Please enjoy this interview with broadcaster Burke Allen on my book, The Six P's of Change."

When Planning Your Career, Rage Against the Machines

I came across an interesting opinion piece in today's Philadelphia Inquirer. The author wrote about how machines are doing much of the work that people used to do. We saw that in the last century, as robots could assemble cars more cheaply and efficiently than people do. It does make sense, as a machine can the work that eliminating jobs. (UAW members saw that, too, as rank-and-file members like my Dad fought against the encroachment of machines that would do the work of humans.)
I have discussed this very point in my book, The Six P's of Change, and I often mention it in my speeches: Those who are tied to a specific technology or type of work are often doomed to obsolescence. However, my own take is less fatalistic than that of the author of this article. I contend that such changes also bring opportunity. For example, while the auto industry once provided one in every seven jobs in the U.S., that ratio now belongs to the computer industry. (The automobile industry now accounts for one in every 16 jobs, still a significant number.) So, as the saying goes, fish where the fish are, and work in those areas that are not only in demand but which cannot be taken over by machines.
For example, how about a return to the trades, such as plumbing, carpentry and the like? I have not yet seen a machine that can cut pipe to length or crawl under a sink. There are also creative endeavors that no machine can do, such as writing, art, design and consulting. And if you can't beat 'em, join 'em: Since the auto industry produces more computers for their cars than IBM does, young people would be well served to learn the high technology of the car industry. t look That enmity was not limited to heavy industry.
Elbert Hubbard once note that "One machine can do the work of fifty ordinary men. No machine can do the work of one extraordinary man." When we seek to be extraordinary, we can beat this trend and even make it work in our favor.


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Bachmann's Poise Debunks the "Gotcha" Myth

Michele Bachmann taught us all a couple of good lessons when Chris Wallace asked her, "Are you a flake?" First, there are no "gotcha" questions. There are only questions for which we have not adequately prepared. Second, one can also seize the situation.

First, let's take a look at her response. Many observers noted that she handled the question well and answered with Grace. Wallace opined (legitimately, I might add) that Bachmann is known for gaffes and misstating facts. After listing accurate examples, he signed and asked her if she were a flake.
She kept her eyes on him and said calmly, "Well, I think it would be insulting to say something like that." She then listed examples of why she should be taken seriously: that she is a lawyer, a businessperson, and other legitimate accomplishments. All good.
Moreover, she took control of the questioning. She never had to address the examples of mistakes that Wallace brought up because the conversation became about her credentials.
Compare this to another famous example. In September 2008, Katie Couric of CBS News asked vice presidential candidate Sarah Palin where she got her information and how her world views were shaped. If you watch the clip, it was not an antagonistic question; in fact, Couric did not have the dismissive and insulting tone that Wallace expressed to Bachmann. But when Palin could not answer such a puff ball question, she laid the blame on Couric. The fact of the matter is that no question could have been answered in such a cavalier manner and be deemed acceptable.
"Governor Palin, where did you live growing up?"
"Ah well you know, I lived in every city. I liked them all, I really cannot think of a specific one."
This answer sounds just as silly, doesn't it?

In all of our work lives, regardless of the nature of our jobs, we need to be able to answer such questions in order to have credibility. Consider the kinds of questions we get every day.

• Why should I buy your product? What makes it better that your competitors?
• Isn't there a danger that if I buy this stock, the value will go down?
• These layoffs will have a devastating effect on our community. Why are they necessary?
  
• Why do you recommend this course of treatment, Doctor?
• Why did her paper get an "A" while mine got a "C"?

In none of these instances would it be acceptable to waffle or sound defensive. A true leader has the answer at hand.
Bachmann showed such assurance in her handling of an awkward question. In the course of her answer, she communicated much more than her credentials. She exhibited a presence of mind that is essential to the position that she is seeking.

What Speakers Can Learn from Show Biz Veterans

Recently, I have read a couple of memoirs from the world of show business, specifically comedians. One is Growing Up Laughing: My Story and The Story of Funny by Marlo Thomas, her remembrances of growing up in show business, mostly as the daughter of the great comic and actor Danny Thomas. The other book is by my idol, Dick Van Dyke, titled My Lucky Life In and Out of Show Business. I have been more influenced by professional comedians, TV stars and comic actors in my own speaking career than by any other single group of role models. Even though the two books are ostensibly "light reading," I took some worthwhile points from them:

• There is no substitute for rehearsal. Marlo talks about how her dad would go over his material ad nauseum until he had all the timing and nuances down. In his day, Danny Thomas was one of the most preeminent and successful storytellers in entertainment, probably comparable to Jerry Seinfeld in a way. This was why: He left nothing to chance.
• Play to your strengths. Thomas profiles 20 different comics and actors in her book, and they are each unique. Steven Wright depends on wordplay. Don Rickles is successful in his 80s as a master of the putdown. Both George Lopez and Chris Rock make their ethnicity relevant to their entire audience. Conversely, Jay Leno gently plays "Everyman." Dick Van Dyke made his talent for physical comedy the tent pole of his career. As a speaker, find your brand and stick to it rather than adjusting your style to the latest fashions.
• Build on those strengths. Van Dyke talks about how a friend arranged an audition for the Broadway classic musical, Bye Bye Birdie. When he auditioned for the show's director, Gower Champion, Van Dyke did a little soft shoe and a song. Champion told him on the spot that he got the job, but Van Dyke admitted that he could not dance. Champion -- a great musical director -- assured him that all was okay. This was because Champion saw how Van Dyke could move well enough on the stage to make the choreography work. Obviously, he was right, as Van Dyke went on to win a Tony Award for his role and went on to reprise the role in the movie version. We shouldn't be fearful of our limitations; instead, we need to build on them.
  
• Be as timeless as possible. How is it that The Dick Van Dyke Show, a black & white series that is approaching its 50th anniversary, remains so popular today? Van Dyke observes that Carl Reiner, the creative talent behind the seminal series, tried his best to avoid specific topical references, such as personalities of the day or specific events. In that way, the themes are what carry the show. While that may not seem practical today (after all, can we really avoid discussing topics such as AIDS, the economy or record employment?), we should espouse timeless principles, such as ethics, continual improvement, or caring for others.
  

Short-Term Thinking Leads to Long-Term Losses

I know two businesses that have made decisions based on today, and I predict their actions will come back to haunt them tomorrow.

Both have decided to stop their marketing communications for distinctly different reasons. One suffered a big loss recently when it lost a competitive bid that would put the company in a strong competitive position for years to come. The other company curtailed their marketing when a few projects came in unexpectedly as a result of referrals. Company #1 canceled their marketing because they perceive they do not need it. Company #2 says they cannot afford it. Both of them are likely to pay for these decisions later.

What happens to #1 when there are no fortuitous references in the future? There must be work in your pipeline. Similarly, #2 will also not build customers over the long haul with this type of thinking.

(Businesses are not the only entities guilty of this type of thinking. Certainly, many of our current government concerns have arisen because of the lack of forethought given to expenditures versus outlays. Many Americans do not have proper retirements planned because they did not plan in advance. Even much of our personal health problems can arise from seeing only the immediate.)

Jonathan Swift once said that vision is the art of seeing the invisible. Marketing and similar planning looks for those invisible tomorrows before they become the dire todays.

How Do You Love the Audience? Let Me Count the Ways!

My mantra about every aspect of our public speaking is: "It's all about your audience; it's not about you." That includes your relationship with your audience. Here are some tips on actions that have worked for me.

REACH OUT AHEAD OF TIME. Just last night, I spoke to a group of people in career transition. The sign-up system allowed me to see each participant as they enrolled. I sent each of them an email telling how much I appreciated that they had signed up, how much I looked forward to meeting them, and how I wanted to serve their needs.

BE THERE AS THEY ARRIVE. I had to set up the room, so I got there ahead of the audience. As each arrived, I gave them a copy of my handout, and engaged them in a short conversation. (Those who had received my introductory email felt as though they already knew me.)

SAY GOODBYE TO AS MANY PEOPLE AS YOU ARE ABLE. At the end of the presentation, I stood at the front of the room and shook everyone's hands. I thanked them for coming, and I asked how the presentation met their needs. I asked them to send feedback. (In this case, the organization that hired me had a feedback mechanism, so it was an easy request to make.

REACH OUT AFTERWARDS, JUST AS YOU DO PRIOR TO THE EVENT. I sent an email to everyone who signed up, which was relatively easy, because I had created a .txt file that I would paste into each message. (I personalized them each a little, such as thanking someone for a provocative question asked or for buying my book.)

Grand entrances are for rock star divas or ham actors. The more we connect with our audiences, the more effectively we are likely to help fulfill their objectives.

35 (no make that 36) Years of "Nashville"

As a self-styled film historian and film buff, I tend to know many trivial facts about films, so imagine my surprise and embarrassment when I completed writing this piece and discovered that the premise was all wrong. Let me first explain the raison d'etre of my post.

People often ask me my opinions on the best films ever. I cite many of the usual suspects, such as Citizen Kane (top of the list), It's a Wonderful Life, Chaplin's Modern Times and The Gold Rush, and not too many other surprises. However, when I was asked to name my Top Five, I raised many eyebrows when I included Robert Altman's Nashville.
Yes, that's right, Nashville! Want to make something of it? I think this is a groundbreaking film whose influences have spread far and wide, yet few people acknowledge them. Or, more significant, are not aware of them.
I wrote this thinking that I was honoring the 35th anniversary of the premiere of the film. However, I discovered that it opened on June 11, 1975. So I'm a year late. Still, I'd like to explain why I love this film so much and still consider it one of the best ever.
Let's begin with the setting. Altman was way ahead of the curve in picking the country music capital as the focal point of his film. You would be hard pressed to think of any significant films that were similarly centered. We see people in the recording studios, in clubs, at outdoor performances. It was as though he was clairvoyant in seeing what a cultural force country music would become, and he took us right to its epicenter.
This was no whitewash. An older woman I knew bristled at the portrayal, complaining "That's not what country music is about." Sorry, Ma'am, but these characters are Americans, capable of being as venal, petty, shallow and competitive as the rest of us. If the New York theater could have the vipers of All About Eve and early television could portray the Andy Griffith's ascendant evil in A Face in the Crowd, then country music was entitled to its Nashville.
Altman was also a master at pulling great performances out of a. huge casts and, b. previously unheralded actors. Look at the people in this film! Keith Carradine, Geraldine Chaplin, Barbara Harris, Ned Beatty, Scott Glenn, Jeff Goldblum, Keenan Wynn... I could go on. Altman took a popular TV-sketch comedienne named Lily Tomlin (heard of her?) and guided her to an Oscar nomination. Same for Ronee Blakely, who came out of nowhere to channel Loretta Lynn in her fictional character, Barbara Jean. Comic Henry Gibson was known mostly as a member of the cast of Laugh-In, the seminal NBC variety show, but he was brilliant as the duplicitous Haven Hamilton under Altman's direction. A native of Philadelphia, of all places, Gibson was entirely believable as the corn-pone crank and hypocrite. (Altman, et al, even knew to take a little-known bit that Gibson had performed years earlier on The Dick Van Dyke Show and turn it into Hamilton's so-called "signature" song, "Keep A-Goin'.")
Do you like parallel plots, kept straight by canny editing and the power of narrative? Altman pioneered this style in Nashville, and the technique was used brilliantly in much '80s television, notably Hill Street Blues and St. Elsewhere. It is amazing how these nearly 30 characters wander the landscape of this movies, seemingly disconnected in a head-scratching way, and yet they come together in the climactic scene set at Nashville's Parthenon. All the characters fulfill their destinies in this one dramatic moment, whether it was Barbara Jean's tragic end, Haven Hamilton's unmasking of sorts (best use of a toupee ever), but best exemplified by Barbara Harris seizing the occasion to make her long-awaited start turn.
I saw Bridesmaids recently (very funny, entertaining movie, by the way), and I howled at the use of overlapping dialogue in scenes, such as when Kristen Wiig's character stumbles through the plane under the influence of a sedative. But I also remembered that Altman pioneered the use of such speechifying with his multi-track sound on Nashville and his subsequent films.
It is bewildering to me that the film is so widely forgotten today, as it generated much discussion, disdain and appreciation in its day. It was nominated for five Oscars (picture, director, Tomlin and Blakely for supporting actress) but took home just one for Keith Caradine's song, "I'm Easy." It was the New Film Critics' Best Film of the year, as well as winning best director, and the National Board of Review and the National Society of Film Critics also honored it as the best. Yet I hear very few people mention Nashville today, and when I mention it as one of my all-time favorites, the usual responses range from mild surprise to recriminations from someone who tells me that their audience booed the film
If you get a chance, I suggest you revisit this gem. Tell me what you think, even if you don't like it. I won't agree with you, but that's okay; it don't worry me. :-)

PS. For a fine retrospective of this film, I refer you to a piece by Ray Sawhill of Salon.com, titled A Movie Called Nashville.

Short, Sweet and Wright Writing

"I remember when the candle shop burned down. Everyone stood around singing 'Happy Birthday.'"

-- Steven Wright

Did you ever consider how much work it takes to write a joke like that?

I was reading a book by Marlo Thomas that my wife gave me for Christmas titled Growing Up Laughing: My Story and the Story of Funny. It is a memoir based on her life as the daughter of legendary comedian and TV star, Danny Thomas. It is mostly about what defines the elusive quality of "funny." It's one of those tomes that's good to read in bed just before the lights go out, as it is not very demanding, and it puts you in a good mood to sleep. Many chapters are Ms. Thomas's interviews with a wide variety of comics and actors, ranging from Tina Fey to Ben & Jerry Stiller to Don Rickles. However, the chapter on comic Steven Wright stopped me in my tracks. While the old veteran Henny Youngman was known as "The King of the One-Liners," Wright deserves that title much more. Youngman more often than not had a long build-up to a powerful punchline. Wright tells his jokes in three sentences at most.

"I had a friend who was a clown.
When he died, all his friends
went to the funeral in one car."

Reading about Wright reminded me how much hard work there is in concise writing. There is an apocryphal story that George Bernard Shaw once told a friend that he wrote him a five-page letter because he didn't have time to write him a one-page letter. Wright says in Thomas's interview that "something in my mind starts to edit down the joke so I can get the point across with the fewest amount of words....I don't like big, long set-ups."
And really, how much do any of us like hearing those same set-ups? Wouldn't you rather have someone get right to the point? So it is with our own writing, especially in speeches.
I relearned that lesson last year when I was in a Toastmaster speech competition. There was one contestant who was quite impressive in her manner, her confidence and her diction. Her speech was very literate, and she delivered it beautifully, with the skill of an actress. However, she didn't even place in the competition, while I came in second with a memoir about the time I had to speak to my son about sex.
After the competition on how well she did in her first contest. (She was in her first year of Toastmasters.) "But I have some advice for you that may help you in the future, " I said. She stopped me before I could continue.
"I think I know what you are going to say," she said to me. "I was struck by the simplicity of your language." And there it was. The audience couldn't quite wrap their heads around her message, while mine was easier to discern.

"I intend to live forever. So far, so good."

One way to learn concision is to seek out and read succinct writing. Hemingway is the master. He once boasted that he could write a novel in just six words:

For Sale:
Baby Shoes.
Never Used.

For a better example, read A Clean, Well-Lighted Place, which one college professor described to me as "the perfect short story. A better example still is Robert Frost's The Death of the Hired Man. In a long poem -- not even a short story -- he lays out the final years of a day laborer in stunningly vivid detail.

"How do you tell when you're out of invisible ink?"

Think about applying such discipline to your own writing. When you are reviewing a piece, try taking out just unnecessary word. Then try a second. Use your Twitter, too. It is amazing what you can get across in just 140 characters. But don't be fooled; just because it's shorter doesn't mean that it's easier.

"I'm writing a book. I've got the page numbers done."

One Picture Tells a 118-year-old Story

I offer up this graphic from GE's 2010 annual reports as a terrific example of making a point clearly with a single graphic. Inside the front cover, it says that "GE's product and services offerings are aligned with human needs and growth opportunities around the world. As global population has grown over the past 118 years, GE's revenues has grown at an even faster rate."
This cover illustrates the point beautifully. It is clear that the world population, shown by the light blue, is outpaced by the GE revenues, symbolized by the darker blue.
GE's annual reports in recent years have set standards for clear yet concise communication. This graphic is just one example.
You can access this graphic and the whole annual report online by clicking here.

Talking to 9th Graders About Careers? Not So Easy, But Rewarding Nonetheless

About six weeks ago, I heard from Carolyn Geers, Programs and Community Affairs Coordinator for Philadelphia Children’s Foundation (PCF). She had received my name through my Temple University MBA Alumni Association. It seemed that PCF has Guest Speakers program, and it's designed to expand students’ awareness of their career choices awareness. "By hearing from local working adults, the eyes of Philadelphia students will be opened to the variety of options available to them." Ms. Geers told me. Additionally, the program will inform students of what is required in education andexperience to become successful in a particular career. Ultimately, PCF is designed to exposing students to people, places, and occupations outside of their neighborhood to prepare for a successful future.

I agreed to speak to a 9th grade English class at Frankford High School, which is in the northeast part of the city. My topic was careers in corporate communications. What sealed the deal was that they were able to support my audio-visual needs, because no self-respecting speaker will appear without PowerPoint. (Working without PowerPoint leaves you vulnerable and exposes all your weaknesses, like Angelina Jolie without makeup.I kid, of course; in this case, I wanted PowerPoint as a crutch.) So we were set.

I showed up around 8:30 for the 9:00 a.m presentation, which was important since I and all the students needed to go through the scanning device. (What did I know? I haven't been in a city high school for decades!)

When I made it to the room, the kids barely acknowledged me, though I believe that it was largely due to shyness rather than rudeness, unfamiliarity with social graces rather than gracelessness. There was one exception. His name was Khalid. When he saw me setting up my little video camera, he got out of his seat, came back and introduced himself like a gentleman, offering me his hand. Don't think that this young man was a modern-day Arnold Horshack. He was obviously pretty cool, polished and taking charge of his life. I'm sure his lunch table is the place to be, and I can already picture him going far in this world.

After a brief introduction, I asked them all if they would like a job where they could give speeches? (Little interest.) Make movies or videos? (Hm, a smattering of enthusiasm.) Work on Facebook and Twitter during the day? Write advertisements? (Blank stares, which took me by surprise. I guess they couldn't imaging doing those things for a living.)

"How would you like a job where you could be on television, on the radio or in the newspapers?" Hands shot up! Being famous really appealed to this group.
I welcomed them to the world of corporate communications. I told them that businesses and other organizations to get their messages out, both the on the outside and the inside. I gave them lots of examples of how the work could be done: Public relations. Marketing. Advertising. Social Media. (However, I was a little presumptuous about what young people would know. They didn't understand the term "social media." To them, media are their music files and nothing more. One guessed that "social media are when people like the music that you make, and they stand around and listen to it." Sorry, he did not win the Samsonite luggage for that guess.)
I emphasized strongly that if they wanted to bring their 9th grade English to the working world that they needed to learn not only to write And communicate, but also about the business world and what motivates others. I advised them that they could learn this by studying English, journalism, and study the liberal arts. (Another explanation: They liked the idea that instead of studying one topic that they could become knowledgeable in many topics!) I emphasized most strongly that it is important to learn the basics of proper English, including sentence structure, the parts of speech and grammar.

Then I showed samples of my own work. They liked that I had traveled to other countries to produce videos and write annual reports. They thought it was neat that, when I wrote about health care for General Electric, I researched the topic by witnessing a coronary bypass in the operating room. And they were fascinated by the imaginary settings that could be created by Photo Shop and other means.
___________________________________________________________________
It was not so important that I told the students HOW to enter this occupation as it was that I told them that I believed that they could do it all.
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Jameer and I talked about Twitter. I told him that people would know who he was from his Tweets. ("Once you succeeded because of what you knew," I advised. "Then it was because of WHO you knew. Today it is because of WHO knows YOU.")
There weren't too many questions; the shyness continued. The teachers in the room brought up some topics that kept the conversation going. Then I closed with pictures of people who achieved their goals through effective, even great, communication. I talked about how Steve Jobs sold innovation to the American people. I discussed how Dr. Martin Luther King changed society with his messages. (I encouraged them to read more than his "I've got a Dream" speech.) I reminded them of how Barack Obama used strong speaking skills to win the Presidency, most improbably.
And they laughed when I said that I think one of the greatest communicators and marketers right now is Lady Gaga, with her ability to get people to notice her. (They were probably surprised that I even knew who she was.)

I was disappointed when I was done. Their indifference was what I expected, but I had hoped for more. But the three teachers disabused me of that notion. They said that the mere fact that the students were quiet, not disruptive and not talking to their classmates was evidence that they were listening. In fact, the evaluation forms showed that the kids actually liked the presentation. They appreciated that I told them which schools offer the programs that are pertinent to this vocation, and they liked actually seeing samples of corporate communications. (PowerPoint DOES work!)

I intend to do this again. I hope that I can make a difference to young people who may not otherwise be exposed to such career options. (I wished that I had exposure to communications professionals when I was in high school.) Most important, I believe that I gave them hope. Apparently, it was not so important that I told them HOW to enter this occupation as I told them that I believed that they could do it all. I also gave them my contact information so they could send me questions or request information if they want.

Luckily, there are many volunteers for PCF. If there is such a program in your own community, I encourage you to take part. We don't know what difference we can make in a young person's life. In the meantime, I am keeping my eye out for a couple of the kids I met today.

PS. If you are reading this in Philly and want to help, here are links to the program, check out "Philadelphia Children's Foundation" on Facebook.