字幕列表 影片播放 列印英文字幕 MALE SPEAKER: Hi everyone. Thanks for coming. I hosted this talk-- I initially was introduced to Clarity Media when I was interviewing. As many of you know that the Google interview process can be a little challenging, especially from the outside. And it's even weirder when you see it from the inside. So I worked with Clarity Media to become more effective in interviews and learned how to prepare to be more effective in general in speaking. And I was able to take the things I learned from them and apply them to wedding speeches I gave, to be more effective in meetings. Even one of the wedding speeches I gave was actually in Japanese, and I don't speak Japanese. So there's a lot of really incredible stuff. So hopefully it's really useful to everyone. And a pleasure to introduce Bill McGowan. [APPLAUSE] BILL McGOWAN: Thank you. I had no idea we specialized in bilingual wedding toasts. That's actually even a surprise to me. I appreciate everybody coming. And presumably, everybody here or watching is here because you'd like to be better at public speaking or external communication. So I want to give you a bunch of tips today that I think would up everybody's game. Right off the bat, just about every year some kind of publication comes out with a list of what the biggest fears in our life are. And every year, the list stays pretty much the same. Our fear of our own mortality is usually at number one, getting on a plane is number three, and I'm sure it comes as no surprise to everybody what the number two fear is. Everybody knows that it's public speaking, right? And there are a number reasons why this can throw us and send us into angst before we have to get up and present. Most of the people we work with are on the left side of this spectrum. They either have a fear of doing it, or they can tolerate it if they're asked to do it. They're on a team and it's their responsibility. But very few people actually get a buzz from doing it. And what we tend to do is try to get people from apprehension to being OK with it. And the encouraging news is once you get to being OK with it, there is a way to actually get to the point where you enjoy it. And that's really the sweet spot, because the more you enjoy it, the more you'll raise your hand and volunteer to do it. And the more you do it, the better you'll get at it. So my key advice would be embrace every opportunity to get up and talk when somebody on your team suggests you do it. Or don't shy away from an opportunity to public speak. It's the best way to get better at it. The one thing you should definitely stay away from though is winging it. And I find this is not a strategy. Thinking that magic fairy dust is going to sprinkle down on you and you're going to be eloquent and articulate and effective and persuasive in the moment is really not realistic. And this isn't just about giving a keynote speech or giving a presentation. This about heading into a meeting where you may think, I'm probably going to be a spectator in this meeting and I'm very likely not going to be asked for my input. You can't assume that. You should even go into a meeting that you think you're going to be a spectator at with an idea of what am I going to say if somebody wheels around asks me for my opinion on this subject. Let me plan what my point of view is and make it succinct. Sometimes we work with very accomplished, grade A speakers. And we'll be in a private session with them and we'll be role playing, we'll be videotaping them. And their energy level is not that great, and I'll tell them I think you need to bump this up. You're sort of mailing it in here. And oftentimes what we'll hear from a client is don't worry, when the adrenaline is going and I'm doing the real thing, everything's going to be fine. I'll be great. And my urging to them was about practicing the same way you play for real often fell on deaf ears until the first presidential debate of the last election cycle. And if anybody has read the dissection of what happened there, the present went out to Las Vegas and he set up debate camp. And he was handed videotapes of Mitt Romney and his primary debates, and he was asked to take a look at them. Next thing you know, he was off at Hoover Dam shaking hands and doing some photo ops and he's just not engaged. And David Axelrod, his chief adviser, came up to him and he said Mr. President, we're a little concerned. You don't seem plugged in. You don't seem like you're investing the time. And the president's response to Axelrod was very much what I hear from people who realize that they have a tremendous aptitude for this. So my point is if that guy can't magically flip a switch and be great because he has short changed the prep, there's actually very little hope for the rest of us. Same thing with Bill Clinton. Somebody very close to him said best communicator I've ever known, I've ever worked with, when he was prepared. But when he wasn't and all hell was breaking loose and we were crashing in the limo on the way over to an event, it always showed up. So don't think that there is an elite crew of gifted communicators who can just mail it in and be spontaneous and great. It actually doesn't happen. And when you're rehearsing, when you're practicing a speech or presentation-- which you absolutely should do-- the four words you should never say is let's just start this again. When you make a mistake in rehearsal, don't give up. The important thing is to teach yourself how you pull out of a moment where you're having brain lock or you've lost your transition, or something's gone wrong. If you don't practice that in rehearsal, you'll never know how to do it when you get up and give the speech for real. It would be almost like a pilot in training going into a flight simulator and then just giving totally normal conditions, never making them fly through turbulence or learn how to navigate the plane in trouble. So try to force yourself through those rough patches when you're rehearsing. How many of you here battle with this? Feel anxious and you get a little sick to your stomach? It is a perfectly natural byproduct of public speaking, and it's what usually keeps us from doing it. The very simple equation is the more you're prepared, the less anxious you're going to be. It happens every single time. And you're probably going to be most nervous in the first two minutes of a presentation. Until you get your feet under you and you relax into it. So really know that opening backwards and forwards. And I mean the first line of what you're going to say. Don't leave the first 15, 20 second warm up to ad libbing. Even know that. Whenever you hear somebody at a podium who has that little shake, that little tremble in their voice which is a dead giveaway that they're nervous, those are a product of nerves. But it's also a result of not breathing properly. And when we get really nervous, we start mini hyperventilating. These short shallow breaths which actually winds up depleting our lungs of air, and that's what gives the shake to our voice. So if you find your pulse is running away with you and you're extremely nervous, find a nice quiet place down the hallway before you go on. Three or four deep yoga breaths, long intake through your nose. Hold it. Long, slow, steady exhale through your mouth. It's going to slow your pulse, it's going to replenish your lungs with air, and it's going to bring stability back your voice. Because you don't want to be up at the podium and looking like you're a wreck. But even if you don't battle real anxiety, we all get a shot of adrenaline when we get up to speak. And that can have a good result and it can have a bad result. You're probably going to talk a lot faster in the first five minutes from just being a little anxious. So make sure you come out of the gate in a nice, controlled pace. Your eye movement is going to accelerate the more nervous you are. So right now, I'm communicating directly with you. And I'm going to move off and connect with somebody else in the room. That is ultimately what you're after. What you don't want to do is what I'm doing right now, which is actually ping ponging around the room and not landing on anybody specific. I'm looking at all of these heads as an abstraction, or I'm drifting over the tops of people's heads. And it doesn't have the same level of connection that landing on people actually does. And we have all this pent up physical energy from this shot of adrenaline. And our bodies like to get rid of it. And our feet typically wind up being the portal through which we like to expunge this energy. So many times, you'll see people in front of a room doing what I call the stationary march. Which is, I'm not really moving anywhere, but I'm also not standing still. There's a lot a rocking, there's a lot of swaying. And I see this all the time. It just gives a fidgety, nervous appearance to your presentation. To avoid that, you want to stand with you weight a little bit forward on the balls of your feet. You should feel a little bit of pressure in your toes. What that does is it keeps you off your heels where you wind up swaying and rocking the most. The only place you want to be leaning is actually into the audience to connect with them. And I'm going to show you a clip of Reed Hastings who commits this. [VIDEO PLAYBACK] [END VIDEO PLAYBACK] BILL McGOWAN: Reed's feet actually never planted that entire time. They were in constant motion, and it's only because his body is trying to get rid of that excess physical energy. It looks a little antsy. And you should probably stay away from it. Good news is all that nagging we got as children was absolutely right. Don't stay up until 3 o'clock in the morning working on a presentation you have to do at 9 AM. You'd be better off going to bed early, getting up at four, and finishing it. You're going to be a lot more alert. And never do anything-- public speaking, presentation on an empty stomach. It's been proven medically that the synapses in your brain do not fire as efficiently if you don't have fuel in your body. We just talked a little bit about making sure that you're not slumped. And if you're tall-- anybody really tall in this room? Don't be apologetic about your height. There's a lot of times I see people just trying to compensate for their height. Totally own your height in the front of a room. And we talked a little bit about that connection. This is even true across a conference table when you're having a meeting. The fact of the matter is we can concentrate on what we say a lot better if we're looking into abstraction. Looking at the pattern in this rug gives me a lot more privacy to think about what I want to say than looking directly into your eyes. It doesn't have the same level of connection. And if anybody saw the piece in the New York Times this Sunday in the week in review, there's an amazing piece in there about eye contact and how incredibly important it is to the signals you send to the person you're talking to. So if you find looking at the person you're talking to too unsettling, it doesn't give you that privacy to think, then move your focus off just slightly. Like you could look at the stem of my glasses, or you could look at a woman's earring. Keep it in this general range. No one is going to know that you're just slightly off. And it gives you something small and private zone in on that doesn't make the invasiveness of the other person's stare back at you unsettling at all. And I find that sometimes we're so concentrating on being technically good and not making any mistakes or stumbling through a presentation or a speech that we wind up flattening out. Your focus really shouldn't be getting through the thing technically perfect. That should not be your definition of success. Your definition of success is showing a real palpable enthusiasm for the value of the information you're sharing with other people. If you don't lead by example, they're not going to think it matters and they're going to start tuning you out. And there are a few things our mothers did not tell us. If you want to avoid developing a frog in your throat where you have to [CLEARS THROAT] every two minutes be clearing your throat, stay away from cheese, yogurt, milk that morning. It creates congestion and wind up-- people smiling, absolutely true. Make sure you get to the room ahead of time. If it's a stage where you're presenting, you don't want to be up on that stage in a strange environment when you're doing it for real. Try to get in the night before and check out what the audience looks like and have it be familiar to you. Also make sure all of your tech is in place-- batteries on a clicker. My assistant back in New York got me the best holiday gift ever. She got me a pair of cuff-links that actually come apart and it's a USB drive. And believe it or not, I actually download my presentations on this cuff-link. Because I've had a couple of occasions where the file got corrupted that I emailed to the place ahead of time, and I've had to pull that thing out and actually work from it. And it just happened this afternoon. I've coached a bunch of people here a year or so ago, and so I have permission to be on the Google Guest wireless network. And I don't have to click a thing. It just automatically kicks in. I learned the hard way that you should always turn your wireless off. At another presentation, at a client that I arrived at on a subsequent visit, I didn't do it. And I'm merrily clicking along, and in the middle of slide four or five, all of my email notifications from the night before start bonging up in the corner of the screen. Which was not exactly what you want to have happen. So turn your wireless off. Quit all programs that could wind up sending you a notification in the middle. When I say work the room, I mean see if you can say hello to people beforehand. Or maybe you're at an off-site and there's a coffee urn and some snacks in a separate room. See if you can get around say hello to people. And just a series of 60, 90 second conversations. It's going to accomplish a number of things for you. One, it's going to keep you from huddling away and obsessively worrying about the presentation you're about to do. It'd be better to get your mind off of it. You've probably done all the prep you need to do. And in talking to people, oftentimes they'll tell you something that you can work with. Or somebody tells you a story at the coffee urn and you realize, you know, that would actually be a great thing to insert in the presentation. A little quick story, because it's so interwoven with the whole point of my presentation. That can be a great way to give a feeling of spontaneity to your presentation, to actually reference it in your speech. And it also brings the audience up with you a little bit closer. It also helps you understand is this a tough crowd, is this an easy crowd? How hard am I going to have to work to keep their engagement? And ultimately, if I have a conversation with you over the coffee, I'm no longer a stranger to you. And so you're going to be a lot more likely to be invested in listening to me closely. If you and I talked beforehand, I guarantee you're not going to take your phone out. You're going to feel too bad that somehow I'll feel slighted. So what it also does is it sets up people in various areas of the room to bolster your confidence. And think about your room as broken into quadrants. So I have near right, far right, far left, near left. And what I want to do is find four people in the room who are good, enthusiastic listeners who are smiling and nodding and helping me realize, OK, this is coming through. They're engaged. And if you get freaked out by talking to a hundred people or more, make this a conversation with four people. And I guarantee you nobody in the audience is going to know that you're basically talking to four people. What you don't want to do is catch the eye of the person who now is doing that. That is going to be an absolute confidence killer. So while you want to be able to read the room, I often tell people don't over read the room. You may very well find a crowd where the faces are blank and you're getting nothing back from them whatsoever. Don't let that little voice on your shoulder convince you that this is going terribly. Because many, many times I've had the most checked out looking person in the audience come up to me afterwards and say, I found what you said so fascinating. Can you tell me a little bit more about that? And my initial reaction was, wow, you looked absolutely on another planet. I cannot believe you're the person coming up to me afterwards and asking me for more. So don't let those blank faces throw you. You need to warm up. Athletes do it. Singers do it. And there's a big fundamental difference between silently imagining in your head what you're going to say and in your kitchen that morning making coffee, saying the first two minutes out loud. It's a very different experience. And when you hear yourself, you're going to be better able to edit yourself and make changes if it doesn't feel right that day. So I think getting started is always a very difficult thing for people. How do you grip people right from the very beginning? One thing I want to make sure you never do is have sentences that have inherent apology behind them. And I've heard just about every time slot of the day, whether you're 8:30 in the morning, 11:30 in the morning, two in the afternoon, or 4:30, apologize for the time. So listen, I know it's really early. It's 8:30. Everybody's kind of groggy from last night. But I'm just going to very quickly walk you through some things. That in and of itself says I know you don't want to be here. I know you're being made to be here. But don't worry, I won't be belabor the point. Don't do that. Or at 4:30, don't say, listen, I know I'm the only thing standing between you and the cocktail hour. Uh-uh. That is not what you're doing. You're trying to present an image where I know you're going to find this interesting. I know this is going to be valuable to you. That's what you want to be protecting. Also, I know we've been ingrained to think, tell them what you're going to tell them, tell them, and tell them what you told them. It is such a dusty, outdated method of presenting. And everybody does it. And my advice to you is don't sound like everybody else. Because when you hit this conformity zone of your structure and your words sounding like everybody else's, that's when your audience tunes out. Try to find a different way of starting. We'll talk about that in a second. And then there are the people who get up and do the table of contents. All right. So I'm Bill McGowan. I'm from Clarity Media Group. I'm going to talk a little today about public speaking. First of all, don't ever talk about what you're going to talk about. That's the biggest waste of language ever. And don't say so now I want to share with you a little story. Don't. Just go right into the story. Don't constantly play traffic cop and flag me on what you're about to do. If you took all of those things out of a presentation, I guarantee you'd be two minutes later right off the bat without losing any content. So in the book, I take the agenda setting starter and I realized it was a very apropos acronym here. Try to see if you can avoid that. So my new favorite speaker is a guy named Geoffrey Canada. I don't know if any of you know him. He's an education expert. And I want to show you a clip of what I think is just an outstanding way to start a presentation. [VIDEO PLAYBACK] -I'm a little nervous because my wife, Yvonne, said to me, she said Geoffrey, you watch the Ted Talks? I said, yes, honey, I love Ted Talks. She said, you know they're really smart, talented-- I said, I know, I know. She said, they don't want the angry black man. So I said no, I'm going to be good honey, I'm going to be good. I am. But I am angry. [LAUGHTER] And the last time I looked-- [APPLAUSE] So this is why I'm excited, but I'm angry. This year, there are going to be millions of our children that we're going to needlessly lose. [END VIDEO PLAYBACK] BILL McGOWAN: So the reason why I think this is the perfect beginning-- and I realize this is probably a more theatrical setting than what all of us find ourselves in. But the structure applies. And that is he's not starting off with a joke, some random joke that could bomb and throw your confidence completely. He's starting off with a story that allows you to feel like you have access to a conversation he and his wife had. And the story has humorous elements to it. But the payoff to the story is central to the theme of what his overall talk is. So the punch line is that he's angry. But the theme of the talk is he's disappointed and frustrated with how little we've moved the needle in education in this country. So there's a point to the story. It's not just a random drop-in to get a laugh. And the laugh, of course, probably relaxes him and helps him on his way. We focus a lot on just word selection in what we do. And we believe and agree with all the great literary minds and geniuses throughout time that adhered to this idea of simplicity. Don't over complicate something. If a $0.10 word is perfectly good to use, don't use a $0.50 word and make it more elaborate and more wordy. Simpler is better. And I find that there's also a lot of new word creation going on. Planful, choiceful, all this ridiculous stuff I hear coming out of people's mouths that if you were to write it on your computer, there would be a red line underneath that word. And if there's a red line underneath that word, that means it's not a word. You shouldn't be saying it. OK? If your computer rejects it, you should too. And this stifling jargon that just infects and invades all the communication that I hear going on, the more you can jettison that, the better. And it affects people at all levels. [VIDEO PLAYBACK] -Sometimes you misunderestimated me. [END VIDEO PLAYBACK] [LAUGHTER] BILL McGOWAN: The English language gets butchered all over. [VIDEO PLAYBACK] -They could refutiate what it is that this group is saying-- [END VIDEO PLAYBACK] BILL McGOWAN: And this spot is 10 years old, but still applicable. [VIDEO PLAYBACK] -What are you guys doing? -We're ideating. -id--what? -Ideating. -What's that? -Coming up with new ideas. -Why don't you just call it that? -This is different. -We need to rethink the way we do things. -Structure. -Process. -We need to innovate. -How? -We haven't ideated that yet. -Good luck. -Thanks. [END VIDEO PLAYBACK] BILL McGOWAN: The reason that spot is so funny is it's so close to the truth. It's barely an exaggeration. So I'd like you to really look through your content and think not only can I strip this down to make it simpler, but how can I take some of the stifling jargon out of the mix. And it's one of the reasons why I want to do this book and share some of these ideas. And I break them into a number of principles that I think are good to follow. One of them is this idea of brevity. And in the book, I call this the Pasta Sauce Principle. I actually wanted to call it the Puttanesca Principle, but my agent worried that not everybody cooks and not everybody would know what Puttanesca is. Anyway, so we made it the Pasta Sauce Principle. And the premise is very simple. When you have a pot on the stove and you boil that thing down, and you reduce it, that thing has more dynamic flavor. If you keep adding more volume to it, it basically tastes very bland and it's thoroughly forgettable. So I'd like you to think about talking the way you think about cooking. See if even in an email-- like go back and read an email and think, could I take 20% out of this thing? Probably easily, right? See if you can contract just about everything. And when we speak, I find that most people are pretty good about getting out of the gate of their idea and getting to the crux of what it is they want to talk about. But then wrapping the whole thing up and getting to the finish line gets sometimes to be a little bit of a messy journey in which we're a lot less strategic, a lot less planned, there's a lot more ad libbing and spontaneity involved. And that's usually where we wind up just having excessive length to the idea we're trying to communicate. And usually bad things happen when we're off the trail and unplanned. In fact, if you look at any of the analyses of big PR blunders by notable people, you'll find that where they made the mistake was right about there. Right before they finished up when they were not going according to what they had planned to say. So rather than thinking, all right, well, my answer to this question should only be 35 seconds or 40 seconds-- I don't want you to think in terms of time, because everybody's a little bit different. But here's the principal I'd like you to see if you could follow. By the time you open your mouth to start talking, I'd like you have a general idea of what the full arc of your thought is. I'd like you have a general sense of what the finish line looks like. And I don't mean in terms of a verbatim scripted answer that you're now just reciting. But I do think knowing the components of what goes into your thought are important. What's my point and how am I going to illustrate that point? How am I going to bring it to life for people? And that illustration can have a number of different styles to it. It could be storytelling. You could be citing a specific example. Or maybe there's a compelling piece of data that also serves as a supporting point to your main point. And I find especially in technology, what I'm often working with with clients is you've just built something. It solves a basic problem for people. And you're launching it. I have to put out a compelling narrative as to why you should download this thing. So coming up with even a hypothetical example of how you'd use it and how it would solve a basic problem is an important thing to think through ahead of time. I find most people plan what their point is and they leave the illustration part of their answer way too much, they're just trying to pull it out of thin air. That should be as well planned and well thought out as your major point. And if you can't see the finish line by the time you start talking, that's a clue you're talking too long. See if you can get in the habit of having control over where you're ending up with this idea. Another principal in the book is this notion of thinking of yourself as a movie director in the front of a room. And the fact of the matter is all of us are very visual creatures. We all have this movie reel spinning through our heads. We crave images and we play off them mentally. And I in the front of the room, I need to be dictating what images are spooling through your mind. Because if I don't do that, I don't try to influence the visual side of your brain, your brain is going to go off and make its own images. And that's what's called distraction. That's daydreaming. That's actually going to be resulting in disengagement. So see if you can maximize the amount of time you speak visually, anecdotally, and limit the amount of time you're speaking in a very theoretical and abstract way. You want a certain balance there. And the fact is that if we embed information and facts within a story, it winds up being 22 times more likely to be recalled and acted upon. And also, images are so much more memorable than just facts or words. So this notion of story telling-- I know we've heard it a lot-- has been proven time and again as being such an important component of your communication. So what I would really recommend is-- I'm sure you all have these books you write in. Realize that on a daily or weekly basis, things are happening to us at work, when we're out talking to maybe just people who use the platform. They say things or do things that you realize, wow, actually that would be a great little story to tell the next time I have to present on this. Jot it down. Because I guarantee you if you don't write it down, you're going to forget it. And the night before a presentation is not the time to be thinking, OK, do I have any stories to tell? Damn, what's been going on lately? You do not want to be in that situation. So start amassing these stories. How many of you deal with just filler language? Yeah. It's something we all struggle with. I have my own little filler language issue that I'm always constantly thinking about, I'm trying to work on. And to get over this idea of relying on filler, I'd like you to accept for a moment this notion that your brain and your mouth are two cars on the road. OK. And your brain is the lead car. It's always about a millisecond ahead of your mouth. It's figuring out what conversational road you're going to go down and what words you're going to use to articulate that thought. And then your mouth follows along once it gets instructions. And we'd like to think that when your brain comes up to that intersection, it makes those decisions very efficiently. But that's not the case. Sometimes we get to the juncture and we start pondering, what word should I use? Or maybe I shouldn't tell this story. And it creates this delay in which your mouth now needs to wait. And while your mouth is waiting, that's typically where filler happens. Filler language is what happens when your mouth is waiting for your brain to come up with a plan. So let's accept the fact that we're not always going to make these decisions efficiently. I want you to embrace this principle that the less certain you are about the next idea coming out of your mouth or the next word you're going to use, the slower you should be talking. What you should be doing is building the equivalent of a safe car length distance between your mouth and your brain. The less certain you are, the slower you should talk. You should be building in more pausing as well. So many of us feel uncomfortable with silence, and that's why we go to fill it with like, kind of, sort of, you know, whatever. It's the language that absolutely saps the appearance of our professionalism and our gravitas. We don't want that stuff creeping in. Sort of and kind of is a big one right now. And I find that when especially in tech companies where you want to have a certain humility to what you do, we use those words a lot because it makes us sound less arrogant, less opinionated, less certain. And I just would advise you not to overuse them. Because I think it really waters down your conviction substantially. OK. So I like to typically end with something everybody finds fun. We didn't talk about body language that much. We talked a little bit about standing, but-- anybody want to take a crack on the seven places you shouldn't have your hands when you're standing in front of a room? [LAUGHTER] Come on. Let's go. Who's got an idea? Yeah? AUDIENCE: Pockets. BILL McGOWAN: Pockets. Very good. Next? AUDIENCE: [INAUDIBLE] BILL McGOWAN: Very good. OK. So this is a good one. Our saying is when your hands drift above shoulder level, nothing good is happening. And that means that you're either playing with your hair to get it out of your eyes-- I had a guy the other day, every 15 seconds pulled his nose. And he has no idea he's doing this, right? But there it goes, every 15, 20 seconds. Or you're scratching your ear or you're playing with your beard. No hands above shoulder level. OK? So pockets, shoulder level, not behind your back. Right? Way too apologetic. This has an I totally don't deserve to be up in front of you, but I'm here anyway. Anybody else? AUDIENCE: [INAUDIBLE] BILL McGOWAN: Good. Very good. Totally cuts the audience off from you. You're not nearly as accessible to them as you should be. So folded across the chest. Not on your hips. Not in your pockets. We had that one. This is the fig leaf, right? It's too low. This is praying. That's too high. So that's not in the mix either. One of them is a little counter intuitive, and that is just dangling here. I've never seen anybody look comfortable standing in front of a room like this. In fact, the weight of your arms gives a little droop your shoulders. And you can look very slumpy. So what I'd like you to do is move from this position and just create a right angle with your upper arm and your forearm. And your hand should come together right around your belt buckle. OK? Not like you're ready to kill somebody with a very rigid clasp, and nothing shaped that's really obvious. I just want your hands very loosely and relaxed overlapped right around your belt buckle. And the reason I like this position is I want to talk with my hands, but I don't want it to be a big choreographed gesture that winds up being the center of attention. I want it to be very organic and natural. So from here, they have a very short distance to kind of get in the action-- See? Kind of get in the action. Not good. They have a very short distance to get into the action and a very short distance to rest. Whereas down here when I go to use them and I want to stop, they've got a long way to fall. In fact, a guy the other day I was working with, he went to stop and his arms actually swung from the downward momentum. So it may feel a little odd at first, but it absolutely works. And if you're giving a presentation, this can anchor your hands in the right position. Just hold onto your clicker with two hands. In terms of gesticulation, don't over think it. The only things you want to stay away from are repetitive motions where I'm sort of doing the same thing all the time, and now this starts to get really distracting and annoying. And you see politicians do that. They do the air punch all the time. And I wind up stopping listening to what they're saying and I start timing the intervals of-- and I realize, OK, I'm not listening to this guy anymore. Or anything really manic where I'm just in constant motion and I'm not stopping, and the hands are never resting. Realize that your hands have the ability to bold and underline an important thing you want to say. If they're moving all the time, then you're punching everything and nothing stands out. So realize if I'm giving a presentation and I'm coming up to a big idea, there are a number things I can do to put that big idea on a pedestal and have it be more noticed. One is I can use my hands. But I also want to manipulate my voice to change up the sound of how it's coming at the audience. Two good ways to do that are to slow down and pull back. You don't actually want to punch your big idea louder. See if you can pull back on your volume and keep up your intensity to make the audience come in and listen to you a little bit more closely. It's a really effective tool, and it's a little bit counter-intuitive. I usually see people hammer that thing like harder and louder. That's not always the best way to go. So I'm more than happy to address any questions anybody may have. I often say to people too, if you're going to take questions after a presentation, it always good to come with what I call your own first question. And that's because the most awkward part of a presentation is when you stand up and say, OK, so anybody have any questions? Chirp, chirp. Nobody wants to go first, nobody's raising their hand. And you don't want to end on that note. So always come equipped with something and say, typically when I give this presentation, what people are most curious to know is how much rehearsing is too much rehearsing. Just come with your own thing to kick start the Q&A. Because a lot of times, nobody wants to be the first one raising their hand. Or what you say could trigger an idea somebody else has. AUDIENCE: A number of years ago, I think it was on Public Radio, I heard about a study where they were looking at speeches given by CEOs of dot coms I think. And they found an inverse correlation between how much of the time they were lying and how often they said um. So the ones who didn't say um at all were lying a lot more. And I was wondering if you'd heard of that and what you think is going on there. BILL McGOWAN: I think there is a desire for a lot of people to try to create a thoughtfulness and a spontaneity around something that's very well rehearsed. So I think what you may be finding or what that study may be finding is if they have some talking point that's been scripted and approved by the lawyers and the communications people, somebody training them may say don't blurt this out like it's a rehearsed, memorized thing. Bring some sort of feigned hesitance to this idea. Like, so, um, yeah, I think-- I think what we did here was the right thing to do. Even though on paper, that says what we did the right thing. Anyone who's been coached tries to create the feel of spontaneity. But if they're at a very high level, I guarantee you that's been removed from the equation if they know what they're doing. So it may be a completely planned thing to make it sound like this isn't our message point here, this is actually coming from my heart and I mean it. AUDIENCE: As a speaker, what do you do if somebody in the audience is, I want to say heckler, but not really a heckler, but trying to attack you or trying to divert you to a different direction and keep asking questions that are not really relevant. So how do you deal with such situations? BILL McGOWAN: I had a client in the valley earlier this year, and he was giving a keynote at a big tech conference. I forget in what country. And there was one part of his speech that we knew could touch a nerve. And so what we did was I heckled him in rehearsal. And we planned what three or four possible shout outs could be and what our responses would be to those. But short of practicing, it happens spontaneously and you're not prepared for it, what you want to do is not look rattled by it. I think what you want to give the appearance of is being welcoming of the conversation, but just not right here. So you could say the person, what you raise is a totally valid point. I'm more than happy to have this conversation with you after the presentation, because this is something that obviously matters to you individually. I'm speaking to the general crowd now. So come find me afterwards. You don't want to just slap it down and look like this has totally rattled me. AUDIENCE: Can you suggest some gracious ways to handle someone who's constantly interrupting? Like say you've got a few points that you need to get through and they're kind of asking questions of the next few things you're going to say. What would be a gracious way just to put them off without looking like it's rattling you? Or what's a gracious way to handle that? BILL McGOWAN: And this person you obviously want to maintain a good dynamic with. AUDIENCE: Yeah. BILL McGOWAN: Instead of saying, would you stop, would you butt out? AUDIENCE: Yeah. Like a team member, maybe on a smaller scale where you're trying to present a few key ideas-- BILL McGOWAN: I think what you want to do-- and this is advice I give to clients when they have a potentially confrontational situation with a reporter-- and that is don't pick a fight. Don't immediately say I'm getting to that, and do something that feels annoyed. But you can say I love the fact that you're really eager to get the whole story, and we have the whole story, more than happy to take any follow up questions. But it's all in here, so stay with me on this. OK. You almost want to create the feeling that you like the fact that they're so into it that they can't wait to find out about it. You try to view it through the positive prism. Because when you slap them down and make it look like would you please stop doing that, it doesn't really help. AUDIENCE: Thank you for your talk. We would all love to have a coach like you before our presentations, but for us that don't have coaches, what are some tips that you could give us that we could do for just practicing, preparing, anything? BILL McGOWAN: Try not to sit down at your computer and write it out. So if you need to come up with a script, I'd much rather you make an outline on index cards. And so make yourself a structure. And then take your phone or your tablet and prop it up and roll video on yourself doing it. OK? And just organically talk through what you would say to the outline. And if you want then to go off of-- if you want to have a text, like a verbatim thing, what I'd rather you do is take the transcription of that video and make that the basis of your presentation. Because what that will be is a really accurate written out version of how we talk conversationally. Most people, when they sit down a computer, unless they've written for TV or radio, don't write for the ear. They write for the eye. And that usually makes it hard to deliver the content in a way that sounds natural and organic. So if you have the time, see if you can make this transcription the basis, and then start shaving it down. Because obviously, you're not going to probably want to use the whole thing. And see if you can rehearse it enough into your phone so you can see how you're coming across. And see if you can whittle it back to that outline form. So you're never reading big chunks of text on the PowerPoint or-- we didn't even talk about that today. But I trust all of you-- try not to read your slides. Try to use imagery as much as possible. Try to keep the information in the data as sparse as humanly possible. But that would be my major advice. And use that as a self critique tool. And just think to yourself, what are my big ideas? What do I want these people leaving the room thinking? And am I teeing up these big ideas and putting them up on that pedestal enough? AUDIENCE: As a rule of thumb, do you offer any guidance about how much somebody should present for a certain type of presentation? So for a 30 minute presentation, how many hours of prep time do you recommend? BILL McGOWAN: I think it's somewhat individual. But I think that it's more important about not obsessively rehearsing right up to the minute you go on. In fact, I think sometimes in that last half hour, 45 minutes, it'd be great to take your mind off of it. Sudoku, Words With Friends, a crossword puzzle, any mental game you have that relaxes you, I think that's a lot better to do right before you go on. Because I find when you obsessively concentrate on what you're going to do when you go out there, you can get kind of tight. AUDIENCE: At the beginning of the presentation, you mentioned sometimes people could tend to sound very tight or nervous in the beginning. And then you mentioned that breathing is important to help with that. I was wondering if you could elaborate. Because just recently, we had a presentation and someone seemed so nervous that I ended up getting nervous for them. [LAUGHTER] BILL McGOWAN: I had a woman introduce me not too long ago. And see, Chris was totally on it. Was calm and cool. But this woman who introduced me, she had a piece of paper with my bio on it. And she got up in front of the room to introduce me on good communication, and her hands were shaking. And you could not only see the paper vibrating, but you could hear it. It was very hard to go on after that and not acknowledge it. I think you have to look at other people doing things that may work and may not work and think, all right, well, I like to look at the people who are doing really well and try to actually dissect why they're effective. And realize, oh wow, she does that every time she comes up to a big idea. That that's not random. That's actually intentional. Let me try that out next time. So it can be really boring sitting through other people's presentations. So if you took out a pad and created two columns for yourself on the pad when you watch other people, effective and not effective, and write down the techniques you feel are working for this person and working against them, and see if any of those in the for column are tactics and strategies you could actually experiment with yourself. And that's, I think, how you learn from good presenters. So for instance, I've seen somebody in how they move around the room be very strategic. And what they do is they move in transition, but then when they come to the big idea, they stop before the big idea. They're never giving something of importance when they're moving and looking down. That's going to mute the impact of what you're saying. So even how you move around a stage matters. And these are some of the tips I think you can pick up from watching other people. MALE SPEAKER: Thanks a lot, Bill, and thanks everyone. BILL McGOWAN: Thanks for coming. [APPLAUSE]
A2 初級 比爾-麥戈文:"好的溝通者就像健康的食客"|在谷歌演講 (Bill McGowan: "Good Communicators are Like Healthy Eaters" | Talks at Google) 248 18 Jen-wei Chi 發佈於 2021 年 01 月 14 日 更多分享 分享 收藏 回報 影片單字