't have to understand the in's and out's of specialty data as long as I understand the audience. The more insight I have into the effect the presenter must have -- in writing or in person -- the more I can help the speaker or writer be effective at getting the point across.
Marketers sometimes get a bad rap for window dressing rather than creating substantial (read: measurable) value for companies. But the deep structure we create for companies with content of all kinds has an emotional impact on whomever comes across the information.
And these so-called soft-skills are as much a part of winning content as the data itself.
This is a (continuing) research project -- a literature review for an international marketing symposium. The subject was erudite and technical, but it became immediately apparent how to work on the outline and structure, despite my unfamiliarity with the topic. The more my intermediary and content expert described the context in which the material would be read, the more insight I was able to give on how to present the information in a way that would be credible and clear to a reader.
It reminded me of my work with CEOs of companies coaching client and investor pitches. I don't have to understand the in's and out's of specialty data as long as I understand the audience. The more insight I have into the effect the presenter must have -- in writing or in person -- the more I can help the speaker or writer be effective at getting the point across.
Marketers sometimes get a bad rap for window dressing rather than creating substantial (read: measurable) value for companies. But the deep structure we create for companies with content of all kinds has an emotional impact on whomever comes across the information.
And these so-called soft-skills are as much a part of winning content as the data itself.
Tuesday, December 22, 2009
The Doppler Effect: What Do You Measure, Why, and How?
Talking to a client last week, I had to ask that rather than sit and measure performance, the supervisor participate in the workshop. I explained that the Doppler Effect would almost guarantee a lower score for her employees than they would get if everyone in the room were involved.
David Gurteen started following me on Twitter at which point I discovered his wonderful blog. Here's a post about measurement of performance in business.
David breaks everything down into the smallest pieces before commenting on the whole. It's articulate, generous and eliminates assumptions. Don't you love someone for defining his terms? Why is this so unusual when we use business jargon?
It's worth seeing the related posts on incentivizing performance as well.
David Gurteen started following me on Twitter at which point I discovered his wonderful blog. Here's a post about measurement of performance in business.
David breaks everything down into the smallest pieces before commenting on the whole. It's articulate, generous and eliminates assumptions. Don't you love someone for defining his terms? Why is this so unusual when we use business jargon?
It's worth seeing the related posts on incentivizing performance as well.
Sunday, December 20, 2009
Entrepreneurship: Start Young
Is business sense in the air or in the DNA? Probably both. In a recession, there is obviously more of a tendency to begin your own business when you've lost your job and there's nowhere to go but up.
However, check out this very young entrepreneur whose work has nothing to do with this economy per se. Eighth-grader Jason O'Neill has done an amazing job with his Teddy Bear project. Check it out.
However, check out this very young entrepreneur whose work has nothing to do with this economy per se. Eighth-grader Jason O'Neill has done an amazing job with his Teddy Bear project. Check it out.
Saturday, December 19, 2009
Dragons Again: Everywhere
Westerners are familiar with Dragons' Den, both in the US and UK, but perhaps they have not yet seen an Eastern cousin. Have you visited the lair of the Money Tiger from Japan?
Take a look. Check it out, even if your Japanese isn't what it was. Amazing what you can get even if you don't speak the language.
Take a look. Check it out, even if your Japanese isn't what it was. Amazing what you can get even if you don't speak the language.
Tuesday, November 24, 2009
Elvis has Left the Building: More on Dancing About Architecture
Continuing from a post about business presentation not too long ago, here is the article on how to win clients that has been published in WomenUnlimited.
Enjoy. Feedback welcome!
Enjoy. Feedback welcome!
Saturday, November 21, 2009
Stage Craft, Not Witchcraft (Although There's Always Magic)
Paula Vogel, my wonderful PhD advisor, used to say that empathy is a chemical reaction.
There's a kind of magic that arises between and among people when they're in the same room that just doesn't happen any other way. Sure, empathy is possible long distance, but it's just not the same.
Long distance, empathy requires some internal work, pulling out what we have already learned in person, even if we're not aware of it.
Empathy is also easily disrupted -- for example, if microphones are involved. The sound of a real voice to another person makes engagement less than immediate. Those few seconds of adjustment can mean the difference between engaging listeners immediately and losing them to passive hearing.
Talking to Dean Meyers last night via skype, we got on the subject of presentations and what people seem to do too often to turn off their listeners when it would be so easy to turn them on.
Dean works with visuals -- and he uses the word "stage craft". It's perfect. Once you are aware of your audience and that any presentation is theatre, you can begin making conscious decisions about what works and what doesn't.
In your presentation, you might want some disruption (in theatre, perhaps a la Brecht). However, if you are aware of stage craft, both the disruption and the manner of disruption are careful choices. Understand that what that an intention does not necessarily achieve the effect you want. Intention is only the beginning.
Once stage craft becomes a priority, it's easier to have the desired impact. If you know you need visuals and it's not your specialty, you'll go out and find someone who can do them right (rather than just doing it yourself because -- well -- you need slides).
Although the basis of presenting, content is the smallest piece of a pitch because its impact depends on the visual, emotional, and physical contexts in which (or with which) it is delivered.
The combination of the right elements produces a kind of magic you can't quite explain. And it's the feeling, not the specifics of the content, that people will remember.
Your listeners can always go back and review content. But the feeling of being present during a great talk can't be revived except in memory. Moreover, it's often exactly that talk's emotional impact that makes your listeners want to learn more.
So you'd better be careful about planning that (special) effect.
There's a kind of magic that arises between and among people when they're in the same room that just doesn't happen any other way. Sure, empathy is possible long distance, but it's just not the same.
Long distance, empathy requires some internal work, pulling out what we have already learned in person, even if we're not aware of it.
Empathy is also easily disrupted -- for example, if microphones are involved. The sound of a real voice to another person makes engagement less than immediate. Those few seconds of adjustment can mean the difference between engaging listeners immediately and losing them to passive hearing.
Talking to Dean Meyers last night via skype, we got on the subject of presentations and what people seem to do too often to turn off their listeners when it would be so easy to turn them on.
Dean works with visuals -- and he uses the word "stage craft". It's perfect. Once you are aware of your audience and that any presentation is theatre, you can begin making conscious decisions about what works and what doesn't.
In your presentation, you might want some disruption (in theatre, perhaps a la Brecht). However, if you are aware of stage craft, both the disruption and the manner of disruption are careful choices. Understand that what that an intention does not necessarily achieve the effect you want. Intention is only the beginning.
Once stage craft becomes a priority, it's easier to have the desired impact. If you know you need visuals and it's not your specialty, you'll go out and find someone who can do them right (rather than just doing it yourself because -- well -- you need slides).
Although the basis of presenting, content is the smallest piece of a pitch because its impact depends on the visual, emotional, and physical contexts in which (or with which) it is delivered.
The combination of the right elements produces a kind of magic you can't quite explain. And it's the feeling, not the specifics of the content, that people will remember.
Your listeners can always go back and review content. But the feeling of being present during a great talk can't be revived except in memory. Moreover, it's often exactly that talk's emotional impact that makes your listeners want to learn more.
So you'd better be careful about planning that (special) effect.
Wednesday, November 11, 2009
Advertag has Launched!
It always feels particularly satisfying when a client gets off the ground. Jonathan Shrago, winner of a trip to New York and San Francisco from the SeedCamp where I coached presentations, has set up his site.
For those in London, Advertag are focusing their site first on jobs in the Harrogate area for feedback on SEO (and those looking for jobs).
Their work is wonderful, and they are a very smart team. Keep your eye out for their blog.
For those in London, Advertag are focusing their site first on jobs in the Harrogate area for feedback on SEO (and those looking for jobs).
Their work is wonderful, and they are a very smart team. Keep your eye out for their blog.
Saturday, November 07, 2009
Just to Remember: It's Not ALL About Presentation . . .
I write all the time about how important presentation is when persuading because people tend to ignore it in favor of content.
Just for a change, here's some emphasis on content --about Tom's Shoes that Raquel Dobson sent me. It's absolutely worth seeing, entrepreneurs out there (the presentation isn't so bad either, by the way).
Just for a change, here's some emphasis on content --about Tom's Shoes that Raquel Dobson sent me. It's absolutely worth seeing, entrepreneurs out there (the presentation isn't so bad either, by the way).
Sunday, November 01, 2009
Business Presentations: This Time with Feeling
I've just penned a piece about business presentations for a publication that deals with new ideas. Here's the gist:
We need to replace the word "presenting" with "representing". Presenting implies only "introducing". Representing, on the other hand, demands that ideas are embodied in the performance we create. To do this meaningfully, this embodiment must stir up the inspiration, excitement, and other emotional reactions in others that they do in us.
It can easily make the difference between making a sale and losing one.
We treat business presentation skills as though they are a science when in fact they are an art. Again, I think the problem begins with the word "presentation".
Consider comedians. They strike a chord (or don't) because of the way they embody a situation rather than talk about it. Or embody a situation and THEN talk about it.
The humor comes from the emotional reactions that combine to become recognition. The recognition comes from the performance of a conversation with a partner, boss, store manager -- whatever -- which the comedian represents through embodying it onstage. Without it, any commentary would fall flat.
For maximum power, every medium needs to be exploited for its own particular possibilities. Film wouldn't work as dance, and visa versa, except as an exception to a rule or as a stand-in for the other.
Think how much more powerful a business presentation would be if you add all the possibilities of the art of representation. Move people. Inspire them. Make them feel something that moves them to action. It's the only way to do effective business.
We need to replace the word "presenting" with "representing". Presenting implies only "introducing". Representing, on the other hand, demands that ideas are embodied in the performance we create. To do this meaningfully, this embodiment must stir up the inspiration, excitement, and other emotional reactions in others that they do in us.
It can easily make the difference between making a sale and losing one.
We treat business presentation skills as though they are a science when in fact they are an art. Again, I think the problem begins with the word "presentation".
Consider comedians. They strike a chord (or don't) because of the way they embody a situation rather than talk about it. Or embody a situation and THEN talk about it.
The humor comes from the emotional reactions that combine to become recognition. The recognition comes from the performance of a conversation with a partner, boss, store manager -- whatever -- which the comedian represents through embodying it onstage. Without it, any commentary would fall flat.
For maximum power, every medium needs to be exploited for its own particular possibilities. Film wouldn't work as dance, and visa versa, except as an exception to a rule or as a stand-in for the other.
Think how much more powerful a business presentation would be if you add all the possibilities of the art of representation. Move people. Inspire them. Make them feel something that moves them to action. It's the only way to do effective business.
Saturday, October 31, 2009
Intimacy: The New (Technical) Frontier
At the Tuttle Club yesterday, I had a rather inspiring conversation with FJ van Wingerde. For those of you who don't know FJ, his thinking is wonderfully, productively disruptive. His comments are also right to the point.
We talked about the mobile industry -- as well as (conversationally) ubiquitous social media (so how could we avoid it, really?). Here's the interesting part.
My feeling has been since the early mid-90s that what technology has to aim for is intimacy. As FJ said, we can call it "personalization", but it's personalization for the purpose of intimacy. FJ also noted that at a large entertainment company, he worked with others on finding ways to make mechanical devices (such as phones) into characters for the sake of creating relationships with users. Second Life does this with avatars. And games like WOW do it with communities.
As a theater person, I think we're missing the performance aspects of the Web and mobile -- after all, every medium should be explored to its unique full potential. Those in advertising talk about "engagement", but is it engagement we're after for its own sake?
OK, the overall goal is roi (usually for businesses) or repeated use (for geeks who just love getting things right). But before we get to the end, let's really break down the the path we're using to get there.
The bottom line is: when it is with the aim of creating intimacy that we go for expanding the possibilities of theatricality, engagement, or any other web-possible activity. That's how you hook consumers. That's how you create a relationship between a mechanical device and a human being.
FJ noted that people probably won't feel comfortable with word "intimacy" in a working environment. He's not wrong -- "intimacy" in work always implies sexuality.
But take the sex out, and remember that the reason people hate spam with their name at the top is the note's inappropriate intimacy. What else can you call it?
Thoughts?
We talked about the mobile industry -- as well as (conversationally) ubiquitous social media (so how could we avoid it, really?). Here's the interesting part.
My feeling has been since the early mid-90s that what technology has to aim for is intimacy. As FJ said, we can call it "personalization", but it's personalization for the purpose of intimacy. FJ also noted that at a large entertainment company, he worked with others on finding ways to make mechanical devices (such as phones) into characters for the sake of creating relationships with users. Second Life does this with avatars. And games like WOW do it with communities.
As a theater person, I think we're missing the performance aspects of the Web and mobile -- after all, every medium should be explored to its unique full potential. Those in advertising talk about "engagement", but is it engagement we're after for its own sake?
OK, the overall goal is roi (usually for businesses) or repeated use (for geeks who just love getting things right). But before we get to the end, let's really break down the the path we're using to get there.
The bottom line is: when it is with the aim of creating intimacy that we go for expanding the possibilities of theatricality, engagement, or any other web-possible activity. That's how you hook consumers. That's how you create a relationship between a mechanical device and a human being.
FJ noted that people probably won't feel comfortable with word "intimacy" in a working environment. He's not wrong -- "intimacy" in work always implies sexuality.
But take the sex out, and remember that the reason people hate spam with their name at the top is the note's inappropriate intimacy. What else can you call it?
Thoughts?
Wednesday, October 21, 2009
One more piece published . . . .
You will probably recognise a lot of this material if you follow this blog, but here you go: Enterprise Nation just published my article on presentations.
Friday, October 09, 2009
Article on mSearchGroove: How to Sell Investors
Peggy Saltz has put a small piece of mine on mSearchGroove, a publication dedicated to mobile.
Here's the link to the article on presentation skills.
Let me know if it's anything I haven't said here yet-- happy to elaborate.
Here's the link to the article on presentation skills.
Let me know if it's anything I haven't said here yet-- happy to elaborate.
Wednesday, October 07, 2009
A Little Meisner for a Grey Wednesday
Reviewing Sandy Meisner and his performance technique is a pleasure. One of his tenets: the foundation of acting is the reality of doing.
"Acting" here is taking all the walls away from being yourself in front of other people.
OK, it sounds obvious -- and simple. But how many people do you know who are great presenters? Here's a little more that will demonstrate the connection I'm making between professional performers and business people trying hook an audience at a conference.
Meisner says,
" . . in most professions, every practitioner uses the same tools and techniques, while the actor's chief instrument is himself. And since no two persons are alike, no universal rule is applicable to any two actors in exactly the same way." (Sanford Meisner's On Acting)
This is as true when presenting information that you've written as when it's material a playwright has concocted.
What exactly does it mean to be "yourself"? In front of people?
You either do what you're doing (eg explain -- really -- "the reality of doing") or you play AT it. Who cares what the content is? You're genuinely talking TO listeners (or talk AT them). As we all know from sitting through presentations, the second ends up being very dull.
Both are characters purpose-built -- but one is much more effective than another.
I have a nice example of Lloyd Davis in the reality of doing. He plays a great ukulele, too.
"Acting" here is taking all the walls away from being yourself in front of other people.
OK, it sounds obvious -- and simple. But how many people do you know who are great presenters? Here's a little more that will demonstrate the connection I'm making between professional performers and business people trying hook an audience at a conference.
Meisner says,
" . . in most professions, every practitioner uses the same tools and techniques, while the actor's chief instrument is himself. And since no two persons are alike, no universal rule is applicable to any two actors in exactly the same way." (Sanford Meisner's On Acting)
This is as true when presenting information that you've written as when it's material a playwright has concocted.
What exactly does it mean to be "yourself"? In front of people?
You either do what you're doing (eg explain -- really -- "the reality of doing") or you play AT it. Who cares what the content is? You're genuinely talking TO listeners (or talk AT them). As we all know from sitting through presentations, the second ends up being very dull.
Both are characters purpose-built -- but one is much more effective than another.
I have a nice example of Lloyd Davis in the reality of doing. He plays a great ukulele, too.
Friday, October 02, 2009
BizSpark and SeedCamp
As I've mentioned, I was asked to coach teams for investor pitches at both SeedCamp London and at Microsoft's BizSpark. Very exciting, both. And everyone has been kind in their feedback.
The results were very different for each set of teams. And the adjustments one inevitably makes due to space and time allotments made everyone rise to the challenge.
SeedCamp
At SeedCamp, I worked with a content expert.
The room was an auditorium. The teams were given five minutes to present, and then mentors were given five minutes to give feedback. I hardly heard what was said. My responses was focused on how the material was presented physically and the resulting engagement (or lack thereof) with the audience.
The space was ample for performers to practice. Perhaps equally important, the auditorium was where they would later pitch for investors -- for real.
Teams pitched and were given feedback by us in front of all their competitors. This is a different reaction than I've got in more academic classes, and I was both pleased and surprised.
I was told that feedback for one team often helped prepare the next, and everyone was to have been in a room of critical voices. It was a pretty exciting experience.
BizSpark
This was the first year of BizSpark, and the events' full, high-calibre schedule made it impossible to practice in the room in which teams would perform.
So instead, we were put in a room usually used for meetings. The table was pushed back, there was enough room for teams to move around as they would in the auditorium. They showed their slides on their lap tops.
An odd thing happened with the energy in the room that didn't happen at SeedCamp. Because the laptops took so long to get ready, and because the space was temporary, teams seemed both more relaxed (it was an ad hoc space) and more nervous (it was an ad hoc space -- so what was the relationship to the one in which they'd pitch?).
A good thing -- at BizSpark, I had each team one-on-one for fifteen minutes, and we worked on 3 minute presentations rather than 5. This works very well for students who would like to articulate their anxieties and concerns. It would be impossible in a room full of competitors.
The work wasn't less effective than at SeedCamp, but it was very different. The changes from rehearsal to final performance were different, too -- at SeedCamp, those with challenges seemed to struggle more with content in their final pitch. At BizSpark, teams were thrown off a little by the space change. So any awkwardness was with how to move and where to look.
And So . . . .
I've got nothing but happy feedback, and it will all go up on the Stradbroke site in about a month when our webmistress returns.
However, I've learned a few things about making an environment friendlier, and that's a good thing.
And, contrary to my expectations, one-on-one teams could use more time with me than those in front of large groups. The latter expect to be thrown in the deep end and prepare as the last group is finishing. The former are not exactly sure how to settle into the space immediately. It takes a little more to make them feel comfortable.
That's the great thing about collaborating -- you never know what's going to happen. And you always have to stay on your toes.
The results were very different for each set of teams. And the adjustments one inevitably makes due to space and time allotments made everyone rise to the challenge.
SeedCamp
At SeedCamp, I worked with a content expert.
The room was an auditorium. The teams were given five minutes to present, and then mentors were given five minutes to give feedback. I hardly heard what was said. My responses was focused on how the material was presented physically and the resulting engagement (or lack thereof) with the audience.
The space was ample for performers to practice. Perhaps equally important, the auditorium was where they would later pitch for investors -- for real.
Teams pitched and were given feedback by us in front of all their competitors. This is a different reaction than I've got in more academic classes, and I was both pleased and surprised.
I was told that feedback for one team often helped prepare the next, and everyone was to have been in a room of critical voices. It was a pretty exciting experience.
BizSpark
This was the first year of BizSpark, and the events' full, high-calibre schedule made it impossible to practice in the room in which teams would perform.
So instead, we were put in a room usually used for meetings. The table was pushed back, there was enough room for teams to move around as they would in the auditorium. They showed their slides on their lap tops.
An odd thing happened with the energy in the room that didn't happen at SeedCamp. Because the laptops took so long to get ready, and because the space was temporary, teams seemed both more relaxed (it was an ad hoc space) and more nervous (it was an ad hoc space -- so what was the relationship to the one in which they'd pitch?).
A good thing -- at BizSpark, I had each team one-on-one for fifteen minutes, and we worked on 3 minute presentations rather than 5. This works very well for students who would like to articulate their anxieties and concerns. It would be impossible in a room full of competitors.
The work wasn't less effective than at SeedCamp, but it was very different. The changes from rehearsal to final performance were different, too -- at SeedCamp, those with challenges seemed to struggle more with content in their final pitch. At BizSpark, teams were thrown off a little by the space change. So any awkwardness was with how to move and where to look.
And So . . . .
I've got nothing but happy feedback, and it will all go up on the Stradbroke site in about a month when our webmistress returns.
However, I've learned a few things about making an environment friendlier, and that's a good thing.
And, contrary to my expectations, one-on-one teams could use more time with me than those in front of large groups. The latter expect to be thrown in the deep end and prepare as the last group is finishing. The former are not exactly sure how to settle into the space immediately. It takes a little more to make them feel comfortable.
That's the great thing about collaborating -- you never know what's going to happen. And you always have to stay on your toes.
Saturday, September 19, 2009
Start-Ups: Beware the Buzzwords, Says Venture Beat
I usually work with clients more on presentation style than content, although the two are so closely connected that untangling the two is often challenging.
Excellent piece, though, on Venture Beat about start-up buzz words at TechCrunch50.
For those at SeedCamp next week -- and at TechCrunch London -- it's worth taking a look.
See you SeedCampers tomorrow for speed pitching.
Excellent piece, though, on Venture Beat about start-up buzz words at TechCrunch50.
For those at SeedCamp next week -- and at TechCrunch London -- it's worth taking a look.
See you SeedCampers tomorrow for speed pitching.
Thursday, September 10, 2009
SeedCamp: Coming Up Soon in London
SeedCamp, a boot camp for start-ups, will take place in London in a couple of weeks. The short list of 40 companies was down to 20 and the SeedCamp participants were announced today.
It's useful to see the trends in business models over the years, all included in Mike Butcher's article (link above).
I'll be serving as SeedCamp pitching mentor on the Sunday for all the companies -- 10 in a room and then the other 10 -- five minutes for pitching, five minutes feedback.
Having seen a couple of the companies pitch for other reasons already, there seem to be a lot of differences among the ways in which companies are represented by their leaders. Looking forward to it.
Will report back at the end of the month on how it all went.
It's useful to see the trends in business models over the years, all included in Mike Butcher's article (link above).
I'll be serving as SeedCamp pitching mentor on the Sunday for all the companies -- 10 in a room and then the other 10 -- five minutes for pitching, five minutes feedback.
Having seen a couple of the companies pitch for other reasons already, there seem to be a lot of differences among the ways in which companies are represented by their leaders. Looking forward to it.
Will report back at the end of the month on how it all went.
Tuesday, September 08, 2009
Presentation is a Full-Time Job in (Family) Business
The notion of genuine engagement when giving a presentation -- and self-awareness and discipline -- take on a refreshing shine when Steve Blank talks about it on VentureBeat.
Everyone who works hard knows that presenting in business is s full-time job. Always on the hunt for opportunities, we always have to be aware of how people perceive us, on what we focus, and what we reveal.
However, usually, home life is usually thought of differently. Too many of the high-power executives (particularly men) tend to turn off their awareness -- of their own presence and of those around them -- once they hit the front door.
In fact, the business of life outside work requires the same level of engagement. Everything takes practice, including being present in new contexts. And the more present you can be, the more you can listen (to both yourself and those around you), the better quality of presentation and response you'll get from yourself and others.
Lovely post, Steve.
Everyone who works hard knows that presenting in business is s full-time job. Always on the hunt for opportunities, we always have to be aware of how people perceive us, on what we focus, and what we reveal.
However, usually, home life is usually thought of differently. Too many of the high-power executives (particularly men) tend to turn off their awareness -- of their own presence and of those around them -- once they hit the front door.
In fact, the business of life outside work requires the same level of engagement. Everything takes practice, including being present in new contexts. And the more present you can be, the more you can listen (to both yourself and those around you), the better quality of presentation and response you'll get from yourself and others.
Lovely post, Steve.
Thursday, September 03, 2009
May I Have a Word?
I had a lively discussion with Euan Semple today about life, the universe, and everything.
Euan doesn't like the word "teach" to mean the very broad set of activities by or from which people can learn. He's right -- it implies a top-down, Victorian style classroom behavior that is more broadcast than conversation.
Equally, I don't like the word "coach" to describe the activity through which an individual works to improve his or her presentation skills through interaction with someone who understands performance.
Again, it implies a top-down set of behaviors.
As I am called both a teacher and a presentation coach and find the lack of readily available and suitable vocabulary irritating.
Anyone got better words for multi-directional interaction through which learning takes place on all sides?
Euan doesn't like the word "teach" to mean the very broad set of activities by or from which people can learn. He's right -- it implies a top-down, Victorian style classroom behavior that is more broadcast than conversation.
Equally, I don't like the word "coach" to describe the activity through which an individual works to improve his or her presentation skills through interaction with someone who understands performance.
Again, it implies a top-down set of behaviors.
As I am called both a teacher and a presentation coach and find the lack of readily available and suitable vocabulary irritating.
Anyone got better words for multi-directional interaction through which learning takes place on all sides?
Monday, August 31, 2009
Play Within Structure: More on Giving a Successful Pitch
On the subject of practical tips on giving a pitch, here's anecdote about working with a very successful client.
This client is an advertising executive -- let's call her Lucy. Lucy had been effectively selling ideas to companies for years. But she felt that something was missing. (More on that here).
A Different Way of Depending Too Much on Content
Lucy is a strategist and excellent at what she does. However, when it comes to doing her pitch, there always seems to be too much information to relay in the time allotted.
Furthermore, Lucy has many slide decks to present every week. She would need a photographic memory to remember it all. So she compensates by looking quickly at a slide's headline and improvising on each topic. To remind herself of where she is, she uses industry jargon to get her from one subject to another rather than telling a story that could stand on its own for anyone.
The effect? Lucy hits a heading, wandered around a topic, hits yet another, and rambles again. All the information is there. But there seems to be no emphasis, either within or among the paths that lead between sign posts.
You can follow the plot line, but it isn't exactly gripping.
Creative Performance Depends on Structure
When in doubt, impose a structure.
In this case, I suggested Lucy should ask a Question (or State a Premise/Heading), explain step-by-step how to get from the question to the answer, and end with a So-What? Clause.
For those of us who are new to this blog, a So-What Clause is the content with which you should conclude all presentations -- written, or oral. Time and space is valuable real estate when selling an idea. You've already told them the WHAT. Now tell them why they should care.
It Worked
Lucy was thrilled with the results. She said she hadn't been able to reconcile her feeling of being lost with her thorough knowledge of the subject area and experience presenting. She had gotten bored and hadn't really addressed her audience. She felt she was focusing instead on her content.
Lucy concluded enthusiastically by saying she wished she had met me when she was 20.
I must admit I was chuffed.
This client is an advertising executive -- let's call her Lucy. Lucy had been effectively selling ideas to companies for years. But she felt that something was missing. (More on that here).
A Different Way of Depending Too Much on Content
Lucy is a strategist and excellent at what she does. However, when it comes to doing her pitch, there always seems to be too much information to relay in the time allotted.
Furthermore, Lucy has many slide decks to present every week. She would need a photographic memory to remember it all. So she compensates by looking quickly at a slide's headline and improvising on each topic. To remind herself of where she is, she uses industry jargon to get her from one subject to another rather than telling a story that could stand on its own for anyone.
The effect? Lucy hits a heading, wandered around a topic, hits yet another, and rambles again. All the information is there. But there seems to be no emphasis, either within or among the paths that lead between sign posts.
You can follow the plot line, but it isn't exactly gripping.
Creative Performance Depends on Structure
When in doubt, impose a structure.
In this case, I suggested Lucy should ask a Question (or State a Premise/Heading), explain step-by-step how to get from the question to the answer, and end with a So-What? Clause.
For those of us who are new to this blog, a So-What Clause is the content with which you should conclude all presentations -- written, or oral. Time and space is valuable real estate when selling an idea. You've already told them the WHAT. Now tell them why they should care.
It Worked
Lucy was thrilled with the results. She said she hadn't been able to reconcile her feeling of being lost with her thorough knowledge of the subject area and experience presenting. She had gotten bored and hadn't really addressed her audience. She felt she was focusing instead on her content.
Lucy concluded enthusiastically by saying she wished she had met me when she was 20.
I must admit I was chuffed.
Monday, August 24, 2009
More Tips on Presentation: Don't Rely on Your Content
I promised to unpack the post from last week a bit -- the one that talks about how to give a better presentation.
Here's a start.
When Last We Saw Our Hero(e) . . .
I was recently with a very accomplished fellow who interviewed me for a project at a cafe in Mayfair. He asked me the usual questions -- what qualifies you to do performance coaching? (20 years of doing it), how did you get to London? (brought here to establish and run a charity), what's formal credentials do you have (PhD in drama and five years of teaching from Brown University), and so on.
Then he surprised me by asking me to review his performance.
I thought this a very canny move. Most people don't think of conversation as performance. However, in business as in life, all interactions are an opportunity te sell yourself.
Information Can't Sell Itself
The conversational mode is a little intimate for this level of direct talk on first acquaintance. So the question demonstrated an unusually high level of self-confidence in the face of possible criticism.
Just that piece made me want to work for him.
What I Said, and What Might Be Useful to You
I told client that he relies on his content to sell itself rather than using eye contact to get his point across. His charm, too -- which is considerable -- was interrupted and the effect eradicated when his eyes wandered away.
This is true regardless of the fact that the content my client offered would have been tremendously engaging if I hadn't been so distracted by what seemed like careless or lazy delivery. I followed his line of thought because he's a client -- but if he hadn't been, my mind would have wandered several times.
The Lesson?
Even if you've been to the moon, don't expect the story to stand on its own. You need to sell it, although a tale of space travel probably requires a lighter touch than, say, doing your laundry.
And Now, Back to Our Story
The client agreed. He told me that it's difficult for him to hold someone's gaze -- that it's uncomfortable. He mentioned that perhaps it's because he's British and culturally determined.
Everyone faces internal obstacles in some process or other. These can be either overturned by new habits or, if deep-seated, they can merely be adjusted for. Ultimately, it depends on how much time you want to put into the process.
The Easiest Route
If you find yourself with the same challenge, try the suggestion I made to this client.
At the point of feeling uncomfortable, look away in a deliberate manner rather than allowing your eyes to wander off. The latter looks rude and undisciplined. The former makes the speaker seem as though he were thinking -- or, at least, seems to connect the intermittent periods of eye contact. This connection gives the listener an impression that he or she is being attended to in a focused way, regardless of the moments of disconnected eye contact.
And So . . .
It seemed to work for the client. If any of you try this, please report back on the results of how you feel -- and how it works.
Here's a start.
When Last We Saw Our Hero(e) . . .
I was recently with a very accomplished fellow who interviewed me for a project at a cafe in Mayfair. He asked me the usual questions -- what qualifies you to do performance coaching? (20 years of doing it), how did you get to London? (brought here to establish and run a charity), what's formal credentials do you have (PhD in drama and five years of teaching from Brown University), and so on.
Then he surprised me by asking me to review his performance.
I thought this a very canny move. Most people don't think of conversation as performance. However, in business as in life, all interactions are an opportunity te sell yourself.
Information Can't Sell Itself
The conversational mode is a little intimate for this level of direct talk on first acquaintance. So the question demonstrated an unusually high level of self-confidence in the face of possible criticism.
Just that piece made me want to work for him.
What I Said, and What Might Be Useful to You
I told client that he relies on his content to sell itself rather than using eye contact to get his point across. His charm, too -- which is considerable -- was interrupted and the effect eradicated when his eyes wandered away.
This is true regardless of the fact that the content my client offered would have been tremendously engaging if I hadn't been so distracted by what seemed like careless or lazy delivery. I followed his line of thought because he's a client -- but if he hadn't been, my mind would have wandered several times.
The Lesson?
Even if you've been to the moon, don't expect the story to stand on its own. You need to sell it, although a tale of space travel probably requires a lighter touch than, say, doing your laundry.
And Now, Back to Our Story
The client agreed. He told me that it's difficult for him to hold someone's gaze -- that it's uncomfortable. He mentioned that perhaps it's because he's British and culturally determined.
Everyone faces internal obstacles in some process or other. These can be either overturned by new habits or, if deep-seated, they can merely be adjusted for. Ultimately, it depends on how much time you want to put into the process.
The Easiest Route
If you find yourself with the same challenge, try the suggestion I made to this client.
At the point of feeling uncomfortable, look away in a deliberate manner rather than allowing your eyes to wander off. The latter looks rude and undisciplined. The former makes the speaker seem as though he were thinking -- or, at least, seems to connect the intermittent periods of eye contact. This connection gives the listener an impression that he or she is being attended to in a focused way, regardless of the moments of disconnected eye contact.
And So . . .
It seemed to work for the client. If any of you try this, please report back on the results of how you feel -- and how it works.
Monday, August 17, 2009
Performance Coaching: Some Tips
For those of you who need performance help but do not live in London, I thought I'd share a few tips with those who feel nervous about presenting that I offer to my clients.
It's certainly not all there is to the process, but it should help.
Tips for Non-Actors
1. Good presenting skills are not mysterious. Here's the math:
95% of great performance is preparation and practice. Only 5% is inspiration and/or innate talent.
+
People are innately creatures of habit. Once we start, it’s almost impossible to stop. Effective performing habits can be learned.
= The odds are in your favor to become at least an above-average presenter - at best, excellent -- with practice. No matter where you are today, you can get there.
2. Inspiration is a meeting point of emotional and intellectual insight. So get that 95% preparation down cold – only then will you find a way to channel inspiration into your performance with consistency.
3. Empathy is a chemical reaction – you automatically effect the people in the room by being present. If it feels natural for you to smile, do it – it’s about the most effective sales tool you’ve got. But only if it’s genuine.
And, believe it or not, acting with sincerity can be learned.
4. The best way to channel nerves is enthusiasm. The alternatives are dire.
5. You’re most effective when you find your own presenting style. But steal whatever works from wherever you can get it.
Become aware of the way people move, sit, and stand around you. If there is something particularly effective in a gesture or expression (or particularly undermining), write it down with as much detail as possible. It will make you more aware of your own body language.
6. Practice. Slides never sold a thing, so don’t depend on them.
Pretend there’s only one word on every slide – the main idea, say “Opportunities” or “Management Team” – and then explain why it’s there. Don’t point or even look at the screen unless there is a very good performance reason.
7. Practice. The value of your performance reflects the credibility of your company. Half an hour a day. Every day. In front of someone who doesn’t know your material.
Don’t say you don’t have time. If you had a big bug in your software, you’d throw all resources into fixing it.
Think of your performance as the most important software you’ve got.
8. Practice. Find different emphases for different audiences, and have a few presentations up your sleeve. Make sure you can do them in automatic pilot.
But don’t. Ever.
More in the next post.
It's certainly not all there is to the process, but it should help.
Tips for Non-Actors
1. Good presenting skills are not mysterious. Here's the math:
95% of great performance is preparation and practice. Only 5% is inspiration and/or innate talent.
+
People are innately creatures of habit. Once we start, it’s almost impossible to stop. Effective performing habits can be learned.
= The odds are in your favor to become at least an above-average presenter - at best, excellent -- with practice. No matter where you are today, you can get there.
2. Inspiration is a meeting point of emotional and intellectual insight. So get that 95% preparation down cold – only then will you find a way to channel inspiration into your performance with consistency.
3. Empathy is a chemical reaction – you automatically effect the people in the room by being present. If it feels natural for you to smile, do it – it’s about the most effective sales tool you’ve got. But only if it’s genuine.
And, believe it or not, acting with sincerity can be learned.
4. The best way to channel nerves is enthusiasm. The alternatives are dire.
5. You’re most effective when you find your own presenting style. But steal whatever works from wherever you can get it.
Become aware of the way people move, sit, and stand around you. If there is something particularly effective in a gesture or expression (or particularly undermining), write it down with as much detail as possible. It will make you more aware of your own body language.
6. Practice. Slides never sold a thing, so don’t depend on them.
Pretend there’s only one word on every slide – the main idea, say “Opportunities” or “Management Team” – and then explain why it’s there. Don’t point or even look at the screen unless there is a very good performance reason.
7. Practice. The value of your performance reflects the credibility of your company. Half an hour a day. Every day. In front of someone who doesn’t know your material.
Don’t say you don’t have time. If you had a big bug in your software, you’d throw all resources into fixing it.
Think of your performance as the most important software you’ve got.
8. Practice. Find different emphases for different audiences, and have a few presentations up your sleeve. Make sure you can do them in automatic pilot.
But don’t. Ever.
More in the next post.
Saturday, August 15, 2009
Teach Engagement, Not Content
Continuing from the last post on performance coaching:
To a large extent, great presenting is like great teaching -- Ben Zander's performance at PopTech! might shed some light on other aspects of such things.
The key, I think, is that everyone remembers a favorite teacher who inspired more than any other. However, it's the passion, not the content, that people remember most. I've covered this before, but it's worth restating here:
Teach your listeners, not your content. It couldn't be truer in business than it is in school.
To a large extent, great presenting is like great teaching -- Ben Zander's performance at PopTech! might shed some light on other aspects of such things.
The key, I think, is that everyone remembers a favorite teacher who inspired more than any other. However, it's the passion, not the content, that people remember most. I've covered this before, but it's worth restating here:
Teach your listeners, not your content. It couldn't be truer in business than it is in school.
Monday, August 03, 2009
Creativity Redux: How to Get Where You Want to Go
Following on the heels of the last post, how do you become more flexible in the ways you think about yourself and what you do for money?
I thought it worthwhile here to link to a post from 2005 on just this subject. No less true today than four years ago.
Funny how that works.
For those of you who just came aboard -- and to continue yesterday's discussion -- please take a look at why Creativity is not a singular quality. It's a practice. In business and elsewhere.
I thought it worthwhile here to link to a post from 2005 on just this subject. No less true today than four years ago.
Funny how that works.
For those of you who just came aboard -- and to continue yesterday's discussion -- please take a look at why Creativity is not a singular quality. It's a practice. In business and elsewhere.
Sunday, August 02, 2009
You Aren't What You Eat (or What You Do, Either)
The recession has made me think anew of the relationships among profession and our sense of identity.
The US is famous for 12-hour work days, short holidays, and a focus on profession to the exclusion of all else.
Europeans, who came up with the stereotype and like to look down on the US for this attitude, brags a higher quality of life with long holidays and much shorter work days.
But how different are the cross-continental individuals' sense of self based on what they do?
What Has Changed
So many people have lost jobs that there is a big push to "retrain". Not just in the US but everywhere. Look at how much effort the UK, for example, has put into new initiatives for just this.
It's going to be a problem.
Re-learning, on the other hand -- particularly learning how to learn -- is going to be the key to success in the new economy. Just ask a financial services leader.. Or for that matter, anyone in the world -- CEOs, policemen, teachers -- with charges to tend and grow.
I've banged on enough in past posts on the differences between training and learning. Long story short, the former is about mastering a specific set of skills, usually in a particular environment to accomplish a fixed group of tasks. Learning is about seeing the relationships -- among environments, ideas, skills, tasks, and so forth -- across disciplines and contexts. And it's process-driven as well as oriented toward results.
Again, ask a business leader in advertising who feels passionate about it.
And This Has Changed.
I've found in the past, when asked "What do you do?", most people describe a profession with conviction. Lately the statements sound a bit shakier. And they're amended with "But I've also done other things."
Being someone myself who has had a series of interesting jobs rather than a career -- and being forced to justify the relationship among them -- I find this encouraging.
Not just for me, either. Given momentum, it could be very good for the economy.
If we retrain, what happens if the new job goes away like the old one did? Retrain again?
Why not instead be the kind of effective learner that everyone is looking for -- from kindergarten through the Boardroom?
Just a thought.
The US is famous for 12-hour work days, short holidays, and a focus on profession to the exclusion of all else.
Europeans, who came up with the stereotype and like to look down on the US for this attitude, brags a higher quality of life with long holidays and much shorter work days.
But how different are the cross-continental individuals' sense of self based on what they do?
What Has Changed
So many people have lost jobs that there is a big push to "retrain". Not just in the US but everywhere. Look at how much effort the UK, for example, has put into new initiatives for just this.
It's going to be a problem.
Re-learning, on the other hand -- particularly learning how to learn -- is going to be the key to success in the new economy. Just ask a financial services leader.. Or for that matter, anyone in the world -- CEOs, policemen, teachers -- with charges to tend and grow.
I've banged on enough in past posts on the differences between training and learning. Long story short, the former is about mastering a specific set of skills, usually in a particular environment to accomplish a fixed group of tasks. Learning is about seeing the relationships -- among environments, ideas, skills, tasks, and so forth -- across disciplines and contexts. And it's process-driven as well as oriented toward results.
Again, ask a business leader in advertising who feels passionate about it.
And This Has Changed.
I've found in the past, when asked "What do you do?", most people describe a profession with conviction. Lately the statements sound a bit shakier. And they're amended with "But I've also done other things."
Being someone myself who has had a series of interesting jobs rather than a career -- and being forced to justify the relationship among them -- I find this encouraging.
Not just for me, either. Given momentum, it could be very good for the economy.
If we retrain, what happens if the new job goes away like the old one did? Retrain again?
Why not instead be the kind of effective learner that everyone is looking for -- from kindergarten through the Boardroom?
Just a thought.
Saturday, July 25, 2009
Doug Rushkoff Redux
Following on from the post about Doug Rushkoff's ideas on a new CFO and Life, Incorporated, see Rushkoff's appearance on the Colbert Report.
There is very little Douglas Rushkoff says that isn't worth hearing.
At least twice.
There is very little Douglas Rushkoff says that isn't worth hearing.
At least twice.
Wednesday, July 15, 2009
More on Emotion and Expression
Continuing on the theme of my recent Affect Labs' blog post about relationships among emotion, thought, and being human, there's a great site that talks about human facial expression worth investigating.
Tuesday, July 14, 2009
Nick Givotovsky: A Proper Goodbye
Dean Landsman wrote this beautiful tribute to Nick. It's worth reading.
Monday, July 13, 2009
People, Thoughts, and Feelings
I find it fascinating that there's no such thing as a neutral expression on a the face of a healthy human being. Our thoughts and feelings are so connected that it's obvious when the latter is missing. The former seems gone as well.
See this post I blogged for Affect Labs.
See this post I blogged for Affect Labs.
Saturday, July 04, 2009
Proof of Concept: Working Social Media
For those of you struggling with what social media can do, here's a wonderful proof of concept.
This parody of West Side Story (and social media) was designed and distributed to enact, rather than show, how social media functions, its impact on those who participate, and how to market its producers at the same time.
You want to see how fast and widely it spread? Do a search for comments on Twitter. See how many hits it got that instigated public endorsement.
Fabulous.
This parody of West Side Story (and social media) was designed and distributed to enact, rather than show, how social media functions, its impact on those who participate, and how to market its producers at the same time.
You want to see how fast and widely it spread? Do a search for comments on Twitter. See how many hits it got that instigated public endorsement.
Fabulous.
Subscribe to:
Posts (Atom)