Archive for the ‘Storytelling Strategies’ Category

 

To become a top-notch speaker and keep improving, it is important to internalize valuable speaking truths. Now, these are my truths but I’ve certainly found them to work for the hundreds of speakers I have personally coached. I suggest that you tack these Reminders up in your workspace and keep them in front of you. 

If you are not familiar with some of these reminders, I have also provided the three resources you can access to grasp the reminders fully. 

7 Storytelling Reminders             

1. Tap into your audience’s world with a question before you transport them into your world with a story. 

2. Don’t give the cure before you build the conflict. 

3. Too much narration = a report. Too much dialogue = a stage play. The right mix = a very compelling story. 

4. It’s not the line, it’s the look before and after the line that tells the story 

5. If we don’t see a change in your character, then you don’t have a story. Show the change after the cure. 

6. Just give a hint to describe your scenes and characters. People buy into what they help create so if you go into too much detail, there’s nothing left for them to do. Save those details for your novel. 

7. Don’t just establish the conflict; escalate it using at least two escalation events). 

Resource: These reminders come out of my most popular best-selling course that helps you keep your audience on the edge of their seats with your stories. It’s called the Edge Of their Seats Storytelling Home-Study Course for Speakers. 

7 Keynoting Reminders

1. To be an excellent speaker you must be an excellent tease. Find ways to Transition Tease them for what’s coming next (using the Silver Spoon or Verbal Knife approach).    

2. Never end with the Q and A (Questions and Answers) session. Have one if necessary, but don’t end with it. 

3. Check the PARTS (make sure you have a Phrase, Anchor, Reflection, Technique, and Sale) for every point you make so that you become known as a content-rich speaker. 

4. Use all 4A’s for Anchors (Anecdote, Analogy, Activity, and Acronym) in every keynote speech or training session 

5. Use the 10:1 Rule of Thumb to determine how many points to make during your speech. If you’re speaking for 45 minutes, make no more than 4 major points and dive a mile deep into each one. Remember the old speaking proverb; 

When you squeeze your information in, you squeeze your audience out 

6. Make sure you provide a Roadmap (i.e. “First  you will pick up tools on how to breathe life into your speech, then you’ll see how to bring the audience to you, and finally, how to build a message that sticks.”) so your audience knows exactly where they are going. 

7. Use the Discuss and Debrief method to have your audience review and verbally express your message towards the end of your speech. Remember what Tom Hopkins said: 

 If I say it, they can doubt me. If they say it, it’s true 

Get them to say your message. 

Resource: These reminders come out of the course that helps you develop and deliver a captivating 30 to 60 to 90 minute speech. It’s called the Create Your Killer Keynote Home-Study Course for Speakers. 

7 Selling Reminders

1. Never sell a product (or service, idea, change, or yourself); always sell the result. 

2. Go across the EDGE (Esteem more, Do more, Gain more, Enjoy more) when selling your results and making your promises. 

3. Always state the result before the resource. For example, I ask some of my audiences the following: “Raise your hand if, a year from now, you’d like to be at least 3 times better than the speaker you are today (result)? Great then visit my free site at http://www.52SpeakingTips.com (resource) and get a free speaking tip each week for 52 weeks.” 

4. Create the Need for Now so your audience acts on your next step immediately. They will not act later. 

5. Put the power of reciprocity to work for you. It’s in peoples’ DNA to want to return the favor. 

6. Never make a separate sales pitch during your speech. Instead, make it an organic extension of your story using the Then, Now, and How approach.   

7. Put the process, not the person, on a pedestal. When you lift yourself up, you let your audience down. But you also bring down your ability to sell because unless you come across as similar (and not special), your audience won’t act on your message or buy anything from you. 

Resource: These reminders come out of the course that helps you make an extra $3,000 to $5,000 per speech by selling products and services. It’s called the Mastering Back of the Room Sales Home-Study Course for Speakers  

Patricia Fripp once said to me, “Craig, people will not remember what you say as much as they will remember what they see when you say it.” In other words, we have to make our speeches very visual in order to have the deepest impact. Here are 4 ways to accomplish this:

1. Put your audience members somewhere in your scene

Storytelling is not about re-stating what happened. It is about reliving what happened and inviting your audience into your “re-living room.” For example, take a look at the following excerpt from one of my speeches:

If you had been sitting beside my wife and me, on our old beat up black leather sofa, with the chocolate chip cookies baking in the background, you would have heard my wife say something that can absolutely change your life.

Question: Where are you in my scene?
Answer: You are sitting on the sofa beside my wife and me.

I set the scene up so that you are actually in it, hearing what was said and re-living it with me. Re-stating (narrating) always puts your speech in the past. However, when you put your audience into your re-living room, it is as if they are actually in the present as the story unfolds. Here are some other ways I bring audience members into my scene:

• Imagine being in my passenger’s seat as I drove up to the KFC (you are in my passenger’s seat)
• If you had picked up my phone in the year 200 (you are on my phone)
• You should have been with my wife and me as we took our 6 month old daughter Tori to the doctor’s office (you are walking into the doctor’s office with us)
• If you had been walking towards me in the Chicago airport

Important note: You do not always have to make bringing them into the scene the first thing you do in the story. Sometimes I introduce characters and tap into my audience with a question before I actually bring them into my scene. However, when you put a story together, always ask, “Where in my scene will I place my audience members?”

2. Check the VAKS

When you create a scene, it is important to engage your audience members’ senses. VAKS stands for Visual, Auditory, Kinesthetic, and Smell. When you invite your audience members into your scene, you want to make sure these VAKS are present. Here is the same excerpt from my sofa speech. Read it and then answer the questions below it.

If you had been sitting beside my wife and me, on our old beat up black leather sofa, with the chocolate chip cookies baking in the background, you would have heard my wife say something that can absolutely change your life.

Visual question: What could you see in that scene?
Answer: The black sofa.

Auditory Question: What could you hear?
Answer: You could hear my wife. That is why I specifically used the word heard so that I could reach the auditory learners.

Kinesthetic question: What could you feel?
Answer: My audiences usually say, “I could feel the leather.” Sometimes they say, “I could feel the love.” I usually respond with, “Love and leather always go together.” LOL.

Smell question: What could you smell in my scene?
Answer: The cookies. In fact, you might even have been able to taste them, which of course is another sense. So I checked the VAKS in this story. Make sure you do the same with your scenes.

Two Important Caveats about Checking the VAKS
Make sure you set your scene quickly so you do not take away from your story. If you drone on and on about the VAKS, you will lose your audience because you will not get to the conflict (the hook) of the story fast enough.

Also, try not to make the VAKS too poetic. Poetic is fine for a novel, but a speech needs to sound more realistic. In other words, use words you would use in everyday conversation, as if you are talking to a friend.

3. Give your characters a hint

Your characters are the stars of your speech and it is difficult for an audience to connect with characters they cannot envision. The key as a speaker is to just give a hint to what your characters look and act like. For example, check out the following excerpt from one of my stories:

This petite lady in a pink dress runs up to me and starts reading the bottom of my trophy

How do you see her in your mind? Petite and pink are just small hints that give the audience momentum to start mentally filling in the rest of her. That is the key. In order for your audience to own a piece of your character, they need to create part of that character. If you give too much descriptive information, you take away your audience’s ownership. People buy into what they help create, so let them buy into your characters by co-creating them. On the other hand, if you provide little information (i.e. no hint) your audience will not have much to go on and so they probably will not see anyone in their mind.

Here are several creative ways to give a hint

Give it in dialog: You can have one character say, “Oh wow, I like the new look. When did you become a blonde?”

Give it in posture: Give your character a certain posture or specific gestures while he or she speaks. For example, for the old homeless lady I have in one of my stories, I take a posture that is slightly bent at the waist and speak almost as if I am lecturing in a grandmotherly way. Your audience will remember what they see so make sure you take on the physical characteristics of your character.

Give it in the voice: The way your character sounds will help your audience see him or her. When you talk to someone on the phone that you have never met, you probably form a picture of that person in your mind, right? The voice helps. I have a story about when I am 10 years old and I run into a man I call Mr. H. Mr. H is a father of one of my friends and I give his lines in a slightly raspier voice than normal. Of course he also takes a posture of an authority figure in my life at that time. Later on in the story, as I fast-forward 18 years, it becomes rather amusing that I now take the authority stance as I tower over him when I speak. The voice I give him helps my audience picture him because they probably have people in their lives who speak like him. I do not care exactly how they see him; I just care that they do see him.

The key is to understand that you can give more than verbal hints in order to help your audience see your characters.

FYI – For Mr. H., I also use dialog to give a hint of his description but it is way more subtle than “How did you become a blonde?” For example, I have him say to me, “I saw you in the newspaper. Brother, that is wonderful what you were able to accomplish.” The key word in that sentence is brother. The combination of the word brother and Mr. H’s voice and dialect gives my audience the impression that he is an African-American man about 25-30 years my senior. My audience is right.

One Caveat Regarding Posture and Voice:
Do not go overboard with the posture or with the voice. It is distracting and annoying when a speaker takes on the character of a child and speaks in the child’s high-pitched voice. Instead, make everything subtle. You can speak in a slightly higher pitch and you can look up slightly too as a child would when speaking to a standing adult. The actual use of words and expressions in your eyes can be that of the child but there is no need to take on that child’s actual voice. Remember, the eyes tell the story.

Final thoughts
If you use these three tools, not only will your speeches become more visual, but you will also become more visible because more and more audiences will want to see you speak. As always, keep speaking up.

FYI - I mentioned Patricia Fripp’s comment above. You may not know that, for $1, you can get immediate access to several public speaking lessons by Fripp, Darren LaCroix, Ed Tate, Mark Brown, and others on an ongoing basis. Click here to see about your 30-day $1 trial

..the CONFLICT. Nobody will be drawn into your story without a conflict. I suggest that you establish the conflict very early on…as soon as your characters are introduced. The earlier, the better. Throw your character into a problem right away and then turn the heat up on that problem.

Take the movie “Titanic” for example. When the ship hit the iceberg, the conflict was firmly established. Then the water rushed in and the conflict intensified. Now, what if the water never rose past the level of their feet? The movie would have sucked! Likewise with your story, you can’t simply establish the conflict, but you need to intensify it too. It has to reach a level where something has to give, where the water is up to their necks.

Do this and watch your audience members lean in closer as they get completely wrapped up in your story. A story is the hook for a speech, and a conflict is the hook for a story. Conflict. Conflict. Conflict is king!