Pratique du Shadowing: The 10% Rule That Changes How People Remember Your Presentations Forever - Apprendre l'anglais à l'oral avec YouTube

We need to leverage the way our brains learn and focus to help make our messages more memorable.

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We need to leverage the way our brains learn and focus to help make our messages more memorable.

My name is Matt Abrahams,

and I teach strategic communication at Stanford Graduate School of Business.

Welcome to this Quick Thinks episode of Think Fast, Talk Smart, the podcast.

My interview with neuroscientist Carmen Simon was truly insightful and helpful.

Carmen provided so many tips and tools that we simply could not fit all of her wisdom into one episode.

So fasten your seatbelts and get ready to learn more ways to make your messages unforgettable.

Your work distinguishes between active and passive experiences.

Do you have any communication guidance for a leader who wants to turn a routine,

often boring experience, like a team meeting or an all-hands training of some sort,

into an experience that's more active and engaging and memorable so that people will collaborate more,

buy in more, and remember it more?

Yes, I like all those phrases that you're using.

And one of the hottest trends in neuroscience is embodied cognition.

Okay.

The reason it's one of the hottest trends is because we're recognizing that the way we come to know the world,

perceive it, and eventually build memories and eventually build decisions is not by building some abstract mental representations.

Yeah, sure, we do that.

But we come to know the world at the intersection of brain,

body, interacting with the environment.

Embodied cognition.

So the more you invite your audiences to interact with anything,

especially physically, then you are already impacting cognition.

So how can that happen in real life?

Some companies are lucky where they have an experiential center.

You can invite people in your offices.

Even this experience right now is memorable because we could have done this very easily virtually.

But now we are in a studio surrounded by excellent people and their skills and equipment.

Now more of our senses are involved.

We can kick it down a notch because not everybody has access to these kinds of spaces.

One thing

that I was able to show in a neuroscience study I conducted was the difference between what happens

when somebody views a presentation passively versus

when they're asked to type notes as they're listening to the speaker versus when they're asked to handwrite notes.

So, of course, that third condition,

people in that performed better in terms of attention and subsequent memory.

Because now think about how much is involved when you handwrite.

your fingers are in it the entire hand is in it

your entire arm your neck your shoulders you're contributing to this besides

when your handwriting versus typing you are synthesizing things a little bit more versus

when you're typing by the way you're typing more verbatim what the other person says

so it's not the processing is not so deep so

that could be the most benign way in which we engage the brain

and the body is simply asking people to take notes

tell your audience this is worthwhile this will serve you well write this down

so getting people to do something where they're connecting their physical experience with their mental experience exactly

so a technique i often recommend

that people do is is to put people in a physical place mentally

so i use descriptive language

so the room is dark it's cold outside do you have a similar Is there a similar effect

when it's not actually physical,

but you're getting people to envision some physicality?

It's a good proxy.

So in addition to the vision of it all,

can you apply some motion?

Like when you said, yeah,

it was a dark room and he kicked a wall in it.

Now you have the vision plus some movement that is happening

or the air was circulating so much that her hair became curlier in the moment.

You see now there is some action.

The brain has evolved to pay attention to movement.

Lately, even spaces have evolved.

Like, for instance, I was telling you about an international trip,

and I participated in a conference,

and it was held in a castle.

So sometimes the environment in itself contributes to making the experience a little extra special.

Another one that I just presented at recently was in a monastery.

So I've heard of events being held on a boat.

I've heard of business meetings happening in something that otherwise wouldn't have been considered your typical and predictable boardroom.

So one of the reasons they are extra special is because now the environment,

remember it's brain and body interacting with the environment.

So if the environment itself is unpredictable,

you increase the chances of attention and memory.

Super cool.

So if you really want to help your audience,

it's not just thinking about your message and what you ask them to do,

the space in which you do it can have impact.

I want to turn to two things that are very important in storytelling

and I'm curious to get your perspective on how they help us with attention and memory.

The value of intrigue and curiosity.

These are tools that get people to lean in.

I can make something intriguing or play on curiosity.

What are your thoughts on those?

Do you have some research and specific advice on how we can leverage those?

It's an interesting dimension, especially that of getting the brain curious.

and not an easier easy one to reach because are you noticing

that some people are so jaded where whatever you show them is like another one of those

so this is why I'm glad that you have the wonderful listeners

that you're talking about

because we need people like them to try a little bit harder to instigate

and get the brain to be just a little bit extra

excited obviously you often rely on intrinsic motivation like some people come to your content

and they're intrinsically motivated to listen and they're curious about about things

when they may not then you have the responsibility can you

create some tension in the brain what I'm noticing in my research time

and time again is that as we calculate emotions

and from a neuroscience perspective we have two variables

that are instrumental to emotion what are they

so picture this as quadrants now

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so you have valence on a horizontal axis you have arousal

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on a vertical axis at these quadrants you have these intersections

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of you're really an empty happen you like something like I

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don't know what it would be upper right for you like something

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that you really like and now you're alert like you cannot possibly be nonchalant

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that would immediately popped into my mind is listening to a

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comedian tell jokes I guess yes yes do you have a favorite one oh I do

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but I'm not gonna share

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so a good stand-up comedian doesn't necessarily let you relax low

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right now you can relax a little bit more maybe what do you think like reading a book

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or watching something on TV that's novel and exactly lower left that's negative valence

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but you're not upset

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so as you're seeing you're thinking about these quadrants know this lower left negative valence

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and low arousal that's where boredom settles in

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and that's where memories go to die some people might think

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that oh should always have things that are positive either

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that they amp you up or they keep you more relaxed

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but positive nonetheless but that's not what I'm observing quite often attention

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and memory are created at the intersection of negative valence

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and high arousal now now I'm feeling it I'm a little anxious about this there is tension

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and quite often that tension can provoke some curiosity

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which is what you're asking about

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so I remember we were doing a presentation about cybersecurity

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and this vendor was saying

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if you use us we will help you manage I information technology

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and OT operational technology and in the presentation they were saying

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if in IT some of your systems get hacked data get

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stolen there's a breach people lose their jobs OT for physical object gets hacked people can lose their lives

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because if you had an oil rig for instance people can really die

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so we were just getting like really deep into this

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and even the slides are turning dark

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and you could see like a little cross with a little

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bit of blood dripping off of it now you can like

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physically see this lean in motion the brain is motivated to keep on going a little bit

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so from a neuroscience perspective I think I would equate this dimension of motivation

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and leaning into a system versus withdrawing as a sign of

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curiosity now tell me a little bit more I'm willing to

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stay with you for the next moment over until you get me to

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that lower left you're always just a click away from lower left.

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But a bit of tension and friction can help you there.

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So as we think about the stories we tell,

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the examples we use, the testimonials we provide,

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we should actually, I think,

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almost map them on your two by two matrix.

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Yes.

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Yes.

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And see where do they fit.

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And as long as they are arousing in some way,

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and the valence isn't as important,

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and we can think about how we can drop those in.

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And we just have to,

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I assume we can't have too many back-to-back of all the same kind because it can become almost overwhelming.

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It's true.

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It can become overwhelming, and you don't want people to be staying in

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that upper left for too long because then it's just really draining.

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Yes.

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But a combination of the three,

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so upper left, upper right,

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and lower right, those are really good.

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Every so often, the brain will go into a slight state of boredom.

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We can't claim that all of a sudden just everything is going to be an epiphany.

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You argue that we often over-deliver on content, which creates cognitive overload.

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What are the key communication habits a person should break to reduce the load they put on their audience

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and ensure that their core message is not only received, but understood?

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So we say more than we need to, it sounds like.

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Sometimes we say more than we need to.

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And it's an intriguing concept to me because here's the good news for everybody,

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especially as the world is getting more complex.

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The brain actually synchronizes better with that which is complex than that which is simple.

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Where does complexity and overload come in?

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Well, it's not really complexity that gets us in trouble.

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It's randomness.

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So really when we talk about overload,

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we're talking about some random bits and pieces that people go on in and out,

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in and out, in and out,

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without enabling somebody else's brain to see some patterns,

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to see how all of these,

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as difficult as they may be, components come together.

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So one practical technique, especially if we have technical people who like to geek out for a moment,

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is related to fractals.

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So for those of you who may wonder what are fractals,

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there are these objects or even parts of our bodies have those properties.

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Options that have the same properties at any level of magnification.

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So for instance, if you picture a tree,

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you have the trunk, you have the branches.

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And if you go to the smallest of the smallest of the smallest of the branch,

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that little branch has the same properties as the entire big tree.

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Or if you go to the grocery store,

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you see a head of cauliflower.

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The entire head of cauliflower is composed of these tiny baby heads of cauliflower.

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And those baby heads have the same properties as the entire head.

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So it's cauliflower all the way down.

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So as a practical technique,

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think about all your content,

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anything that you want to share with an audience and as complex or seemingly overloading as it may be,

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wonder what are just some core sets of properties.

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That's what your 10% message would come in as well.

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so that your entire content is being perceived as cauliflower all the way down.

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Because if you have this core that never changes,

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then you can elaborate, then you can add stories and you can add details,

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you can add your analogies,

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all of those beautiful things you mentioned,

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but you won't feel overwhelming because you're coming back to the same core.

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You're coming back to the same short set of rules.

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So have a clear through line that you can connect things to rather than...

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That's why when people go off on tangents,

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it can be so frustrating and difficult to stay focused.

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So we have to have a clear goal,

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clear direction, help our audience see the patterns of the things we're saying.

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It makes it easy.

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See the patterns and just come back home.

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So when you say control your 10%,

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come back to that 10% message every so often to say,

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yeah, we went over here and we went over here,

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went over here, but overall,

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everything just condenses down to this one handful of things.

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One of the other things that strikes me that that 90% does is,

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even though you might not remember the content,

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you might remember the feeling, right?

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And so even if I only remember 10% of what you say,

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I might leave saying, she was really on her game and competent,

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and that can help me as well.

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Strong emotions will definitely help in a competitive space,

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challenge yourself to combine emotion with some verbatim phrases.

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You cannot afford to only operate on emotions just because other companies will also have their messages and their emotions.

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So ideally, it's your combination that makes it through.

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I have seen your books,

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I've seen your book covers,

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I've seen presentations that you've done.

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Visuals play very strongly in what you do.

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Can you give us some best practices and advice when using visuals to help with memory and engagement?

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Yes, that is one of my favorite topics to talk about

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because with neuroscience we can debunk some myths

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and i'm sure you've heard this many times before same for our listeners

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that some people are visual learners some people are auditory learners

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some are kinesthetic i hope nobody ever repeats those sentences ever again

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because primarily we are visually we are visual beings 60 to 70 percent of our body receptors

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which is how we take in the world and we start

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perceiving things and building memories are visual we have visual people assuming of course you're visually able even

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when you're not you're still seeing inwards

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so you have to take care of your visuals you can do them by showing people some pictures

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or by doing what you're recommending earlier

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which i really like enabling the brain to see inwards like building mental images

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so don't put

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so much pressure on yourselves like suddenly you have to come up with some amazing graphics

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and you don't have a graphics degree.

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If you do have some sort of inclination towards the images,

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what I'm doing a lot of research on is cliche images and cliche phrases.

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I'm noticing that the brain,

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especially the global brain, I did a study on this,

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has some comfort with the written cliche.

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So for instance, if you say phrases like such and such is a game changer,

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or this is a win-win situation,

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or data-driven anything these days,

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I was noticing that as I included people from the US,

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people from Asia, people from Europe,

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we have a certain amount of comfort with the cliche.

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It's almost like it's a universal language.

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People kind of like come home.

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It's like, I got it.

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As long as you don't overdo it.

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The cliches in that study,

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they're only 5% of the entire communication.

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However, the global brain doesn't have any energy for cliche images.

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And what are those?

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You want to take a guess what's the most.. cliche image in business content?

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The first thing that came to mind was like a sun rising or something.

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You're not far.

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So the mountain, climbing mountains,

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and especially usually at a sunrise or a sunset,

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you can picture it, yes.

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I have to say this,

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by the way, I was listening to this incredible keynote speaker and he was a mountaineer.

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And he said, you know what?

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Visualizing business success by showing a business person on top of the mountain is like the worst thing that you can do.

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Not only is it cliche,

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but most accidents in mountaineering happen when you go down the mountain.

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You don't want to be in fancy shoes.

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Just to show that you've made it there at the top,

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you haven't made it at the top.

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You make it when you come back down at the bottom unscathed.

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That's success.

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That's success.

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But removing the technicalities, then if we talk about visuals,

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then we have to ask how is it that we avoid the cliches,

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the mountain of it all,

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and the chess strategies, and the golf.

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The iceberg metaphor.

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So here, we did something with the iceberg metaphor because I was reflecting on that and I was thinking,

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you know, the iceberg metaphor has a good story in it.

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It tells us that at the top you see something small,

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but really what's important is underneath it.

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So I was challenging our designers to say,

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how would you visualize there is more to the story?

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So we had three versions in that presentation.

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One was you're seeing what would appear as a shark fin on top of the water,

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but then

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when you really zoom in under the water is just a

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regular goldfish in the other one we were showing a person climbing the mountain

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so you see it's not like you'd never use a cliche

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but you twist it so there's person climbing a mountain

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that looks like it's covered in snow

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but then on click the whole thing rises

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and that's actually the top of an ice cream cone oh

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so because now you didn't expect that you see there's more to the story

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and that unexpected piece was a little bit unusual

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or you take any kind of stone structure like let's just say Stonehenge

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and on click you raise it up

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and you see a few aliens right underneath there in the

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dirt there's more to the story depends on where you want to take it

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but see you can challenge yourself to say look at a familiar visual

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and play off of it jolt the brain out of its habituation

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so visuals play in a very important role and there are things we can do through visuals to stimulate interest and attention.

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Qu'est-ce que la technique du Shadowing ?