If you haven’t seen the poised, passionate, and extremely purposeful speech that Florida teenager Emma González, a survivor of the latest school shooting, gave last weekend stop reading right now and watch it.
Many people have commented on González’s speech, but I wanted to share one tweet in particular with you. It comes from Christopher Henry, a speechwriter from Canada. He wrote:
“You can’t fake authenticity in speeches. This is as authentic as it gets.”
I agree with him 100%. Anyone with a heart who watches the video can see that her tears and anger are genuine, as is her passion to change whatever needs to be changed so that no other school needs to endure what hers has.
Authenticity and preparedness
But notice something about this authenticity, please: She has written her speech in advance. She says it’s her “AP Gov notes,” but you can see by how often she lowers her eyes that she’s reading from those handwritten pages.
I run into so many speakers who equate “authenticity” with ad-libbing. “Just give me some talking points,” they say. “I’ll figure out the exact words when I get onstage.” If you’re one of those speakers, can you speak as eloquently as this without notes? By the end of the speech, I feel like González’s audience is ready to follow her wherever she wants to lead them. Do you get that kind of reaction from your off-the-cuff remarks?
I would also bet good money that González rehearsed her speech. Probably more than once. Pay attention to how she modulates her emotions. How she pauses for applause and cheers. How she intensifies the pace and volume when she wants to rouse the crowd. You don’t get that by shuffling through pages of your speech in the back of a town car on your way to the venue. You need to speak your text out loud. Preferably standing up.
“Ah, but if I rehearse,” I’ve heard clients say, “I won’t sound authentic.” No—you’ll sound like you haven’t read through your text. Isn’t that worse? Rehearse your prepared remarks until they don’t sound wooden. Until you can say the words and mean them.
Emma González shows us it’s possible to be both prepared and authentic. To rehearse and to bring genuine emotion to the podium. As Christopher Henry noted in his tweet, “This is what a leader looks like.”
As proud as I am of this young woman who spoke with such clarity and grace, I wish circumstances had not brought her into the spotlight.
The students at Marjory Stoneman Douglas High are now, sadly, authorities on the real consequences of our inane gun laws. They have a platform and they’re leveraging it, honoring their fallen friends and teachers by trying to shame our lawmakers into changing the laws. I half-believe they might succeed. In fact, when I hear Emma González’s speech, it’s hard to imagine anything can stop them.
Like most things in life, the truth of FDR’s famous quote turns out to be not quite as attractive as the words burned into our brains by decades of misquoting: “We have nothing to fear but fear itself.”
Ah…I wish this post were about President Franklin Roosevelt’s first inaugural address. But it’s not. It’s about me. Because I’m always telling you how important authenticity and transparency are, I have to be authentic and transparent with you now.
Fear is quite the shape-shifter. You beat it back in one form and it comes back in another; you learn to use one set of tools against it and it learns to work around those tools. Or worse, to use them against you.
I once had such a strong fight-or-flight reaction that the only way I could stay put (and I needed to stay put) was to imagine that my feet were encased in a bucket of cement.
I stayed put. And I got the job, too. Needless to say, that wouldn’t have happened if I’d let Fear win that round.
So I’ve adapted to some of the tactics Fear uses to stop me from creating, but I can still find myself reduced to tears by fear of doing something new.
Do I keep doing new things? You betcha.
And so should you.
My most recent fear—a fear that reduced me to tears only a few days ago—was, at bottom, fear of not doing something well. Of getting a C on the great pop quiz of life.
Of course, I’m not going to be perfect all the time. Or maybe even ever. And especially not the first time I do something.
So when Fear perches on the corner of your desk, looks deeply into your eyes and suggests that you Stop—take a deep breath and tell Fear to take a hike. Keep your fingers hovering over the keyboard, pressing down one by one. Make words appear where there were no words before.
Because you’re not alone. Ever. Anyone who’s ever created has been there. And have you read a book lately? A magazine article or blog post? Words on a screen or words on paper—those are proof. Proof that we can beat Fear Itself. And be imperfect. And go through the cycle again.
I met Anaik Alcasas through The Marketing Seminar, Seth Godin’s new vehicle for spreading his insights and provoking new ones. She describes her business as providing “brand strategies for remarkables.” Follow her juicy #100booksinayear journey on Instagram @anaik_ed.
Eavesdropping to “wow” your reader
by Anaik Alcasas
How in the world can this writer be connecting directly with me—my pain points, core desires, need for affirmation and inspiration, insight and encouragement?
These are the kinds of things you would have heard four years ago if you were eavesdropping on my inner dialogue in the bookshop down the road.
Three years of in-depth research later, using a unique color-coding approach, have revealed several recurring themes in the most engaging motivational and prescriptive non-fiction. In brief, the most engaging writers seem to connect consistently with their readers—or so the research has shown—by touching on elements of audacity, credibility, storification, vulnerability, affirmation, illumination, generosity and inclusion, among others.
So let’s take that step by step, testing this theory, eavesdropping on the inner dialogue of your reader—that reader you’re writing for and to. We’ll italicize these thoughts, to remind us that this is potentially the inner dialogue of that reader:
If you’re saying what everyone else is saying, just with a few minor adjustments, I’m not interested. Challenging the status quo? Tell me more. Disrupting some big traditional gatekeepers with your proposition? Tell me more. Challenging the oppressive troll under the bridge (whatever that may be) who scares people away from crossing over into more freedom, more opportunity, more fruitfulness, more solutions, more vital growth, greater resources to make a positive dent in the universe? Yep, talk to me.
While you’re articulating your audacious proposition, don’t forget to articulate the opposition (my pain points) and the promised transformation (why I should keep reading). And feel free to cycle through those things all throughout our time together – proposition, opposition, promised transformation.
You’re not just stringing together nice-sounding words that you think will “sell” people (we’ve all tasted the cream-puff positive-psychology bull-o). Your credibility involves having done the hard yards for yourself, demonstrating you’ve put in the years, garnered real-world experience, done the reading and the research. Show me your roots and show me your foundation.
Oh, and while you’re at it, make sure you answer my unspoken questions “Why you? Why this? Why now?”
I’m wired to read stories, so package your knowledge and wisdom into stories, anecdotes, metaphors and analogies. This is the great antidote to cut-and-dry advice. If I wanted the preachments I’d go talk to my outlaws or that know-it-all neighbour—you know the one—always ready to dole out insular “advice” with an overtone of judgmentalism and a side of “you should.”
Storify your wisdom and I’ll lap it up and ask for more.
If you haven’t fallen far and hard, suffered loss, run head first into severe obstacles that banged you up–if you’re too perfect and you’re hiding the real parts of your journey in the hopes I’ll trust your “perfect” image more than the next guy who’s sharing about his stomach-lurching lows and dizzying highs, think again.
I, your reader, am a deeply flawed human being with a business that might fall into dire straits without some actionable solutions, and I need to know that your teaching works for deeply flawed human beings and flailing businesses.
My favorite word after my personal name is “you” (copywriters know this), so what’s the “you-quotient” of what you’re trying to teach me?
I know, I know, it’s hard work to distill your training, wisdom, knowledge, and solutions into insanely useful content. But I don’t really care about what you’re saying unless you can bring it back to me through your affirmations and applications. Bring it back to those pain points you already identified. Empathize with my reader’s doubt and answer it directly, point by point.
You’ve presented your data, stories, case studies, examples, and affirmed to me that these are written for me, right now, and can move me forward into the promised transformation I long for.
Keep on going! Your illumination provides context so you’re not just giving me a data dump, but you’re stringing it all together, giving it relevance and meaning for those pain points we talked about, and helping me to get excited.
These are the “aha moments” in your content, the tweetables. If you’d said them before the credibility and storification and all the rest, they would have merely been pontifications–unproven claims. But I’m totally on your side now, and I’m nodding along. Illuminate away.
If I’ve read this far, it means I’ve already found a sense of tribe, a sense of belonging, within your content. You’ve already joined the ranks of one of my virtual mentors. Guess what’ll tip it into the realm of lifelong loyalty, something that really wows me, something that makes me get even more engaged and possibly make the deeper changes necessary for genuine progress? Your generosity elements – the checklists, summaries, recaps, bonus downloadables, and insider goodies designed just for those who are most on board … your ideal target audience.
You won me over, I voluntarily enrolled, I made the significant time investment to read your book, or watch your free webinar, or work through your ten-day-email tips course. Are you content with a one-sided conversation or do you want to move this into the realm of two-sided? If so, invite me to join your tribe, to sign up for more generous tips and insights, invite me to join a Facebook group, or to email you with questions.
Inclusion can be done many ways, but this is one of the most significant opportunities, one of the biggest differentiating factors between books and content BIE and AIE (before internet era and after the start of the Internet Era).
What would any of us do if we could—just for one day—read the minds of our ideal target readers? Certainly, we might change the depth with which we attempt to engage, personalize, and empathize with them.
The theory is that, what the most engaging writers have done intuitively—thanks to long-time leadership experience and high emotional-IQ (EQ)—we can learn to do intentionally, by paying attention to and “hearing” those readers we most want to serve with our writing.
So now it’s your turn to let us eavesdrop … which one of those nine elements describes your inner thought processes when you pick up a nonfiction book? And which one would you most like to nail in your next piece of writing?
Time to kick your writing skills up a level? Join Elaine for her popular Writing Unbound program this October. A serious commitment, for people serious about change.
One of the great singers of the American musical theatre passed away yesterday. I may be somewhat less than objective about her—I once drove 36 miles in a raging blizzard because I had front-row seats to a one-night-only concert—but I think some of the qualities that made Barbara Cook such a great singer parallel the qualities we need to be great writers.
Teaching master classes at the Juilliard School in recent years, Ms. Cook often waved off her students’ preoccupation with vocal perfection, pushing them instead to get at the pain and joy beneath the notes.
“What is this song about?” she demanded of one bewildered class.
Writers may not always be dealing with the extremes of “pain and joy,” but we must have an emotional connection to what we write. It’s the only way we can hope that our audience will also have an emotional connection to the material. And without an emotional connection, without knowing what your message is about, they’re just listening to a bunch of words. And who cares about that?
Notice also Cook’s insistence that the singers stop obsessing about sounding perfect. Perfection is just a roadblock we create. Because it’s unattainable, we can constantly belittle ourselves when we fall short of it. In her concerts, Cook would sometimes stop in mid-song and start all over again if she sensed something was off—not because she wanted to sing perfectly, but because she wanted the audience know that she was just as human as we are.
Barbara Cook: Words matter, the truth matters
But one thing Barbara Cook pursued rigorously, especially in her career as a cabaret singer: the truth. When she sang a lyric, you knew exactly what it meant. And fortunately for us, later in life she discovered the work of Stephen Sondheim—devilishly hard music with lyrics that demand complete emotional connection. Asked by Broadway.com to name her three favorite songs to sing, she chose two by Sondheim. Sondheim, in turn, told The Washington Post in 2002:
“No one sings theater songs with more feeling for the music or more understanding of the lyrics than Barbara.”
After winning acclaim—and a Tony Award—on Broadway, Cook took a left turn into alcoholism and depression, emerging in the mid-1970s onto the cabaret circuit. This soon led to a recording contract with Columbia Records. And that is how her Barbara Cook at Carnegie Hall record entered my collection: I gave blood one day while I was working at CBS and picked the record out of a bin set aside to reward donors. I never suspected it would be the start of a four-decade-long musical crush. But that’s a story for another time.
The New York Times obit again:
Paying less heed to the technical virtuosity that had thrilled audiences in big Broadway theaters, she now emphasized phrasing and styling to project a song’s emotions in smaller, more intimate settings.
The effect was striking. She had made no secret of her personal problems. But character and hard-won experience seemed to suffuse her songs, and it connected with audiences and critics. The reviewers took up a refrain, with phrases like “simple honesty,” “simplicity and directness” and “straightforward and declamatory.”
Obviously I added the emphasis, but this is authenticity. And it works as well when you’re reading a speech as it does when you’re singing a showtune. Connect with honesty—character flaws and all—and your audiences will connect with you.
Her three favorite songs to sing
“He Was Too Good to Me” by Rodgers and Hart (recording released in 1959) — bear with her through the verse; the emotion kicks in with the song proper. And listen to that crystalline soprano. If this song doesn’t have you reaching for the Kleenex, I don’t know what will.
Sondheim’s “Send in the Clowns”—yes, I’ve overdosed on this song too. But listen to the lyrics—you can hear every one.
The third song Cook mentioned was Sondheim’s “So Many People.” It’s the second half of this arrangement. Although it comes from Cook’s Sondheim album, this is Malcolm Gets singing. I couldn’t find a recording of Cook herself singing it.
Goodnight, dear Barbara Cook
I’ll leave you with Cook in her prime—1957—from her Tony Award-winning role, Marion the Librarian in The Music Man.
I got complimented for my “bravery” yesterday. I took a deep breath and said, “Thank you.”
Of course, that was the last thing I wanted to say. That “thank you” had to bubble up from under a thick layer of denial and deflection. Do you go through the same process when you get a compliment?
I don’t know if there’s a direct correlation between the compliment I got yesterday and the action I took today but I did in fact do something brave today. I asked for a favor. Several favors. Well, one favor from several people. And not just any people; I reached out to some rockstars.
The first rockstar I asked—a very busy person—hit Reply almost immediately, and didn’t just say yes to my request, she actually thanked me. For asking her for a favor:
Go figure. Rockstar #2 wrote:
If you’re keeping score at home, that’s two rockstars and four exclamation points. Ordinarily I’d say that’s much too high a concentration of exclamation points, but—hey—they were excited. That I had asked them a favor.
The bravery in asking for help
Writers have to be brave. But our bravery often consists of just ignoring the negative voices in our heads long enough to put words to paper or bytes on disk and send them out into the world. Again, despite the negative voices—some of which will show up outside our heads once we ship. As the old saying goes, “Everyone’s a critic.”
So I may be brave in some respects, but I still feel like the Cowardly Lion in many others. Not that that’s a bad thing—he’s got some of my favorite lyrics in The Wizard of Oz. But when I step outside my comfort zone, I am rarely disappointed. One of these days maybe I’ll remember that.
Okay, dammit. I’m contacting Rockstar #3.
Time to kick your writing skills up a level? Join me for my popular Writing Unbound program this October. A serious commitment, for people serious about change.
Stories may have saved my life. Millions of people’s lives. So if you’ll forgive one more blog about the healthcare debate—well, debate isn’t the right word since there were no hearings. But you know what I’m talking about. The power of story stiffened some Republican backbones. In this case, Senator Lisa Murkowski‘s.
“She just needs to focus on getting her body whole, but she’s got another series (of treatments) to come up and she was saying, I can’t focus on myself … because I’m so worried that something’s going to happen to my health care and I will be labeled with a pre-existing condition and I’m never going to be able to get healthcare again,” Murkowski said. “It’s these types of stories that remind me that, no, the importance of a timeline is not nearly as important as getting this right.”
We don’t have the actual story the cancer patient told to the senator. But look at what Lisa Murkowski retained of it:
I can’t focus on getting well
Afraid of losing my healthcare
Afraid of being labeled with a pre-existing condition
Clearly the senator connected emotionally with the story. She remembered the fear; she empathized with the woman’s need to focus on her recovery.
What if Lisa Murkowski had heard this instead?
What would have happened if the patient had said to the senator instead:
“Senator, I have cancer. Please don’t let them take away my healthcare.”
All we have in the first sentence is fact. A devastating fact—no one takes cancer lightly, not even (I suspect) a Republican. But still, there’s nothing there to connect with. No details. No emotion.
And I’d bet it would produce no action. Not even with the “please” in the request.
And while we’re on the second sentence, calls to action need to be positive. Tell someone what you want them to do, not what you don’t want them to do. So, “Please fight hard for Alaska’s cancer patients.” Or “Please tell the Senate we need coverage for pre-existing conditions.”
But whatever you do, tell a story—a specific, emotional story. Stories like that can change the world.
Time to kick your writing skills up a level? Join me for my popular Writing Unbound program this October. A serious commitment, for people serious about change.
Multitasking has a bad reputation these days. As well it should; it’s probably the least efficient way to work. Or to do anything, for that matter. But the right kind of multitasking can change the world.
Take my friend Jan Abernathy. I wrote about her last week. So far we’ve only met in the comments thread of a mutual friend’s Facebook post and in a lively exchange of texts that followed. But I already like her.
I know Jan Abernathy’s multitasking can change the world; indeed, it already has.
You see, Jan works for a small independent school. And like most administrative folks at small independent schools, she wears two hats. In this case, she’s a co-chair of her school’s equity and justice task force. And she also does marketing and communications, which includes editing and publishing the school’s magazine.
It turns out, Jan and I had already met. By email, a few years ago. She remembered my name when our friend introduced us—”But I thought, what are the odds?”
When I sent in my class news for the magazine, it must have stood out. While most graduates write about their children or their career milestones, I wrote about my wedding. To a woman.
I didn’t even think twice about sending the wedding announcement to my high school and college alumnae magazines. But my grammar school….Whenever I see photos of their events it always looks like the Republican convention. (Not the most recent one—the ones before the party lost its collective mind.) You know what I mean: happy, affluent, straight, suburban people sipping Chardonnay.
If they thought the school turned out lesbians, they might spill their wine.
But I sent in the news anyway:
Got married—finally!—in Dec. 2013. My wife, Dane, works at [Fancy University] so I moved to [Fancy University Town] and am enjoying the perq of auditing classes for free. Still writing speeches for the corporate world (see BennettInk.com) and singing (see ElaineStGeorge.com). Just won a Bistro Award for Outstanding Vocalist.
I expected if they ran it at all, they’d try to slip it in as unobtrusively as possible.
When I saw the return email, I figured they were going to ask me to edit it—”for space,” naturally. Instead they said: Tell us more! Where did you get married? And can you send a photo?
I sent in the the details about the church and the priest and the reception. But a photo? The last thing I ever expected.
The photographer was still a couple of months away from giving us his work, so we didn’t have one of those everyone-lines-up-and-smiles-at-the-wedding pictures. I wrote back that I wouldn’t have anything appropriate in time for their deadline.
The response: We’ll wait.
Still, I understand deadlines. So I sent back the only photo we had at that moment: Just the two of us. Very intimate. Very not suburban heterosexual. I was sure they’d never run it.
They not only ran it, they ran it in a call-out box. My lesbian wedding photo could hardly have been more prominent if they’d put it on the cover.
Eventually my amazement faded and I thought nothing more about it until last week, when Jan Abernathy told me she worked for a small independent school in the town where I had attended a small independent school.
And then she said she remembered my wedding.
I told Jan how much I had appreciated her asking for more details, for a photo. She said she was sure some people were shocked to read about the wedding, but those comments never reached her. And the photo: “I was prepared to fight for that picture,” she texted me. I almost cried. No, I’m lying; I did cry.
Intersectionality and multitasking can change the world
There’s a lot of talk these days about “intersectionality”—that no one is ever just one thing. For instance, I am simultaneously white, lesbian, Christian, an entrepreneur. I can’t really tease out the strands of my personality to present only one at a time. You are many things too, in addition to being one of my readers (for which I am grateful).
Jan Abernathy’s work-intersectionality—what I’ve been calling her “multitasking”—is what got my wedding photo published in that grammar school magazine. The school could have put many people in charge of the publication—at one point long ago, my beloved 4th grade teacher edited it—but they gave the job to the person who also works hard on inclusion issues, someone who gives marginalized people a voice within the school community. And when she opened my email, she saw an opportunity to lift up one kind of voice that doesn’t often get heard in that context. Honestly, I’m still amazed that it happened.
I told Jan that when she asked me for my photo, she made me feel normal. I mean, I don’t go around consciously feeling abnormal, but on two or three occasions I’ve had something happen that showed me what “regular” feels like. And it’s always odd to recognize that “regular” is not my usual state.
As it happened, Jan and I had our text conversation while she was en route to a conference for new heads of independent schools and she told my story, our story, to illustrate the impact that inclusion can have. On a person, on a school. On a community.
I loved that school. When I attended, way back in the late 20th century, it was about as diverse as you’d expect a school in an affluent New Jersey suburb to be. Which is to say not very. I’m glad they had the foresight—and the guts—to hire Jan. And to support her efforts to create visibility for the diverse members of the community, even if it does make some Chardonnay glasses tremble.
But this isn’t just a story about Jan Abernathy. It’s about all of us. Because we can’t be bystanders. If we want a diverse, inclusive culture, we can’t just sit back and let the “inclusion officers” handle it.
So I have some questions for you: Whose voice can you lift up today? Whose story can you tell?
“The only reason to give a speech is to change the world.” — John F. Kennedy
The little girl told a black boy her age that he couldn’t play on the playground equipment: “Whites only.” When the boy’s father reality-checked this with one of the other parents present, the white man dismissed the comment: “That’s not her personality.”
This friend of my friend, a woman named Jan Abernathy, commented on the Facebook post:
“I would definitely say the ‘it’s not her personality’ sounds accurately reported and happens because we believe that bias is for ‘bad people’ versus part of a system in we all participate because it’s all around us.”
“Thank you for articulating that so clearly.” I typed, and pressed Post. And in the next second I thought, Did I just tell a black woman “you’re very articulate”?
I pressed Edit. My fingers hovered over the keyboard. Of course that wasn’t what I meant. My sentence was complete as it stood; no implied “…for a [fill in the stereotype here].” But she didn’t know me; would she understand that? In the end, I added a completely unnecessary “That’s so true” and clicked out of the edit window. Let the chips fall where they may.
Yes, I was uncomfortable. And that’s not a bad thing. Because Uncomfortable is a stage we have to pass through on the way to Inclusion. We really need to get there, as many of us as we can. And that will involve having some uncomfortable conversations.
Uncomfortable conversations — do think twice
My mother always told me to count to ten before I spoke. No one who knows me will be surprised to hear I never took that advice.
But if I think twice, or even twenty times, about my reactions when I’m dealing with someone who is unlike me—especially someone of another race—that’s not necessarily a bad thing. Because I have grown up not thinking, not questioning the system, as Ms. Abernathy wrote, “that is all around us.”
Because I am a white woman, that system has mostly been no more visible to me than the air I breathe. As a “lipstick lesbian,” I have encountered it from time to time, not often enough to truly remember it exists. It wasn’t until the results of the most recent presidential election came in that I felt it. Because for the first time I was on the wrong side of the system—as both a lesbian and as a woman. My white skin will not save me from the Trumpocalypse.
Now, I won’t presume that what I’ve felt for the last eight months compares in any way to what a person of color feels from the moment they become conscious of the system we live in (for the child in the story, that sadly seems to be about age 5). But it has opened my eyes—eyes that I didn’t even realize needed to be opened.
I’ve been writing about diversity and inclusion for my clients for a decade now. I always thought I “got it.” I think I’m closer to getting it now. But I also know how far I have to go.
The invisible asterisk
Last week, I wrote about the subversiveness of the Declaration of Independence. Well, yes. But there’s an unexpected bit of punctuation in there, an invisible asterisk. That is, the asterisk is invisible to most of us, but for those who do see it…I imagine that sometimes it’s pretty much all they can see. It grounds the otherwise subversive document firmly in the mainstream of its time—and, sadly, of modern times, too.
When our founders wrote the Declaration, everyone understood that the phrase “…all men are created equal” actually meant
*white men of certain socio-economic standing.
Definitely not women. Definitely not people of color. And although the founders didn’t have words like “homosexual” or “transgender,” definitely not those folks either.
In the couple of centuries since our country’s birth, many of our laws have grudgingly caught up with the errors of omission and commission in the Declaration and the Constitution. But the inequality that those foundational documents enshrined—that invisible asterisk—remains rooted in our culture. And not just in the South, home of Jefferson Beauregard Sessions, our present Attorney General, who seems hell-bent on rolling the gains of the Civil Rights movement back to, oh, about 1932. We in the North have our own bigots; just ask Philando Castile, who lived in Minnesota.
You can’t get much less “South” than Minnesota. You also can’t ask Mr. Castile anything; he was shot and killed by a Minnesota police officer. And that police officer was acquitted by a jury of his Northern peers, just as surely as the all-white Southern jury set the killers of Emmett Till free more than 60 years ago.
I’d like to believe such attitudes would never see the light of day in my town. But as long as we live with the invisible asterisk—as long as we remain silent about that damning piece of punctuation—those attitudes have room to flourish. And apparently even five-year-olds are not immune.
Allies: learn to have uncomfortable conversations
So, really, it’s not enough just to be for inclusion. It’s not enough to be a silent ally, as I wrote a couple of weeks ago in a post about a gay football player. And it’s certainly not enough to let a black father stand alone in trying to correct the situation produced when a little white girl says, “Whites only.” Any of the other adults there could have spoken to the girl. To her mother. Better yet, to both. Because all of us should be outraged that—whether she picked it up at home or at school or somewhere else—a five-year-old can casually spout racist language with no consequences.
We need to have conversations—even uncomfortable conversations—about whether we want to live in a system founded on an invisible asterisk that leaves out so many. And if we don’t want to live with the asterisk, what do we need to do to change our country and ourselves?
Thanks to my new friend Jan Abernathy for giving me permission to quote her in this blog. As it turns out, she works in equity inclusion at a small independent school I know quite well. I would write more about her, but this post is already too long so I’ll save it for another day.
I also want to thank Brittany Packnett, whom I haven’t met except through my phone as I listen to the always eye-opening Pod Save the People. Ms. Packnett has taught me more about what Ms. Abernathy calls the “system we all participate in” than perhaps anyone else.
Educating people is hard—especially if the people you’re educating think they already know all they need to. So thank you both for your work, and thanks to everyone brave enough to engage in uncomfortable conversations.
The article’s title points it to a specific audience:
How To Make An Impact At A Conference, Even If You Aren’t The Speaker
But the advice she offers can apply to just about anyone: People new to the business world. Writers new to blogging and other forms of content creation. Professionals unsure about how to get their colleagues to listen them in meetings. In fact, Avery Blank’s advice sounds a lot like the advice I give my clients when they speak. So onstage or off, these tips will serve you well.
The first one that caught my eye was
“4. Ask one question, not two.
If you want to make an impact, less is more. The more you say, the less people will remember what you said.”
Identify the core idea you want to address. And articulate it concisely.
“5. Share a brief, personal story.
…Personal stories make an impact on people. They elicit feelings that connect and bind people together. Stories hold the power of creating common ground.”
Create common ground and people are much more likely to connect with you. And you must find a way of connecting emotionally—authentically—with your audience if you want them to a) remember what you say and b) act on it.
Avery Blank says step up and own your ideas
Okay, she doesn’t say that it so many words, but that’s how I translate her first three bits of advice:
1. Raise your hand.
2. Stand on your two feet.
3. Say your name.
Blank means literally raise your hand, stand up, and identify yourself. But these things also work very well as metaphors. Pitch yourself for opportunities as they arise. Make yourself visible and make sure everyone knows who’s coming up with all those great ideas.
Avery Blank’s final point is also about connecting:
“7. Look at others in the room, not just the speaker.
…Take the opportunity to connect with the audience….The remarks or questions that add the most value are those that others can learn from or connect with. If you want to make an impact, speak to benefit others, not just you.”
“Speak to benefit others”—I added the emphasis above because that’s the key to everything. Whenever you communicate, whatever you communicate, always keep the audience in mind. Address their needs, stir their feelings, inspire their action.
If you can do that, it won’t matter whether you’re the headliner onstage or the person sitting in alone in the very back row: People will remember you.
I’m not even talking about the cr@p that the president—the president of the United Freaking States—has said about women’s bodies.
Yes, it’s vile—pick your incident, it’s all vile. It’s also a distraction from the much more important stuff going on behind the scenes. Like the effort to turn us into Amerikaslovakia, the easternmost outpost of Putin’s evil empire. Or the attempt to hijack voter rolls and suppress votes, since surely the Republicans can’t win a fair election with their new tax “health care” bill as Exhibit A. Or the “health care” bill itself, designed to kill and/or impoverish millions of people while giving the super-rich enough money to keep buying elections for the Republicans as long as they permit us to keep having elections.
The media mentions these things, of course. But healthcare, as the president noted, is hard; you have to think. You have to argue positions. Focusing on insults requires only heightened indignation. It’s much more fun.
I saw the tension between these two positions played out live on MSNBC last Friday. Rachel Maddow signed off her show by reminding us not to take the bait of Trump’s tweets and to focus on the real issues he was trying to obfuscate.
And then the Ken Doll filling in for Laurence O’Donnell opened the next show—in split-screen with Maddow—by talking about…the tweets.
So many things about this infuriate me. Besides the fact that Trump’s misogyny is a) not news and b) a smoke screen, it’s not like media companies have a leg to stand on when it comes to how they view women’s bodies.
And I’m not just talking about Roger Ailes or Bill O’Reilly playing grab-ass at Fox News. As brilliant as Rachel Maddow is, as good as her ratings are, does anyone believe MSNBC would let her anywhere near an anchor desk without the false eyelashes and perfectly contoured eye makeup?
Media companies still boot women off camera the minute they start to wrinkle or sag. And who wouldn’t sag, what with the weight of expectations we heap on women in highly visible positions?
But those aren’t the women’s bodies I’m talking about.
No, the women’s bodies I’m focusing on today are women writers’ bodies.
Writers? You may ask, Who cares what a writer looks like? How is that even a thing?
But there it is, an article The Guardian published last week:
“Writer’s butt”? I told a friend about it and she immediately said, “That article was written by a man, wasn’t it.”
Reader, it was not.
The roundup of “authors’ best tips for keeping trim” was written by a woman, a freelance journalist. On the off-chance that she just needed a quick buck and latched onto an idea some male editor assigned to her, I will not mention her name. But sheesh, sister.
After moaning about her own body image, she rounds up a number of other women writers to lend credibility to her thesis:
“Half a stone per novel over here,” wailed Sinéad Cowley, author of One Bad Turn. Catherine Ryan Howard, author of Distress Signals, agreed: “Since writing full-time, I’m in a constant state of exponential arse expansion.”
The article doesn’t focus entirely on women, though. Michael Connolly gets a mention because he uses a standing desk. The author also quotes another male writer. He walks his dog for exercise and to think things through. If either of these men is concerned about widening “arses,” they don’t say.
Stop the inanity
Not all women writers look at their sisters through such a body-centric lens. I found a lovely roundup of quotes in an article on Bustle called:
So here’s Jessica Valenti, author of Full Frontal Feminism:
“Value yourself for what the media doesn’t — your intelligence, your street smarts, your ability to play a kick-ass game of pool, whatever. So long as it’s not just valuing yourself for your ability to look hot in a bikini and be available to men, it’s an improvement.”
If Valenti read the ridiculous article in The Guardian, I feel sure she would add:
And your ass. Value your damn ass. Especially when it’s in the chair, because that means you’re writing.
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