Book: Pitch Anything Flashcards
1
Q
Who wrote ‘Pitch Anything’?
A
Oren Klaff
2
Q
What is the acronym for the method of pitching - and what does it stand for?
A
STRONG
Setting the Frame
Telling the Story
Revealing the Intrigue
Offering the Prize
Nailing the Hookpoint
Getting a Decision
3
Q
As Klaff describes it, what is the “presenters problem”?
A
You have incredible knowledge about your subject.
You make your most important points clearly - even with passion.
You are very well organised.
You can do all of those things as well as they can be done - and still not be convincing - because a great pitch is not about procedure - it’s about getting and keeping attention.
4
Q
To get and maintain attention, you need to own the room with what three things?
A
Frame control, driving emotions with intrigue pings and get to a hookpoint fairly quickly.
5
Q
What is the hookpoint?
A
The place in the presentation where your listeners become emotionally engaged, go beyond being interested to being involved and then committed.
6
Q
The person who ‘owns the frame’, also owns what?
A
The conversation.
7
Q
The ‘crocodile brain’ is responsible for the initial filtering of what?
A
All incoming messages
8
Q
The ‘crocodile brain’ is responsible for generating what?
A
Most survival fight-or-flight responses.
9
Q
The ‘crocodile brain’ produces strong what?
A
Basic emotions
10
Q
The midbrain determines what?
A
The meaning of things and social situations.
11
Q
The neocortex is able to do what three things?
A
Solve problems
Think about complex issues
Produce answers using reason
12
Q
What is the reason for the disconnect between message and receiver during pitches (of ideas, products, deals, etc)?
A
Messages composed and sent by the neocortex are received and processed by the croc brain. People who pitch (ideas, products, deals, etc) do so with their neocortex. But the receiver listens first with their crocodile (Fight or flight) brain.
13
Q
What example does Klaff use to illustrate how the three brains work independently and together?
A
You are walking to your car and are surprised by someone shouting.
- You will first act reflexively with some fear (croc brain).
- Then you will try to make meaning (identifying the person doing the yelling and placing him or her in a social context) - midbrain trying to determine if it’s a friendly coworker, angry parking attendant or something worse.
- Then you will process the situation in the neocortex (It’s okay, it’s just some guy yelling to his mate).
- Survival
- Social relationships
- Problem solving.
14
Q
During pitches, the croc brain tries to determine what two things?
A
Whether the information coming in is a threat to the person’s immediate survival, and if not, whether it can be ignored without consequence.
15
Q
For the croc brain, anything that is not a crisis, it tries to mark as what?
A
Spam.
16
Q
Good ideas that bounce off croc brains will crash back in your face in the form of what three things?
A
Objections, disruptive behaviours and/or lack of interest
17
Q
Ultimately, if they are successful, pitches will work their way up to what - and when?
A
The neocortex, eventually.
18
Q
If you got a chance to look at the croc brain’s filtering instructions, what four things would it say?
A
- If it’s not dangerous, ignore it.
- If it’s not new and exciting, ignore it.
- If it is new, summarise it as quickly as possible - and forget about the details.
- Do not send anything up to the neocortex for problem solving unless you have a situation that is really unexpected and out of the ordinary.
19
Q
After initial filtering, parts of your message move quickly where?
A
Through the midbrain and on to the neocortex.
20
Q
Does the croc brain process details well?
A
No. It only passes along big, obvious chunks of concrete data.
21
Q
If your message is presented in a way that the crocodile doesn’t view to be new and exciting, it is going to be what?
A
Ignored.
22
Q
If your pitch is complicated - if it contains abstract language and lacks visual cues - then it is perceived as a what?
A
Threat. (Not a threat in the sense that they fear they are going to be attacked, but a threat because without cues and context, the croc brain concludes that your pitch has the potential to absorb massive amounts of brain power to comprehend).
23
Q
What does it mean when a ‘circuit breaker’ in the prospects brain is ‘tripped’?
A
A neurotoxin gets attached to the potentially threatening message, like a Fedex tracking number which routes your message to the amygdala for processing and destruction. (You don’t want this, because it produces a feeling that makes the person want to escape from the presentation).
24
Q
The croc brain detects what, protects us from what, and uses dominance and aggression to deflect what?
A
Detects FRAMES
Protects us from THREATS
Uses dominance and aggression to deflect ATTACKING IDEAS AND INFORMATION
25
According to Klaff, what are extremely competitive?
Frames.
26
When frames come together, the first thing they do is what?
Collide (and not in friendly competition - it's a death match).
27
According to Klaff, what doesn't merge, blend or intermingle?
Frames. They collide, and the stronger one absorbs the weaker one.
28
If your frame wins, you will enjoy what? What does that mean and what happens if your frame loses.
Frame control.
Your ideas are accepted (and followed by others)
If your frame loses, you will be at the mercy of the customer, and your success will depend on that customers charity.
29
Does Klaff agree with the notion that sales is a "numbers game"?
No. Frame-based business takes the opposite approach. It promotes the use of social dynamics, stacking things in your favour before the game even begins.
30
What does the 'G' stand for in the acronym 'STRONG'? And where does it come in the process?
Get the deal / decision.
It comes last, after nailing the hookpoint.
31
When is frame control won or lost?
Before the pitch starts. (When you own the frame, you are positioned to reach agreement with your buyer).
32
A frame is an instrument you use to package what five things?
Power, authority, strength, information and status.
33
Who uses frames?
Everyone (whether they realise it or not).
34
Every social encounter brings different what together?
Frames.
35
When one frame survives, what happens to the others?
They break and are absorbed.
36
You do not hold the stronger frame, if you have to explain your what? (Five things)
Authority, power, position, leverage, advantage.
37
Frame collisions freeze out what part of the brain?
The neocortex. They bring the croc brain in to make decisions and determine actions.
38
When entering a business situation, the first question you must ask yourself is what?
"What kind of frame am I up against?"
(Power Frame, Time Frame, Analyst Frame)
39
What are the 3 common types of major opposing frames you will encounter going into most business situations?
Power frame
Time frame
Analyst frame
40
What are the four major response frame types you can use to meet opposing frames, win the initial collision and control the agenda?
Power-busting frame
Time-constraining frame
Intrigue frame
Prize frame
41
What is the 'response frame' that is useful against all three opposing frames?
The Prize Frame
42
Strong frames activate basic what?
Desires
43
When meeting a hard-charging, type A personality, Klaff goes in with what kind of frame? If the person is an analytical, dollars-and-cents type, he will choose which frame? And if he's outnumbered, outgunned and the deck is stacked against him, he chooses which two?
1. A power-busting frame (A type)
2. Intrigue frame (Analytical)
3. Outgunned - Time constraining frame and Prize frame.
44
A Power frame comes from the individual who has a massive what?
Ego
45
Power types are most vulnerable to what?
Power busting frame, because they do not expect it.
46
When you approach an opposing power frame, your first and most important objective is to what?
Avoid falling into their frame by reacting to it - and make certain that you do nothing that strengthens the other person's frame before your frames collide.
47
Acting deferential, engaging in meaningless small talk, or letting yourself be told what to do reinforce what with power types?
Their alpha status and confirms your subordinate position (don't do this!)
48
As an opposing power frame approaches, when you first encounter the person you are meeting, you must be prepared for the frame collision to happen when?
At any moment.
49
What must you do to disrupt a power frame?
Prepare well.
50
What does the 'N' stand for in the acronym 'STRONG'? And where does it come in the process?
Nail the hookpoint.
It comes fifth - after offering the prize.
51
If you prepare well, and use your frame to disrupt a power frame of a Type A, what happens?
It causes a momentary equilibrium in the social forces in the room, and then your frame will overtake and absorb theirs.
52
Overtaking a Type A's power frame sounds like high drama, but in practice it is often what?
Swift and tranquil. (Once you get used to establishing the dominant frame, it will become second nature, and when it does, you are going to have the time of your life).
53
If a guy is going to dominate you, let him dominate you on what?
Something that doesn't matter.
Pick something abstract and start an intense negotiation over it - and it doesn't matter if you win or lose. The power of their frame is rendered trivial, and the focus is back to you and what you want to do with the meeting.
54
To instigate a power frame collision, you should do what?
Use a mildly shocking, but not unfriendly act to cause it. Use defiance and light humour. (Keep it fun, do it with a grin on your face)
55
When you use a mildly shocking, but not unfriendly act to cause a power frame collision, this captures what and elevates what, by creating what?
Captures ATTENTION
Elevates YOUR STATUS
Creating something called "LOCAL STAR POWER"
56
Two subtle ways of taking the power frame away include:
1. Perpetrating a small denial
2. Acting out some type of defiance
57
The better you are at giving and taking frame control, the more what you'll be?
Successful
58
Using a power-busting frame causes a Type A to think what - and how will he be feeling?
"Whoa, what do we have here?"
He might be feeling a little buzz from what you've just done, but he won't be offended because you were not rude or mean. When you are defiant and funny at the same time, he is pleasantly challenged by you and instinctively knows he's in the presence of a pro.
59
When you take control using a power-busting frame, you must take care to what?
Not abuse the power you now hold.
Dominating the frame is not HOW you win the game, but rather is a means to win the game. No-one likes to be dominated, so once you own the frame, use this power in ways that are fun and mutually exciting.
60
According to Klaff, if the key decision maker does not attend the meeting as agreed to, what are your two options?
1. Go ahead with the presentation (he wouldn't recommend this) or
2. Stop everything - reframe using power, time or prize frames.
61
What's the example Klaff uses of something you can say if a key decision maker is late to a meeting?
"I can wait 15 minutes, but then I have to leave." (And if he does not show at that point, you leave.)
62
What does Klaff recommend you do if the key decision maker is late to the presentation, and you offer 15 minutes grace, and he still hasn't shown up?
You leave. (Do not deliver the presentation, do not leave brochures, and do not apologise. Your time has been wasted, and you don't even need to say it, they know.) Tell the most important person in the room that you are willing to reschedule - on your turf. They must come to you.)
63
When the key decision maker doesn't turn up to the meeting and you do not deliver the presentation, leave brochures, or apologise, but instead tell the most important person in the room that you are willing to reschedule - on your turf - where they come to you, this is a subtle framing technique known as what?
Prizing. It's now their job to win you over.
Prizing subconsciously says to your audience "You are trying to win my attention. I am the prize - not you. I can find a thousand buyers (audiences, inventors, clients) like you. There is only one me."
It also conveys to the audience that if they wish to get any further information from you, they will first have to do something to earn it.
64
To solidify the prize frame, you should do what?
Ask them (the buyer) to qualify themselves to you by asking "Can you tell me more about yourself? I'm picky about who I work with."
(At a primal, croc brain level, you have just issued a challenge: Why do I want to do business with you? This is a powerful and unspoken expression of your high status and your frame dominance. It forces your audience to qualify themselves by telling you exactly how interested they really are).
65
People have learned to have their way with salespeople and presenters over many experiences. What can you do to break the power play?
Ask them (the buyer) to qualify themselves to you by asking "Can you tell me more about yourself? I'm picky about who I work with." (Or some version of that).
66
What is a frame, as Klaff talks about it?
A mental structure that shapes the way we see the world, and puts relationships in context.
67
The frame you put around a situation does what?
Completely and totally controls its meaning.
68
The frame is like a picture of what?
What you want the interaction to be about.
69
What are two examples of things that will bounce off a winning frame?
Weak arguments and rational facts.
70
No situation has real meaning until you do what?
Frame it.
71
When people are in the wrong, but attempt to use 'rationale' (Analyst Frame), what frame disrupts an analyst frame?
A moral authority frame - a nearly unshakeable frame when used correctly (i.e., when you are right and they are wrong).
Rational explanations will never override a moral authority frame.
72
What does Klaff call it when the moment comes when you must disrupt a frame?
"Frame disruption"
73
How can you tell who owns the frame?
If you are reacting to them (vs them reacting to you).
74
A time-frame collision needs to happens when?
When you see attention begin to wane.
(Stay in control of time, and wrap up. If you run long or beyond the point of attention, this shows weakness, neediness and desperation).
75
Frames involving time tend to occur when in the social exchange?
Later in the social exchange - after someone has already established frame control.
76
Because there are limits to the human attention span, pitches must be what three things?
Brief, concise and interesting.
77
What does the 'O' stand for in the acronym 'STRONG'?
Offer the prize.
78
The mistake many people make when they see the audience becoming fatigued is they do what?
They talk faster, and try to force the way through the rest of the pitch.
79
When someone who is pitching sees their audience becoming fatigued and they talk faster, and try to force the way through the rest of the pitch, what happens?
Instead of imparting more valuable information faster, they only succeed in helping the audience retain less of their message.
80
When does the Analyst frame usually appear?
After the initial frame collision.
81
Which frame - that can be deadly - must you know how to repel using the Intrigue frame?
The Analyst frame.
82
Why is it a bad when - during a presentation - one or more people in the room take a deep dive into technical details? (I.e., you have the Analyst frame coming at you) - and what must you do?
You lose control.
(Once their neocortex has something to calculate they will go cold - problem solving, numerical calculations, statistics, etc are cold cognitions, unlike the hot cognitions of wanting, desire, excitement, which is what you want).
To prevent this, control access to details. (Separate technical and detailed material from your presentation).
83
Analyst frame happens when they want details (but can derail your pitch). What should you do?
Respond with summary data that you have prepared for this purpose. Answer directly with the highest-level information possible, then redirect your attention back to you pitch.
E.g., "The revenue is $80 mill, expenses are $62 mill, the net is $18 mill. These and other facts you can verify later but right now what we need to focus on is this: Are we a good fit? Should we be doing business together? This is what I came here to work on."
84
When you respond with summary data that you have prepared for an opposing Analyst frame - and answer directly with the highest-level information possible, then redirect your attention back to you pitch - what does this tell the audience?
(1) I'm trying to decide if you are right for me
(2) If I decide to work with you, the numbers will back up what I'm telling you, so let's not worry about that now; and
(3) I care about who I work with.
Keep the target focused on the business relationship at all times.
85
You should keep the target focused on what at all times?
The business relationship
(e.g.,
- I'm trying to decide if you are right for me,
-If I decide to work with you, the numbers will back up what I'm telling you, so let's not worry about that now; and
- I care about who I work with.)
86
When you own the frame, you control what?
The agenda
87
When you own the frame, you determine what?
The rules under which the game is played
88
What does the 'R' stand for in the acronym 'STRONG'?
Reveal the intrigue.
89
When it no longer seems that communication is flowing back and forth, the other person is in something called what? And what must you do?
A non-reactive state. Their mind is wandering, or thinking about something else - it's a state of disinterest.
You can correct this if you recognise it in time and act quickly.
90
How can you tell that the target has gone into a non-reactive state?
Remarks or body language that indicate that your presentation is not intriguing.
91
What 3 things would most intelligent people take great pleasure in being confronted with?
Something new, novel and intriguing.
92
No one takes a meeting to hear about something they already know and understand. If audience members discover that the answer is close to what they had earlier guessed, what will happen?
They'll
(1) experience a quick ping of self satisfaction at the moment of realisation just before they mentally check out and
(2) check out (an extreme and nearly total loss of alertness) on you. (exactly what you need to avoid)
93
Why is the Intrigue frame the most powerful of the four types of frame at your disposal to overcome the Analyst frame?
It hijacks higher cognitive functions to arouse the more primitive systems of the targets brain.
(Narrative and analytical information van not co-exist. The human brain is unable to be coldly analytical and warmly engaged in a narrative state at the same time. This is the secret power of the Intrigue Frame).
94
How should you break the Analyst frame?
Tell a brief, but relevant story that involves you. (This is immediately redirect attention back to you.)
95
As you share your personal story - to break the Analyst frame - what must you create and how?
Some suspense - by only telling half of the story.
96
What six elements must your Intrigue Story include?
1. It must be brief - and relevant to the pitch
2. You need to be at the centre of the story
3. There should be risk, danger and uncertainty
4. There should be time-pressure - a clock is ticking somewhere - and there are ominous consequences if action is not taken quickly
5. There should be tension - you are trying to do something but are being blocked by some force
6. There should be serous consequences - failure will not be pretty
97
When should you use your Intrigue Story?
As soon as you recognise that your target is coming at you with an Analyst Frame
98
Anger and extreme surprise are two other ways to disrupt the Analyst frame, but they're also what?
Impractical in most social situations. The intrigue frame does it better and faster.
99
In what four ways does the analyst frame filter your pitch?
1. It focuses on hard facts only
2. It says that aesthetic or creative features have no value
3. It requires that everything must be supported by a number or statistic
4. It holds that ideas and human relationships have no value.
(Don't let your audience go there - keep them focused on the relationship they are building with you.).
100
According to Klaff, what is one of the underlying social dynamics that influences most meetings?
Who is the prize, and who is chasing whom?
101
How does Klaff define "Prizing"?
Prizing is the sum of the actions you take to get your target to understand that he is the commodity and you are the prize.
102
Successful prizing results in what?
Your target chasing you, asking to be involved in your deal.
103
Successful prizing restores what to social interactions?
Calm and poise.
(You won't have to chase as hard or worry so much about impressing your target.)
104
Successful prizing reduces your feeling of what?
Needing to perform to get a reward.
105
When you capture the croc's attention, the croc is going to have one of two primal reactions. What are they?
Curiosity and desire - or fear and dislike.
(If you trigger curiosity and desire, the croc sees you as something it wants to chase. You become the prize.)
106
According to Klaff, what are three of the most fundamental behaviours of human beings?
1. We chase that which moves away from us.
2. We want what we cannot have.
3. We only place value on things that are difficult to obtain.
107
What is the problem with being accommodating with potential clients?
If it is true that people only value things that are hard to get, you are not hard to get. There's no challenge. Behaving this way means that you are failing to 'prize'.
108
When it comes to "prizing", what must you protect?
Your status.
(Don't let the target change the agenda, the meeting time or who will attend. Withdraw if the target wants to force this kind of change).
109
Is Klaff a fan of the traditional method of "trial closes"? If so, why? If not, why not?
No. It shows you are too eager to get a deal done. (Which damages your prizing/status). They're also crude and ineffective.
110
Instead of using a "trial close", you should do what?
Take the time to step back, to withdraw - or offer a challenge.
Work to control the underlying prize frame - then you don't have to push your ideas so hard.
111
One of the tactics that Klaff discusses as an alternative to a "trial close" is the challenge. What's an example he uses of a challenge - and what is it's purpose?
"So many buyers, yet only one of me. How are you going to compete for my attention." (Get used to making statements instead of asking questions - it shows that you aren't constantly seeking validation).
112
Klaff talks about making the target perform a legitimate task to earn the deal. He uses an example from a well-known company. What is it?
BMW had a special-edition M3 that requires you to sign a contract promising that you'll keep it clean and take care of the special paint.
(The company won't let you buy one until you promise this in writing).
113
Klaff invites us to embrace an acronym "ABL". What does it stand for?
"Always Be Leaving."
An alternative to the concept of ABC ("Always Be Closing") - a phrase populated in the 1980's by sales gurus. (There are many places to source money, but only one YOU!)
114
Why does Klaff recommend we embrace and adopt the "Always Be Leaving" concept?
If you think of yourself and your deal as the prize and build frames around this idea, it will change the social dynamics - in your favour.
115
What's the example Klaff uses of wording that sets the tone at the beginning of a meeting that sets you up to be the prize?
"I'm glad I could find time to meet with you today. And I do have another meeting right after this. Let's get started." (This lets the audience know that there are many like them, but only one you.)
116
After setting the Prize frame, and you move into your pitch, you should find moments to reinforce what?
Other frames you hold.
For example, make appropriate comments about the value of your time to strengthen both your time frame and the prize frame.
117
Small acts of defiance and denial, combined with humour, are extremely powerful in maintaining what and reinforcing what?
Maintaining your frame control and reinforcing your high status.
NOTE: Humour is important here -DON'T leave it out - or Klaff warns that you will encounter unpredictable responses!
118
Status plays an important part in what?
Frame control
119
How others view you is critical in your ability to establish what - and hold onto what?
Establish the dominant frame and hold onto the power you take when you win the frame collision.
120
What does the 'T' stand for in the acronym 'STRONG'?
Tell the story.
121
What three things does Klaff assert do not earn you status?
Being polite
Obeying the established power rituals of business
Engaging in friendly small talk before a meeting starts
122
A common mistake people make regarding status is what?
Underestimating it
123
People confuse status with what two things?
Charisma and ego.
They assume that working to raise one's social value is foolish, or just an act of peacocking. Nothing could be further from the truth.
124
True or false: Every interaction is affected by pecking order.
True.
125
Within seconds, what do we each need to decide, for the sake of our self-preservation?
"Who in this room is the dominant alpha?"
126
In the short amount of time we have to orient ourselves in a social interaction, the even more valuable question than "Who in the room is the dominant alpha?" is what?
"Can we switch out of the beta position and take the alpha?"
127
People will judge what immediately?
Your social status.
(And changing their perception is not easy. But it's important because your social status is the platform from which you must pitch.)
128
If you are pitching from a lower-level platform, or low social status, your ability to persuade others will be what - and your pitch will be what?
Diminished - and your pitch will be difficult, no matter how great your idea or product.
129
You can alter the way people think about you by creating what?
Situational status
130
It doesn't matter how well you argue, the way your points are crafted, or how elegant your flow and logic. If you do not have high status, you will not what?
Command the attention necessary to make your pitch heard.
131
Pitching any kind of idea or deal involves playing what kind of game?
A complex and tricky status game.
132
What three beneficial things happen for an alpha in a group?
- They enjoy most of the attention in a social situation, even when they're not demanding it - and when they do demand it, they capture the group's attention immediately.
- Their statements are regarded as true.
- Claims go unchallenged.
133
True or false? When you take the high-status position in a social interaction, you feel it - and it is felt by the audience.
True.
134
You should not underestimate the importance and value of status to what?
Your overall success.
135
Is Klaff a fan of "building rapport"?
No.
(He believes this technique, taught by sales trainers in the 1970's and 1980's, helped "situationally disadvantaged" salespeople to establish a temporary relationship, package a business transaction in a thinly veiled emotional wrapper, and sometimes if they're either lucky or doggedly persistent, close a sale. But it doesn't work now.)
136
The first step toward elevating your social status is to avoid what?
The beta traps
137
What is a beta trap?
A subtle but effective social ritual that puts you in the low-status position and works to keep you there, beneath the decision maker you have come to visit, for the entire duration of the social interaction.
138
What are three examples Klaff offers as "beta traps"?
- The lobby
- The conference room
- Public spaces (for a real pitch, coffee shops are absolutely last resort)
- Trade shows and conventions
139
Because they occupy a coveted rank, alphas have to constantly what?
Fight to maintain and protect their position
140
What is 'situational status'?
Where you have status in a particular domain
(e.g., a golf pro on a golf course has situational status over the surgeon he's teaching).
141
True or false: Your social value is fluid and changes with the environment you are in - or the environment you create.
True.
142
If you wish to elevate your social value in any given situation, you can do so how?
By redirecting people into a domain where you are in charge. (This is known as creating 'local star power').
143
The first impression a person makes of us is based on what? And why?
That person's automatic calculation of our social value.
As a survival mechanism, the other person's brain is making it a priority to understand where we fit in the social structure.
144
What three criteria does a person use to make a hasty judgment of our social status?
Your wealth
Your power
Your popularity
145
Based on some mental shorthand, a person is going to assign you a social status level, and from that calculation, what will happen?
A frame will be fixed
(One they may not necessarily be conscious of. This is why people will jaywalk behind a man in a suit, but not a homeless, or poorly dressed person.)
146
The first thing to do when you meet with a target is to establish what?
Local star power.
(If, for example, you're a golf pro, or French waiter, use your domain expertise and locational knowledge to quickly take the high-status position.)
147
If you are meeting in the target's domain - his/her office or an off-site location - you must what?
Neutralise the person holding high status, temporarily capture his star power, and redistribute some of his status to others in the room who will support your frame.
148
In general, you should ignore conversations that what?
Don't support your deal.
149
The faster you grab status, the better because?
The more status is available for you to take.
150
When you are done with your pitch, you should begin to do what?
Pull away - and keep pulling away until you have left - (but not before setting the hookpoint and receiving a decision).
151
What does the 'S' stand for in STRONG? Where does it come in the process?
Set the frame
It comes first.
152
True or false: Klaff recommends we 'have fun, be popular, enjoy your work'.
True.
He goes on to say, there is nothing as attractive as someone who is enjoying what he or she does. It attracts the group to you and allows you to build stronger frames and hold them longer.
153
True or false: Situational status is permanent.
False.
Once you leave the social encounter, it is wiped out. Gone. And even if you come back later, you'll have to start over and build it again - even if that's only five minutes later.
154
What is 'global status'?
The sum of a person's wealth, popularity and power.
155
True or false: You need to be rich, famous or powerful to enjoy status in your business encounters and social situations.
False. If you do not have high status, you can create it temporarily.
156
What are the six steps in seizing 'situational status'?
1. Politely ignore power rituals and avoid beta traps.
2. Be unaffected by your customer's global status (their status inside and outside the business environment.)
3. Look for opportunities to perpetuate small denials and defiances that strengthen your frame and elevate your status.
4. As soon as you take power, quickly move the discussion into an area where you are the domain expert (where your knowledge and information are unassailable - unable to be attacked, questioned or defeated - by your audience).
5. Apply a prize frame by positioning yourself as the reward for making the decision to do business with you.
6. Confirm your alpha status by making your customer, who now temporarily occupies a beta position, make a statement that qualifies your higher status.
157
What is the first step in the process of seizing 'situational status'?
Politely ignore power rituals and avoid beta traps.
158
What is the second step in the process of seizing 'situational status'?
Be unaffected by your customer's global status (their status inside and outside the business environment.)
159
What is the third step in the process of seizing 'situational status'?
Look for opportunities to perpetuate small denials and defiances that strengthen your frame and elevate your status.
160
What is the fourth step in the process of seizing 'situational status'?
As soon as you take power, quickly move the discussion into an area where you are the DOMAIN expert (where your knowledge and information are unassailable - unable to be attacked, questioned or defeated - by your audience).
161
What is the fifth step in the process of seizing 'situational status'?
Apply a PRIZE frame by positioning yourself as the reward for making the decision to do business with you.
162
What is the sixth and final step in the process seizing 'situational status'?
Confirm your alpha status by making your customer, who now temporarily occupies a beta position, make a STATEMENT that QUALIFIES your higher status.
163
One of the best ways to get a customer to confirm your alpha status is to make him what?
Defend himself in a lighthearted way. (It needs to be playful and interesting, with just a little edge to it).
Not only does this let you know that you are still in control, but more important, it also reminds the customer that he holds a subordinate position.
The customer will then defer to you, even in front of his underlings.
164
When the customer realises he holds a subordinate position he will then what?
Defer to you, even in front of his underlings.
165
True or false: Short time frames are not a choice - you can't afford to run longer. The audience's brain won't give you more time.
True.
166
As soon as your pitch or presentation begins, one critical thing must happen. What is it? And how do you create it?
The target must feel at ease. In the vast majority of cases, they don't because they don't know how long they're going to be stuck listening to you - and you're a stranger.
To put them at ease, use the 'time constraint pattern'.
167
Give an example of the use of a 'time constraint' pattern. What might you say?
"Guys, let's get started. I've only got about 20 minutes to give you the big idea, which will leave us some time to talk it over before I have to get out of here."
168
What is the four section / phase process of a 20 minute pitch?
1. Introduce yourself and the big idea: 5 minutes
2. Explain the budget and the secret sauce: 10 minutes
3. Offer the deal: 2 minutes
4. Stack frames for a hot cognition: 3 minutes
169
True or false: During Phase 1, where you introduce yourself and big idea, your success depends on how well (and how fast) you do it.
True.
170
If they ask for your background, you should do what?
Begin the pitch, starting with your track record of successes. Not a long run down of the place you've worked, or all of the projects you were tangentially involved with, or your life story. The key to success here is making it about your track record. Things you built. Projects that actually worked out. Successes.
171
How long should telling them about your background take?
2 mins max. (Don't worry - before your pitch is over, the target is going to know a whole lot more about you.)
172
How many things should you tell them about when telling them about your background?
Stop with one great thing.
173
The "Why Now?" frame is important because the target needs to know what?
That your idea is new, emerging from current market opportunities, and that it's not some relic from bygone days.
They need to know that your new idea came to life from a pattern of forces that you recognised, seized and are now taking advantage of. And they need to know that you have more knowledge about these things than anyone else.
174
There are unspoken questions in the targets mind about what?
Why your idea is relevant and important - and why it should be considered as important now.
175
When you describe your idea, project or product, you should first give it context by framing it against three market forces or trending patterns that you believe are important. What are they?
Economic forces - briefly describe what has changed financially in the market for your big idea. Are customers wealthier? Is credit more available? Is financial optimism higher? Increases or decreases in interest rates, inflation, and the value of the dollar?
Social forces - highlight what emerging changes in people's behaviour patterns exist for your big idea
Technological forces - technological change can flatten existing business models and even entire industries because demand shifts from one product to another
176
The backstory of the idea is always what to the target?
Interesting.
177
What three things should you describe to the target that gives the background to the big idea?
- The genesis of the idea
- How it evolved
- The opportunity you saw as it was emerging
(To craft your backstory, think in terms of how it came to be where it is today, and how you found it. Describe the steps in its evolution - how it moved - to finally become the opportunity you have now identified and captured.)
178
The three basic steps of the telling of your backstory are...
1. Explain the most important changes in our business.
Forecast the trends. Identify important developments - both in your market and beyond.
2. Talk about the impact of these developments on costs and customer demand.
3. Explain how these trends have briefly opened a market window.
179
What does it do to your idea when you start your pitch with the three market forces?
It causes it to enjoy prominence that it did not have before. Now your idea has a history, an exciting evolutionary path to the present time and credibility.
180
What does Klaff have to say about 'movement'? And why does it matter when it comes to pitching?
That a huge part of the croc brain is devoted to detecting movement.
Movement captures attention.
Without it your audience experiences 'change blindness'.
Sharing the three market forces overcomes the potential for change blindness.
With three market forces coming into alignment, you are literally showing the minds eye how the market is moving to benefit your big idea.
181
How long does it take to introduce the 'big idea'?
1 minute.
182
What is the 'Idea Introduction Pattern'?
For [target customers]
Who are dissatisfied with [the current offerings in the market]
My idea/product is a [new idea or product category]
That provides [key problem/solution features]
Unlike [the competing product]
My idea/product is [describe key features].
E.g.,
"For companies with large buildings in California and Arizona
Who are dissatisfied with their aging solar panels
My product is a plug-and-play solar accelerator
That provides 35 percent more energy from old panels
And unlike the cost of replacing panels
My product is inexpensive and has no moving parts"
183
One thing that we shouldn't confuse: capturing the target's attention doesn't mean you are what?
Commanding attention.
Attention can be lost in a few seconds by making the wrong moves. The rudimentary model of attention works like this:
We notice things that have movement through space and time because they are likely to be important. But there's a catch - a lot of the time things that move are also things to run away from. Starting from this premise, in the pitch we want to create attention without threat.
184
We notice things that have movement through space and time because they are likely to be important. But there's a catch - a lot of the time things that move are also things to run away from. Starting from this premise, in the pitch we want to create what?
Attention without threat.
185
We notice things that have movement through space and time because they are likely to be important. But there's a catch - what is it?
A lot of the time things that move are also things to run away from
186
The croc brain doesn't think about what too deeply?
Threats. (It just reacts).
187
How does Klaff encourage us to think about social situations?
As potential threats.
Humans are hard wired for social interactions. But we are also on high alert for all kinds of threats: getting rejected, embarrassing ourselves, losing a deal, losing face.
188
The idea introduction pattern breaks down the idea into three basic elements. What are they?
Here is what it is (idea/solution)
Here's who it is for (customer/problem)
Here's who I compete with (competitor)
Or more explicit version:
- For [target customers]
- Who are dissatisfied with [the current offerings in the market]
- My idea/product is a [new idea or product category]
- That provides [key problem/solution features]
- Unlike [the competing product]
- My idea/product is [describe key features].
189
The actions to take in phase 1 of the pitch are....
1. Put the target at ease by telling him in advance that the pitch is only going to be short - about 20 mins
2. Give your background in terms of track record of successes
3. Show your idea is not a static flash of genius, rather there are market forces driving the idea
4. Paint a picture of the idea moving out of an old market into a new one (so you don't trigger change blindness, which would make your idea easy to neglect).
5. Bring your big idea into play using the idea introduction pattern:
- Here is what it is (idea/solution)
- Here's who it is for (customer/problem)
- Here's who I compete with (competitor)
190
What is phase 2 after introducing yourself and the big idea?
Explain the budget and the secret sauce
191
In phase 2 (explaining the budget and the secret sauce) it gets harder to do what?
Hold the target's attention.
192
Why does it get harder to hold the targets attention in phase 2 (explaining the budget and the secret sauce)?
Here you have to explain what problems the big idea really solves and how it actually works. The opportunities to scare the croc brain seriously multiply when you start to explain how stuff works.
193
Klaff argues that simplicity isn't key. He argues that what you really want to do is what?
Tune the message to the mind of the target.
194
Klaff argues that ideas you come up with using your problem-solving brain - the neocortex - must be what?
Intentionally retuned for the croc brain that will receive them.
