Pitch anything oren klaff pdf download

Pitch anything oren klaff pdf download

Pitch Anything Oren Klaff Pdf Free Download,Categories

 · Pitch anything: an innovative method for presenting, persuading and winning the deal Item Preview remove-circle Share or Embed This Item. Share to Twitter. Share to About Pitch Anything pdf Free Download When it comes to delivering a pitch, Oren Klaff has unparalleled credentials. Over the past 13 years, he has used his one-of-a- kind method to  · Download Pitch Anything Unknown Add Comment Books, Business & Money, Buy with 1-Click $, Marketing & Sales, Sales & Selling Friday, January 13, Author: Virtual field trips and class trips. TEACHING OUTSIDE THE CLASSROOM. ENGLISH GRAMMAR II Poor young Jewess was on the pitch anything oren klaff pdf free download Boulevart des Italiens, seeking to excite 'Amlets Milishy " are, were (and if I may presume on a prophecy) ... read more

My crocodile brain became overwhelmed with basic, primal emotions. I was frame-controlled. My simple, emotional, reactive croc brain told me to run, and I considered it. When you abide by the rituals of power instead of establishing your own, you reinforce the opposing power frame. Dramatic pause. This drawing is pretty damn good. Forget the big deal for a minute. How about you sell this to me. Name a price. But you can do this in everyday meetings in a far less dramatic way to change and refocus the frame to a totally different subject. To instigate a power frame collision, use a mildly shocking but not unfriendly act to cause it. Use defiance and light humor. Taking the Frame Here are some subtler examples of taking the power frame away.

As soon as you come in contact with your target, look for the first opportunity to 1. Perpetrate a small denial, or 2. Act out some type of defiance. You have to wait for this. Another way to control the frame is to respond to a comment with a small but forceful act of defiance. I only have 15 minutes this afternoon. But you are serious, too. With this simple remark, you have just snatched the power frame away from your target. This can easily become a frame game. They will say, you only have 12 minutes? I forgot, I only have Then I will come back with 8. And so on. They are a way of prizing which you will read about next and can be entertaining for both parties. It can be that simple. The better you are at giving and taking frame control, the more successful you will be. Think of how many ways you can use small acts of denial and defiance in the opening moments of meetings. The possibilities are only limited by your imagination. Defiance and light humor are the keys to seizing power and frame control.

Keep it fun, do it with a grin on your face, and the moment the power shifts to you, move the meeting forward in the direction you want. This is the foundation of frame control. Power shifts and frame grabs start small and escalate quickly. When this first power transfer takes place, when your target loses the frame, he knows it—he can feel that something just happened. His cognition is hot, which means that his basic desires have been activated. Now, he is paying close attention and is fully engaged. He is thinking, Whoa, what do we have here? When you are defiant and funny at the same time, he is pleasantly challenged by you and instinctively knows that he is in the presence of a pro. This is the moment when he realizes that this is a game, that the game is now on, and that you are both about to have a lot of fun playing it.

Once started, the game has its own inertia, and you can use it to your advantage. You must also take care not to abuse the power you now hold. The frame master, which is what you will be when you get good at this, knows that dominating the frame is not how you win the game but rather a means to win the game. No one likes to be dominated, so once you own the frame, use this power in ways that are fun and mutually exciting. Small acts of denial and defiance are enormously powerful frame disrupters. They equalize the social power structure and then transfer all that power to you. Then, all you need to do is hold on to the power and use it wisely. The Prize Frame Another common situation occurs when the key decision maker does not attend the meeting as was agreed to. This situation requires a special kind of response that not only will reaffirm your control of the frame but also will establish you as someone unlike anyone else they have dealt with.

Big just called. He says to start without him. This is a defining moment for you. You have just lost the frame, and there is nothing you can do about it. However, this does not mean that you do not have choices. Your options are 1. Big will join the group toward the end of the meeting. I would not recommend this. Stop everything. Reframe using power, time, or prize frames which are covered in this chapter or perhaps all three. Immediately take the power back. Are you willing to throw that away? No one can tell your story as well as you can. If you trust your presentation to subordinates and expect them to pass it on to the decision maker with the same force and qualities of persuasion that you have, then you are not being honest with yourself. Again, no one can tell your story as well as you can. Big must hear it. He must hear it from you. I can give you 15 minutes to get organized.

Big, and that person will try as hard as he or she can to find him and request that he join the meeting. Big is briefed. Your response? This meeting is going to start when I say start, and it will end when I say stop. And then something awesome will happen. The people in the room will scramble, doing their best to prevent you from being offended, doing their best to keep you from leaving. They are worried about you. When you own the frame, others react to you. Be judicious with this power as you are now in complete control of the situation. If you stand, pack up your things, and leave, it will be a social disaster for Mr. Big and his staff. So be benevolent, give Mr.

Big the promised 15 minutes to arrive, and act politely but true to your frame. And if he does not show at that point, you leave. You do not deliver your presentation, you do not leave brochures, and you do not apologize. They know. If it seems appropriate, and if this is a company with which you want to do business, tell the most important person in the room that you are willing to reschedule—on your turf. This is a subtle framing technique known as prizing. What you do is reframe everything your audience does and says as if they are trying to win you over. A few moments earlier, you learned that Mr. Now, however, you are communicating to your buyers that they are here to entertain you.

I am the prize, not you. I can find a thousand buyers audiences, investors, or clients like you. There is only one me. Prizing To solidify the prize frame, you make the buyer qualify himself to you. This is a powerful and unspoken expression of your high status and your frame dominance. It forces your audience to qualify themselves by telling you exactly how interested they really are. Sound outrageous? When you rotate the circle of social power degrees, it changes everything. The predator becomes the prey. In this instance, what your target is feeling is a kind of moral shame—they have wronged you—and they feel obligated to make things right. Initially, you walked in with low status. Just another pitch in a long string of pitches. Over many experiences, these people have learned how to have their way with salespeople and presenters like you. They will apologize, appease, and try to correct for the social gaffe, and in most cases, if Mr.

Big is in the building, they will find a way to get him in front of you. Before going into these aspects of framing in greater detail, though, I think it might help to prepare the ground if I recount how I came to develop and use frames over the years. As you will see, the practical side of frames grew out of my personal experiences, sometimes in high-stakes situations where there was much to be gained and lost. Remember, when you own the frame, people respond to you. Let me share an example from my own experience. Fourteen missed calls, all from the same person, D. His serious problem was a deal that had already gone bad, and now it was my job to help. Dennis Walter was an avocado farmer, a guy who got his overalls dirty, a guy who put in long days in the hot sun. After 35 years, he was ready for retirement.

Dennis wanted his money now, and it was his, legally. But he was unable to get it back despite repeated attempts. So his problem was now my problem, too. This is how I was thrust into a pitch that clearly was doomed to fail. I knew a little bit about McGhan. He had a reputation as a successful businessman, primarily in the field of medical devices. Intriguingly, while at Dow Corning in the s, he helped to invent the first generation of silicone breast implants. Today, he owned two companies: MediCor and Southwest Exchange. But the success enjoyed there was short-lived, and McGhan turned desperate. To keep MediCor solvent, McGhan began siphoning money from Southwest Exchange.

Real estate investors, like Dennis, had used Southwest Exchange to hold their money while looking for new investments. Just like that. Now I was on our corporate jet, en route to Las Vegas, on my way to help Dennis attempt the impossible. I thought about McGhan and what it might be like to confront him face to face. Or that McGhan was a bad guy, a criminal, presiding over a large-scale Ponzi scheme. As I drove to Henderson, a Las Vegas suburb, I had a strong sense of purpose. I pulled into the Southwest Exchange parking lot, and I met Dennis for the first time in person. He was a nice guy, looked like your typical farmer, and looked like a guy who really needed my help. I was clearly nervous. Making this kind of pitch, to get money back—a lot of money—from a bad deal, is mentally and emotionally tough.

To calm myself, I thought about frame control and all the other methods that I had spent countless hours learning, and trying to master. As I mentioned before, no situation has real meaning until you frame it. The frame you put around a situation completely and totally controls its meaning. People are always trying to impose frames on each other. The frame is like a picture of what you want the interaction to be about. And the most powerful thing about frames? There can be only one dominant frame during any interaction between two people.

When two frames come together, the stronger frame absorbs the weaker frame. Then weak arguments and rational facts just bounce off the winning frame. Dennis and I spoke for a few minutes in the parking lot. I prepared my frame. Then, just like that, I was ready, so we walked into the building together, and I went looking for the one guy who had caused all these problems: Donald McGhan. It was 9 a. when we walked into the building. It was a generic looking office with a black leather couch and magazines spread neatly on the coffee table. How can I help you? But I was there to establish my own status and frame control and certainly not to supplicate a gatekeeper. I strode past the front desk and down the hallway, the gatekeeper chasing behind me.

What were they going to do, call the cops? Back at the office, my partner already had the local police and the FBI on speed dial. As I made my way through the building, office by office, Don McGhan hustled himself out the back door, not wanting to deal with me. Jim McGhan, in his early 40s, was dressed in an Armani suit and had a confident, arrogant way about him. He was tall, and he looked down at me. So that was his game; he was playing with the analyst frame, which relies on facts, figures, and logic. I saw it in his eyes. He knew what he was doing. He was using his status and authority to confidently explain the so-called facts. I give him credit for one thing: Jim pulled off a beautiful analyst frame.

He was completely unfazed, arrogant, and acting puzzled as to why we were there. This was the squaring-off phase. He was trying to spin. He thought he could put us off and have us leave empty-handed. I came in with a moral authority frame—that we were right and he was wrong—a nearly unshakeable frame when used correctly. The game was on. He knew my frame, and I knew his. Next came the moment of first contact. You can feel it—usually as a pang of anxiety in the pit of your stomach. It is at this moment when you need to strengthen your resolve and commit completely to your frame. No matter what happens, no matter how much social pressure and discomfort you suffer, you must stay composed and stick to your frame. This is called plowing. So you prepare yourself to plow, as an ox might plow a field. Always moving forward. Never stopping. Never any self-doubt. And, as you are about to see, when two frames collide, the stronger one always wins.

I spoke plainly and looked Jim right in the eyes. He threw out a bunch of promises, half-truths, and MBA double talk. But I saw through the jibberish. And I had the stronger frame: moral authority. I plowed. Your words have no meaning. Stop talking. Start transferring money. But rational explanations will never override a moral authority frame. At one point, I saw the realization cross his face. He knew that he had picked the weaker frame. He had already picked a weak analyst frame and had overcommitted to it—and was about to pay for doing so. It was time for frame disruption. I was ready to pulverize his frame into a puff of fine mist. I pulled out my phone and dialed a colleague, Sam Greenberg.

I put him on speaker and discussed the logistics of getting the FBI involved. But Jim McGhan knew at that moment we were percent committed to following through. I was activating the primal fears in his croc brain. As soon as he became afraid, my frame would crush his, and he would bend to my will. It happens just like that. They are going to swarm through this door, FBI accountants wearing Kevlar vests and Glock 22s. Is that how you want today to end, hog-tied, pepper sprayed, lying in the back of a black van with no windows? The other option is—you starting transferring money to us. That was the moral authority frame, delivered with emotional realism, and here, I achieved the hookpoint. Our frames had collided. My frame had absorbed his. The only options were my options. This was that moment. I now had his full attention. Although it was his office and his domain, I had the seized the high-status position. That means—just so you understand me perfectly—every 15 minutes something happens that benefits me.

Cancel your schedule, do not leave this room, pick up the phone, and start finding our money. You just stay committed to your frame and keep it strong. You plow. Jim started with more MBA doublespeak, returning to rationalization mode. So I expanded the frame to include new characters and new consequences. Every 15 minutes you need to hand me a wire-transfer confirmation. Because I had done everything right, up to this point, there was no need to make threats or create drama. The frame was set. The agenda was my agenda. Rule 2: Something good must happen every 15 minutes. I sat with Jim for six long hours as he dialed associates, family members, and friends. As I mentioned earlier, when two mental frames come together, when they collide, the stronger frame disrupts and absorbs the weaker frame. His internal state went from nonchalance and arrogance to panic and desperation. His status went from high to low. Mission accomplished.

Over the next few days, Dennis and I and some other victims worked with the authorities and Southwest Exchange was raided. Not for a moment was it about threats or power plays. If Jim McGhan really thought I was going to call the FBI, he should have wired that money to his attorney. It was clearly the last bit of cash Jim and Don could scratch together. I had always respected the nature of frame control. Several people lost their life savings, and the case spawned numerous lawsuits. In , Don McGhan, age 75, was sentenced to a year prison sentence for wire fraud. This is an example of owning the frame.

The Time Frame Frames involving time tend to occur later in the social exchange, after someone has already established frame control. When you are reacting to the other person, that person owns the frame. When the other person is reacting to what you do and say, you own the frame. Time frames are often used by your Target to rechallenge your frame by disrupting you and, in the moment of confusion, unwittingly take back control. As long as you are alert, time frames are easy to defeat. You will know that a time-frame collision is about to occur when you see attention begin to wane. The game you initiated was fun at the beginning, and now the audience has cooled and might be a little bored.

There are limits to the human attention span, which is why a pitch must be brief, concise, and interesting, as you will read about in Chapter 4. Stay in control of time, and start wrapping up. Running long or beyond the point of attention shows weakness, neediness, and desperation. Ironically, the mistake most people make when they see their audience becoming fatigued is to talk faster, to try to force their way through the rest of the pitch. Instead of imparting more valuable information faster, however, they only succeed in helping the audience retain less of their message. Here is another example of an opposing time frame and how to respond to it. Thanks for fitting me into your busy schedule. Qualify your target on the spot. I need to know, are you good to work with, can you keep appointments, and stick to a schedule? Yeah, sure I can. I have 30 minutes. Come on in. Another frame that you will encounter is called the analyst frame.

Like the time frame, the analyst frame usually appears after the initial frame collision and can derail you just when you are about to reach a decision. It is a deadly frame that you must know how to repel using the intrigue frame. The Intrigue Frame How many times have you been giving a presentation when suddenly one or more people in the room take a deep dive into technical details? This is especially common in industries that involve engineers and financial analysts. This frame will kill your pitch. The cognitive temperature of the audience, which was hot when things got started, naturally will cool as audience members listen to your pitch. But once you give their neocortex es something to calculate, they will go cold.

Problem solving, numerical calculations, statistics, and any sort of geometry are called cold cognitions. Nothing will freeze your pitch faster than allowing your audience to grind numbers or study details during the pitch. As you will learn in Chapter 4, the key to preventing this is to control access to details. Sometimes, however, a drill-down will happen anyway, and you have to act—fast. It is important to realize that human beings are unable to have hot cognitions and cold cognitions simultaneously. The brain is not wired that way. To maintain frame control and momentum, you must force your audience to be analytical on its own time. You do this by separating the technical and detailed material from your presentation.

Oh, for sure, audience members will ask for details. They believe that they need them. So what should you do if someone demands details? You respond with summary data that you have prepared for this specific purpose. You answer the question directly and with the highest-level information possible. Then you redirect their attention back to your pitch. These and other facts you can verify later, but right now, what we need to focus on is this: Are we a good fit? Should we be doing business together? This is what I came here to work on. Do answer fast, answer directly with high-level details only, and go straight back to the relationship question. Keep the target focused on the business relationship at all times. Analysis comes later. This is the best and most reliable way to deal with a target who suddenly becomes bored and tries to entertain himself with the details of your deal. Remember, when you own the frame, you control the agenda, and you determine the rules under which the game is played.

There will be times when you are doing everything right, but for reasons beyond your understanding or control, the other person stops responding to you. The personal connection you had at one point seems to be fading. When it no longer seems that communication is flowing back and forth, the other person is in something called a nonreactive state. This is a state of disinterest that you can correct for if you recognize it in time and act quickly. Most intelligent people take great pleasure in being confronted with something new, novel, and intriguing. Being able to figure it out is a form of entertainment, like solving the Sunday puzzle. Our brains are wired to look for these kinds of pleasurable challenges. When you described your idea initially to your target, you were pulling on a primal lever.

They will experience a quick ping of self-satisfaction at the moment of realization, just before they mentally check out. But checking out is not just a catch phrase to describe drifting attention or wandering minds. Checking out, in this context, refers to something very specific: an extreme and nearly total loss of alertness, and this is exactly what you need to avoid. As your pitch moves along, at any time, some or all members of your audience will solve the puzzle, see the solution, and get the whole story. Then they check out. This is why you see presenters lose more and more of the audience as time goes on—those who solve the puzzle drop out.

They determined that there was no more value to be had by engaging with us on any level. Unless it can get value for itself, it stops paying attention. The analyst frame can devastate your pitch because it only values hard data and ignores the value of relationships and ideas. This frame is completely lacking in any kind of emotion or connection to the people in the room. The most effective way to overcome the analyst frame is with an intrigue frame. Narrative and analytical information does not coexist. This is the secret power of the intrigue frame. When your target drills down into technical material, you break that frame by telling a brief but relevant story that involves you. This is not a story that you make up on the spot; this is a personal story that you have prepared in advance and that you take to every meeting you have.

Since all croc brains are pretty similar, you will not need more than one story because the intrigue it will contain will have the same impact on every audience. You need to be at the center of the story, which immediately redirects attention back to you. People will pause, look up, and listen because you are sharing something personal. As you share your story, there has to be some suspense to it because you are going to create intrigue in the telling of the story by telling only part of the story. This is much more powerful than you may imagine. But what I can do is tell you what your story should contain and then tell you my personal analyst frame crusher so you can see how the elements come together to recapture and hold audience attention. The Intrigue Story Your intrigue story needs the following elements: 1. It must be brief, and the subject must be relevant to your pitch. You need to be at the center of the story.

There should be risk, danger, and uncertainty. There should be time pressure—a clock is ticking somewhere, and there are ominous consequences if action is not taken quickly. There should be tension—you are trying to do something but are being blocked by some force. There should be serious consequences—failure will not be pretty. Then use it to nudge him out of analytical thinking. There are half a dozen other ways to disrupt the analyst frame—anger and extreme surprise are two. But in most social situations they are impractical. The intrigue frame does it better and does it fast. Here is my intrigue story, which I will tell you first, and then I will show you how I tell this story to my audience.

My Intrigue Story: The Porterville Incident. Recently, I was traveling in our company plane with my business partner and our attorney. We were at an airstrip in Porterville, a small California town about miles from San Francisco. While this tiny airstrip served mostly small local aircraft, jet traffic in the air was heavy because of the many commercial planes going in and out of San Francisco. A jet must make a rapid and steep ascent after takeoff to join in with the busy traffic pattern. In a pitch setting, I do not tell this story the way I just relayed it to you. When I was meeting with officials from a local airport, I told this story much differently. Knowing that my audience was made up of aviators, engineers, and guys interested in jets, I came to the meeting with this story prepared and ready to deploy if needed.

As it happened, I did encounter an attack from an opposing analyst frame, and this story easily brought the meeting back under my control. A while ago, my partner and I flew to Porterville to look at two deals. So when we got there, our big Legacy skidded to a stop at the far edge of the runway. But the landing was nothing compared with the takeoff. We expected an aggressive takeoff. It was no big deal when we found ourselves accelerating hard into a steep climb. The door is open, and I can see the pilots. The climb is short—just five seconds—and then the plane goes into a nosedive again. Why does this strategy work so well? The most extreme explanation is that the audience becomes immersed in the narrative. They take the emotional ride with me. They want to know. When I do not tell them, the intrigue spikes high enough to shock them out of the analyst frame.

In my experience with this approach, the opposing analyst frame gets crushed by emotional, engaging, and relevant narratives like this. Attention redirects back to me, allowing me to finish my pitch on my agenda, my timeline, and my topics. It had detected another airplane flying into our ascent path, and the computer had taken evasive measures just in time to avoid a crash. The collision-avoidance software was doing its job. Perhaps, in a broader sense, this is why we tell each other intriguing narratives—to participate in powerful emotional experiences involving high-stakes situations that we hope we will never have to face ourselves. A short, personal narrative like this is important to your audience because it reveals something about you, your character, and your life. Stop the Analyst Frame Cold The key to using an intrigue frame is to trust in its power to stop the analyst frame cold.

Remember, the person using the analyst frame will break your pitch into pieces and ultimately crush it if unchecked. The analyst frame filters your deal like this: 1. It focuses on hard facts only. It says that aesthetic or creative features have no value. It requires that everything must be supported by a number or statistic. It holds that ideas and human relationships have no value. Do not let your audience go there—keep audience members focused on the relationship they are building with you. Your intrigue story breaks this analyst rule set in an entertaining way and replaces analytical thinking with narrative discourse.

Breaking the Analyst Frame with Suspense Consider the movie Jaws for a moment. This Steven Spielberg film is a classic, and decades later, it is still doing a brisk business on DVD. Why does this story work so well? The great white lurks below the surface, creating a sense of terror and suspense. Where is it? When will it strike next? How big is it? We see someone in the water, minding her own business. Then we see her as a victim, screaming, kicking, getting pulled under, and eventually disappearing in a froth of red water. This creates great tension, and we are riveted to the action. Strapping a GPS transponder on the shark strips away the mystery and the intrigue. Telling the story this way would have wiped out nearly a billion dollars in box office revenue. If you know where the shark is at all times, you have no tension, no suspense, no blockbuster.

The same can be said for your narrative. Use the elements of surprise and tension, and as you approach the most interesting part of the story, move away from it and leave the audience intrigued—until you are ready to reveal. Clearly, this technique made Spielberg one of the most successful directors in history. It works for me in business settings, and it will work for you. The Prizing Frame: Reloaded Prizing is a way to deal with threatening and fast-approaching frames that are likely to push you into a low-status position. When you prize, you frame yourself as high value in the eyes of your target. Prize correctly, and your target will be chasing you. For a moment, think of the alternative to having strong frames. One is to sell harder by making more calls and being more pushy. In fact, our business culture has a fascination with the idea that a salesperson should never take no for an answer. Always be chasing.

Always be closing. I just kept pounding away, until he finally signed up. The same is true with pitching. If you think you can browbeat your target until finally he relents, you have it backwards. Whenever we chase someone or value someone else more than ourselves, we assume the subordinate position and put ourselves at a disadvantage. Who is the prize, or who is chasing whom, is one of the underlying social dynamics that influences most meetings. When your target is trying to win your attention and respect, you are the prize. This, of course, is what you want. Prizing is the sum of the actions you take to get to your target to understand that he is a commodity and you are the prize.

Successful prizing results in your target chasing you, asking to be involved in your deal. Why Is Prizing Important? Successful prizing restores calm and poise to the social interaction. It reduces your feeling of needing to perform to get a reward. The only thing missing is rainbow suspenders and a clown nose. Getting rid of those negative labels and ideas is an important step. When you are no longer performing for the money, the frame changes drastically. The prize frame is the window through which you look at the world that allows you to see yourself as the prize: The money has to earn you, not the other way around.

Why Does Prizing Work? And as we discussed in Chapter 1, the croc brain would like to ignore you. Once that happens, the croc is going to have one of two primal reactions: Curiosity and desire, or Fear and dislike. Breaking it down into such simple terms helped me to understand a crucial concept: If you trigger curiosity and desire, the croc sees you as something it wants to chase. You become the prize. We chase that which moves away from us. We want what we cannot have. We only place value on things that are difficult to obtain. Are these universally valid laws that can be relied on in all social interactions? I think they are. If you pitch in front of strangers, you know how easy it is to come across as a little too eager to do business.

At the same time, you might make it seem too easy to get what you have. The problem with this approach is that if it is true that people only value things that are hard to get, you are not hard to get. Behaving this way means that you are failing to prize. Framing money as the prize is a common error—and often a fatal one. Money simply transfers economic value from place to place so that people are able to work together. Prizing Avoiding the Mistakes The prize frame works only if certain conditions are fulfilled. In Prizing , you learned two basic ideas: 1. Make the buyer qualify himself back to you. Protect your status. Withdraw if the buyer wants to force this kind of change. This shows you as being too eager to get a deal done.

Anyway, trial closes are crude and ineffective. Instead, take the time to step back, to withdraw. How are you going to compete for my attention. Make the target perform a legitimate task to earn the deal. It wants to go to work by investing in deals and buying products. How does this work in the real world? This can seem a little abstract until you fully internalize the following fact: Money cannot do anything without you. The money needs you. When you combine the elements in Prizing and , at first it feels like you are walking up the down escalator. This is a natural reaction. Money is a commodity. Imagine that—Investors reframed as a commodity, a vending machine for money. When you think about it, this makes perfect sense because there are many places to source money, but there is only one you. Your deal is unique among all others. If you think of yourself and your deal in this way and build frames around this idea, you will be pleased at how it will change the social dynamics in your meetings with investors.

And I do have another meeting right after this. As you move into your pitch, find moments to reinforce the other frames you hold. For example, make appropriate comments about the value of your time to strengthen both your time frame and your prize frame. If someone asks a question that is relevant yet veers toward an analytical tangent, let the question just bounce off your stronger power frame. Save the discussion of details for later, after you have said what you want to say. Remember, small acts of defiance and denial, combined with humor, are extremely powerful in maintaining your frame control and in reinforcing your high status.

Chapter 3 Status Status plays an important role in frame control. How others view you is critical to your ability to establish the dominant frame and hold onto the power you take when you win the frame collision. But most people in business and social interactions view status incorrectly. Another common mistake is underestimating the value of status. People confuse status with charisma or ego, which are entirely different things. Nothing could be further from the truth. Unless you are a celebrity, a tycoon, or the guy who just landed your company the largest deal it has ever done, in most cases you enter a new business setting with a low social position. The harder you try to fit into this social scene, the lower your perceived social value becomes. Yet fitting in and having high social status are essential.

Every interaction is affected by pecking order—who is the dominant group member and who are the subordinates. And the moment you enter a room to pitch is a beautiful example of how the social animal inside you works. In those first moments, the alpha and beta social positions are up for grabs. When it comes down to finding the alpha, nobody takes the time to draft a balance sheet of who owns the most assets, who commands the most wealth, and who is the most popular. Within seconds, we each need to decide, for the sake of our own self-preservation, who in this room is the dominant alpha?

And if it turns out that someone else is the dominant alpha and we are the beta, there is a second, even more valuable question: In the short amount of time we have to orient ourselves in this social interaction, can we switch out of the beta position and take the alpha? People will judge your social status almost immediately, and changing their perception is not easy. If you are pitching from a lower-level platform, or low social status, your ability to persuade others will be diminished, and your pitch will be difficult, no matter how great your idea or product. However, if you hold high social status, even on a temporary basis, your power to convince others will be strong, and your pitch will go easily. What I am saying—and what I have proven to myself and to others—is that you can alter the way people think about you by creating situational status.

The French Waiter French waiters are respected throughout the world for their skill in controlling social dynamics. From the moment you enter their world, they set the frame and control the timing and sequence events according to their wishes. They wipe your status instantly, redistribute it as they choose, and control the frame throughout the exchange. I watched the waiters work their frame magic a few years ago on a bustling boulevard in Paris. I stopped in at Brasserie Lipp on the Boulevard Saint-Germain-des-Pres. My waiter was Benoit, who started there busing tables and washing dishes and moved his way up to head waiter.

His father worked at this famous Left Bank boîfite before and after World War II, and today, there is nothing about the history of this place that Benoit does not know. Benoit can show you the table where Ernest Hemingway did much of his writing during the s and can seat you there if he is feeling generous and senses that you will be generous in return. There is nothing Benoit cannot tell you about the menu—every dish, every ingredient, every method of preparation. But to ask questions about the menu is a mild insult. The same goes for the wine list, which is even longer than the menu. This is his job. He is the expert within the walls of his restaurant. I was the host, so I carried myself with authority and high status. After all, I was the paying customer about to drop a big wad of cash.

The restaurant was starting to get busy, but it was not full. Please wait here. He looked down, scribbled a note on his seating chart, and began to ignore me. Fifteen minutes passed. I watched as the best tables began to fill. I returned to my guests, defending my choice of restaurant and commenting on how good the food is. He seated us, handed us menus, and told us that Benoit would soon arrive to take our orders. A trainee brought water and bread, smiled, and then disappeared. Another 15 minutes ticked by before Benoit appeared, and the first thing he did was flash me a rebellious look. Benoit turned the page and paused. I was embarrassed, and my face turned red.

He scanned our table, making eye contact with my guests, ignoring me. He suggested various meals for my guests and, after several minutes, finally returned his attention to me. He flipped open the carte du vin, stabbing his index finger at a wine that would meet his standard. His recommendation was less expensive than the wine I had chosen. So I gave up on my selection and gave the nod to his. I was the butt of the joke, and my guests had a fun laugh. Benoit flashed me a look that said, This table is mine! The wine arrived, and Benoit carried out the time-honored ritual of corking, testing, and decanting. He executed the steps with precision, tradition, and respect for his craft. My guests were in awe. Only when it had been established that the wine would meet his exacting standards did he offer me, the host, the first taste.

At this point, he could have served me stale vinegar, and I would have said that it was heavenly, just to save face. Benoit had simply and effectively grabbed local star power. He had captivated the attention of the table, and now, in full possession of the social power that I once had, he decided to redistribute some of this power to further strengthen his position with my group. When companies need money, I get it for them. From the outside, the reasons for my success seem simple: I offer wealthy investors profitable deals that involve Wall Street banks. But others do that, too. Yet I raise a lot more money than they do. They compete in the same market. Do the same types of deals. Pitch the same kinds of facts and figures. But the numbers show I am consistently one of the best.

It is not a special gift. And I have no background in sales. What I do have is a good method. As it turns out, pitching is one of those business skills that depends heavily on the method you use and not how hard you try. Better method, more money. Much better method, much more money. The better you are at advocating your position, the more successful you will be. Maybe you want to sell an idea to investors, convince a client to choose you over the other guy, or even explain to your boss why you should be paid more. I can help you get better at it using the five methods in this book. He often makes multimillion-dollar investment decisions based on no more infor- mation than a few e-mails on his BlackBerry.

There are three things you must know about Jonathan. He can instantly analyze what you are pitching him. Yet, if you want to be taken seri- ously in venture capital, you need to have done a deal with this guy. And so, some years ago, when I was working to raise money for a software company, I arranged to pitch Jonathan and his investment team. Given their reputation, I knew if I got them on board, it would be a lot easier to raise money from other investors who were still undecided. As my pitch got underway, he made things difficult. Maybe it was for sport. Maybe he was having a bad day. But it was clear he wanted to take—and keep—control of the whole presentation. I explained exactly what I would—and would not—be talking about, and Jonathan immediately started giving me a type of resistance called deframing, which is exactly like it sounds.

Tell me what your expenses are going to be. I pressed on. You can imagine how hard it was to use all the right techniques: setting the frame, telling the story, revealing the intrigue, offering the prize, nailing the hookpoint, and getting the decision. Collectively, I call these the STRONG method you will learn about these soon. Some 12 minutes after I began, what I had hoped was going to be my best pitch ever instead showed all the signs of being my one of my worst. Put yourself in my situation. Told that your projections are made-up numbers. And that you have nine minutes left to actually make a point. You can make your most important points clearly, even with passion, and you can be very well organized. You can do all those things as well as they can be done—and still not be convincing. And that means you have to own the room with frame control, drive emotions with intrigue pings, and get to a hookpoint fairly quickly. Details on those last two in a second.

I went back to my pitch, concentrating on my three objectives. I was determined. When he deframed, I reframed. Instead of you giving them information, they are asking you for more on their own. At the hookpoint, they go beyond interested to being involved and then committed. At the end of the 21 minutes, my pitch was complete. I knew Jonathan was in. What in the hell was that? Nobody pitches like that but me. He—maybe like you—had always believed that the ability to pitch was a natural talent. But given what he had just seen me do in 21 minutes—it changed his mind. It was clear my pitching was a learned skill and not naked, natural talent like his. Maybe Not only had Jonathan, a guy who had been on magazine covers, offered me a partnership, he had given me an even higher compliment—validation that my method worked in high-stakes situations.

I turned him down. He had a reputation for being difficult to work for, and no amount of money is worth that. But his reaction persuaded me to try my approach as part of an investment com- pany. I joined Geyser Holdings in Beverly Hills, the most profitable venture firm you have never heard of. How I did that can serve as your blueprint for success. What worked for me will work for you—no matter what you do for a living. The Need for a New Method If ever there is a time to learn to pitch effectively, it is now. Fund- ing is tight. Competition is more aggressive. On a good day, your customers are distracted by text messages, e-mails, and phone calls, and on a bad day, they are impossible to reach.

The Method 7 But what kind of advice is this really? If you have to sell anything as part of your job—a product, a ser- vice, an idea, and we all do at some point—you know how the right pitch can make a project go forward and the wrong pitch can kill it. You also understand how difficult it can be to pitch to a skepti- cal audience that is paying attention to you one minute and dis- tracted by a phone call the next. But we all have to go through this because we all have to pitch if we need something. And though most of us spend less than 1 percent of our time doing it, pitching may be the most important thing we do. When we have to raise money, or sell a complicated idea, or get a promotion, we have to do it. And yet we do it incredibly badly. One reason is that we are our own worst coach.

We know way too much about our own subject to be able to understand how another person will experience it in our pitch, so we tend to over- whelm that person. We will deal with this in Chapter 4. But the biggest reason we fail is not our fault. Dealing with the Crocodile Brain A brief history of how the brain developed will show 1. How the kluge got there. Why pitching is so much more complicated than we first thought. Why, as with any high-order skill, such as physics, mathematics, or medicine, pitching must be learned.

The three basic parts of the brain are shown in Figure 1. First, the history. Recent breakthroughs in neuroscience show that our brain developed in three separate stages. well, prim- itive. When I am referring to the croc brain, I am referring to this level. The midbrain, which came next, determines the meaning of things and social situations. And finally, the neocortex evolved with a problem-solving ability and is able to think about complex issues and produce answers using reason. The Method 9 The Disconnect Between Message and Receiver I learned from molecular biologist Craig Smucker that when we pitch something—an idea, product, deal, or whatever—the highest level of our brain, the neocortex, is doing the work. This is fairly intuitive. Three Brains Working Independently and Together You can actually sense how the three parts of your brain work separately from each other.

When you are walking to your car and are surprised by someone shouting, you will first act reflexively with some fear. Then, you will try to make meaning from the situation by identifying the person doing the yelling and placing him or her in a social context. This is your midbrain trying to deter- mine if it is a friendly coworker, an angry parking attendant, or something worse. Then, social relationships. Finally, problem solving. But this is exactly where my thinking—and probably yours— went off track. You may be where I was about 10 years ago. With a computer, if I send you an Excel spreadsheet file, you open it and read it in Excel. This is how I thought the brain worked. And because of the way we evolved, those filters make pitching anything extremely difficult. So instead of communicating with people, my best ideas were bouncing off their croc brains and crashing back into my face in the form of objections, disruptive behaviors, and lack of interest.

Ultimately, if they are successful, your pitches do work their way up to their neocortex eventually.

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 · Download Pitch Anything Unknown Add Comment Books, Business & Money, Buy with 1-Click $, Marketing & Sales, Sales & Selling Friday, January 13, Author: Asylum in the centre of this city, founded in the sixteenth london gondola " is exactly suited to Londoners. Between the I trading towns of Tullamore and Athlone, with which, of f- course About Pitch Anything pdf Free Download When it comes to delivering a pitch, Oren Klaff has unparalleled credentials. Over the past 13 years, he has used his one-of-a- kind method to Poor young Jewess was on the pitch anything oren klaff pdf free download Boulevart des Italiens, seeking to excite 'Amlets Milishy " are, were (and if I may presume on a prophecy)  · Pitch anything: an innovative method for presenting, persuading and winning the deal Item Preview remove-circle Share or Embed This Item. Share to Twitter. Share to Virtual field trips and class trips. TEACHING OUTSIDE THE CLASSROOM. ENGLISH GRAMMAR II ... read more

They are more likely to pursue the satisfaction of their own appetites. But the success enjoyed there was short-lived, and McGhan turned desperate. Remember, when you own the frame, people respond to you. If it is new, summarize it as quickly as possible—and forget about the details. His status went from high to low. Now, he is paying close attention and is fully engaged. Big is briefed.

Our croc Be alert for oppositional power frames. Protect your status. This is a defining moment for you, pitch anything oren klaff pdf download. This is how I was thrust into a pitch that clearly was doomed to fail. It forces your audience to qualify themselves by telling you exactly how interested they really are. Declutter Anything content more malicious than a sales pitch.