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-3629025-267652500Communicating with Power & Presencecenter201930004114800732409000The Experience Manualright0Leader’s Guide for “Communicating with Power & Presence”The purpose of this workshop is for the participants to experience the Tools of High Impact Communication. The Experience Map is the journey of this workshop.The focus of this workshop is in the OUTWARD section of the TAI Experience Map: presence, seeing, being in the moment, embodying and connecting.“The Golden 25”The Essential TAI Communication CompetenciesThese are all of the elements which make up the TAI Communication universe. With the possible exception of the storytelling section, all of these should be introduced to and experienced by every participant in the P&P. These form the basis for the coaching, the tools, the TAI score, the feedback notes and the follow-up correspondence. Familiarize yourself with them before you begin. “The Golden 25”Self as Instrument1Physical Awareness - The speaker is physically in control of their body. They keep a solid base with their feet and do not create distraction by “dancing” or moving aimlessly around the room as they speak. 2Energy – Both physically and vocally, the speaker uses an appropriate amount of energy in their presentation. The audience never feels that the energy is too low, nor are they distracted by too much unfocused energy. 3Breathing – The speaker controls their breathing as they speak, never running out of breath or rushing their delivery. The speaker stops appropriately between thoughts to breathe. Clarity4Diction – The speaker clearly articulates their words, never mumbling or mispronouncing words. The audience has no trouble understanding the verbal delivery of the speaker.5Volume – The speaker speaks loudly enough for the entire audience to hear. The power of the speaker’s voice is appropriate and consistent throughout the presentation.6Speed – The speaker never speaks too quickly or too slowly. The audience never feels that the speaker is rushing their words or that the presentation is dragging.7Non-words – The speaker speaks only the words of the speech and refrains from using “non-words” as a bridge between words or sections of their talk. The audience is not distracted by non-words or sounds (um, so, basically, uh, you know) during the speaker’s delivery.8Direct Language – The speaker speaks in a simple and direct style, using an authentic voice. The audience never feels distracted by the speaker’s use of corporate speak or business jargon, or overcomplicated abstract language. 9Preamble – The speaker does not use the first minutes of the speech to give a needless preamble, telling the audience what they are about to tell them or giving them lengthy, unnecessary context. The speaker starts with a strong opening statement that invites the audience into their talk.Belief10Apology – The speaker does not make any kind of verbal or physical “apology” for their appearance before the group. They do not use phrases like, “I am sorry we didn’t have a lot of time to prepare this,” or, “I hope these details are not boring for you.” They do not show weak body posture, crossing their arms defensively, or having the apologetic energy of a mouse.11Direct Feeling – The speaker does not hide behind data, hoping the audience will come to their own conclusions. They express a definitive point of view or attitude about their subject, leaving no confusion in the audience’s mind about the speaker’s viewpoint.12Personal Experience – The speaker speaks from their own experience, citing specific things they have seen and felt in the world, rather than speaking in generalizations or data points. The audience has the experience of being a first-hand witness to the speaker’s specific connection to the material. 13Emotional Alignment – The speaker is emotionally aligned with their topic, expressing authentic and appropriate emotions about the subject they are presenting. The audience does not have a sense of the speaker being emotionally absent or emotionally off base in their delivery. Engagement14The Gift – The speaker consistently gives one complete thought or short idea to one person in the audience. They do not bounce between people or scan the audience in the middle of “giving a gift,” but stay focused on one person at a time until the thought is complete. 15Inclusion – The speaker connects with everyone in their audience, especially areas of the room where energy and attention are lower. The speaker does not focus on just one or two people, ignoring the rest of the audience but works to include every audience member, no matter the size of the room. 16Demand – Rather than throwing some facts into the room and hoping the audience will follow, the speaker creates a strong pull on the audience to enter into the topic. The audience feels a strong invitation from the speaker that engages them throughout the talk.Valuing the Audience17Attention to Audience – First, the speaker puts their attention on the audience and, later, on their information or slides. They do not spend portions of their presentation talking to the slides behind them or the notes in front of them. The audience gets the clear message that they are more important than the data being presented. 18Assumptions About Audience – The speaker tests for understanding and clarity, either through questions or stated intention, and does not assume they are understood by everyone in the audience. The audience feels investigated and cared for, ensuring their complete understanding of the topic.19Seeing The Audience – The speaker clearly “sees” their audience and feels the “state” of their audience (excited, bored, nervous, angry). They use the right tone, the right level of detail, and the right emotional approach for this particular group. The audience feels the speaker recognizes them for who they are and the state they are in at this moment.Storytelling20Central Conflict – The speaker describes the “central conflict” in their story or presentation, giving a clear picture of the two opposing forces in their narrative. The audience clearly understands what the speaker wants (Force A) versus what stands in the way of getting it (Force B). The audience understands how overcoming Force B would bring about the change that the speaker desires. 21Journey – The speaker’s story/presentation has a beginning, a middle, and an end. The speaker clearly illustrates a journey, from start to finish, that describes a change from one state or condition to a different state or condition. The audience understands the journey that the speaker wants them to take. 22Craft – Using the elements of storytelling (vivid details, images, and/or atmospheres), the speaker brings the presentation to life. The audience feels the power of the story and is fully engaged in the experience the speaker describes.Action and Change23The Step – The speaker clearly defines “The Step” for the audience – the difference between the 1st Universe, or current state, and the 2nd Universe, a desired future state. The audience is left with a specific picture of “where we are now” and “where we need to be.” 24Desire – The speaker creates a desire for the 2nd Universe in the audience and effectively guides and/or inspires them towards taking part in its realization. The audience feels motivated to act towards the speaker’s desired 2nd Universe.25Call to action – The speaker expresses a clear “call to action,” a demand for what they want the audience to do to move towards the 2nd Universe. The directions are explicit and give a very specific timeframe for completion. The audience clearly understands what they are to do next and how and when to do it.P&P at A GLANCECommunicating with Power and PresenceThe Essential Elements Day OneImpact EquationThe Seeing Exercise/Shoes ExerciseThe 10-Minute Writing ExercisePeep Show IOne-on-One CoachingSee The Golden 25 (with the exception of the storytelling section)Tools Boards (to be photographed and used in personalized notes after the workshop)Assignment of Business Content for Day TwoDay TwoPeep Show IICrafting ToolThe TrioMessage in One SentenceCauseThe Call to ActionThe Step0000DAY ONEPART I5029200729615000-123825-16192500Arrival at SiteArrive at site, meet with coordinator, check logistics, and set the room. (See Note: Room Set-Up, pg. ??) center28575Principle: The workshop starts the minute you are seen by the participants. Your job is to be present and to see, recognize, and be in relationship with your audience from the first to the final moment. Principle: The workshop starts the minute you are seen by the participants. Your job is to be present and to see, recognize, and be in relationship with your audience from the first to the final moment. 457200112395Best Practice: Greeting/Learning NamesAs participants arrive, learn their names, cold - as soon as possible. There is a great opportunity to learn people’s names as they enter, and to start to reinforce that right away in the room. If you can create a mnemonic device for each person, or simply remember them, and then immediately start using their names as the session starts, you create a very powerful bond from the first moment. This is a strong example of what we are ultimately teaching them, which is to see, recognize and be in relationship with their audience as soon as possible. Being able to reference every single name in the room at some point during the opening creates a stunning first impression for us as coaches and for TAI as an organization.Best Practice: Greeting/Learning NamesAs participants arrive, learn their names, cold - as soon as possible. There is a great opportunity to learn people’s names as they enter, and to start to reinforce that right away in the room. If you can create a mnemonic device for each person, or simply remember them, and then immediately start using their names as the session starts, you create a very powerful bond from the first moment. This is a strong example of what we are ultimately teaching them, which is to see, recognize and be in relationship with their audience as soon as possible. Being able to reference every single name in the room at some point during the opening creates a stunning first impression for us as coaches and for TAI as an organization.Opening Bell (This section is about 5 minutes, total)Introduce yourselfAsk what participants have heard about this training and mine deeper when applicable Provide a quick history of TAI center56515Trap: “Actors”By being an “actor,” you are going to make us put on a costume, or speak in a strange voice, or be something that we are not.RemedyQuite the contrary - we are here to help you achieve “authenticity.” Authenticity is the first thing that actors learn about. How do we bring our authentic selves to the audience? This will be our guiding principle the next two days. Trap: “Actors”By being an “actor,” you are going to make us put on a costume, or speak in a strange voice, or be something that we are not.RemedyQuite the contrary - we are here to help you achieve “authenticity.” Authenticity is the first thing that actors learn about. How do we bring our authentic selves to the audience? This will be our guiding principle the next two days. 45720010096500center29210Principle: Model what you want from participants. Connect. Don’t pace. Be clear and direct. Establish a simple open connection with the participants from the outset.Principle: Model what you want from participants. Connect. Don’t pace. Be clear and direct. Establish a simple open connection with the participants from the outset.center248285Best Practice: “The Handshake” Choose someone in the front row of the audience, go over to them and offer them your hand. After shaking hands with them, stay in close contact for the next 30 seconds and ask a few “everyday” questions – “How did you get to the workshop today? Is this your first time in this city? What did you have for breakfast?” – with associated quick follow-up questions. Establish a simple, open connection with them. After a basic, warm connection has been established – you can turn back to the room and say, “Now (John, Esmerelda, Guinevere) and I can continue to have this simple, connected conversation, and it probably will not cause either of us too much stress. Most people, in a ‘simple’ conversation from a distance of about one meter (three feet) do pretty well. We don’t ‘lose’ one another at this distance, especially when the ‘stakes’ are relatively low (talking about breakfast…the metro… other minutiae). It is simple for us to be connected and have an impact on each other in a basic way.” These stakes change dramatically when we suddenly have to talk to more than one person, or when the content becomes more important. Is it possible to continue that same basic, connected conversation under these new conditions? We believe that it is.Who is (John, Esmerelda, Guinevere) in the chair as I shake their hand? Who are they as their most authentic self in life and in casual conversation with me? If we can have that same person, that same authenticity on stage – we win. This is the goal.Best Practice: “The Handshake” Choose someone in the front row of the audience, go over to them and offer them your hand. After shaking hands with them, stay in close contact for the next 30 seconds and ask a few “everyday” questions – “How did you get to the workshop today? Is this your first time in this city? What did you have for breakfast?” – with associated quick follow-up questions. Establish a simple, open connection with them. After a basic, warm connection has been established – you can turn back to the room and say, “Now (John, Esmerelda, Guinevere) and I can continue to have this simple, connected conversation, and it probably will not cause either of us too much stress. Most people, in a ‘simple’ conversation from a distance of about one meter (three feet) do pretty well. We don’t ‘lose’ one another at this distance, especially when the ‘stakes’ are relatively low (talking about breakfast…the metro… other minutiae). It is simple for us to be connected and have an impact on each other in a basic way.” These stakes change dramatically when we suddenly have to talk to more than one person, or when the content becomes more important. Is it possible to continue that same basic, connected conversation under these new conditions? We believe that it is.Who is (John, Esmerelda, Guinevere) in the chair as I shake their hand? Who are they as their most authentic self in life and in casual conversation with me? If we can have that same person, that same authenticity on stage – we win. This is the goal.center495935Principle: The next two days, in many ways, are about creating the feeling of a simple one-on-one conversation.00Principle: The next two days, in many ways, are about creating the feeling of a simple one-on-one conversation.center20320Best Practice- “The Handshake,” continuedNow is a good time to go over and shake that same participant’s hand again to reinforce this principle. Over the next ten minutes or so of the opening, return and shake the same participant’s hand again, and again, if it seems appropriate, whenever the idea of “connectivity” reappears from the audience. This is a demonstration that tends to emphasize that this is a workshop about cultivating one relationship, one “gift,” one connection at a time. It also usually provides some excellent humor as well, as they see, “Oh! He’s going back once again to shake hands with (John, Esmerelda, Guinevere) - How entertaining!” But within that, a much deeper point is being established, and felt, that sets up some significant things for you later in the day.Best Practice- “The Handshake,” continuedNow is a good time to go over and shake that same participant’s hand again to reinforce this principle. Over the next ten minutes or so of the opening, return and shake the same participant’s hand again, and again, if it seems appropriate, whenever the idea of “connectivity” reappears from the audience. This is a demonstration that tends to emphasize that this is a workshop about cultivating one relationship, one “gift,” one connection at a time. It also usually provides some excellent humor as well, as they see, “Oh! He’s going back once again to shake hands with (John, Esmerelda, Guinevere) - How entertaining!” But within that, a much deeper point is being established, and felt, that sets up some significant things for you later in the day.Creating Boards: Since P&P is a tools based workshop, it is important to give visual models and structures to help participants make sense of their experience. Creating boards gives them something to refer to throughout the workshop.You will take pictures of all of the boards at the end of the workshop, which will then be sent to each participant. This will be an intimate reminder of what they all experienced together.Building Boards During WorkshopA board, for our purposes, is a single-themed flip chart page, containing tools and information relevant to that theme. Throughout Day One, you will have an opportunity to start to build boards in the room based on some basic themes. Rather than having only one “toolkit” board, with every tool of the workshop mashed together on a page or two – we deploy the strategy of having many individual boards, each with an individual thematic focus. This gets much more information and many more tools up on the walls to support the participants, and does it in a more specified and digestible way. In this manual, you will find examples of boards you will likely create throughout both days of the workshop. These boards will help you to populate the individual tools and techniques being offered to the participants in a way that makes them easily accessible. The examples provided are based on our experience of the things that are most likely to be useful for the participants. Feel free to create your own boards, or adjust the existing boards to the needs of each particular group. Whether you choose to recreate the boards in this manual, or create your own as necessitated, you will have several boards up on the walls by the end of the workshop. This is an excellent way to display the vast amount of new knowledge the participants will acquire over the course of both days. Logistical Point: Nothing is more depressing that coming into the room for day two and seeing that the cleaning crew has taken down and thrown away all of your boards from Day One.Protect your boards. Make it very clear to the coordinator that nothing should be touched overnight. Leave a sign for the cleaners on a white board by the door. If you are at all wary of leaving the boards up in the room when you leave at the end of the day, then don’t. Roll them up and take them with you to be reposted the next day. center29210Best Practice: Great Speaker Board (See Boards #1 and #2, pg. ??) Ask the question, “Who does this well? Who influences their audiences at the highest level? Throw out some names. Capture those names on one board.” While capturing ask, “Why? What is it that makes them powerful? Effective?” Capture those qualities on the other board (inspirational, passionate, innovative, charismatic, direct, etc.) Build these two boards for as long as you see fit for the energy in the room. Best Practice: Great Speaker Board (See Boards #1 and #2, pg. ??) Ask the question, “Who does this well? Who influences their audiences at the highest level? Throw out some names. Capture those names on one board.” While capturing ask, “Why? What is it that makes them powerful? Effective?” Capture those qualities on the other board (inspirational, passionate, innovative, charismatic, direct, etc.) Build these two boards for as long as you see fit for the energy in the room. center20574000Board #1 – Great SpeakersBoard #2 – Qualities of Great Speakerscenter544068000The Impact Equation (See Board #3, pg. 13)The purpose of The Impact Equation is to grab the group’s attention with a counterintuitive formula. While these ideas are more widely known today than when we originally started, this should be a moment when they realize this workshop is about something different than their usual corporate practice.-1905006921500Note: The Impact Equation was inspired by a now-famous, and oft-referenced study of interpersonal communication by psychologist, Dr. Alfred Mehrabian at UCLA in 1964. For more on this study and Dr. Mehrabian’s work, see “Note: Origins of the Impact Equation” on pg. ??.Introducing the Impact EquationThe Impact Equation is one of the most important formulas we will introduce, and will be used as a guide and a reference throughout the workshop. The Impact Equation is what we like to call and artistic equation and the question is examines is, “What most influences an audience to take action?”The answer is given in the form of the following three categories: Content – The data, numbers, facts, and concepts Craft - How the data is arranged and put together? Character - Who is this person? Are they a talking head; a robot spitting data at us, or do we perceive them to be a human being? What is their world view? What do they value? Do we have a sense of that? These three categories form an equation that adds up to 100 percent. Ask one person at a time, “How much is content worth? Craft? Character?” Rather than haphazard numbers from all over the room, put “sets” of consistent numbers up on the board. When this is done, reveal the actual numbers: Content - 7%, Craft – 33%, and Character – 60%.Board #3 – The Impact Equationcenter88900023812527432000Script: (Make this point definitively): “We are not saying that content it not important” (Repeat if need be). We are counting on you having the best, most excellent content possible, but when craft is weak, and particularly when character is weak – that content never has a chance to make it into the room. center96520Best practice: Why We Call the Impact Equation an “Artistic” Equation Take Shakespeare’s Hamlet, for example: The content has withstood the test of time. However, if the craft of the play -the lighting, scenery, and costumes, do not, at best, serve Shakespeare’s intentions for getting the ideas of Hamlet across, the impact of the play will never reach the audience. At worst, if the production is placed in some incongruent, inaccessible setting, it could destroy the play. Likewise, if we do not believe the actor playing Hamlet actually embodies the character of Hamlet, the impact of the play will never be felt. That is why we are focusing on you for the next two days.0Best practice: Why We Call the Impact Equation an “Artistic” Equation Take Shakespeare’s Hamlet, for example: The content has withstood the test of time. However, if the craft of the play -the lighting, scenery, and costumes, do not, at best, serve Shakespeare’s intentions for getting the ideas of Hamlet across, the impact of the play will never reach the audience. At worst, if the production is placed in some incongruent, inaccessible setting, it could destroy the play. Likewise, if we do not believe the actor playing Hamlet actually embodies the character of Hamlet, the impact of the play will never be felt. That is why we are focusing on you for the next two days.Opening ExercisesPresenceWhat does being “present” mean for our purposes? We can choose to be focused on ourselves or on our audience. Being present means focusing completely on things outside of ourselves. We all have a “little person” on our shoulder who constantly whispers in our ear “This is not good! You are not doing well! They are bored! You are explaining this badly! Everyone can see how nervous you are!”We have the option to listen to that little person (ourselves) or to put our attention outside of ourselves (on our audience). Ask the question: When was a time in your life that you have felt totally present in the moment, when you were totally focused on your surroundings and not at all focused on yourself? Mine this a bit – (It can become personal for them, but mine it anyway…the day I got married, the birth of my child, a car accident, etc.)Exercise #1: Object/SeeingThe purpose of this exercise is to give the participants an experience of seeing reality in front of them – a brief moment of being present, fully focused on something outside of themselves, without their attention on themselves and their thoughts.Seeing Exercise Explanation Script: Find an object in the room that you have not yet noticed. Look around the room. Focus on that one object. We are now going to describe it not by naming it (a marker pen, a water bottle, a fire alarm on the wall) but instead by describing it only with details that we can actually see in this moment (color, size, shape, texture), almost as if we were from another planet and did not have the vocabulary of this current planet. We are going to describe it without judgment – without a sense that it’s something we’ve all seen before.Debrief “What was this exercise about?”– Mine the audience, leading towards the concept of judgment. When we judge first, we end all possibility of connection and relationship with the thing that is in front of us. We literally do not see it.center19050Traps of the Object/Seeing Exercise: Trap: A participant’s perception that “It’s a guessing game! – I will make sure I am never looking at the object I have selected, and I will see how clever I can be in description so that everyone will have to guess the correct object, and I will be the winner!”Remedy: First instruction to the participant – “Look directly at your object, now point at it. Yes, actually, physically point at it – with your finger so that everyone can see what you are describing. Can everyone see the object they are pointing at? Great, let’s start the exercise.”Trap: A participant’s perception that “There is no point…it’s a water bottle, what else is there to see? It’s just a bottle of water…end of story…I see nothing else.” Remedy: Press harder on the individual components you have set up (color, size, shape, texture). “What colors do you see? …only blue? No other colors at all? All one shade of blue, or are there other shades? Lighter? Darker? What shapes do you see? What parts are that shape? What parts are other shapes? What shapes are those parts? How large are those parts in centimeters?” When all else fails, turn it out towards the room – “Other people…what do you see in this object? What other qualities to you find?” There will (usually) be more detailed observations from the room that you can then play back to the audience and to the initial participant. Be careful not to shame the initial participant while making your point.0Traps of the Object/Seeing Exercise: Trap: A participant’s perception that “It’s a guessing game! – I will make sure I am never looking at the object I have selected, and I will see how clever I can be in description so that everyone will have to guess the correct object, and I will be the winner!”Remedy: First instruction to the participant – “Look directly at your object, now point at it. Yes, actually, physically point at it – with your finger so that everyone can see what you are describing. Can everyone see the object they are pointing at? Great, let’s start the exercise.”Trap: A participant’s perception that “There is no point…it’s a water bottle, what else is there to see? It’s just a bottle of water…end of story…I see nothing else.” Remedy: Press harder on the individual components you have set up (color, size, shape, texture). “What colors do you see? …only blue? No other colors at all? All one shade of blue, or are there other shades? Lighter? Darker? What shapes do you see? What parts are that shape? What parts are other shapes? What shapes are those parts? How large are those parts in centimeters?” When all else fails, turn it out towards the room – “Other people…what do you see in this object? What other qualities to you find?” There will (usually) be more detailed observations from the room that you can then play back to the audience and to the initial participant. Be careful not to shame the initial participant while making your point.4476752705100044767529845Best practice: Challenging Assumptions There is an option to do a little mini exercise in the room at this point. Choose a participant and ask:“What area of the company are you from?”She responds, “I’m from marketing.”“Well, we all know about marketing don’t we? They are all the same…totally obsessed with finding the next ‘big idea,’ never really aware of the larger mission of the company – always dismissing other people because they are not as “clever” as the marketing people – always insisting they are the smartest person in the room, and another judgment…and another judgment…and another… Hold on. I don’t even know this person. I am judging her before I have had any contact with her at all. When we judge first – we end all possibility of relationship. We have just practiced a version of the same thing in the previous exercise. What does it feel like to actually stay connected and open to the reality that is in front of you?”0Best practice: Challenging Assumptions There is an option to do a little mini exercise in the room at this point. Choose a participant and ask:“What area of the company are you from?”She responds, “I’m from marketing.”“Well, we all know about marketing don’t we? They are all the same…totally obsessed with finding the next ‘big idea,’ never really aware of the larger mission of the company – always dismissing other people because they are not as “clever” as the marketing people – always insisting they are the smartest person in the room, and another judgment…and another judgment…and another… Hold on. I don’t even know this person. I am judging her before I have had any contact with her at all. When we judge first – we end all possibility of relationship. We have just practiced a version of the same thing in the previous exercise. What does it feel like to actually stay connected and open to the reality that is in front of you?”Exercise #2: The Shoes ExerciseThe purpose of the Shoes Exercise is to take the Object Exercise into a slightly more personal realm. Instead of looking at something in the room, they are going to look at something their fellow participant is wearing.Both of these exercises are about being present by focusing the attention of the participant outside of themselves. If P&P were a musical, the Object Exercise would be the first few bars of a theme to be explored in full later. The Shoes Exercise is that theme expanded upon slightly.The Shoes Exercise Explanation:Script: Now we are going to take this to the next step. Find a partner in the room. Once you have identified a partner, choose a “Partner A” and a “Partner B”. “Partner A” will go first. “Partner A” will be describing Partner B’s shoes to them. Just as we described the object a moment ago in terms of color, shape, size, texture…you will be doing the same thing with your partner’s shoes. “Partner B,” your job is to count how many details “Partner A” comes up with. center27940Best Practice: Make the Shoes Exercise a CompetitionScript: This is a competition. The partner with the most details at the end wins. The partner who has collected fewer details loses. You win the competition by being the one who is most connected, most observant, and finding the most details in your partner’s shoes.“Well, they are just black, high-heeled women’s shoes, I can’t see anything else” is a marvelous formula for losing the competition. You have 60 seconds – Partner A: go! Coach times this and then asks the partners to switch.By strongly reinforcing the idea of a competition, you immediately identify and forcibly engage the participants who are resistant to, or challenged by, this type of exercise. 0Best Practice: Make the Shoes Exercise a CompetitionScript: This is a competition. The partner with the most details at the end wins. The partner who has collected fewer details loses. You win the competition by being the one who is most connected, most observant, and finding the most details in your partner’s shoes.“Well, they are just black, high-heeled women’s shoes, I can’t see anything else” is a marvelous formula for losing the competition. You have 60 seconds – Partner A: go! Coach times this and then asks the partners to switch.By strongly reinforcing the idea of a competition, you immediately identify and forcibly engage the participants who are resistant to, or challenged by, this type of exercise. Debrief “What did you discover? Who got as many as 7 details, show of hands? Who got 10? 12? 15? More than 15?” Give some praise to those excelled at the exercise and some gentle encouragement to those who did not. “Also, very importantly – what did you notice about the energy in the room as we were doing the exercise? (Hopefully:) Ah, much higher…much more alive. This is a place to reinforce that energy, creativity, relationship which occurs when we are actually engaged and connected to one another.”Exercise #3: The 10-Minute Writing ExerciseThe purpose of the 10-Minute Writing Exercise is for the participant to develop content which will be used for the rest of the day.-12382517970500Natalie Goldberg is the “inventor” of the 10-minute writing exercise. Her first book, Writing Down the Bones: Freeing the Writer Within (Shambhala), was published in 1986. For more on the origins of this exercise, see “Note: The Origins of the 10-Minute Writing Exercise,” pg. ??.10-Minute Writing Exercise Explanation:Now we will move into the final exercise of the morning. There are a couple of different variants here, depending on the client, but as a basic formula, we now stick to a personal story, not a business story. Script: Think about a time from your personal life when you influenced an individual or a group of people to achieve a great result – a time when as a result of your influence, guidance, or leadership, someone, or a group of people, achieved something great. This could be an important one-on-one connection you had with someone, or a time when you influenced a group of people around you to do something very positive - especially when they initially felt they could not, but because of your influence, they did achieve it. I am going to give you ten minutes to write. Please write in English. Please write in complete sentences. Do not write in bullet points. The story will be as long as it is after ten minutes of writing. You do not need to obsess and worry about the ultimate length. As this is going to be your content for the rest of today. Please choose something that you are comfortable sharing with all of your colleagues. You will be reading it out loud later today. You have ten minutes beginning now – go!center186055Trap: The main trap of this exercise is usually dealing with the “non-writers” – those who stare off into space - “No, I don’t really have a topic to write about…no, I am uncomfortable talking about myself in this way…no this is self-aggrandizing…no, I’ve never done anything great…etc.” Five minutes have gone by and they are still staring at a blank page.Remedy: Watch closely. If someone is not writing after 90 seconds, go ahead and approach them. “This does not have to be the greatest story ever told – we just want to hear about a time when you influenced something or someone in a positive way – just choose any story you have that fits that description – it does not have to be ‘the perfect story.’ Start to capture that now.”00Trap: The main trap of this exercise is usually dealing with the “non-writers” – those who stare off into space - “No, I don’t really have a topic to write about…no, I am uncomfortable talking about myself in this way…no this is self-aggrandizing…no, I’ve never done anything great…etc.” Five minutes have gone by and they are still staring at a blank page.Remedy: Watch closely. If someone is not writing after 90 seconds, go ahead and approach them. “This does not have to be the greatest story ever told – we just want to hear about a time when you influenced something or someone in a positive way – just choose any story you have that fits that description – it does not have to be ‘the perfect story.’ Start to capture that now.”right23685500After ten minutes, break them into pairs. Ask them to choose a new partner, someone who was not their partner during the Shoes Exercise. center34925Trap: The reader wants to tell their partner about the story they wrote, rather than actually reading the storyRemedy: Say, “Readers, your job is to actually read what you wrote.”Trap: The listener wants to edit or offer advice to the reader.Remedy: Say, “And for those of you who are listening, do just that. Do not edit. Do not think about how you would tell this story differently. Just listen.”00Trap: The reader wants to tell their partner about the story they wrote, rather than actually reading the storyRemedy: Say, “Readers, your job is to actually read what you wrote.”Trap: The listener wants to edit or offer advice to the reader.Remedy: Say, “And for those of you who are listening, do just that. Do not edit. Do not think about how you would tell this story differently. Just listen.”right14668500DebriefScript: What was that like? How was it listening to your partner’s story?” (Choose one person and ask:) “Do you remember one specific picture? One frozen moment - one frame of film from your partner’s story? What was it? Tell us. Does anyone else remember one specific picture from your partner’s story?” Introduce the idea that powerful stories usually give us “iconic” moments to hang onto – moments we will remember long after the story has been told. Finally, mine for anything else anyone wants to say, and close the first half of Day One. 15 Minute Break – Arrange to break participants into separate rooms when applicable.lefttop00DAY ONEPART IIONE-ON-ONE COACHINGright723201500After the break, the coach returns to the front of the room. This is a good time to quickly make a few points:This workshop is about taking yourself across some new borders, activating some new muscles - at times, this may feel a bit uncomfortable.This is a safe atmosphere to do that, you have my full respect and support as we start that processYour participation as audience members, giving feedback to your colleagues will be a key part of the success of the workshopExercise #4: Peep Show IThe purpose of Peep Show I is to help you avoid undesirable scenarios by allowing you to see a quick rundown of who is in the room, and set the order for the one-on-one coaching based on your own observations and intuition.center23495Best Practice: Peep Show IYou will see after Peep Show I (which is the only time the participants themselves will choose the order in which they present), that it is usually best to make the terrified people go first, as they have the most room to grow, which can be very valuable for the other participants to witness before they present.0Best Practice: Peep Show IYou will see after Peep Show I (which is the only time the participants themselves will choose the order in which they present), that it is usually best to make the terrified people go first, as they have the most room to grow, which can be very valuable for the other participants to witness before they present.Peep Show I allows you, as the coach, to see who you are dealing with as a group. Who is “the mouse?” Who is “the alpha male?” Who can’t speak English very well? Who is “the genius” who knows all about this work before experiencing it? Who is the floor-gazer? Who has some strong basic connective skills already? By knowing this before starting the main story coaching, Peep Show I will give you some powerful information to help you orchestrate the sequence of the day.Script: As a first exercise, everyone is going to have a chance to come up to the front of the room, hold the space, and tell us the following:Your name, and where you come fromSomething about your job function and what you actually do at the companySomething that might surprise us about youDepending on how you wish to customize, you can also add “Something we should know about you as a leader or Something that you are very passionate about, etc.”The coach goes first and performs the above exercise in front of the group. Afterwards, the group proceeds to do the exercise, taking the “stage” one by one. Remember, just this once, to let the participants choose the order.Applause Purpose: As a convention, the P&P uses audience applause to support the speaker on stage after delivery. This is why the TAI leader must establish this early on day one in the first peep show. Script: After telling us your name, your job, and a surprise about you etc. - please say thank you and we will applaud you.This is an important potential teaching point as many people will not acknowledge the applause. This can take some common forms:Shoe-gazer. While being applauded, participant looks down at the floor, or looks at their notes in front of them, participant does not acknowledge the audience.Teacher’s Pet. While being applauded, participant looks only at the TAI leader, seeking approval and ignoring the rest of the audience.Pitch & Ditch. While being applauded, participant walks off stage, conveying an attitude of, “I’m finished here, I have nothing more to say…” – no contact made with those who are in the process of trying to acknowledge them.It is important to try to catch these scenarios as they unfold before you as the TAI leader, and guide the participant to an understanding of why it is important to stay and honor the audience applause. It can seem like a trivial thing to some participants: “Nobody applauds me in my day to day presentations, why make such a big deal about this?” The big deal is that this is a metaphor for every final moment of every talk you ever deliver. We see that when the speaker disappears at the end of the talk, a big void is created for the group. Audiences start to doubt the sincerity, and even the trustworthiness of the speaker in that moment. It only takes a few seconds to create presence at the end of delivery, but by committing to that moment you help your audience have confidence to carry your message forward and take action on it in the world. After they have accepted their applause, feel free to ask questions of the participants if you wish, if there are things that you would like to hear more about. After all the participants have presented themselves, the coach comes forward and asks, “What did you notice about your colleagues?” Mine for a short, rich discussion here. left63500 Accepting Applause Naturally, this is a good time to start making participants accept their applause and be present at the end of something they deliver. If you see participants manifesting one of the three behaviors given above (or any others that negate the audience’s appreciation for them) stop them on the spot.Example: Speaker “Gwendolyn” says thank you and immediately starts to charge off stage as they applaud. You should immediately stop her: “Stop, let’s try that again.”Gwendolyn asks, “But what did I do?”“You didn’t stay for the applause.”She tries it again, but actually is only a little better, and is still moving offstage while they are applauding. Again, you say, “Stop. Let’s try it again.”Make her stay, even if it takes three or four tries. When she has succeeded in accepting her applause, ask her to stay in front of the room for a moment and mine the audience – “Why is it different for us when she stays and acknowledges us? How does this reinforce her impact, rather than negating it?”The audience will typically give strong feedback as to why it is better.Continue to make participants accept their applause throughout the workshop. Be diligent about it. They will quickly forget it. Even at the end of day two, you will have someone you’ve reminded nine times happily “dance” offstage while the audience is applauding their final presentation. Be firm. Immerse them in the practice of honoring the last moment and not taking their audiences for granted.One-on-One CoachingBefore you begin, take note of the traps below and their very important remedy! The following scenarios are to be carefully avoided: center24765Trap -The two most talented storytellers in the room decide to go first and second, respectively. The first versions of their stories are actually very good – the coaching you are now offering (though giving them something new) is met with – “No, they were much better the first time…you are just making them more artificial – why fix what isn’t broken?”Trap - The three most terrified and psychologically blocked people wait until the last minute to present. You are now forced to do micro-surgery, and “baby steps” work with all of them to get them to the simplest level of connection that all the other participants have already achieved. The energy of the room plummets as you spend the last three coachings “hand-holding” the paralyzed, when you should be working with the people who are most able to synthesize and put in practice all that has come before. Remedy: You will choose the order of participants for the story coaching, not them. By selecting the order, you can much more effectively create pace, flow, momentum, and hold attention and interest for the learning to follow. 00Trap -The two most talented storytellers in the room decide to go first and second, respectively. The first versions of their stories are actually very good – the coaching you are now offering (though giving them something new) is met with – “No, they were much better the first time…you are just making them more artificial – why fix what isn’t broken?”Trap - The three most terrified and psychologically blocked people wait until the last minute to present. You are now forced to do micro-surgery, and “baby steps” work with all of them to get them to the simplest level of connection that all the other participants have already achieved. The energy of the room plummets as you spend the last three coachings “hand-holding” the paralyzed, when you should be working with the people who are most able to synthesize and put in practice all that has come before. Remedy: You will choose the order of participants for the story coaching, not them. By selecting the order, you can much more effectively create pace, flow, momentum, and hold attention and interest for the learning to follow. right23812500Coaching Personal ContentOne-on-one coaching begins with your first choice of participant – again, choose someone who has something obvious you can work on, or someone who is terrified or scattered, or whatever the case may be. Always let the participant get all the way through the first version of their story without coaching them. Allow it to be what it will be. After the first presentation – mine the participant a bit first (“How did that feel for you? What did you notice about your audience? etc.”) before moving to audience feedback.-1333506921500Audience comments after version one (both on Day One and Day Two) should start with asset-based feedback (see Note: Kathy Cramer’s “Asset-Based Feedback”):What did we like about this first version? What was positive for us as an audience? What was coming through well?Then, once you’ve set up a positive framework:What opportunities did we see for (Esmerelda) here in version one? What are some things we would have liked more of? Or less of? Mining for the negative through the context of opportunities is a powerful way to keep feedback constructive.center85725Best Practice: Breathing and Connecting (See Breathing Board, pg. ??)With the first participant, do some basic work on breathing and connecting to the audience non-verbally, getting them to be present and available in the room. 0Best Practice: Breathing and Connecting (See Breathing Board, pg. ??)With the first participant, do some basic work on breathing and connecting to the audience non-verbally, getting them to be present and available in the room. -285754445000 The GiftThe gift is the act of giving one short piece of information, or one complete thought to one person at a time. We have specifically used the word “gift” as it is something that audiences remember easily and respond to very strongly.A gift is given away, but in order for it to be fully given, it must be received. It must “land” with the receiver. The receiver should have a reaction to having received the gift. This is something that is felt. It creates a cycle of energy moving in two directions. In order to complete the cycle, the giver must receive the energy they have given back from the receiver in the audience. The gift is our basic building block for establishing a connection between the speaker and the audience and, in so doing, successfully communicating the speaker’s message. Like building with LEGOs, each individual block builds on another to create the full structure. We create meaning and impact one gift at a time.A useful way of thinking about the Gift in terms of teaching it, and referencing it with your TAI colleagues, is to think specifically about the Three Stages of the Gift (See Board #4, pg. 25). It is extremely important that participants understand the three stages, and especially the fact that the first and third stage are entirely silent.center24130Best Practice: The Three Stages of the GiftThis is the first, and primary, way that the Gift breaks down and becomes sloppy as participants are starting to use it. They start to slide verbal communication into Stage 1 and let it linger into Stage 3. Be strict about fully expressing all three stages. Do not allow them to speak in Stage 1. Make it all about targeting and then connection. No sound from the speaker allowed. Make sure their Stage 2 statements (the Gift itself) are concise. One sentence is plenty for a beginner – no more than two sentences maximum per gift. Help them to be definitive by putting a period at the end of the sentence. This will stop them from rambling into Stage 3. Stage 3 is about silently watching for impact. Again, no sound from the speaker. Help them to practice pausing, and to investigate following a pause. Be a stickler about it.0Best Practice: The Three Stages of the GiftThis is the first, and primary, way that the Gift breaks down and becomes sloppy as participants are starting to use it. They start to slide verbal communication into Stage 1 and let it linger into Stage 3. Be strict about fully expressing all three stages. Do not allow them to speak in Stage 1. Make it all about targeting and then connection. No sound from the speaker allowed. Make sure their Stage 2 statements (the Gift itself) are concise. One sentence is plenty for a beginner – no more than two sentences maximum per gift. Help them to be definitive by putting a period at the end of the sentence. This will stop them from rambling into Stage 3. Stage 3 is about silently watching for impact. Again, no sound from the speaker. Help them to practice pausing, and to investigate following a pause. Be a stickler about it.Board #4: The Three Stages of “The Gift”center8890center19050Principle: “Personal Qualities” in Power & Presence vs. “Personal Qualities” in the Creative Dynamic and Leadership Persona In the P&P, you can have the audience say what qualities they see in the speaker that come as a direct result of what the speaker has done on stage. This should not be any potential quality they might perceive in them in this given moment. Instead, feedback of qualities should be specifically linked to the work that is going on in front of the room. Responses for qualities in the P&P should answer the question, “How does the speaker come across when they do x, y or z?” It should then be pointed out to the participant that “When you behave this way, this is how you come across.” While it may be surprising and revelatory to the participant, it should not be mined as deeply as it would be in the Creative Dynamic or even in Persona. Here are the three distinctions to keep in mind:P&P is about giving the participant tools to be an effective communicator. The Creative Dynamic is about opening up a personal space for what it is you want to create in your life. Leadership Persona is about owning the qualities that make you an effective leader. These are subtle but vital differences and must not be confused, in order to avoid “cross pollination.” P&P is intended to be a tools-based workshop. The more tools we can offer the participants over two days, the better. 00Principle: “Personal Qualities” in Power & Presence vs. “Personal Qualities” in the Creative Dynamic and Leadership Persona In the P&P, you can have the audience say what qualities they see in the speaker that come as a direct result of what the speaker has done on stage. This should not be any potential quality they might perceive in them in this given moment. Instead, feedback of qualities should be specifically linked to the work that is going on in front of the room. Responses for qualities in the P&P should answer the question, “How does the speaker come across when they do x, y or z?” It should then be pointed out to the participant that “When you behave this way, this is how you come across.” While it may be surprising and revelatory to the participant, it should not be mined as deeply as it would be in the Creative Dynamic or even in Persona. Here are the three distinctions to keep in mind:P&P is about giving the participant tools to be an effective communicator. The Creative Dynamic is about opening up a personal space for what it is you want to create in your life. Leadership Persona is about owning the qualities that make you an effective leader. These are subtle but vital differences and must not be confused, in order to avoid “cross pollination.” P&P is intended to be a tools-based workshop. The more tools we can offer the participants over two days, the better. Script: Audience, in version two, Esmerelda is taking much more time to breathe after each gift, giving us more time to receive what she is offering us. She no longer has her finger on the “fast-forward button.” By using the tool of breath in version two she is now more _____. Fill in the blank audience – she’s more…what?Audience potentially responds:“She’s more clear and concise.”“She is more trustworthy. I believe more in what she is saying.”“She is calmer. This gives her more authority.”“She is more caring. When she gives me time to process the gift, I see how much she cares about this topic.”You as the coach can now play those qualities back to the speaker on stage.Script: “Clear, concise, trustworthy, calm, authoritative, and caring…do those sound like qualities you would like to bring to your audiences as a leader? By using the tool of breath, we start to see these qualities that you naturally possess, manifest and be revealed much more powerfully in the room.”The qualities are listed on a flipchart (See Board #5 below) and a Qualities Sheet is created for each participant. This sheet is then referred to, and added to, throughout the workshop after each time a participant presents in front of the room. Board #5: Qualities Sheetcenter10160Beginnings and EndingsA larger point of learning that will assuredly present itself on day one for the participants is the concept of beginnings and endings. How does a speaker handle the first ten seconds with their audience? How do they handle the last ten seconds? This is typically a great opportunity for the TAI leader to reinforce these two moments. What we are ultimately showing them is that if you throw away with the beginning (and most of them will) you lose a powerful opportunity to create impact and solidarity with your audience.45720014859000485775109855Beginning TrapsTraps you will typically see participants fall into within their first ten seconds on stage are typically:Blurting out the first sentence while making no connection to any one audience member – then continuing to mindlessly scan over the audience for the first minuteStarting with very low energy that they think they will “ramp up” as they get going after a few minutes (they never do)Starting not in neutral physically – trying to start from a moving, unbalanced, or physically blocked position on stage. Audience is distracted by what is going on with them physically, does not hear any of the first 30 secondsApology (See Board #?, Day One Addendum) – either physical (blocking, crossing legs/arms, creating “armor” for themselves – energy recedes, their body seems to be fighting to get off stage, or physical tics appear as a distraction) or verbal (“I’m not a great storyteller, so…I hope this won’t bore you too much…I didn’t really have time to prepare this properly…I did this quickly so I hope you will still find it interesting…Starting with a non-word instead of a real word in the first sentence (So…anyway, I was walking my dog one day – Uh…okay, like I was walking my dog one day – Um, basically, I was walking my dog one day – I was kind of…you know…walking my dog one day…So I’m pretty much just walking my dog one day). These are all examples of destructive non-words and non-word phrases that people use to “soften” their intention in hopes of being judged less harshly by an audience. It actually has the opposite effect. And of course, the Preamble (See Board #?, Day One Addendum) – participant gives long, wandering context about the thing they’re about to tell you before they tell it to you. Participant feels they must “prepare you” for the content to come, and that they must establish how, why, when, and in what form this information came to them before they can deliver it to us. Deadly, deadly stuff that kills momentum in the room. Beginning TrapsTraps you will typically see participants fall into within their first ten seconds on stage are typically:Blurting out the first sentence while making no connection to any one audience member – then continuing to mindlessly scan over the audience for the first minuteStarting with very low energy that they think they will “ramp up” as they get going after a few minutes (they never do)Starting not in neutral physically – trying to start from a moving, unbalanced, or physically blocked position on stage. Audience is distracted by what is going on with them physically, does not hear any of the first 30 secondsApology (See Board #?, Day One Addendum) – either physical (blocking, crossing legs/arms, creating “armor” for themselves – energy recedes, their body seems to be fighting to get off stage, or physical tics appear as a distraction) or verbal (“I’m not a great storyteller, so…I hope this won’t bore you too much…I didn’t really have time to prepare this properly…I did this quickly so I hope you will still find it interesting…Starting with a non-word instead of a real word in the first sentence (So…anyway, I was walking my dog one day – Uh…okay, like I was walking my dog one day – Um, basically, I was walking my dog one day – I was kind of…you know…walking my dog one day…So I’m pretty much just walking my dog one day). These are all examples of destructive non-words and non-word phrases that people use to “soften” their intention in hopes of being judged less harshly by an audience. It actually has the opposite effect. And of course, the Preamble (See Board #?, Day One Addendum) – participant gives long, wandering context about the thing they’re about to tell you before they tell it to you. Participant feels they must “prepare you” for the content to come, and that they must establish how, why, when, and in what form this information came to them before they can deliver it to us. Deadly, deadly stuff that kills momentum in the room. -6096002597150050482515684500533400167005Ending TrapsWeak endings function in very much the same way as weak beginnings, with the exception that, because they occur in the last moment of interaction with the audience, they tend to be remembered more strongly.Some of the traps you will typically see participants fall into with their closing 10-30 seconds include:The “damp squib” ending – speaker allows all energy to drain away, ending with a “damp squib”, a “fizzle out” that dies on stage.The apology ending – See apology above. Versions of that appear here as well, both physically and especially verbally: “In closing I hope that you have found what I have said not too boring, and I hope I have not taken up too much of your time…”The abrupt “doesn’t feel like the end” ending. Speaker comes to a data point near the end of what they have to say – “So…we found out the number was actually 14%...” Speaker stops and stares blankly at the audience. Audience looks at each other, “That was it? Is that the end? Is he done? Is that how he’s ending this thing?” Speaker walks off stage.The “rambler” ending. Speaker comes to what feels like a good closing statement. The audience is with him, and then he then makes a “further” closing statement, and then another, and then another. Speaker gets trapped in a loop of essentially repeating versions of the same ending because he thinks audience hasn’t quite gotten their meaning yet. They got it the first time, and now the speaker has lost them.The “throw away” ending. The speaker cannot seem to wait to get offstage, and starts to speed up as the close is near. The audience becomes tense as the speaker “presses” to finish as quickly as possible. The speaker stops landing gifts and instead retreats back into data download, culminating with dashing off the final sentence and rushing off stage, ignoring the audience as they do so.0Ending TrapsWeak endings function in very much the same way as weak beginnings, with the exception that, because they occur in the last moment of interaction with the audience, they tend to be remembered more strongly.Some of the traps you will typically see participants fall into with their closing 10-30 seconds include:The “damp squib” ending – speaker allows all energy to drain away, ending with a “damp squib”, a “fizzle out” that dies on stage.The apology ending – See apology above. Versions of that appear here as well, both physically and especially verbally: “In closing I hope that you have found what I have said not too boring, and I hope I have not taken up too much of your time…”The abrupt “doesn’t feel like the end” ending. Speaker comes to a data point near the end of what they have to say – “So…we found out the number was actually 14%...” Speaker stops and stares blankly at the audience. Audience looks at each other, “That was it? Is that the end? Is he done? Is that how he’s ending this thing?” Speaker walks off stage.The “rambler” ending. Speaker comes to what feels like a good closing statement. The audience is with him, and then he then makes a “further” closing statement, and then another, and then another. Speaker gets trapped in a loop of essentially repeating versions of the same ending because he thinks audience hasn’t quite gotten their meaning yet. They got it the first time, and now the speaker has lost them.The “throw away” ending. The speaker cannot seem to wait to get offstage, and starts to speed up as the close is near. The audience becomes tense as the speaker “presses” to finish as quickly as possible. The speaker stops landing gifts and instead retreats back into data download, culminating with dashing off the final sentence and rushing off stage, ignoring the audience as they do so.-61912510795000Assignment for Day TwoScript: Bring in a talk or presentation that you would actually deliver in your role at your company. This is something that you have perhaps delivered in the past, or something that you might deliver in the future. Whatever the topic – make sure it is something that challenges you. Choose something that you don’t particularly like delivering. Topics might include:A message to a consistently hostile audienceA high-level topic that just never seems to be clear to the audience I am addressing, they just never “get it”A stressful one-on-one conversation that I must undertake with a colleague or team memberDelivering “bad news” to the team, or the outside worldHaving to “embody” something in front of my colleagues as a leader that makes me uncomfortableAnything else that is “difficult” or “challenging” to deliver Do not choose, “A general update on 4th quarter projections” or “The regular monthly finance update,” or anything else routing or purely informational. Do not, under any circumstances, bring a PowerPoint presentation. PowerPoint is not allowed. Consider the following questions:What is my message in one sentence? (Reinforce examples of message in one sentence and message in 19 sentences so they clearly see the difference.)What do I want to cause?By cause, we mean – what state do I want my audience to be in? A helpful way of defining this is using the following sentence:I want to ______them.Fill in the blank. What are some things that you might want to do to your audiences based on that sentence? (Mine this. If you need to, then you can offer):I want to inspire them, challenge them, unite them, encourage them, empower them, chastise them, calm them, redirect them, align them, excite them, anger them, focus them, etc.Tell them you’ll stay behind for anyone who has individual questions, and bid them goodnight. END OF DAY ONElefttop00DAY TWOright733996500center19050Principle: The purpose of Day Two is for participants to actively engage in the experience of using the Tools of High Impact Communication in a business-related context. Day One used their personal content. Day Two will use business content. The goal for the participants on this day is to create a brand new, much more powerful impact on their audience. 0Principle: The purpose of Day Two is for participants to actively engage in the experience of using the Tools of High Impact Communication in a business-related context. Day One used their personal content. Day Two will use business content. The goal for the participants on this day is to create a brand new, much more powerful impact on their audience. Arrival at SiteArrive at site. Sometimes the coordinator will want to meet. If not, be sure to arrive early to check the logistics, set the room, and greet participants. center146050Best Practice: Day Two WelcomeWhen you are back in front of the room, give a general welcome and greet everyone returning on Day Two. Mine the room quickly for mood and/or thoughts. This is primarily about quickly establishing yourself as the leader in front of the room again. You are reminding everyone, ever briefly, “Here is the focal spot of our work. I am standing on that very spot again as we saw everyone do yesterday.” What you are doing (and hopefully have been doing all during Day One) is being a manifestation of what we are asking participants to do, and serving as an example of how we are asking them to behave in front of the room. 0Best Practice: Day Two WelcomeWhen you are back in front of the room, give a general welcome and greet everyone returning on Day Two. Mine the room quickly for mood and/or thoughts. This is primarily about quickly establishing yourself as the leader in front of the room again. You are reminding everyone, ever briefly, “Here is the focal spot of our work. I am standing on that very spot again as we saw everyone do yesterday.” What you are doing (and hopefully have been doing all during Day One) is being a manifestation of what we are asking participants to do, and serving as an example of how we are asking them to behave in front of the room. Exercise #5: Peep Show IIThe purpose of Peep Show II is to assess where people are after the work of Day One and to give you one more opportunity to assess the participants and plan the presentation order for the day.Script: The first thing we will undertake today is for all of you to have a chance to come right back up here where I am standing, take the room once more, and give us a short introduction. As you take the stage, continue to practice everything that you learned yesterday, and please tell us:Your favorite moment or the most powerful moment you experienced in the workshop yesterday, and whyTwo things that you learned yesterday that you want to bring into your presentation and practice today, and:Give us a short preview of the topic of your presentation, who the audience is, and why this is a challenging situation for you.These should each be about 2-3 minutes in length. It is, of course, a chance for them all to reconnect with the room, but most importantly it is a chance for you to start to get some idea of the order you will choose for the afternoon’s coaching. Who is still struggling with basic technical things? Who does not seem to remember much from yesterday? Those are good people to put at the head of the line. Who is tackling a really big topic, drawing on something inspirational or aspirational, and seems like they have taken a lot on board from yesterday? Think about putting those people in the closing positions. It is typically a good idea to identify one “closer” at this point, the one who you think will really have the biggest impact. Remember to put them last. This can change over the day of course, but it’s good to have a loose, basic order in your head as you enter into the next section.DebriefGo back in front of the room for a quick debrief after everyone has presented in Peep Show II – Ask, “What did you notice about your colleagues? What is different today from yesterday?” Mine for rich responses, and proceed to the Crafting Toolcenter13144500left1587500 For full size version, see “P&P Notes,” pg. ??Typically, it is best to gather everyone in a circle, seated, or sometimes you can lead this next section from the front of the room. It is up to your discretion. Pass out the Crafting Tool. Script: “Here is a tool that will help you look at how to craft your work today.” You can start by letting them digest and read for a minute or two, then ask, “What do you see?” Mine for answers, feel free to explore the answers that come back to you. Typical responses from participants here might be, “I see a circle… I see a framework… I see a strategy, a system, a series of questions, etc.”It is good to take them through each quadrant of the Crafting Tool. Ask one participant to read the text in the first quadrant (“Me”) aloud. Ask the group, “What is important here and why?” Then have a different participant read the second quadrant. Discuss and repeat the procedure with the remaining quadrants. Introducing the Crafting Tool should take no more than 15 minutes. When you have finished introducing the Crafting Tool, introduce The Trio using the Desert Island Story as illustration. Draw the trio board as you go. The TrioThe purpose of The Trio is to sharpen the focus of the presentations to three pointed and specific goals that we are asking the participants to aspire to in their moment in the spotlight. The Trio serves as the map that will guide them to success. Script: This is a condensed version of the Crafting Tool, three essential elements that we call The Trio. This will be an excellent guide in helping you further craft your content for this afternoon. We gave you a preview of this last night when we gave you your assignment for today’s work. Let’s take a deeper look. Start by asking yourself these three questions (create Board #?: The Trio, as you go through this section): What is my message in one sentence? Think about what you came up with last night. This is the “big picture” for your presentation. Everything points back to this one idea. This is the reality you are trying to lead us toward. It must be meaningful to you, and absolutely must be one direct, concise sentence that you can clearly articulate at any moment. By the end of your presentation, we should be able to accurately guess your message in one sentence. What do I want to cause? Remember, when we talked about this yesterday, we talked about in terms of what kind of reaction you want to cause in your audience. We used the sentence, “I want to _____ them.” What did you decide? Do you want to inspire them, encourage them, unite them? In other words, what emotional state do you need to create in your audience to rally them around your message in one sentence? Causing this emotional state in your audience creates the launching pad you need to call them to action.What is my call to action?What is the specific action I want my audience to take at the end of my presentation? What is the deadline for this action? Your call to action is a direct, practical statement of the next, actionable step in the process. If you have caused the appropriate emotional state in your audience, your call to action will be the catalyst that moves your audience toward the full realization of your message in one sentence.Board #??: The Triocenter44450center30480Best Practice: Partners When doing partner exercises, it is best to ask participants to work with someone new each time, especially at the rehearsal stage. They should not work with their “best friend” – the person they’ve been sitting next throughout the workshop so far. You can assign partners if necessary. 0Best Practice: Partners When doing partner exercises, it is best to ask participants to work with someone new each time, especially at the rehearsal stage. They should not work with their “best friend” – the person they’ve been sitting next throughout the workshop so far. You can assign partners if necessary. Coffee Break/Rehearsal with PartnersScript: We are going to take a coffee break now and then you will have 30 minutes to do the following:Work with the Crafting Tool and The Trio for yourself, privately. See if you can answer all the questions as they pertain to the presentation you are delivering today. (5-10 min) Then work with a partner (15 min total) and rehearse your presentation. Ask your partner for feedback, and to coach you on anything that we covered yesterday. Then switch.Encourage them to spread out and use the space, go outside the room, find a quiet corner, etc. If you have an even number of participants, then break them into straight pairs. If you have an odd number, you can do one of the following:If you are leading the workshop by yourself, then you can work directly with one of the participants during this period. This can be a great way to get someone who may still be struggling started in the right direction. If you have a co-leader or a second voice working with you, then have them work with the odd participant.As the rehearsal mode goes forth, try to check in on people and let them know you are there if they have questions, and help them along if they need it.The StepCall everyone back into the room and introduce The Step. Ideally, you have drawn it before. The Step is one last condensed version of our craft tools, the Crafting Tool condensed to The Trio. The Trio condenses to The Step. Explain The Step and let them know it will be used as a background guide for the afternoon’s coaching. Answer any questions they may have.center00left11303000In every presentation that you deliver, you are asking the audience to take some version of The Step, be it large or small. You are trying to move people from a current reality (1st Universe) to a better reality (2nd Universe) that you envision in the future. How clearly can you see that 2nd Universe? How clearly can you communicate the journey necessary to get there?Potential Script: One final tool that we will keep in mind as we go forward today is The Step (mention condensing process detailed above). As you can see, we have two universes, the 1st Universe - which is where we are now, and the 2nd Universe - which is what we could have in the future. We will be looking at these two universes carefully as we go through your talks today. Every time you step in front of the room, you are doing a version of The Step – you are acknowledging a “current state” and requesting a desired result in the “future state” of the 2nd Universe. The 2nd Universe is the thing that you want your audience to do, create, or participate in to realize the desired action you have in mind. An important question that we will return to again and again today is – “What does your 2nd universe look like? Specifically?”Side note - A parenthetical question that often goes with The Step is, “What if you get 100% of what you are asking for? What does that look and feel like? What is the proof that it has happened?”Some questions the coach can ask that often help clarify the process:If it is a strategy that you are proposing for the 2nd Universe, then what does this strategy specifically create that does not exist now?What are the top three benefits to realizing this strategy? What do we get if we do this?What is the one thing that stands in the way, blocks, or denies this strategy from happening?How will we get through that blocking force? If this strategy (or thing, or entity) got implemented with 100% satisfaction on your part, how soon could that happen realistically?What is the first practical, and very specific action you want your audience to take to realize this 2nd universe, and by when? (Time component being very important here.)Using “The Step” as Your Ally, and Guide for the Coaching to ComeAs the leader, you can of course draw on any board you have previously created in session. On Day Two, you can especially draw on aspects of both The Crafting Tool and The Trio to help support points you are making in the room, and to support the continued learning of the participants. Fundamentally, The Step can be helpful to you in getting basic clarity for the participant and for the room on: “What is actually being delivered here?” What is the speaker actually trying to create in the 2nd Universe? What is our part in its creation? Why should we do this? Why is it important to anyone? And when will we know that we have succeeded in the task? 40005061468000Though these can seem like basic questions, they are the ones that most often plague P&P participants. If these basic questions are not clear to the speaker, and then the audience, higher-level techniques like Story and Metaphor are simply plodding around on a muddy unstable base that cannot support their weight. As a basic formula, it can be helpful to consider the graphic above about “What comes first?” in a Day Two coaching. You will have talked about The Step – the fact that it is a change process (and no one likes change) – the fact that there is pain and gain to any change process and if the gain is larger, then it is likely the audience will take the journey. The figure above illustrates a helpful way to get the coaching moving in a specific and active direction.Primarily, your job as leader is to help clarify these big questions for the speaker and for the audience.Using the arrow in The Step, we can define this as the “What is it?” question. This thing that the speaker wants us to create in the 2nd Universe – what is it specifically? Can we give it a name? If we can give it a specific name (a strategy, a process, a way of behaving, a tool, a structure, etc.). If you can get the speaker to name what they are asking for early in the coaching, it makes it easy to return to that phrase again and again when building the piece with the audience in version 2 (or additional versions if you do them). As a best practice – once you have the “name” of what their 2nd universe is (i.e. “a plan”, “a campaign”, “a new structure”) never deviate from that name for the rest of the coaching. Always come back to that exact same wording when referencing what they are asking for in the 2nd universe. Another helpful addition here is to know the PRIORITY of the thing that they want. Here we see two basic categories that can help you help them define the importance of their request. Some things will be classified as DEVELOPMENT – meaning, the business is not going to collapse tomorrow if we do not do this, but it is in the best interest for the general health of the company.Development can carry a low, medium or high importance. Some examples:Development LOW: “though we have had an employee self-improvement system in place for over two years, very few people have taken advantage of it, I am here today to advocate for a program, already in existence…”Development MEDIUM: “There is little knowledge of the Chinese market right now, and our key sales people could benefit from this information. Today I am offering you a process to broaden your knowledge and understand key components of our largest competitor…”Development HIGH: “We have lost the race on IT development in our country, our competitors race ahead and none of our staff have been trained in the new technology, we have a huge developmental challenge to solve but today we have a tool that can change all that…Deeper, and more serious than development would be DAMAGEDamage LOW: “It had now come to everyone’s attention that there is now strong tension between the sales and marketing teams, this behavior is hurting us and I want to talk about a new way of behaving that we want to implement…”Damage MEDIUM: “$210, 000 a year lost because of sloppy practices internally, we have to stop this behavior and here is the first step, we have structured a plan…”Damage HIGH: “Our chief competitor has just made a public statement confirming a hostile take-over bid for our company, we have 24 hours to implement an emergency strategy that could save our organization…Presentation CoachingSend your first participant up to the front of the room (Remember, you choose the order. See Peep Show Traps and Best Practice, pg. 22-23). Ask these questions:Who are we as your audience? What is the physical space that we are in?It is imperative that they have specific answers to these questions. Have them assign specific roles to each audience member. Set the room up according to the physical description they have given you.Try to finish two before lunch! Lunch is typically around 12:30 PM. If you get through three, even better!--- Lunch Break (1 hour) --- Resume Presentation CoachingDay Two continues after lunch with same formula. Coaching, feedback, using The Step as a backbone for all the presentations. (again, much more about this coming in version 2 of this document)center27305Best Practice: Energy Boost Monitor the energy in the room. If you need to change or lift the energy of the room between participants’ presentations, do so! Have fun! Play a short game or do a quick physical exercise. Use your theater knowledge. Just be careful to manage your time well, and keep an eye on the clock! 0Best Practice: Energy Boost Monitor the energy in the room. If you need to change or lift the energy of the room between participants’ presentations, do so! Have fun! Play a short game or do a quick physical exercise. Use your theater knowledge. Just be careful to manage your time well, and keep an eye on the clock! Wrap UpIn your final debrief – remind them that this is just the beginning of their journey with TAI. Talk about TAI YOU and any other special opportunities available to them as “graduates” of the P&P. 44767526035Best Practice: Peep Show Finale Depending on time, it is often nice to have them do a final Peep Show. This is one last chance for them to take the stage, share their thoughts on the workshop, and add anything they’d like to say to the other participants, colleagues, or coaches. At a minimum, if you are really short on time, just have them say a few words from their chairs.0Best Practice: Peep Show Finale Depending on time, it is often nice to have them do a final Peep Show. This is one last chance for them to take the stage, share their thoughts on the workshop, and add anything they’d like to say to the other participants, colleagues, or coaches. At a minimum, if you are really short on time, just have them say a few words from their chairs.Farewell and HelloRemind them again: This is just the start. Be brave. Go capture big things. Lead with your heart.You are now an ambassador for this work – there will be a strong temptation, once back in your companies to forget what you learned here. Don’t do it. The world needs your voice. The world needs you.Let them know that you’ll be available afterwards to chat, thank them for their work, and bid them farewell. --- End of Workshop ---1333500127000P&PNOTESKeep The Hand MovingNatalie Goldberg On Zen and The Art of Writing Practice“A writing practice is simply picking up a pen — a fast-writing pen, preferably, since the mind is faster than the hand — and doing timed writing exercises… The idea is to keep your hand moving for, say, ten minutes, and don’t cross anything out, because that makes space for your inner editor to come in. You are free to write the worst junk in America… The reason you keep your hand moving is because there’s often a conflict between the editor and the creator. The editor is always on our shoulder saying, “Oh, you shouldn’t write that. It’s no good.” But when you have to keep the hand moving, it’s an opportunity for the creator to have a say. All the other rules of writing practice support that primary rule of keeping your hand moving. The goal is to allow the written word to connect with your original mind, to write down the first thought you flash on, before the second and third thoughts come in…Another way of putting it is that you need to trust what intuitively comes through you, rather than what you think you should be writing.” ................
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