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  • 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]

MALE SPEAKER: Hi everyone.

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