跟讀練習: A Simple Causal Phrase That Turns Any Data Point Into a Story - 通過影片學習英語口語

選擇練習模式

每種模式都會開啟全屏練習室。

356 句

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Portals provide a powerful way for you to begin your communication and engage your audience.

門戶為您提供了一種強大的方式，可藉此開啟溝通並吸引受眾。

My name is Matt Abrahams and I teach strategic communication at Stanford Graduate School of Business.

我叫馬特·亞伯拉罕斯，在斯坦福大學商學院教授戰略溝通課程。

Welcome to Think Fast, Talk Smart, the podcast.

歡迎收聽《快速思考，智慧表達》播客節目。

Today I'm excited to speak with Troy Campbell.

今天我很高興能與特洛伊·坎貝爾對話。

Troy is the chief scientist at the firm On Your Feet and a former behavioral science professor at the University of Oregon.

特洛伊是On Your Feet公司的首席科學家，此前曾擔任奧勒岡大學的行為科學教授。

Previously, he was a Disney Imagineer and a researcher at Netflix Insights.

此前，他曾是迪士尼幻想工程師，也是Netflix Insights部門的研究員。

Troy specializes in blending a scientific mind with an artistic heart to understand consumer behavior, storytelling, and the psychology of human connection.

特洛伊擅長將科學思維與藝術情懷相融合，以此解讀消費者行為、敘事表達以及人際聯結的心理機制。

Well, welcome, Troy.

好的，歡迎你，特洛伊。

We have chatted on and off for a long time, and I am thrilled to actually have you in studio and the opportunity to chat with you.

我們斷斷續續聊了好長時間，今天真的能把你請到演播室、有機會和你面對面聊天，我特別開心。

Thanks for being here.

感謝大家到來。

A long-time listener, first-time guest.

我是你們的老聽眾，第一次來當嘉賓。

I'm very excited to be here.

我非常高興能來到這裡。

All right, shall we get started?

好的，我們開始吧？

Let's do it.

我們開始吧。

I love so many ways you frame things.

我特別喜歡你看待事物的那些角度。

You describe story theory as essentially the word because.

你把故事理論的核心描述為“因為”這個詞。

How does understanding causality improve our storytelling?

理解因果關係如何提升我們的敘事能力？

Yeah.

是的。

So pretty much if you ask any theoretician of story,

基本上只要你去問任何一位敘事理論研究者，

about one out of two of them will give you a definition that is more or less the word because.

大約有一半的人給出的定義差不多就是“因為”這個詞本身。

They'll talk about causality.

他們會討論因果關係。

So if you read the book Narrative by Abbott Porter, he's going to talk about causality.

如果你讀阿博特·波特的《敘事》一書，他會在書中探討因果關係。

If you talk to the comics professor Kate Kelp-Stebbins, she's going to tell you it's causality.

如果你和漫畫研究教授凱特·凱爾普-斯特賓斯交談，她會告訴你這是因果關係。

If you listen to the South Park creators, they'll talk about how in between every scene, what happens in one scene better cause the next thing to happen, right?

如果你聽《南方公園》創作者的講解，他們會說在每個場景之間，前一個場景發生的事最好能順理成章地引出下一個情節，對吧？

And causality is just this foundation that really allows us to anchor what we're trying to do when we're telling stories,

而因果關係正是這樣一個基礎，它能真正讓我們在講述故事時，把我們想要表達的核心內容牢牢地確立起來。

which is that characters are changing and there's something that's causing them to change.

即字元正在發生變化，且存在某種導致其發生變化的因素。

And that cause is what's going to make it a story rather than a bullet point list.

而正是這個起因，才讓它成為一個有血有肉的故事，而不是乾巴巴的要點羅列。

I just love the idea of thinking about the change.

我就是特別喜歡去思考改變這件事。

And that change is because of something.

而這種變化是有原因的。

Yes.

是的。

So not all of us are in situations where we have to tell grandiose stories.

所以並非我們所有人都處於需要講述宏大敘事的處境中。

We're trying to pitch our business.

我們正嘗試推介我們的業務。

We're trying to get people aligned to what we're saying.

我們正努力讓大家認同我們的觀點。

Help us understand how we can tell stories in our everyday jobs.

請幫助我們理解，如何在日常工作中講好故事。

Yeah.

是的。

What we can do is we can say, you're going to come in to the workplace

我們能做的就是明確告知，你需要到崗上班。

and you're going to share a piece of information like here's an action

你要分享一條資訊，比如這是一個操作步驟。

that we want to do or here's a data point that's really important

這是我們想要做的事，或者說，這是一個非常重要的資料點。

and you're going to explain the because behind it

你得解釋清楚背後的原因

and once you start saying because and you say

一旦你開始開口說“因為”，你就會一直說下去

because a couple times it's going to transform something into a story the current sales of this product are down

因為有好幾次，它都會把一些內容轉化為一個故事，說這款產品目前的銷量正在下滑。

and it's because this thing is happening and a deeper reason is

這是因為這件事正在發生，而更深層的原因是

because the consumer cares about this and it becomes this real simplified way to tell in my opinion, what is a story, which is explaining why something has happened,

因為消費者很在意這一點，在我看來，這也成了一種非常直觀的判斷標準，用來區分什麼才是真正有價值的敘事——也就是能把事情的來龍去脈講清楚的內容。

what has caused a character, a set of characters, they could be your consumers to change.

是什麼因素促使一個角色、一群角色——他們可能是你的消費者——發生了改變？

It all boils down to that causality.

歸根結底就是那個因果關係。

And when you frame it that way, it makes it so much easier to think about how do I, as somebody telling the story, structure it?

當你從這個角度來考慮時，作為敘事者，要構思如何組織故事就會容易得多。

I first have to introduce the players, the issue, the cause, and then explain the cause that comes from that.

我首先得介紹相關的參與方、問題、根本原因，然後再解釋由此產生的深層原因。

So So you start by explaining who the characters are and the components and then the cause that's involved.

首先你要先解釋清楚相關的角色、構成要素，然後再說明涉及的原因。

One of the things that you

你會遇到的情況之一是

and I connected on right away is you like I believe very strongly in frameworks and structure.

我立刻就產生了共鳴的一點是，你和我一樣，都非常堅信框架和結構的重要性。

And you have a great structure that I really like, GIA, Goal Insight Action.

而且你有一套非常棒的框架，我特別喜歡，就是GIA，目標、洞察、行動。

Can you tell us a little bit about that structure and how can we use it?

您能否向我們簡要介紹一下那個結構，以及我們該如何使用它？

Yeah.

是的。

So Goal Insight Action is goal, what your audience cares about.

所以目標、洞察、行動中的「目標」指的是你的受眾真正關心的內容。

We want to always start with relevance.

我們希望始終以相關性為出發點。

It is the data, the expertise, the ingenuity, the causality, the reasons that you're going to bring.

這正是你將帶來的資料、專業知識、創造力、因果關係分析以及背後的邏輯支撐。

And action is what your audience can do with it.

而行動就是你的受眾可以用它來完成的操作。

And if you think about this, you'll actually see it so many times in things, right?

你要是仔細想想，就會發現這種情況在很多事情裡都出現過，對吧？

It's how Steve Jobs always communicated.

這正是史蒂夫·喬布斯一貫的溝通方式。

He would come up to audiences and, right, of all the people in the world, Steve Jobs could just be like, hey, Apple, we should do this.

他會走到觀眾面前，你知道嗎，全世界那麼多人裡，也就史蒂夫·喬布斯能說出，嘿，蘋果，我們就該這麼做。

We should have this Think Different campaign.

我們應該推出這場「不同凡想」宣傳活動。

But instead he comes up

但他反而走了過來

and he says the goal we have in the 1990s at Apple is

他說我們蘋果公司在20世紀90年代的目標是

that we need to stand out again that we aren't resonating

我們必須再次脫穎而出，因為我們現在沒有引起共鳴。

and The insight and he says this with his hands like it's always even tough.

他一邊說著這番見解，一邊用手勢比劃著，彷彿這件事始終都很棘手。

You you're dressed in black.

你穿的是黑色衣服。

Yeah I know my lady said I looked a little Steve Jobs

是啊，我知道，我女朋友說我看起來有點像史蒂夫·喬布斯

And he would be like my insight is that marketing is about values

然後他就會說，我的見解是，營銷關乎價值觀。

and in a world that's really busy how you stand out is focusing on values right

在這個紛繁忙碌的世界裡，想要脫穎而出，關鍵就在於專注於自身的核心價值觀，對吧？

and then he says

然後他說

so the action what we're gonna take is we are gonna have the think different campaign

因此，我們要採取的行動是開展“不同凡想”宣傳活動。

which is gonna focus on our core value

這將聚焦於我們的核心價值觀

that we believe in misfits we believe in people who believe

我們相信那些與眾不同的人，我們相信心懷信念的人。

that they can change the world and that structure is just

他們能夠改變世界，而那種體制只不過是

so simple it works whenever you're talking about data don't jump

它非常簡單，只要你在討論資料時都適用，不會出現異常波動。

to your data say the goal we have at this organization is to reach this consumer

根據你們的資料，我們這個組織的目標是觸達這類消費者。

or address this fire problem right now some insight we have about the consumer about this moment is this, and the action that we can take to deal with it is this.

或者現在就解決這個緊急問題，我們目前對消費者的一些洞察是這樣的，而我們可以採取的應對措施是這樣的。

And we teach organizations the structure, and they love not only the structure, but they love using the words

我們向各個組織傳授這套框架，他們不僅喜歡這個框架，也很樂意使用其中的表述方式。

because it creates sort of this collective also culture where they can signpost to their audience

因為它營造出了一種集體文化氛圍，讓創作者能夠向自己的受眾傳遞明確的指引。

because they've both been trained to receive and deliver in goal inside action.

因為他們兩人都經過訓練，能夠在禁區內完成接球和出球的動作。

And it can just be a wonderful personal habit, but also group habit.

這既可以是一種很棒的個人習慣，也可以是一種群體習慣。

Goal inside action, I think, is a fantastic structure.

我認為，行動中設定目標是一種非常棒的架構。

And what it allows you to do, the goal is often something that's commonly shared or based on a value or your mission that's already shared.

它能讓你做到的是，目標往往是大家共同認可的，或是基於已經達成共識的價值觀或使命。

So you're already halfway there because you're tapping into something that people already believe in and then you're further focusing it.

所以你已經成功了一半，因為你正在利用人們已經相信的東西，然後進一步聚焦它。

And like any structure, I think with a little practice in ingenuity, this can be a really useful tool.

和任何框架一樣，我認為只要稍加練習、靈活運用，它就能成為一個非常實用的工具。

Yeah.

是的。

And the one thing I would say is like the goal may be the most important part of goal inside action.

我想說的一點是，目標或許是行動中最重要的部分。

And it's that even if people have that goal, it's not always active in their brain and

而且，即便人們有這樣的目標，它也並非始終活躍在他們的大腦中。

so you need to remind people that

所以你需要提醒大家

that is what's important right right um they might even tell you i know

這才是關鍵，對吧，嗯，他們甚至可能會告訴你，我懂的。

that already but there it wasn't they really didn't know

那件事早就發生了，但當時他們根本就不知情。

that in the moment and those motives were not activated

當時那些動機並沒有被觸發。

so make sure you always before you're communicating if you can even if it's just one sentence, repeat the goal that they have that you are going to help them with.

所以在溝通之前，一定要儘可能地重申你要幫助他們達成的目標，哪怕只是一句話也好。

A goal, I like to say, has a focusing function.

It helps you focus.

It helps you frame the discussion and highlighting that.

And assuming people understand it, and maybe some people say, I already got the goal, still state it.

Very good advice.

You've developed research on identity, persuasion, and solution aversion.

100

I had to practice saying that several times because I slur the words together.

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When an audience is highly resistant to the truth due to solution aversion or flight from the facts, as you like to say,

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how do we as a communicator restructure our message to avoid this?

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Yeah, so solutions can be very aversive.

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And because of these solutions, we will often deny that there's even a problem or that we need to engage in that solution.

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And I often like to think of solutions aversions as coming from two areas.

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So one is our tangible things and one are more identity based things.

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So a tangible thing could be just like, I don't want to stop drinking caramel frappuccinos.

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Right.

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And when a doctor diagnosed me with these blood sugar problems when I was younger, it was like I had a big frappuccino on my forehead

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and like deal with this issue

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or I'm not going to believe any of the science you're telling me about my health issue.

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And one of the things that he did, Dr. Manuel Fernandez, is the very first thing he did is he's like, here's how your diet is not going to be as bad as you think it was.

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So before all the science and all this stuff, he was managing my solution aversion that I'd have to that.

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Now, the second thing, and this is the one that's going to get into one of my favorite kind of storytelling principles, is identity.

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Right.

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And oftentimes really what we want to be as people is we don't want to have our identity threatened

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and we want to do things that feel authentic.

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Right.

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And so if somebody is telling you to change your behavior,

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to be more healthy in your behaviors or you want to

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or they're telling you to be more creative or they're trying to tell you to tell storytelling, they might even think, you know, that does sound like a good idea.

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But that's not who I am.

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That's not me. And

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so one of the things I really like bringing into this situation is something I worked on in my dissertation

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and that I now call the destiny narrative.

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And so the idea behind this is that in all great stories, characters change, but they go through a very specific type of change.

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They change into who they were always meant to be.

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The princess was secretly always a princess.

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The boy on Tatooine looking up at the twin sons longing for more always had the force inside of him.

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And Moana was always meant to sail across the seas.

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And we really, really like this thing, not only in these stories, but it works in marketing, right?

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Unleash your inner goddess.

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There's a warrior inside of you.

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So the idea is that we are changing, but we're changing more into who we always were meant to be or who we already are.

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And it resolves these two psychological motives that are so in conflict all the time, right?

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I want to improve.

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I want to have goal progress.

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I do kind of want to change.

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But at the same time, I want to be authentic.

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I want to be me.

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I want to have some sense of identity consistency.

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And what the destiny narrative does, it allows for you to stay true and have narrative change at the same time.

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So whenever I'm trying to persuade people to change, I don't tell them storytelling is good.

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The very first thing I do is prove to them that they're already a storyteller.

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And so now all you want to do is you want to do more of

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that because you want to do more of who you are.

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You might not be eating healthy, but there are some habits that you have that are already healthy.

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And that's important to you.

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So eating healthy now is more consistent with who you are.

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So much richness in that response.

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So let me break it down from what I'm taking away.

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Solution aversion, resistance, hesitation, concern that people bring can be focused on something very tangible.

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There's something I like doing or don't like doing, and you're threatening me because you're saying I should or shouldn't do that.

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And a great way to address that is to immediately address that resistance.

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It's not as bad as you think, or you're well-equipped to deal with this.

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So address the emotion, the concern, before you layer on all the things that need to be done.

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And as you were saying that, I was reflecting on my parenting and how poorly I did because I would always lead with, here, all the things you have to do.

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And, oh, by the way, you can do it.

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Vice versa would be helpful.

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And then the other part with the identity piece, and part of what I heard you say there, what's so important is this notion of consistency.

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You're showing that you're already there or you have that ability and having people reflect on that.

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So as we go to persuade, motivate, inspire, thinking about those areas of resistance, that challenge or solution aversion,

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and then thinking about the tangible and identity issues that play out can help us restructure the narrative to motivate people more.

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That's fantastic.

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One of the things that you teach and talk about

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that has fundamentally changed the way I teach and think about my communication is through the lens of portals.

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When you talked about portals, and I'd like you to define for all of us what they mean, it really changed the way I think about how I start and how I move through my communication.

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Can you educate us all on what you mean by portals and how we can apply that?

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Yeah.

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So my definition of portal is about how to begin an experience.

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And the idea is that a portal is a way to transition people into an experience, where the point of it is,

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is that you are getting them ready for the most important parts of the experience.

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So you might start with a bang but you really don't.

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You just need to slowly transition people into it

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and a lot of this is based upon Walt Disney Imagineering

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and they actually use the word portal to describe how to begin experiences.

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So when you are walking into the Disney park

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you go through a tunnel and

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that tunnel even says like you're leaving the current space you're in

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and you're going into fantasy tomorrow in the past and that transition time inside of that tunnel

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and knowing the direction in which you're heading allows you to sort of start transitioning

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and then when you go on each of the rides they have these ways in

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which they ease you into the story that that is different for each ride.

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So in Buzz Lightyear, that is a ride where you're gonna be on the ride

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and you're gonna be shooting this little laser gun.

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So the portal into that is a cartoony intro in

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which Buzz Lightyear gives you a pep talk and they show you the targets.

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It's silly, high energy, very focused, right?

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And you can think of like a creativity warmup.

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They're like, we're gonna be really active later in this meeting, so we do that.

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But the portal into Haunted Mansion is very different

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Because Haunted Mansion is a passive ride in which you're going to go through a haunted mansion, and you're going to look around, and you're supposed to look for details.

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And so the way that introduces you is you walk through a graveyard noticing silly little jokes on the tombstones,

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and then you get in the stretching elevator where your ghost host literally tells you to look in different directions.

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And so it's facilitating you into those things.

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And what they're doing in these portals is they're doing three general psychological things that are overlapping but distinct.

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One, it's creating anticipation for what's to come.

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Second, it's getting you in the mindset shift and the specific mindset you're supposed to be in that.

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And the third is it's previewing the narrative for that experience.

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So it's not telling you the whole story, but it's giving you enough into the narrative that you're ready to be going.

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What Melanie Green would call narrative transportation.

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I think this is such a powerful idea.

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Many of us in our communication, especially high stakes communication, we focus on what's the message we want.

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We don't think about how do we bring people to that message.

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And there are lots of ways to do it.

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You can think about the calendar invite you send out.

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That can be a beginning.

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As you mentioned in a meeting, you can have some kind of icebreaker activity to warm people up as long as it's somehow connected to what comes.

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What drives me nuts is where you do some kind of icebreaker and then the next task is totally unrelated.

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Yeah, I mean- It's whiplash almost.

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It's, yeah, bad.

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The point of it is we need to activate the right parts of the brain

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or the right memories for the task at hand.

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And that's the point of a start.

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Yeah, and I liked, you know, I played with the three components of what a good portal does to make it alliterative.

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It's the AAA, it's anticipation, it's approach.

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And then I couldn't come up with anything besides altitude.

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It tells you what level we're coming.

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So, and you can do this, not just at the beginning of your communication, but often in meetings, you might need a portal to bring you into another topic or area.

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I challenge everybody listening to think about how can we look at this idea of portal,

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setting people up to be successful in a way that really helps.

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You know, at the beginning of this show, I try to do that where I give a little bit of introductory idea to help people orient to what it is.

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I really appreciate that.

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And Troy, I've appreciated everything.

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We'll be right back to finish our conversation.

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Over the course of my career, I've had the privilege of working with some truly amazing coaches.

245

And I've also spent years coaching others.

246

And I can tell you firsthand, coaching makes a real difference.

247

That's why I really appreciate what Strawberry.me is doing.

248

Strawberry.me makes coaching more accessible, affordable, and global.

249

Whether you want to become a stronger communicator, a more confident leader, or simply more intentional in your career, having the right coach in your corner can make an enormous difference.

250

Visit strawberry.me slash smart and take 50% off of your first session and make sure you let them know Matt sent you.

251

And now back to our conversation.

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As you well know, we always end by asking three questions.

253

One I make up just for you and the The other two I've asked everybody, and I'll be curious to get your answers to that.

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Are you up for this?

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Let's do it.

256

All right, so question number one.

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What's the best piece of communication advice you've ever received?

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So the best piece of communication advice for me, it really was tailored well to me, came from one of my advisors in graduate school,

259

Dr. Peter Uble, and let me set this up.

260

So I gave my talk on my dissertation and I went in and he sat me down and he said Troy

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You are one of the most joyful people I've ever met your name even rhymes with joy You sign your emails

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enthusiastically Troy every time and your dissertation is literally about why people enjoy things and And for 20 minutes,

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I never saw you smile once.

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Right?

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And telling somebody to smile is not always the best advice.

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But for me, it was.

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Like, part of why people like engaging with me is that I really love these things.

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I'm the behavioral scientist who worked at Disney Imagineering.

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People want that energy and that joy.

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I'm literally delivering them on science.

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And so it's great advice for me but it's also like who you are

272

and what you are delivering when you can match

273

that it works really well yeah

274

so striving for congruence between how you feel about something

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and how you deliver are really important and and i'm glad you got

276

that advice because you do uh radiate joy

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and excitement um question number two who's a communicator that you admire

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and why so one person who i really really like in

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that space is bong joong ho he is the director of the oscar-winning film parasite

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and also other films like The Host and Snowpiercer.

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And he is so good at using direction.

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So in the movie Parasite, if you've seen it, the rich people live on the hill

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and the poor people live literally down the hill and in the basement.

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And he uses that up and down constantly for storytelling purposes.

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In Snowpiercer, it's a movie that takes entirely place on a train.

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And so one direction is always the back of the train.

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one direction of frame is always the front of the train.

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It's a metaphor, but it's also spatial, and it's so wonderful.

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And after watching a video essay by every frame of painting on the movie Snowpiercer, I was just like, I should just be using space for everything I do.

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And so I used to be a person who walked around on stage, but just to bring energy.

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Now I walk, and when I move between parts of my story, I now am in a new position.

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I'll assign different parts of the stage.

293

Sometimes when I'm being more avant-garde is like this is this is the scientific mind part

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and this is the artistic heart part

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and this is just me in the middle troy telling you how I actually feel right

296

and there's the ability to use space to tell story is amazing

297

and it's just so wonderful to watch movies

298

because I get new ideas all the time I like

299

that idea of observing other forms of communication to teach you how to be better

300

but that use of space is really important because you're signaling and and sending lots of information.

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Human beings are wired to pay attention to space and location.

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And doing that consciously, I think adds a lot.

303

And I really appreciate that you do a nice job of bringing science and art together.

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Final question.

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What are the first three ingredients that go into a successful communication recipe?

306

Yeah, so since we've been talking about, a lot about storytelling, I'll do mine that's based on that.

307

And it's cause, character and change, right?

308

And just those together is really simple.

309

If you're like, oh, I need to make this data presentation more important.

310

Okay, what are my characters?

311

What's causing them to act?

312

What can we do to then change?

313

If you're stumbling on just like a story about your own past,

314

it's like, okay, what caused me to change my mind about something, right?

315

And all of a sudden you have a story.

316

It's just three little tiny bits of things that can do so much.

317

Cause, character, change.

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You know, I'm going to love it because it's alliterative.

319

So interestingly, I don't know that the order of that matters

320

if you're trying to get it to initiate a story or move a story forward, but you need the three ingredients together.

321

Yeah.

322

And so our brains understand narrative causal structures and they don't need to be told in order.

323

And my friend James Antony does a lot of neuroscience research

324

and how he finds how people connect things and remember things and pair things in the brain based upon causal connections.

325

So if you're watching something, you can watch, you know, an episode of Friends and there you put all your OK,

326

this character is in this plot and I'm connecting it here and I'm connecting these plots.

327

Or you can watch an episode of like How I Met Your Mother that's often told out of order.

328

But your brain can put that all together.

329

Your brain is obsessed with understanding characters.

330

It's a social you're a social creature.

331

and it processes things in logics.

332

And so we can have characters in logical causations.

333

You're just going to reach the brain so well.

334

So well put, as was everything that you shared.

335

Troy, thank you for your time.

336

Thank you for your insights.

337

And thank you personally for impacting the way I communicate.

338

Awesome.

339

Well, it has been great to be on this.

340

And I love what you do here.

341

I love that you also create some of the best type of content that we can deliver to our students, right?

342

You can start a class with a clip from your podcast

343

and really get a ton of information and get the students excited to engage in something.

344

Well, thank you.

345

I appreciate that.

346

Thank you for joining us for another episode of Think Fast, Talk Smart, the podcast.

347

To learn more about creative ways to communicate, please listen to episode 156 with Scott Dorley.

348

This episode was produced by Katherine Reed, Ryan Campos, and me, Matt Abrahams.

349

Our music is from Floyd Wonder, with special thanks to the Podium Podcast Company.

350

Please find us on YouTube and wherever you get your podcasts.

351

Be sure to subscribe and rate us.

352

Also, follow us on LinkedIn, TikTok, and Instagram.

353

And check out Fastersmarter.io for deep dive videos, English language learning content, and our newsletter.

354

Please consider joining our Think Fast, Talk Smart learning community at Fastersmarter.io slash learning.

355

You'll find video lessons, learning quests, discussion boards, my AI coach, and book club opportunities.

356

Again, that's faster smarter dot IO slash learning to become part of our think fast, talk smart community.

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詞彙遊戲邊玩邊學

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FOR YOU

本課的詞彙與口語要點

這節 B2 級別的口語課以影片“A Simple Causal Phrase That Turns Any Data Point Into a Story”為素材。這段影片共有 356 個句子、4521 個單詞可供跟讀。講話部分時長為 24:29。說話人語速較快，每分鐘約 185 個詞，會出現較多連讀和弱讀。 86% 的單詞屬於英語最常用的 3,000 詞，其餘的詞建議在練習前先學一下。

影片中的重點詞彙

影片中最難的 15 個單詞，附發音和釋義：

單詞	發音	釋義
portal 名詞	/ˈpɔːɹtl̩/	入口網站 /入口網站
causality 名詞	/kɔˈzæl.ɪ.tɪ/	因果關係 /因果關係, 因果律
insight 名詞	/ˈɪnsaɪ̯t/	見地 /見地
aversion 名詞	/əˈvɜːʒən/	厭惡 /厭惡
tangible 形容詞	/ˈtæn.d͡ʒə.bəl/	可觸控的 /可觸控的
podcast 名詞	/ˈpɑdˌkæst/	播客
haunt 動詞	/hɔnt/	出沒 /出沒
dissertation 名詞	/ˌdɪsəˈteɪʃən/	論文 /論文
strawberry 名詞	/ˈstɹɔˌbɛɹi/	草莓
mansion 名詞	/ˈmæn.ʃən/	豪宅, 宅第
causal 形容詞	/ˈkɔːzəl/	原因的
icebreaker 名詞	/ˈaɪsˌbɹeɪkəɹ/	破冰船
ingenuity 名詞	/ˌɪnd͡ʒəˈn(j)uːəti/	發明才能 /發明才能, 創造力 /創造力
motivate 動詞	/ˈmoʊ.tɪ.veɪt/	激發
ingredient 名詞	/ɪnˈɡɹiːdi.ənt/	成份, 材料

影片中出現的短語動詞

單詞	發音	釋義
go through 動詞		通過 /通過
check out 動詞		退房
come up 動詞		上來 /上來
come up with 動詞		想出, 提出
look around 動詞		環顧 /環顧
make up 動詞	/ˌmeɪk ˈʌp/	組成 /組成

值得反覆跟讀的句子

影片中簡短而完整的句子，可以直接用在日常對話裡：

All right, shall we get started?
How does understanding causality improve our storytelling?
Are you up for this?
What's the best piece of communication advice you've ever received?
What can we do to then change?

影片中的語法

說話人最常用的結構，並附上影片中的原話：

結構	影片中的用法
現在完成進行時 have/has been + -ing — 以前開始、現在仍在繼續的動作	I've been thinking · we've been talking
條件句 if + 從句，will/would + 動詞 — 條件及其結果	if you think about this, you'll actually
現在完成時 have/has + 過去分詞 — 過去發生但與現在仍有關聯的事	have chatted · has happened · has caused
被動語態 be + 過去分詞 — 強調發生了什麼，而不是誰做的	been trained · were not activated · were always meant

需要注意的發音

說話人用了 105 次縮略和弱讀形式，例如 you're, I'm, don't。請按聽到的簡短形式來說。

“th” 音: threaten /ˈθɹɛt.n̩/, authentic /ɔˈθɛn.tɪk/, thrill /θɹɪl/
“sh” 和 “zh” 音: aversion /əˈvɜːʒən/, dissertation /ˌdɪsəˈteɪʃən/, mansion /ˈmæn.ʃən/, anticipation /ænˌtɪs.əˈpeɪ.ʃən/, intentional /ɪnˈtɛnʃənəl/
長單詞——注意重音位置: causality /kɔˈzæl.ɪ.tɪ/, communicator /kəˈmjuːnɪkeɪtə/, dissertation /ˌdɪsəˈteɪʃən/, ingenuity /ˌɪnd͡ʒəˈn(j)uːəti/, ingredient /ɪnˈɡɹiːdi.ənt/

中文母語者容易讀錯的音：

/v/ — 不要讀成 /w/，上齒輕觸下唇: aversion /əˈvɜːʒən/, motivate /ˈmoʊ.tɪ.veɪt/, activate /ˈæktɪˌveɪt/, behavioral /bɪˈheɪvjəɹəl/, motive /ˈmoʊtɪv/
詞尾子音 — 要讀清楚，後面不要加母音: insight /ˈɪnsaɪ̯t/, podcast /ˈpɑdˌkæst/, haunt /hɔnt/, motivate /ˈmoʊ.tɪ.veɪt/, ingredient /ɪnˈɡɹiːdi.ənt/
/r/ 和 /l/ 的區別: portal /ˈpɔːɹtl̩/, behavioral /bɪˈheɪvjəɹəl/, thrill /θɹɪl/, relevance /ˈɹɛl.ɪ.vən(t)s/, vocabulary /vəˈkæb.jə.lə.ɹi/

如何用這段影片練習

先完整聽一遍影片，不要開口，記下不認識的單詞。
先用 0.75 倍速逐句跟讀，熟練之後再回到正常速度。
錄下自己的聲音並與原聲對比，特別注意 portal, causality, insight 這類單詞。

什麼是跟讀法？

跟讀法 (Shadowing) 是一種有科學依據的語言學習技巧，最初開發用於專業口譯員的培訓，並由多語言者Alexander Arguelles博士普及。這個方法簡單而強大：您在聽英語母語原聲的同時立即大聲重複——就像是一個延遲1-2秒緊跟說話者的影子。與被動聽力或語法練習不同，跟讀法強迫您的大腦和口腔肌肉同時處理並模模擬實的講話模式。研究表明它能顯著提高發音準確性，語調，節奏，連讀，聽力理解和口語流利度——使其成為雅思口語備考和真實英語交流最有效的方法之一。

影子跟讀法: 閱讀完整分步指南 →

跟讀練習: A Simple Causal Phrase That Turns Any Data Point Into a Story - 通過影片學習英語口語

選擇練習模式

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1 8 What is Causation

本課的詞彙與口語要點

影片中的重點詞彙

影片中出現的短語動詞

值得反覆跟讀的句子

影片中的語法

需要注意的發音

如何用這段影片練習

什麼是跟讀法？

【TED】優れたリーダーはどうやって行動を促すか/サイモン・シネック（日本語字幕）