Executive Speech Coach NJ - Sims Wyeth » communication skills

Presence is knowing what to say

admin — Fri, 20 Aug 2010 17:38:39 +0000

Robert Selander, the former CEO of MasterCard, had a thing for “presence.”

When asked what he looked for in those he hired, he said, “Leadership, results, and presence.”

About presence he said, “At varying levels of the company you deal with different stakeholders. Having somebody spend time with a member of Congress is very different than having somebody go downstairs and see that they were appropriately replacing a torn carpet.

As I’ve gone through my career, I’ve been challenged to deal with different stakeholders. Internally when I was younger and more junior, I probably did pretty well with peers. But how do you credibly communicate with more senior people, who are not as concerned about details, but want a bigger picture?

So it’s a combination of how you convey things and what you convey to various stakeholders. Presence is learning to deal with different audiences in a way that allows them to get what they need out of interactions and ensures that the well-being of the company is looked after.

I think you can be a good communicator and you still may not have presence. There may be someone who is very articulate on a subject and they know levels of detail. When you get with a particular audience it may not be appropriate to go into those levels of detail, or you may create doubt by even going into the subject matter.

Some people are not very good communicators, but boy, when you get them into their subject matter, they know exactly where and how far to go.

Others are brilliant communicators, but because of the connection between their thoughts and the synapses firing and the words coming out, there isn’t enough time and introspection. Therefore, they brilliantly communicate something that they shouldn’t be talking about.

Presence is knowing what to communicate, and how.”

Sims Wyeth is an executive speech coach in Montclair, NJ specializing in presentation skills and public speaking training in order to give accomplished people the knowledge and skill they need to become accomplished speakers. Learn more public speaking tips at www.SimsWyeth.com.

Stage Fright Vanquished

admin — Thu, 05 Aug 2010 13:45:02 +0000

This from Body Odd:

Before now, those with performance jitters have had to contend with the nausea and the nerves on their own, or take beta blockers to battle the symptoms. New research has come up with another way to fight stage fright: biofeedback.

“Our research looks at both the psychological and physiological effect of stage fright,” says Dr. Myron Thurber, a counselor, physical therapist and biofeedback expert from Spokane, Wash. “It raises our conscious awareness of our heart rhythms by allowing us to see them on a screen.”

In the study, anxiety-ridden musicians were trained in the use of a small biofeedback machine to “train” their body’s emotional response to stress. After being hooked to the device with an ear clip or finger monitor, the musicians could see their heart’s responses to both anxiety or stress (typified by a jerky, edgy pattern) as well as feelings of joy or appreciation (a smooth, coherent pattern). After four sessions, the subjects were able to shift their emotional response – holding onto the feelings of joy even while performing – successfully keeping the stage fright out of the limelight.

“After we trained them, people reported on average about a 70 percent improvement in playing ability as well as the same decrease in their sense of stress or performance anxiety,” says Thurber.

In other words, no more flubbed notes, flushed faces or tossed cookies in the recital hall restroom.

Even better, Thurber says the biofeedback machine is both versatile – it can be used for other types of anxiety such as test taking or public speaking – and unobtrusive (about the size of an iPod).

“Some people would practice using it in the recital hall before a performance,” he says. “People are used to seeing little handheld devices so we hardly notice them any more.”

Have you ever gotten nervous before performing or speaking in public? What happened?

The Youie Youness of You

admin — Wed, 21 Jul 2010 14:40:56 +0000

Gary Forman is a speech writer I work with. He was developing a stump speech for himself, and he came over to read it to me and get my feedback.

It was fabulous, and so was he, although I did have a few nits to pick here and there. (It was a little long and I wanted a bit more problem definition.)

But what I really liked was a magical and playful phrase evoking the importance of bringing yourself into any talk you make: the youie youness of you.

Gary was adamant on the subject of authenticity, self-expression, and presence. He made the case that if you hold yourself back, or try to be something you’re not, you are absent, not present.

We debated about the universality of that claim. What if, I asked, the youie youness of you is monotonous, tentative, and disorganized? Does that still work?

Gary is smart, opinionated, and experienced as a writer and performer, so the Gary-like Garyness of Gary is ready for prime time.

But if my name is Casper Milquetoast, the Caspar-like Casperness of Casper may not serve me well if I’m presenting myself in public. Caspar must learn how to project his ideas effectively. He can be Casper, but he needs to learn a few techniques, like how to write a speech, how to craft a presentation, use PowerPoint effectively, and project a stage presence.

It is liberating to hear Gary speak about the Youie Youness of You. He gives us permission to let our talents take over, to trust ourselves, and to say, “I AM GOOD ENOUGH.” He holds out the possibility that there is joy in public speaking and presenting, because it is a deep experience of self-expression for the speaker.

I suppose I’m a bit of a technician. I don’t think the average guy should walk on a wire between two buildings without some serious training. Nor do I think he should walk out on stage to deliver a speech or presentation without an adequate amount of knowledge and skill.

Nevertheless, Gary is right. No matter what you talk about when presenting, your audience is thirsty for the youie youness of you.

Training the Speaking Voice

admin — Wed, 07 Jul 2010 14:47:18 +0000

Some of us are born with, or acquire through experience, a voice that is tentative and evokes in others the tendency to ignore what we say.

Habits such as talking too quietly, or too quickly, or going up at the ends of sentences, or sounding too breathy, or too stereotypically “blue collar”—all these, and other vocal habits, can cause listeners to dismiss our ideas.

This is most obviously a problem for professional people whose job demands that they communicate their expertise, compete for promotion, and sell themselves and their ideas both inside their organizations, and out in the marketplace.

What can be done to help them?

Make them aware of the problem. We are reluctant to do this because the voice is such a deeply personal part of us. To criticize the voice of another, we think to ourselves, would be hurtful to them. Quite the contrary, if done in a supportive manner. Broadcasters and actors were not born with the voices we hear on radio and TV. They work with voice and speech teachers to improve the appeal of their on-air presence. Since we in the business world are always “on” at work, why should we not do what we can to improve our chances to climb to the top?
The voice is a wind instrument. In order to play it well, we must know how to breathe to support the sound, and how to use our tongues and lips to make crisp, intelligible sounds, just as the fingers of a flautist move to stop the air to make specific notes.. These behaviors are easily learned with practice. A good voice and speech teacher can be found at any university with a drama department. He or she can help improve the credibility of a voice, and reduce the effect of any accent that might be getting in the way.
Finally, someone who seeks to improve his or her vocal presence should expect that it will take some time. One does not learn how to play a wind instrument in a day. But with effort, one can improve the expressive range, the strength, and the resonance of a voice, and discover an ancient truth: that we are judged by how we speak.

I say the truth is ancient because I recently discovered this quote from The Book of Sirach, written in Hebrew in the 2^nd Century BCE.

When a sieve is shaken, the husks appear;

So do a man’s faults when he speaks.

As the test of what the potter molds is in the furnace,

So in his conversation is the test of a man.

The fruit of a tree shows the care it has had;

So too does a man’s speech disclose the bent of his mind.

Praise no man before he speaks,

For it is then that men are tested.

Sims Wyeth is an executive speech coach in Montclair, NJ specializing in presentation skills and public speaking training in order to give accomplished people the knowledge and skill they need to become accomplished speakers. Learn more public speaking tips at www.SimsWyeth.com.

Using speaker’s notes

admin — Tue, 29 Jun 2010 19:24:20 +0000

When we watch TED talks, such as Rory Sutherland’s on the power of advertising, or Hans Rosling’s on the power of data, we are watching two men who know their way around the presentation platform.

Both speak without notes, use pictures and graphics as visuals (without a bulletpoint in sight), demonstrate that they have internalized their content, and in fact have memorized some verbal “riffs” that delight their listeners.

But what if they had used notes? Would that have damaged the appeal of their presentations?

I think it depends on how they used them.

If they had stood, hands in-front, head down, clutching a deck of 3×5 cards, yes—they would have damaged their appeal.

But if they had had, at their disposal, a lectern or a table, where they could have gone to glance down at an outline, would that have hurt their appeal? I doubt it, as long as each of them maintained their liveliness and engagement with their listeners.

Audiences crave intimacy with a speaker. In addition to getting the pleasure of a new thought from a speaker, (or having an old idea buffed and polished) they want the speaker to be good company—entertaining, bright, and well-informed.

When we use notes in such a way that we devote the bulk of our attention to the audience, and not to the documents in front of us, we are in the zone of peak performance.

After all, the presence of notes indicates that we have prepared, that we strive to be organized, and that we are respectful of the gift that our listeners give us—the gift of their attention.

Scientific Presentations and the Gettysburg Address

admin — Tue, 22 Jun 2010 19:46:50 +0000

When working on scientific and technical presentations, I am often amazed by the wonders of the science being presented and, at the same time, shocked by the speaker’s lack of awe or appreciation for the mystery and power of his own work.

It seems to me that many scientific and technical speakers take their own work for granted, as if expressing appreciation for the mysteries they’re exploring would be unprofessional.

I find this tendency to be damaging to the scientific and technical presenter’s ability to create excitement and comprehension in their audiences, especially when they’re speaking to lay audiences, where it is crucial to set up the context and dramatize the strangeness and wonder of the work.

Furthermore, when the scientific or technical speaker is trying to raise money or sell an asset or idea, his ability to generate enthusiasm and curiosity helps predispose an audience to take a second look.

What can be done for scientific and technical presenters who are tasked with getting lay audiences to understand and appreciate the dramatic power of their work?

Strangely enough, the Gettysburg Address has something to teach them.

The Back Story

President Lincoln began his famous speech with the back story—the big picture. “Four score and seven…” He reached back 87 years (a score is a quantity of 20) and summarized American history in one sentence.

Scientific and technical presenters can do this too. They can summarize the work done in their particular field up until the present, implying that the project under discussion builds on a body of research that is important to humanity.

The Current Problem

President Lincoln then defined the intractable problem the country faced in the present moment. “Now we are engaged in a great civil war…” he said.

Scientific and technical speakers should do the same. Having summarized the work of previous experts, they should describe the problem that remains to be solved. This is important because it helps people take an interest in the topic.

The Question that Needs to be Answered

Then President Lincoln asked a question—not directly, but he implied one—which is, “What can I possibly say here to honor the men who died?”

He answers the question by saying that no words he can speak will do the job. Instead, he asks his audience to rededicate their lives to the “proposition that all men are created equal.”

Scientific and technical presenters can also use this technique: ask the question that needs to be answered, and then offer an answer.

For instance, a biotech firm developing on a new HIV compound might phrase such a question like this: “Given the long march HART (highly-active anti-retroviral therapy) has taken, and since, in that time, few agents in this class have made it to market, and those that did suffered from food issues and lipid abnormalities, what attributes has this compound demonstrated to justify our confidence in its ability to clear all regulatory hurdles and play a significant role in the treatment of HIV?”

The Answer to the Question

At this point in the talk, the scientific or technical presenter should proceed to make his or her argument for the value and importance of the product, just as President Lincoln made the case for honoring the dead by continuing to prosecute the war.

Delivery

Finally, the scientific and/or technical speaker must make the case with some enthusiasm. Getting others to appreciate the incredible journey science continues to take requires more than words. It requires the emotional expression of awe and wonder—an overt appreciation for the mystery of things.

After all, emotions are contagious. Without emotion, a speaker’s ideas are rarely catching.

In search of creative public speaking

admin — Tue, 08 Jun 2010 17:47:47 +0000

You may be familiar with Matt Latimer’s book Speech*Less about his career as a speechwriter in Washington during the Bush administration.

Apparently, President Bush had learned at Yale that all speeches should have an introduction, three points, a peroration, and a conclusion.

(What’s a peroration? It’s the wrap-up, in which you remind the audience, in new words, what has been proven and what you urge them to do.)

Matt the speechwriter found this template lacking in creativity. “To hell with Yale,” says Matt on page 188 of his book. “I’d gone to the University of Michigan, where we learned that speeches should be fun.”

I agree. A speech without the spirit of humor, or joy, or playfulness is about as exciting as a mashed-potato sandwich.

To stimulate your creativity as a speechwriter or presentation developer, I give you Mr. Tom Waits.

Tom Waits is a good model for creativity, because on National Public Radio, Tom interviewed himself (itself a creative act,) asks himself some creative questions, and comes up with creative answers.

For instance, he asks himself what’s the most curious record in his collection.

His answer? “In the seventies a record company in LA issued a record called ‘The best of Marcel Marceau.’ It had forty minutes of silence followed by applause and it sold really well. I like to put it on for company. It really bothers me, though, when people talk through it.”

Then he asks himself what’s wrong with the world.

“We are buried beneath the weight of information, which is being confused with knowledge.

Quantity is being confused with abundance, and wealth with happiness.

Leona Helmsley’s dog made $12 million last year… and Dean McLaine, a farmer in Ohio, made $30,000.

It’s just a gigantic version of the madness that grows in every one of our brains. We are monkeys with money and guns.”

Click on the link and read the rest of it. It’s playful and will invite your creativity to e-merge with your business savvy.

Sims Wyeth is an executive speech coach in Montclair, NJ specializing in presentation skills and public speaking training in order to give accomplished people the knowledge and skill they need to become accomplished speakers. Learn more public speaking tips at www.SimsWyeth.com.

The Bush Doctrine on Speech Writing

admin — Fri, 04 Jun 2010 19:29:02 +0000

The Bush Doctrine on Speech Writing

In his entertaining memoir Speech*Less, speech writer Matt Latimer reveals something about the speeches developed for President G.W. Bush. By the way, he was one of the speech writers.

‘I quickly discovered the answer to a question I’d been asked by people since I’d arrived at the White House: why did the President’s speeches always seem to be so bad? It turned out it was intentional. On my very first day, Bill McGurn and Marc Thiessen both told me that the president was “okay” with a flat speech. All he cared about was logic and organization, not eloquence. As a student at Yale, the President had learned that all speeches should have an introduction, three points, a peroration, and a conclusion. I didn’t even know what a peroration was. The president wasn’t as insanely rigid about this approach, though, as Bill and the other writers thought he was. I’d read many of his finer speeches in his first term, and they rarely followed this pattern. But pushing the President to like a speech that was written differently was too risky. The writers all lived in fear that he’d blow up at them, which on occasion he’d been known to do. So in the quest for rigid logic—point A to point B to point C to conclusion—language that satisfied the President in one speech would be cut and pasted into the next speech and then the next.’

Matt decides that, since he didn’t go to Yale but rather attended the University of Michigan, he was not obliged to follow the routine.

The Bush Doctrine of speech writing sounds suspiciously like the models I’ve seen being peddled to the business community.

Having a model is good, because it saves time and helps you think about structure. But slavish devotion to models creates M&M: monotony and mediocrity.

Look for a way to use your model as a spring board to create an EXPERIENCE for your listeners.

Sims Wyeth is a speech coach in Montclair, NJ specializing in presentation skills and public speaking training in order to give accomplished people the knowledge and skill they need to become accomplished speakers. Learn more public speaking tips at www.SimsWyeth.com.

How to persuade like an advertiser

admin — Thu, 13 May 2010 16:21:44 +0000

My friend Wick Smith told me about this approach to messaging. Wick has been in advertising for many years, primarily in Asia. He speaks Japanese and is an incredibly resourceful and creative person.

The Wick Smith Approach is based on the four elements in an ad:

The Headline, The Image, The Body Copy, The Logo

Each one has a role to play, and each viewer will have his or her own preference as to which is most important.

The Headline is the big idea or the claim being made by the ad. People who like the big picture and avoid the details prefer to read the headline. Since people make decisions out of fear or desire, a headline should target one of those emotions.

The Image appeals to the visual thinker. The Image could evoke a problem that needs to be solved, or an aspiration that the viewer has. Either one stimulates the emotions and moves the viewer to action.

The Body Copy is meant to give the reader reasons to buy—some would even say “permission” to buy. For instance, expensive chocolate companies often compose body copy trying to convince prospects that they are “worth it,” and deserve a little luxury in their lives.

Finally, the Logo is meant to build the relationship. It is the identity of the company, and therefore the sign of trust and reliability, or perhaps of excitement (Ferrari) or innovation (Apple), or perhaps luxury (Tiffany).

Speeches and presentations need all four of these elements.

First, the Headline. The speaker should be able to articulate the Headline, or premise of the talk, in one simple sentence. For instance, “Everyone can become a better speaker,” is the premise of this blog (and this article.)

PowerPoint should be used to supply visuals to support the spoken word, or if the speaker chooses to NOT USE POWERPOINT, he can tell stories or use metaphors and analogies to paint pictures in the mind of the listeners.

In a presentation, Body Copy is the proof you marshall under your claims. Each slide should have a Headline that makes a claim, and the imagery or data on the slide should supply the evidence that the headline is a valid conclusion.

It is ill-advised to put body copy on a slide because it is hard for the audience to read slides and listen at the same time.

Much better to put dramatic imagery on your slides and put the detailed narrative in the notes section of the PowerPoint page.

Finally, in a presentation, the Logo is YOU. You are not a corporation. You are a person, and your behaviors and look should be consistent with the message you strive to impart.

Furthermore, the presentation should be all about the audience, not all about how cool you, your company, product, or ideas are. So, in a sales presentation, I suggest that you remove your company Logo from all your slides except the title slide. Instead, put your prospect’s Logo on the slides.

Conclusion: Good ads persuade us to buy through four channels of communication:

1. The claim, generalization, or summary headline

2. The details and evidence to prove that the headline is true and valid

3. An image that enables us to feel the benefit of the offering

4. A logo, or a branded source of information, that strives to earn our trust in the argument being made.

Speeches and presentations have similar elements: Key take-aways! Data, facts and other forms of proof (such as stories) that justify the key-takeaways! And Imagery on the slides or created in the mind of the audience by the speaker telling vivid stories!

And then there is you, the speaker, the source of the information. Your comfort, confidence and ease on stage help you generate the willing suspension of disbelief amongst your listeners, which allows them to take a chance on you and your idea.

Sims Wyeth is a speech coach in Montclair, NJ specializing in presentation skills andpublic speaking training in order to give accomplished people the knowledge and skill they need to become accomplished speakers. Learn more public speaking tips at www.SimsWyeth.com.

Public Speaking Tips: Familiarity breeds affection

simswnj — Sun, 07 Mar 2010 22:29:06 +0000

Robert Zajonc (pronounced ZYE-unts) was an American social scientist who explored the interplay between feeling and thought—between emotion and cognition.

He was interested in determining which influenced the other more strongly. On balance, he came down on the side of emotion.

He was best known for establishing what he called “the mere exposure” effect. In this experiment, he showed subjects a series of random shapes in rapid succession—so rapid that they could not possibly tell if any were repeated.

When subjects were later asked which shapes they found most pleasing, they reliably chose the ones to which they had been exposed the most often, though they had no conscious awareness of the fact.

Familiarity, in other words, breeds a kind of affection, an established truth that has, ever since, encouraged advertisers to repeat themselves.

Speakers can do the same. Find a phrase, an image, or a single word to weave throughout your talk.

“I have a dream,” is such a phrase. “Of the people, by the people, for the people,” is another. And the current American President, Mr. Obama, has been repeating the word, “Responsibility,” perhaps to defuse the charge that he’s bailing out reckless banks and irresponsible people.

“Every word uttered strikes a note on the key board of the imagination,” said Ludwig Wittgenstein.

Choose the words or phrases to repeat so that your audience will remember your message with affection.

Sims Wyeth is a speech coach in Montclair, NJ specializing in presentation skills and public speaking training in order to give accomplished people the knowledge and skill they need to become accomplished speakers. Learn more public speaking tips at www.SimsWyeth.com.

Public Speaking Training: Don’t get too slick

simswnj — Sat, 16 Jan 2010 17:08:24 +0000

When does a polished speaker become slick?

I ask this question because I occasionally see so-called “professional speakers” behaving in peculiar ways. They have developed a presentation “style” that doesn’t seem natural, that smacks of late night infomercials and snake oil charlatans.

What they do would get them fired in most corporations, not because of what they say, but because of what their style says about them.

First, let’s define the terms. Polished means at ease, organized, and skilled at structuring and delivering a talk.

Slick means gimmicky, schticky, schmaltzy, overdone, histrionic, overly theatrical, manipulative, and insincere.

A polished speaker does not let his desire to impress overwhelm his obligation to provide something of value to the audience.

A slick speaker has a routine that he uses to dazzle his audience, and seems more interested in wowing than connecting.

I’m not saying that style is unimportant. But the style of a speaker should suit the topic and the occasion. A style that draws attention to itself, or is out of sync with the content, undermines the credibility of the speaker and creates a gap between speaker and audience.

Most of us live at a safe distance from the polished to slick border line. But as we get more skilled and confident, let us beware of the danger.

Audiences crave intimacy with a speaker. Slickness turns them off.

Sims Wyeth is a private speech coach in Montclair, NJ specializing in executive speech coaching and public speaking training in order to give accomplished people the knowledge and skill they need to become accomplished speakers. Learn more public speaking tips at www.SimsWyeth.com.

Presentation Training: The Font I Want to Be

simswnj — Mon, 07 Dec 2009 19:28:32 +0000

I am a font. I’m Copperplate31ab.

You’re a font—Southbee Two.

I am elegant and stately—I live on wedding invitations.

You are playful and informal. You live beside railroad tracks, and on those rock walls along two-lane roads. High-school Romeos proclaim their love with you.

I win points for being subtle and intellectual.

You get points for being real and authentic.

I get points for balance and restraint.

You get points for telling it like it is.

I get penalized for being professorial and aloof.

You get penalized for being overly simplistic and intemperate.

I can succeed in places that you can’t, and you can win the war of words where I can’t even gain entrance.

I am a font—Copperplate31ab. I grew up in Hawaii and California. My father was from Africa, my mother from Kansas.

You are a font—Southbee Two. You grew up at Andover and Yale, and maybe a little in the White House.

How come I’m Copperplate? I should be Southbee.

And how did you get to be Southbee? You should be Copperplate.

We should stop trying to be the fonts we want to be, and start being the fonts we are.

Sims Wyeth is a private speech coach in Montclair, NJ specializing in executive speech coaching and public speaking training in order to give accomplished people the knowledge and skill they need to become accomplished speakers. Learn more public speaking tips at www.SimsWyeth.com.

Hamlet as Presentation Coach

simswnj — Mon, 12 Oct 2009 16:31:24 +0000

Hamlet is the Prince of Denmark in Shakespeare’s play called Hamlet, written around 1603. He hires a bunch of actors to put on a play that he’s written, and he gives them coaching on how to speak their lines.

Four-hundred and six years later, what he says remains good advice for a presenter too. Look how he’s telling them to speak clearly—“don’t talk as if you had marbles in your mouth,” he’s saying.

Also, he warns them not to wave their hands around too much because while passion is a great thing in a speaker, too much passion damages their credibility and distracts the audience from what they’re saying.

Here it is:

“Speak the speech I pray you as I pronounced it to you,

trippingly on the tongue; but if you mouth it as many of your players

do, I had as lief the town-crier spoke my lines. Nor do not saw the

air too much with your hand thus, but use all gently; for in the

very torrent, tempest, and, as I may say, whirlwind of your passion,

you must acquire and beget a temperance that may give it

smoothness.”

Hamlet, by William Shakespeare

Act 3, Scene 1

Go to executivespeechcoachny.com to see more ancient wisdom from a speaker coach who was actually a Prince.

Scientific Presentations: Skeptics vs. Believers

simswnj — Fri, 02 Oct 2009 18:51:20 +0000

Here in New Jersey, scientists grow on trees and work in laboratories, developing and testing molecules for bio-tech and pharmaceutical companies.

Every day, they leave the known world to explore microscopic molecular places and witness scenes that quite possibly no human being has seen before. They are the Lewises and Clarks of medicine.

Like grizzled pioneers, they take their daily journey into the unknown for granted, and don’t express much awe and wonder about what they see. Many are like airline pilots, whose aeronautical culture demands a steady tone of voice, even when tumbling toward the ground at 600 miles per hour.

But when scientists speak to senior business people, who are unfamiliar with their area of expertise, the wrong approach to communication can cause significant business problems, chief among them lost business opportunity.

George Bernard Shaw said it best, “The biggest problem with communication is the illusion that it has been accomplished.”

For example, in 1981, in a small conference room belonging to a large consumer products company, a team of research scientists lost a mousse. Five years later, they found it in their files and launched it as the fourth product in a new category of hairstyling products. After years of struggle, they managed to reach only a 15% market share.

Had they launched their invention five years earlier, they would have been the first to market, and probably would have owned the lion’s share of the market. But they delayed because, according to one executive, the leaders of R&D were simply unable to present the concept cogently to the rest of the company.

What happened? Was the idea of a foamy hair gel so new that anyone outside R&D couldn’t grasp it? Or was there something about the way the researchers communicated that left the rest of the company scratching its head?

The causes for such a rupture between departments are often hard to define, but experience reveals that communication could be the culprit. One of the reasons is that the ranks of business are filled with people from different tribes. For the purposes of this blog, let’s call the sales and marketing functions the Tribe of Belief (TOB), and the R&D functions the Tribe of Skepticism (TOS).

In training, aptitude, psychology, predisposition, language and thinking, Skeptics have special tendencies and approaches. So do the Believers.

How wide is this tribal rift? Consider how the two groups use language.

On the one hand, those in the sales and marketing (the TOBs) are paid, like professional actors, to act “as if” they believe whole-heartedly in the value of their products. Their job is to induce belief, and raise belief to the level of action.

Believers are expected to invent arguments to support their point of view, to be persuasive, to take sides, to draw inferences from fact in order to drive home a point, (exaggeration is a staple of advertising) to appeal to their listeners’ psychological and emotional needs, and to demonstrate the truth of their ideas through the force of their conviction. (Some Skeptics would call this “proof by violent assertion.”)

The TOSs seldom use language rhetorically. Their faith is in the unalterable power of fact. The truth of fact is more important to them than the truth of belief, the detail more important than the dubious “claim,” the content more important than the context.

For them, nothing is truth if it hasn’t been tested, measured, and proven. They distrust generalizations and “benefit statements.” The notion of selling ideas troubles them; it seems manipulative and, well, unscientific.

The gulf between these two tribes is wide, and needs to be bridged. Without good communication between tribes, ideas and initiatives will not get the buy-in they deserve, individual leaders will lack credibility and influence, and research and development may go for naught. Just ask the me-too mousse maker.

The easiest way to close this gap is to teach scientists cross-cultural communication. They need to speak the language of sales and marketing to ensure their intellectual output can leap across the gap. It would be harder to teach sales and marketing to speak the language of science.

Scientists need a basic education in the principles of persuasive speech.

Presentation Skills: I Hate the Elevator Speech

simswnj — Tue, 28 Jul 2009 13:40:38 +0000

Browsing the web recently, I ran into a video teaching the purpose and structure of 3-minute elevator speeches.

The advice was sound for structuring a formal talk, but I couldn’t conceive of an elevator speech lasting three minutes.

I could see an elevator dialogue being three minutes long, but not an elevator speech!

Three minutes in an elevator listening to someone trying to sell me on her business sounds like an eternity. Three minutes at the water cooler would be half an eternity. And three minutes at a networking event would be long enough to make me look for the guy passing the little crab cakes.

We all recognize the increasing value of brevity and concision, but three minutes does not feel brief and concise in an elevator, or any other social or public setting.

I recommend an elevator dialogue that starts with an elevator question.

How about this for a starter after you’ve rubbed elbows with (and introduced yourself to) a VP of Marketing. You ask each other questions, he finds out you’re an expert in the principles and practices of persuasion, and then you ask him if you can give him your value proposition.

“How long is it?” he’s bound to ask. If you say three minutes, you’re dead in the water.

You say, “Short,” and begin.

“What is the value of your Brand Directors being able to make their plans clear and exciting to the organization?”

The answer should be, ” Uh…that’s important.”

You say, “Why is it important?”

And he says, “Because it saves time and money, reduces indecision, and gets the whole machine humming — it improves the vitality and energy of corporate life.”

Then you ask, “How are your Brand Director’s doing?”

He says, “Okay.”

“What if they were doing great? What if you could take time and cost out of the marketing process, and at the same time electrify the brand teams?”

He might look at you a little skeptically at that point, but admire you for your enthusiasm.

“I’m not sure that’s possible,” he might say.

And you, taking the bull by the horns, say, “Listen. Every day, information is sneaking off to make babies with other information. The world is overrun with information, and it’s only getting worse. The most valuable thing on this planet is a person who can create a sense of clarity and alignment out of the tsunami of information that demands our attention. The ability to communicate well is a hard corporate asset masquerading as a soft skill. It’s the ultimate competitive weapon. And that weapon can only be developed through training.”

He looks at you, and says, “You really believe this, don’t you?”

You say, “Yes, I do. I’d like to schedule an appointment with you to show you how my company can save you time, money, and frustration, and give you the one competitive advantage that is hard to replicate overnight.”

And more than likely, he’ll say, “Okay, give my assistant a call and get it on the books.”

How long was that? A minute and 10 seconds. And it wasn’t a monologue. Yes, it had a speechy part, but it was based on asking questions, listening, and asking follow up questions. And only once, when he tried to dismiss the argument, did you get on your high horse and get salesy.

The world has hype-fatigue. Engage in dialogue. Don’t make speeches in elevators.

Presentation Skills: Your Passport to Promotion: “1, 2, 3…Poof!”

simswnj — Mon, 20 Jul 2009 19:46:33 +0000

I had an interesting session with a new client. Let’s call her Fiona. She came in from the field to take a position in marketing with a major pharma, and has discovered that, at her company, your career depends largely on how you present.

Amazingly, they don’t offer any developmental support for people coming into the job. But she pushed her boss for help, and he relented.

Here’s a rough summary of what I learned about her experience in pharma marketing. In the spirit of full disclosure, I have not heard this before, and I have been deep into pharma marketing for 20 years.

1. Everyone wants to get promoted. The easiest way to get promoted is to get visibility in front of senior people. And the easiest way to get visibility is to present to them.

2. If you’re not a good presenter, your boss will know it and will be reluctant to stand you up in front of the senior execs. She could be afraid it will hurt your career chances and her image as an up-and-coming executive who is the fire under a red-hot group of high achievers.

3. Presenting marketing information internally is essentially selling ideas, and if you can’t get listeners to understand and believe in your idea, they are unlikely to see you as a good marketer, even though your ideas may be strong.

4. Finally, everyone listening to your presentation is so busy that they don’t want presentations to go on for too long, and therefore they don’t ask questions. They’re afraid of being seen as the “problem” person, or the “know-it-all” who makes everyone else look bad. She said the preferred method of presenting is, “1, 2, 3…Poof!”

This means that you show your slide, say up to three things about it in a confident voice, and then move to the next slide (as in “Poof. It’s gone!”) Everyone will be pleased that you got through your material quickly, and displayed confidence and conviction as you spoke.

5. Finally, while every product and market is different, the process of marketing is the same across brands. This causes many presentations to look and sound the same, i.e., they’re boring. So listeners like it when you’re articulate, energetic, and concise because you save them from the embarrassment of falling asleep.

She says you’re especially valued if you have a highly expressive voice.

Doesn’t sound like a lot of fun in this big pharma. But if you want the rewards–the promotion and the fatter check– you gotta sing for your supper.

And the name of the song you have to sing? “1, 2, 3…Poof!”

Sales Presentations: Pivotal Moments

simswnj — Wed, 24 Jun 2009 16:54:26 +0000

Yesterday, I sat through 7 identical new-business presentations at a client site. Each was 15 minutes long. Each was delivered by a team of three. In addition to the 21 presenters, 20 people from the company were observing.

When the last team ended their pitch, I asked everyone to pick out a strong moment–a moment that caught their attention in a positive way.

Here is what they said, in no particular order of importance.

1. When someone said, “I love my work.”
2. Whenever an example was used to illustrate a point.
3. When one person spoke in a very organized, logical way so it was easy to follow what they said.
4. When presenters translated facts about the company and its services into benefits for the prospect.

There were others, too numerous to mention here. But these few responses alone speak to the reliability of ancient wisdom.

Audiences like emotion and personalization.
Audiences like concrete examples to illustrate broad, general statements.
People want the big idea up front, and the supporting ideas in marching order behind.
They want to hear what they get from the service and how it will make them feel.

It’s easy to ramble through your material, difficult to speak so people will listen, and harder still to speak to the audience, in the language of the audience, about what’s most important to the audience.

The latter is the skill we are all in pursuit of.

Voice and Speech Training: The Most Human Instrument

simswnj — Wed, 17 Jun 2009 15:42:35 +0000

Everywhere on earth man is born with a voice able to rouse households from their slumbers.

And everywhere in business, he struggles to keep his listeners attentive to his presentations.

Vocal power

We underestimate the importance of the human voice and we do so at our peril.

Surgeons are more likely to be sued when their tone is too authoritative. Air traffic control is more apt to keep planes in fatally prolonged holding patterns when pilots request permission to land without expressing urgency. And business presenters, who may be dealing with dry material, are doomed to lose listeners if they cannot set their reasoning on fire with passion and conviction.

Reason with passion

Of course, too much passion may lack credibility, but business presenters would do well to communicate excitement! I often hear from clients that they can’t express excitement because the material is so dry. And I reply that the drier the material, the greater the need to make it relevant and appealing to the audience.

Think of a pair of scissors. One blade is reason, the other is passion. In a good presentation, it is hard to know which blade does the cutting.

The voice that lost the client

One of my first clients was the consulting arm of KPMG now known as BearingPoint. When they called me, the firm had lost a major sale because, they were told, the presenters had sounded bored. The prospect did not want to hire a firm that was not excited about the engagement. They wanted me to help, and here’s what I did.

Human bag-pipe

The first thing I did was teach them to breathe properly-by filling the lungs and then contracting the abdominal muscles to drive the breath up and out to strike the vocal cords with force and thus create a full sound.

Sound making for humans is the same as it is for bag pipes. Pipers fill their goat skins (their bags) with air, and then squeeze the skins to release the air to produce sound. Same with people-sort of.

We fill our lungs with air, then squeeze our lungs with our lower abdominal and intercostal muscles (those between the ribs) to push out the air and create vibrations in our vocal cords which produce speech.

However, if we don’t take in enough air, or we don’t use our muscles properly, we won’t have enough energy to make our voices rich and powerful.

Uncork the bottle neck

Next I had to uncork the bottle neck. It’s amazing how many people try to talk without really opening their mouths and throats. In order to teach this basic skill, I introduced the yawning exercise, which stimulates the throat to open wide, and the “Floppy Jaw” exercise, which teaches how to open the mouth all the way for each and every syllable spoken. Both these exercises made the consultants sound like morons, which is very upsetting for people who are 1000% invested in appearing to be highly intelligent. But the experience reminded them that “to speak is to make a noise,” and noise, like music, has emotional qualities.

“You won’t believe it!”

Then, I modeled the “You won’t believe it,” exercise. I asked each of them, one at a time, to cup their hands around their lips and call out across the Grand Canyon to their friend Joe.

“Hey, Joe! You won’t believe it! I found the most amazing thing! You gotta get over here to see this!”

“What is it?” Joe yells back.

Here I would coach and say, “More excited! More amazed! More buzzing with energy!”

The exuberant, long-distance dialogue would continue.

“I found the most amazing consulting firm. They have this process designed to streamline the financial systems of global companies. It’s amazing!”

“All right, I’m coming,” Joe yells.

At first, clients struggle with the exercise, but soon they get the picture. They realize that a significant portion of their emotional impact on others depends on their verbal and vocal expressiveness.

Phone charisma

Most of us think that charisma-that magical appeal that some people exude-has something to do with beauty! It doesn’t. It has more to do with communication-the ability to send and receive emotional signals.

It is widely believed that the ability to communicate emotion over the phone, without the support of gestures and facial expressions, is a good indicator of your capacity for charisma.

To explore this, I asked my consultants to team up with a colleague and sit down in separate chairs with their backs to each other, taking turns speaking as though on the phone.

They either improvised a conversation, or used a script like this:

Jack? This is Jill. You won’t believe what just happened. Frank went into Bob’s office and told him he was quitting. (Listening) Yes! Flat out. He told him everything-that he was sick and tired of Frank’s meddling, that he was tired of being the last one to know, and…(listening) He’s already gone. He took his coat and left. Cindy saw him storm out. He was beet red-I mean crimson!

While each participant took the part of Jack, the other consultants served as Olympic judges. At the end of each performance they held up papers with scores. The room resounded with lusty cheers for great vocal variety.

On a more technical note

English works best when a change of pitch occurs at every stressed syllable. To address this aspect of vocal expressiveness, I gave them a passage to read aloud .

Developed in 1941 by a committee from the faculties of Harvard, Princeton, and Yale, among others, it describes a vision of a liberally educated person.

The liberally educated man is articulate, both in speech and in writing. He has a feel for language, a respect for clarity and directness of expression, and a knowledge of some language other than his own. He is at home in the world of quantity, number and measurement. He thinks rationally, logically, and objectively, and knows the difference between fact and opinion. When occasion demands, however, his thought is imaginative and creative rather than logical. He is perceptive, sensitive to form, and affected by beauty.

I found that introducing movement techniques helped with identifying speech patterns. As participants used their hands to “hit” the stressed syllables, they more readily brought emphasis and meaning to the text.

In addition to using the body to connect to expressiveness, I also asked them to use their imaginations. Some people responded to the suggestion that they speak like an eccentric British professor. Once they allowed themselves the freedom, they began to pontificate with greater color and expression.

And there was one consultant who channeled a pompous Southern Senator. It helped him to imagine he was stepping inside the skin of the senator, just as a hand fits inside a puppet. You step into the skin of a good-ole-boy Senator from Alabama, and all of a sudden, you’ve got a voice that can raise the rafters.

Caveat speaker

These exercises are meant for practice. They are stretching exercises for the voice. Just as dancers extend their legs at the barre, and pianists practice scales, speakers need to awaken their most human instrument-the voice.

And if you know someone who thinks this approach is foolishness, let me give you a few words of advice.

Admittedly, we have fixed traits-such as shyness, perhaps, or an unflappable reserve. But we also have free traits-behaviors that are outside our comfort zones that we can embrace for projects aligned with our deepest values.

For instance, many professors are introverts, but in order to earn a living, they force themselves to give lectures. And if they want to attract many students, and not have the dean drop their course due to lack of interest, they may even strive to improve their lecturing skills. Who knows? They may even try to improve the quality of their speaking voice.

These professors choose to act out of character in order to do their jobs well. One definition of courage is acting out of character!

If your mind is sharp but your voice is dull, your ideas may not cut through the clutter.

Your greatest calling card is a pleasing and effective voice. I urge you to explore your most human instrument.

Voice Training: The Vocal Fry

simswnj — Thu, 11 Jun 2009 15:02:56 +0000

When bacon fries, it makes a crackling, bubbling, splashy sound and smells delicious.

When young women fry their voices, they make a grinding sound in the back of their throats, and regardless of how they smell, they are undermining their stature and impact by doing so.

I am going to call the Center for Disease Control to announce that I have detected a dangerous new epidemic of The Vocal Fry. (Please see the bottom of this posting for a definition of Vocal Fry.)

It has mostly infected young women, and it makes them sound as if they’ve run out of air, and are generating their voices by grinding their vocal chords together.

It manifests itself mostly at the ends of sentences. To me, it makes them sound tense, cerebral, and unappealing. I do not want to listen to them speak about anything.

No doubt this is a failing on my part, but I am confessing now, in public, that The Vocal Fry is like fingernails on a blackboard to me.

I think it’s mostly educated young women, maybe even educated young women from a certain background that have developed this as a fashionable way to talk.

I am going to capture recordings of it and put them up here on the blog, or on my other blogs at www.simswyeth.com/blog or at executivespeechcoachny.com

The human voice must stand guard over the content of a spoken message, or the content will evaporate, no matter how precious it was in itself.

The Vocal Fry has to go.

Definition:The vocal fry register (also known as pulse register, laryngealisation, pulse phonation, creak, glottal fry, glottal rattle, glottal scrape or strohbass), is the lowest vocal register and is produced through a loose glottal closure which will permit air to bubble through slowly with a popping or rattling sound of a very low frequency.

Communication Training: Focus on Your Audience

simswnj — Fri, 01 May 2009 20:31:52 +0000

The paradox of effective speaking is that when you focus on the information needs of your audience, your needs for recognition and respect are fulfilled.

However, when you focus on your own needs to tell them everything you know, regardless of their interest, their willingness to listen and respect you as an expert is damaged by–well, too much talking about what’s in your head, and not enough talking about what’s in theirs.

They therefore think less of you. Thus, paradoxically, when you focus on your own needs, you damage your audience and yourself.

Sales Presentations: Susan Boyle

simswnj — Tue, 21 Apr 2009 18:42:26 +0000

If a Susan Boyle look-alike stood in front of the Board Rooms that I’m familiar with, she would have been exposed to the same ridicule and condescension she experienced at her televised audition which I just saw on You Tube.

It would have been politely concealed, but the corporate elite occupying the seats around the table would have fidgeted on their leather cushions.

The video made me cry, especially when the judges finally gave voice to what I was feeling, although I thought the complete version on You Tube was incredibly cynical and manipulative. (I’ve linked to it, above.)

It made me cry because Ms. Boyle seemed to take it in stride that everyone spoke to her as though she were the village idiot.

Why is it that a middle-aged woman without a figure or a chic wardrobe is an object of ridicule?

In this youth-obsessed, status craving, competitive world, she took the stage with no apparent ammunition, until she opened her mouth. And suddenly we learned she had nerves of steel, talent, and a depth of humanity that made her seem more powerful than all the glitzy show-offs, and we all felt like idiots.

Which means we’re not really idiots, because when we see or hear something profoundly beautiful, we acknowledge it, and shake our heads at our own folly.

“Deep down, we’re all shallow,” said Oscar Wilde. I have to disagree.

I’d say we’re shallow until we witness something deep, like Susan Boyle’s talent, and then we are moved out of our shallowness, and into appreciation.