The Complete Body Language Course for Speaking & Presenting | Jason Teteak | Skillshare

The Complete Body Language Course for Speaking & Presenting

Jason Teteak

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
6 Lessons (1h 18m)
    • 1. Introduction to the Course

      6:14
    • 2. 1 Body Language Blueprint Master Your Stance Part 1

      19:04
    • 3. 1 2 Body Language Blueprint Master Your Stance 2

      9:45
    • 4. 2 Body Language Blueprint Master Your Movements

      13:55
    • 5. 3 BLB Master Your Facial Expressions

      16:03
    • 6. 4 BLB Master Answering Questions

      13:17

About This Class

Body Language Choreography Strategies Will Make Your Presentations and Speeches Dynamic, Memorable and Engaging!

A very effective CEO once told me that if any of her people are having a problem with a client, she knows exactly what to do...

...she puts that person on a plane and sends him or her off to work things out in person.

This is far more effective than a phone conference and many, many times more helpful than writing a memo or sending an email, she says.

Nothing compares to a face-to-face meeting.

She intuitively came to the conclusion that my observations have verified and communications researcher Dr. Albert Mehrabian has even tried to quantify...

...that words are less important than your voice in affecting the feelings and attitudes of your audience, and, even added together, they don’t make as big an impression as nonverbal and nonvocal cues.

While there are no reliable, exact measures as yet...

...from all the anecdotal evidence I have accumulated from my years of doing and observing presentations...

I have no doubt that facial expressions and body language play a major role in whatever impression you make on your audience.

Whether you are meeting someone one-on-one or speaking to an audience of five thousand, before you’ve said a word, people have made some kind of judgment about you...

...and while your superficial appearance is important...

...what you’re wearing, how fit and groomed you are, and how attractive you may be...

...they determine what kind of a person you are based on cues that are far more subtle.

Unaware of this, many presenters focus exclusively on the words of their presentation and ignore all the other more important components.

They give no thought to the best place to stand when talking to an audience.

They don’t know how to use their hands or their eyes to give their message maximum impact.

That's why I created...

Body Language Blueprint: How to Use Your Face and Body with Dynamic Effect.

Specifically, you will learn how to master your body language in the TOP FOUR body language situations of any presentation...

Module 1: Master Your Stance

Module 2: Master Your Movements

Module 3: Master Your Facial Expressions

Module 4: Master Answering Questions

When you know how to use the tools of body language and facial expression to enhance your persuasive powers...

... you will be a far more effective presenter than you ever imagined.

Body Language Blueprint Reviews

“As a result of his class (and his confidence in us as learners), I felt prepared to spearhead and participate in initiatives outside of my QA role that would land me in front of a room filled with people.”

     Katie Tlusty -- Implementation Services

"I like the program because it gave me different aspects that I never thought about as far as speaking in front of a group, and some tools that I can definitely take away and hopefully use effectively."

     Brendan - Small Business Owner

“Learning how to answer any question was the single most useful thing I have ever learned for my role as an implementer. The magic of it is that you can easily teach your analyst or an AC how to do it in 15 minutes or less. If you can hook your audience and handle any question, 80% of your job is already done.”

     Elisabeth Cline --Project Manager

About Your Instructor

International Public Speaking Coach, TEDx Speaker and Best Selling author Jason Teteak has taught more than one million people how to flawlessly command attention and connect with audiences in their unique style.

He’s won praise and a wide following for his original methods, his engaging style, and his knack for transferring communications skills via practical, simple, universal and immediately actionable techniques.

Or as he puts it “No theoretical fluff”.

Jason gained recognition at EPIC Systems in the medical software industry, where he was known as “trainer of trainers of trainers.”

He has developed more than fifty presentation and communication training programs ranging in length from one hour to three days that serve as the basis for The Rule the Room Method.

In 2014-2019 he was named #1 Best Selling coach on Public Speaking for his on-demand video teaching tools that quickly took off for over 1,000,000 online students around the world.

Teteak has flipped the model and changed the approach to great Public Speaking for even the most seasoned veterans.

Transcripts

1. Introduction to the Course: Welcome to the body language blueprint. How to maximize your facial expressions in your body language for dynamic effect. You're going to get some amazing stuff in this program. Pretty much everything I know about body language and facial expressions that you need to use when you present to show confidence, to gain credibility, to build, report, to engage people, to make sure everybody gets it to answer questions and everything in between way. Reason I actually took my sports coat off here today is because I want you to see everything I'm doing. I want you to see my hands. I'm gonna show you my feet. I'm actually gonna go and show you how you do this in front of a group of 5000 or in front of a group of 30. We're gonna go in front of a table and show you how you present at a table whether you have a power point show or whether you're actually seated at the table with the other people in your meeting. We're gonna show you how to use your eyes, your mouth, your hands, your feet, everything on your body. Now, this took me years to figure out I could tell you I observed over 10,000 speakers and watch their body language and analyze what makes them awesome and not so awesome. And how you can use this. And I'm gonna model everything I suggest you do because it used to drive me crazy when I would watch people present. But I would watch people teach when I will watch people show me stuff and they wouldn't model anything they did. But they told me to go do it. They say, Well, you need to show credibility, but they wouldn't show any credibility. I'm gonna show you exactly how to do everything you need to do with your body, and I'm gonna show you how to do it. Using my body. I can tell you the CEO is one of the most influential people I have ever met. She actually is the CEO. She's in the top 50 of Forbes. She's in the top 50. She's one of the most successful women in business ever. She's the CEO of one of the most powerful companies in all the world, and I got to be in her private jet and I got to talk to her about some things that she wanted to share with me. I was one of the trainers who trained in her trainers. I worked with her stale staff. I worked with all of her implementation staff que airs and help them be successful with soft skills communication. So everything I taught them I'm about to teach you and more because I've learned more since I've been doing Rule the room over the last 10 15 years. And I can tell you, I can tell you this that your body language your body language accounts for over 55% of what I call the a fact of your communication. There's actually a guy by the name of Albert Marais being who did a study. But I can tell you this study says that 55% of your effective your communication comes from your body language, and your facial expression was 55%. 38% comes from your tone of voice, and only 7% comes from the words you say not don't misread this, because here's the problem. You're gonna find that if you run across presentation gurus and I've run across a lot, there's a lot of great ones out there, but almost all of them, including myself. I would say to you, this is not reliable. Data makes it well, then why you've been showing me this, Jason? Here's why. Just because data is not reliable does not mean that it's not valid. This data is not reliable, but it is valid. What do I mean by ballot? What I mean by Ballad is that even folk wisdom would tell you that it's not what you say, but it's how you say it. It's important. What I mean by that is, if you look at this data, it might be 54.2% or it might even be 48.6%. This might be 7% or it might be 9%. But what I can tell you is this. This CEO told me that when she sends somebody to a customer when there was a customer problem, when there's a presenter that really needs to show dynamic engagement, confidence and credibility and report whenever there's a customer problem, you tell me if I've got a customer with a problem, what's gonna work the best to send him an email to talk to him? on the phone or to actually send somebody on a plane in person to go talking if you had to pick. If money wasn't an issue, which one would be the most important for that customer? I think everybody on the planet would say that if you could, you would get somebody in that room to see them eye to eye and talk to them in person. Wouldn't you agree? And then if you if you couldn't do that, well, at the very least you'd send him a phone call and you'd actually be able to use your tone of voice to talk that we have a whole program. By the way, on tone of voice that you can find in this lab and at the last resort, you might send him an email or a tax message. I'll give you more proof if folk wisdom doesn't teach you this. If the CEO doesn't. By the way, she told her whole staff that she's like if I have a problem because we have a problem customer, we're going to send somebody on site and we can't do that. We're gonna get on the phone, and the last resort is to send an email, but any time you send an email, you should also call them. Leave a message because you could have tone of voice When you're in person, all you got all sport to stuff. You can see my eyes right now. They've got excitement. They've got enthusiasm. You could see my body language. It's starting to get passionate about this. Can you feel that you could not do that if you couldn't see me? And if you were in the room with me right now, it would be even more powerful. This is what body language could do. So even if it's not reliable, let's accept the fact that this is valid. Let's accept the fact that your most powerful thing that affects a fact and, by the way, what's effect? It's how your audience feels. Don't all the thinkers out there don't think right now, feel spot. This program body language blueprint is all about how you feel when your presentation you know as well as I do that when you're in the audience, there's just some presenters that have that. In fact, they've got it. What is it that they do? How are they doing it? That's what we're gonna talk about today. 2. 1 Body Language Blueprint Master Your Stance Part 1: so many presenters stand in the wrong spot. The sweet spot is the place that if you put tape little masking tape and it acts on the floor, it's the place you want to stand for about 80% your presentation. If you look at the best comedians, the best speakers in the world, they have a sweet spot. And where is it usually? Well, it's usually right in the middle. It's not off to the left. It's not off to the right now. We can move over there. Sometimes it's totally cool, but I'm gonna tell you why. You have to be careful of that, how you can, how you can maintain that and still have everybody feel inclusive. But the sweet spot is the place that you want to actually go to when you first start. Here's how you find the sweet spot when you walk out on stage. I don't care whether it's a stage of 100 or 1000 square feet or a tiny little podium right in the middle. By the way, I'll talk about podiums in a second high. You need to get rid of those. We're gonna talk about that here in a second. What to do if you have to speak on a podium, what to do. But for right now, sweet spot is the place, and you can write this on Page three that is equal distance from everyone in the room. So if you actually look out at your audience and you're able to draw line right down the middle of them, that line is something that you should be straddling on the sweet spot. If it's a small audience, write this down. It's less than 32 people. You want to stand five feet from the front row. If it's a large audience, anything greater than 32 people, typically 100,000 people even you want to stand farther away. The more people the further away, up to 10 feet for the biggest audiences from the first row. Now the problem with this is what most presenters will do is if they get too close. It can really make that person in the front row feel awkward, and you start to invade their space. But if you get too far away, it can make people in the audience think that maybe you're scared or nervous or you just don't want to be around him. You want to be in the sweet spot now when you're in the sweet spot, here's how you can tell if you're in the right place. You want to find that distance, You're in the sweet spot right now and you're going to stand still. This is on page four. You're gonna assume the right stance and then we'll get the audience. I level here in a second, but you want to assume the right stance, There's actually two stances you can use in the sweet spot. Now, don't worry. This entire program, I'm gonna show you how to do movements and how to really engage with your body. But for right now, I want to show you what's called. Write this down on page for the default stands. The default stance is what you do by default when you're not doing all the fun movements you dio. And I can tell you right now that everybody out there who would have a problem and wants to debate me on whether you should use these stances. I'm about to teach you Well, I guarantee you they all have a default. Some of them say, Well, I need to use my hands a lot. So I just keeping up here the whole time because I don't want to stand still like this. Well, I guarantee if they use their hands a lot, they're going default like a t Rex T Rex. Like a tire on a saurus rex dinosaur where they have the little hands here and the usual t rex where they might be doing pockets or behind. You gotta have a default that's confident. Powerful. Here's what It's an inarticulate. So what is your default look like? Well, first of all, it's so about your feet. I'm gonna actually show you my feet right now. I'm standing on some carpet right now in front of the white board. I want to show you my feet right now are pointed. First of all, they're straddling that line equidistant from my audience in this case, the camera. And there's same on audience and each side. And then what I want to do is I want to either have my feet straddle the line or in a second, I'll show you what on alternative stance. If you don't want to do this, that you could even use with heels. When I do this, I want my feet to look like a V. In other words, if I draw a fish line or a string out of my feet and it goes like this is because of become a V, and everyone in the audience should be inside this V, It turns out that where your feet point, that's who you're into. They actually did a research on this. You go to a party, for example, or I like to go to a place, maybe a beer garden or a place where a lot of people congregate outside. And I like to just watch people. And it turns out when you watch three people talk and you see where their feet are pointed . If there's if I'm talking to people and my feet are both pointed towards this one person, that's who I'm into. And people don't even realize that their body language gives this off, and this person feels like they're shunned a little bit, even though consciously, this wasn't my intention. Subconsciously this has happened, so I never want that to happen. Is it presented? I want my feet to be pointed towards everybody just like this. So if I move over here to the left side, I want to do the exact same thing. If I keep my feet the way they were over here, well, then what's gonna happen is is there There's a V, but not everybody's in the V. So now I gotta move my V to be like this so that everybody's inside of it. If I move over here to this this side of the stage, I'm gonna move my V. So it's like this. But every time I move, I want somebody. I want the whole audience to be a part of that V. Now there is another option to the V, and that is I can actually stand with one foot pointed towards the audience. One foot and the other foot is at a 45 degree angle. This way, if I'm right handed, I'll have my back right foot from right handed pointed at this 45 degree angle. And the weight is on my back foot now, like this. Now, this is a really cool stance. If you don't like the what some people call the sports stance, which is what The one I like. But if you don't like that, you can just use this stance here and you can either have your hands and I'll deal with your hands in the second. Keep your feet. Hands could be at your sides where they could be generally class but your abdomen For both stances, this is true. But why is this cool? Because my foot in the front on the left foot is pointed it. Everybody still so they still feel inclusive. And then this foot is pointed away. But that's just so I can go. I can have ah fulcrum to lay back on. And a lot of people like this stance is comfortable for them. But if you're left handed, you're right. Foot is gonna be the one that's pointed towards the audience and your left foot. Is it the 45 degree angle? I'm still going weight on my back for but this time my back hurts my left foot. And then I could do the two things I'm gonna show you with my hands in a second. Those are the three most calm, comfortable, credible stances on the planet for your feet. Now, before I keep going, I want to tell you, you might say, Well, come for who? Jason, The audience or me. I'm gonna tell you something that's so important, and I'm gonna actually write this on the board. You can write it with me on page four again. It is not. Presentations are not about. Do you think I'm gonna right here in this blank? You? They're not about you. They're about your audience. Actually gonna put that in there different color, cause it's so important. I want you to write it with me there about them. So when I say this is the most calm, comfortable stance on the planet I mean for them, for them When I stand still. And I want I want to tell you this next part we're gonna get to the movements here in a second. I'm not going to stand still the whole time. It's okay. I'm gonna teach you how to move around and do all sorts of cool things. But by default, I'm gonna stand still. I'm gonna straddle this this line. I'm gonna have the V. I'm either going to go. You know, I can do this if I want or this side too. But I prefer to do this one, and then my hands are gonna be at my sides. Can you see my hands right now? I want him to be at my sides. And the reason for this is because there that this is the most calm, comfortable stance on the planet. When I started showing people this, I had presenters that I would give feedback to for hours and they present in front of others and what they'd say to me, Oh, Jason. Oh, this is so uncomfortable. I can't do this and quick go like this or they go like this with the T rex that they go in their pockets, they go behind the back or whatever it is, toe feel more comfortable for them. But it's not about you. It's about your audience. Your audience actually feels comfortable when you do this. Do you see how comfortable this looks for me right now in the video, it's just more comfortable. So how do you get used to this? You're gonna have to practice this, and I'm gonna give you an activity in just a second where you have to do that. But before I do, this is a Nuland pneumonic trick. You just take your thumb and your index finger and you touch him to gather when you're up here. Same thing for this one. Talked him together. When you're up here, when you do this and you touch them together and then you put your hands, it allows you to remember Oh, that's right, my hands on my side. And you can even touch them together while they're down here. But it keeps your hands down. And remember, they're not looking at your hands anyway. They're looking at your eyes, which, by the way, the only universal form of communication on the planet. We'll get to those later. They're looking at your eyes. So let's actually talk real quick about eyes. This is on page for at the bottom. It says, address your audience at eye level when you first come on stage. So I'm gonna come on stage now and I get to the sweet spot. I stand here. I straddle line. I'm 5 to 10 feet from my audience, my hands into my sides. I'm not moving them around yet, and I look out of my audience. I want my eyes to be at the same level as my audience. I'm not a big fan of standing on a huge stage and looking down at my audience. Now, if I'm on a huge stage and the audience goes up like this, which a lot of times happens in theaters, then it's totally cool to be on stage, which you should almost theaters have this in most places where you present have this. But if it's just a room with a flat bunch of chairs, I'm not gonna go on a stage. I can tell you right now I'm not gonna unless they can't see me in the back. Then I will. But if at all possible, I want my eyes to be at their level because it turns out the research also shows that when your eyes are at the level of your audience, they feel like you care about them. I can tell you when I trained trainers and rule the room train the trainer dot com. I can tell you that when I do this the I always say, if your audience member, if your training is seated at a computer, you need to sit down like this and you need to actually get their level. If they're standing, you stand. If you're doing small talk and someone seated, you sit. The same thing is true with your audience. Now let's talk about the next thing on page five. You can see it. It says, Keep the sweet spot as your default. Well, here's the thing. I'm telling you that you don't have to stay in the sweet spot the whole time. I can tell you that when I present for 248 hours, I move around all the time. But when I'm done making a point when I'm done using some sort of body language or movement to capture the audience, when I go back to my spot, this is it. And this is the default. And I'll also tell you that for the majority of my presentations, I'd say 80% of the time I stay here the whole time I actually presented to a bunch of college students. There is about 500 in the room. It was a two hour presentation on how to do an effective pitch for their their audience, and I said to them, I'm in a model for you. Body language today and about it and I said I'm gonna stay in the sweet spot the whole time Everyone, So I'll move if I need to use the board and other things and I'll talk about when you should move here in a second. I need to make an important point. Other things. But most of the time I'm being the sweet spot in about an hour and 1/2 in And by the way, there's a couple students said, Well, aren't you gonna born if you stand the whole time by an hour and half? And I said, Hey, has anybody stopped listening to me yet? You could. You could see the audience just continuing to listen. So does anyone stop listening? You know, And everybody said, We're all still with you. And where have I said the whole time? They said, Well, the sweet spot and this is what comedians do. So the greatest do so stand here by default. It's OK again. I'm gonna show you targeted movements in a second, but this is your default. Now let's talk about barriers. There's so many people that want to be at a podium, and I can tell you podiums are not a good move for the most part. Here's why. When I'm in a podium and it's about this tall, I don't have a podium here with me right now, but I'm gonna show you in a second how to speak at a table. I'm gonna show you that in a minute. And even if you have a pony, let me actually just use this. This is the podium. This is gonna be a stool. It just imagine I come up to the podium and this is how tall it is. Right? Well, what's the problem with this? That's covering up half my body language in the body language we already set is set up on the board. They're it's 55% of your A fact. So any time I give a presentation and they say, Well, we got your podium ready, I almost always say, Hey, thanks for that. But is it okay if I just take the podium and move it over here? Because I'm gonna need I just want to have a sweet spot where I can stand in front of everybody. And even if I have a script, I'll bring I mean, here's my script I've got for the body language blueprint. I'll just bring this thing with me and I'll have it at my side when I talk and I can move around and do whatever I need to do. This is a much more confident, comfortable stance. If the only time I would use a podium by the way, is if you're giving a presentation and they literally Sadio, you have to use a podium. This is what the audience would expect you must. But even then I will say, Are you sure? Are you sure it wouldn't mind if I just stood over here and didn't use it? Would that be OK? And almost always, when people say is sure, go ahead and do it and people love it. They're not sure at first by the end there, seeing while that was much better. So if you do a podium, I'm gonna tell you, though, if you have to be at a podium, if you have to be there, what I would suggest, Let me bring the podium back up here. Here's my podium again. I would suggest that your facial expressions now are are your key body language piece. Also your hands you can use your hands, but you still want to bring him at your side. Sometimes you still you don't want to have your hands here the whole time. You don't wanna go t Rex even up here. You want to bring him down so that when you do use your hands to make a point, it means something. Otherwise, you cry wolf. And you all know the story about crying wolf where you tell him over and over again. There's a wolf, There's wolf. And pretty soon people don't even believe the kid anymore. Well, that's the same thing with your hands. If your hands were up here all the time moving around, moving around, moving around pretty soon and even then even look at your hands anymore. So you put him down, and then when something is really important to bring it up and then go back down again, it's more meaningful. But again, I'm gonna suggest that you don't use a podium if it all possible. What I will tell you is this If I'm on stage and I'm in a sweet spot, everything we're about to teach you in the rest of this program will apply. But before I get there. I want to talk about what you do. If you're in a conference room and you're either seated at the table or you're delivering a PowerPoint slideshow behind you and there's a table people in front of you, what should you do? Where should you stand? How to use your body language? You're actually gonna go into a room of the table and all over the table and show you Hey, welcome to this conference room here and I'm gonna have you imagine that this table right here. Can you all see this table? Gonna show it to you? There's all these people at this table, and what I'm gonna be doing is I've got a power point slide show right behind me, which is very common in a conference room. Right. So here's the PowerPoint slideshow behind me, and I've got all these people seated at the table when I'm in and when I have a table here , I almost always in my preferences to stand and while they sit, sit, and I'll tell you why, if I have a slide show, I almost always want to do that. If I do not have a slide show. Then I will be 50 50. Sometimes I'm gonna want to stand. Sometimes I don't want to sit with them, which I'll show you how to do in just a second. But first, let's imagine I do have a slide show and I want to stand. I always want to stand to the left as they look at me. I'm to their laughed because people read in most cultures, especially where I live, which is in America from left to right. So if you look at this from left to right, they're gonna look at me. I'm gonna talk, talk, talk and then every once a while showing this show. So I don't want to stand here, obviously, because if I do, I'm gonna be in front of the slide show. I want to stand over here, but they're gonna read, they're gonna listen to me, and then they're gonna read from left to right. And so when I do this, I want to again look at my feet. I want my feet to be in a situation where I am V with them. Everyone in this room needs to be a part off the V that's gonna make them feel like I care about them and then it's inclusive. So that's how you do it in front of a conference room. I could tell you that most people that make a mistake will stand right here, and this will affect this person quite a bit, but it will also. They'll also stand over here, and this will also affected because they they end up looking at the screen more than they look at me. And remember, I always want my body language to imply that they have to get. They have to look at me and they have to get the information from me in order to be able to t get what they need. Has to come from the presenter. You'll probably notice that I'm using my hands and my feet moving around when I need to. I want you to start to pay special attention to how I'm using my hands, my fingers, my facial expressions. I told you I'd model everything I suggest you do, so I want you to watch it, see how I'm doing this stuff when I need have important points and when I go back to the default, see how I actually use my feet to incorporate everybody and how that looks in a room like this. Now what happens if I'm at the table? Let's actually talk about that now. If you notice this is actually an oval table, it's a long oval table and a lot of conference rooms air like this. Some conference rooms, air circles, which I love circle tables because it doesn't matter where I sit. I don't even have to ask for special treatment. But let me ask you a question. If I was to sit at this table and there was a whole bunch of CEOs in the room and I was gonna present to them and I had to sit down, where do you think I could sit so that my eyes can give eye contact everyone in the room? Because that's the key, Right? Eye contact. Write this down. By the way, this is on page five. About halfway down. I want you to write in the margin that your eyes is the most universal Formal communication on the planet are the way that you show you care. That's how you connect with people. So if I can't see a person, I can't see their eyes not good. Watch this. If I stand over here and I said, Well, I'm going to give my presentation so I'll give it right here. I'm giving my presentation right here. Well, here's the problem. I can see this person's eyes and I could see that person's eyes in that person's eyes and even that person. But can I see this person's eyes now unless they turn to me and I turned to them, and then we have that awkward one on one thing happening. But I'm supposed to be presenting to an entire group. I don't want to do that. So I always want to sit if I can. If it's not a circle, I always always always want to sit almost always at the head of the table. And when I do this now, watch what happens. I can see everybody's eyes and the the danger with this, and you have to make sure people know this is that you don't want everybody to think you're the most important person can remember. It's not about you, it's about them. But if you don't have a power point, and I've just got some notes that I'm in a meeting with. I want to sit at the head table if I'm the main presenter and so I'll tell them this. And this is how you avoid the danger. I'll just tell him. I'll say when I present, I'd like to see that at the head of the table so I can give eye contact. Everyone in the room Would that be OK? And almost always, they say, Sure, that'd be fine. And that's what you do. Let's go back and talk about now movements and how we can use our body language to have really help effect credibility, t get change behavior, change with our audience and get them to pay attention to what we have to say. 3. 1 2 Body Language Blueprint Master Your Stance 2: Hey, we're back. I just want to remind you that there's four things I'm gonna show you today. I'm gonna show you stance. You find these again on page three stance movements, expressions of your face and then answering questions. Body language were still on stance. And there's one last thing I want to tell you. The confidence that you eggs you exude has to do with your feet standing still. So when your feet are in this in this sweet spot, the key is that they stand still that you're not moving back and forth, that they're standing still. Your shoulders are going to be back. So you're gonna actually do a shoulder shrug and your hands or to your sides, or they're gently clasped. They're not this they're clasp gently at your abdomen. These are the most confident stances on the planet. Remember, your feet are shoulder width apart. Shoulders back hands to the sides, using your index finger and thumb to keep them there. And you're rotating your head on a swivel moving around the audience, and we'll talk about how to use eye contact with facial expressions in a moment. This is the best stance on the planet for confidence, credibility and engagement. I'm going to show you in the next section. When we talk about movements, Hajto actually move around. So you're not standing here like a toy soldier this whole time just sitting here, we're gonna talk about that. But before we do, I want to tell you two things that are gonna appear on your screen. The 1st 1 you'll actually find on page six will put up on the screen as well. These are the most common signs that you're nervous with your stance, which is what I just taught you. Now, before I actually tell you about these, let me just show you my stance again. I want you to know that it's not whether you're nervous, it's whether you show it. I can't tell you how many people are so nervous. But once they've learned this stuff, I'm teaching you. They don't look it. And it also can't tell you how many people are not nervous at all. But they don't learn this, and then they look it. So there's five things that people do toe. Look that that show nervousness with their stance. Number one, they shift their weight back and forth like this. They shift their weight. Number two. They cross their arms or uncross their arms. And the other thing they might do is when they're seated at the table like we were. They cross their legs and uncross their legs a lot. That looks nervous. Number three. They rub their hands, their arms, their face. They rub things a lot. Number four. They cover up or touch their face while they're talking. Or their play with their hair, especially at a table in number five. We talked about this earlier. They put their hands in the tyrannis Saurus rex position or behind their back or in their pockets. The only time I'll put my hands behind my back is one of my co presenter, and I want everyone to know this presenter has the floor. So when there were both up there and this person is talking, I will put my hands behind my back to let everybody know. Hey, if you're looking at me, don't look at me. Look at her. She's the one talking right now. She's on stage. It's time for you to try all of this. I want you to take the next five minutes. I'm going to give you five full minutes for this because you need to do this and get this stuff practiced before you move on to the next section where we talk about movements, you've got to get your stance down. It's on page seven will put it up on the screen. I want you to write in your own words how you're gonna position yourself in the sweet spot . Which stands you're gonna choose, What distance or you gonna stand for your next presentation? What will you do if you have to present behind a podium or at a table how you're gonna position your stance to include the whole audience? Then I want you to practice and record two minutes of one of your next presentations. Want you address your audience at eye level, Stay in the sweet spot standing that stands for up to five minutes. See every plant for yourself, see if it's confident. And were you able to eliminate any nervous habits? And then I want you to write in your own words. What's the negative body language you're seeing from yourself when you record yourself and watch it? Let me just tell you this. So many people say to me, Jason, I don't want to record myself. Oh, it's so awkward to see myself on camera. Guess what If it's awkward for you, it's awkward for them. So you need to record yourself right now. I'm going to give you five full minutes to record yourself for two and then play it back and practice what you're gonna say and do and how you gonna stand. Do this right now because you're gonna find that if you can get rid of the stuff that makes you look awkward to yourself, you're gonna look a lot more confident in front of your audience. Take five minutes. And when we come back, we're gonna talk about how to master your movements. See, in five 4. 2 Body Language Blueprint Master Your Movements: we're back. It is time now to talk about movement. Something so many people want to know. I can't tell you how many people email me and say to me, Jason, are you expecting me to stand still? The old time and never move? Of course not. Dynamic presenters have a lot of great movements. What I'm telling you is what I just taught you is your default. So what do you do when you're not in your default? How do you maximize your movements appropriately? Well, this is on page eight. I want you to turn their right now. Before I get started, we're gonna talk about the power stillness and when to move from the sweet spot. But I just want to say one quick thing. Many presenters make a huge mistake here. They think that the most dynamic presenters of the ones that move their hands all around all the time if you do this all the time, you're ended up by as I said before, crying wolf and people don't even realize the movements are important anymore. What I want to tell you is that the power of stillness is huge. Because when you do stillness then when you do move, it's powerful. Did you see that? I even used my tone of voice there. I said, when you use the power of stillness, when you do move powerful. So what do you do with stillness? Will look on page eight. I'm gonna suggest that when you severely restrict your movements when you have your hands at your sides and when you don't move them very often, then when you do move them, they're powerful. So when should we move on? And what when when can be really, really dynamic? I'm gonna tell you sometimes when you should old remove all the time and times when you shouldn't move my all and times that are in between when we should do that stuff. So here we go 1st 1 is if you want to make an important point movement, I'll help you do it. Here's the key. If I want to make an important point, I guarantee not all your points are important. You only want to do this when something really important. So you can't have your hands up all the time making important points all the time because they're not all important. What you want to do is you want to keep it richer side and you talk a little bit. But then when something really important, no man just went up. That's what you dio. And when something is really important, both hands just went up. Then when you want oh, really hit this side of the audience, my hand went up. So when something's important, what I just did again, I bring, I bring that out. It doesn't have to be your hands, and you don't have to just do it when something's important. Anytime I look at a board or I want it took an overhead screen, I'm gonna use my hands. So, for example, if this was a power point screen behind me, I would say, Hey, take a look at my screen Now when I tell him to look at a screen, I always want to have my eyes look where they're supposed to look wherever I look. That's where they will look. But check this out. It turns out, to talk more about this, an eye contact that if I look at my audience, they'll look back at me. But if I wanted to look at the board I need to turn and look at the board and they'll look where I look. If I wanted to look at the Power Point screen, I might turn and look at the screen, and I might even use my hand to say, Take a look at my screen. That's a great time to use a movement. Third time to use a movie. You'll see it on Page A is if you need to move back to the lectern or podium. And I said before, I don't recommend a podium. But if you deem to do, if you have to say stand at a podium, I recommend you stand at the podium every once in a while and then come back to a sweet spot and then go back to the podium and back to the sweets. But they love it when you come out of the podium and talk to him for a little bit Very cool . I wouldn't do this very often, though. I recommend staining the sweet spot the whole time and getting rid of a podium or staying at the podium the whole time and not doing the sweet spot. My favorite, of course, is the sweet spot. The fourth time you want to move is if you want to demonstrate something to the audience. If I have somebody ask question, I'll handle that in a second. Not about to show you that, but if I want to demonstrate something, the audience, I might do this. Let's say that I want to show somebody in the audience how would be, and I think I'm gonna mention this earlier how I would deal with it if I had somebody in my room that was seated and I wanted to talk to them. I might actually unstaged, literally go like this. And Neil, this is me moving to show how I would do that. This is a great time, great time to use body language to do it, and I can stand back up and do that. If I wanted to model for you how I would convince somebody with an important point with small audience, it would look like this medium audience. It would look like this large audience. It would look like this, and that's actually something I learned from a Broadway presenter. When you have a huge audience of 10,000 people are 1000 people This is what you need to do to capture their attention. For an important point, this would be for a medium audience. This would be for a small one. See that? I just do. You see, that makes the point, and it comes back down. The fifth time is when you answer a question, it's a great time for a movement. Now watch this. I'm gonna talk more about answering questions later, but I'm gonna give you a quick one right now when somebody asks me a question. Biggest mistake most presenters make is they turn to the person and walk towards him. Big mistake. What I'm gonna suggest instead is you stay in that sweet spot. You keep everybody inclusive in your feet so that there's an equal distance from all of them. But you just move your head to the Askar so it looks like. And then you gently extending arm and say yes, see what I'm doing. So this person feels like I'm interested in them because I'm giving my contact. But the whole audience still feels like I'm into them. And I want to keep them with me with the fact that my feet are all pointing to them. This is powerful. Now watch this. If you look at the next page Page nine, if you're using a visual later aboard, were actually writing on it. Here's how I recommend you use your your body language here. So here I am at the board and I always want to make sure that I'm perpendicular. I want one foot. When I'm at the board, I want to be perpendicular to board this a 90 degree angle. I want one foot still pointed at the audience, but I want the other foot pointed towards the board so that I can right here what I do not want to do and what most people make a mistake of is they will actually turn their back and write like this. Not a good idea. And even worse, what are almost is worse I should almost as bad, I should say, is where they they do this and they keep talking. So you can't really see him talk. You can't see him right? What I would rather do is go perpendicular when I go perpendicular. One foots pointed toward the audience because remember where my feet are pointed towards is what there is one into one of one foot is there and the others here. At the very least, you want to just go perpendicular so that people feel and you want your shoulders out so everybody feels like you're at least your shoulders are pointing to them. By the way, at the table member, we were at the table. You can't. They can't see your feet anymore at the table. So you want to make sure that your shoulders have everybody included in your If you drew a string out of your shoulders, you want to make sure that your shoulders have everybody, including them. So this is what I would do if I was at the board. And then when I'm done with the board, when I'm finished here, I go back to the sweet spot and I stand here. So many people, when they get done writing on the board, will stay here and they'll talk to somebody like this. And the rest of the audience feels like you're not including them. By the way, I don't know if you've noticed this, but a lot of this stuff are a little teeny things that make great presenters great and mediocre presented mediocre. Next thing I want to talk about is use your hands to give emphasis or direction. I mentioned that you want your hands here on the side. You want your hands at the side, but then you want to give emphasis in direction. When you do this, I want you to watch me, my hands for the rest of this program. See what I just did? The rest of this program, one of the cool things you can do with your hands is you can emphasize certain things, but then you bring it down when you're done, see how the rest of this program for certain things. So just practice. And I want you to watch and see if you can figure out 10 different things I do with my hands that you could steal and use with your hands when you use them. But remember, they only work effectively. Somebody just did their when they're down by default and then you use them when something's really, really important. Next thing, Page 10 this is a big one. You never ever want to walk backwards and you want to stay silent while you're in motion. I'm gonna imagine the stage right now is 100 feet long. I'm gonna walk across it when I walk across the stage. One of the most powerful things I can do is I can say something that gets the audience to think. And then I walk in silence incredibly powerful. Do not try this. Do not try this. If you're not saying something, gets him to think, here's what it would look like. I say an important point. I'm really, really talking about some really cool stuff. And I look out at the audience and I say, Think about that and then I walk. Maybe I'm over on this side of the audience right now and I say, Think how this would be effective in your life and then I walk. By the way, this is called a relevance question. When I bring it to them, you can find more about this in the Maintain your audiences attention program. So what I'm doing with my hands right now, but it's really powerful to ask a relevance question that hits that one radio station all adults to tune to, which is W I I FM. What's in it for me and all you do is instead of saying how important this is for them, you ask him a question about how important might be for them, I might say for you. For you, for example. What's the relevance question? You could ask your audience in your next presentation, where you could stop after you ask it and walk. Here's one that I might ask, How do you think you could use the body language? We've just talked about toe look more credible with your audience. And then I start talking again. See how powerful that is, if you to apply just this one technique. Incredibly powerful, a stained silent while you're in motion. Why do you think, by the way, stained silent while you're in motion is so powerful? Because it shows that you're willing to be in front of a huge audience and not talk. But you're not boring either, cause they're thinking about the question you just asked. Another thing I want to tell you is to never, ever, ever walk backwards on stage. This is one of those absolutes. It actually applies. Never, I guess, the only time I would walk backwards if I want a model for you what not to do. But when I walk backwards, especially one of answering questions, we'll get into question answering a second. What do you think happens when I answer a question? So I go like this and say, What's your question? And they ask it, Now listen and I listen and then I'm about to answer. I say, Well, you know, I think I think the answer to that might be. Why walk backwards? What's this imply implies? I don't know the answer. I might be nervous. I'm not sure what the question waas all sources to a bad stuff. There's just not a time to walk backwards. You either want to walk forwards or you want to go ahead and stay still where you could walk sideways. Well, what happens if I need to go back there, though? What do I do? I'm actually going to suggest you literally turn around and then you start right. This would be a great time to use that silent in motion idea. I could say, How do you think you could apply this pristine silent motion in your presentation? And then I walked backwards or walk forwards instead of backwards in order, start writing. See how powerful these things are, all these little things. Where did I figure all these out? Watching thousands of presenters is what I did, and I could tell you that when the good ones did this stuff, people give him rave reviews. They don't know why. Because it's remember, a fat comes 55% from your body language, so it's time for you to do another activity and you'll see it on page 11. But before we put the activity upon the screen, I want to put something else up on the screen, which are the most common signs of nervous movements from speakers. And there's four of them. Number one is literally pacing back and forth like this. I can't tell you how many times I see speakers do this because they think it's engaging, and they'll do it really fast to make sure that make it look like they're engaging. But this is not engaging unless you need to make a point. This is not engaging. If you keep doing this or they'll loosen their collar, that is a lot. That's something that you look. The first televised debate between Kennedy and Nixon Nixon did that a lot because he was sweating. People didn't know that he had to loosen His collar made him look nervous. Another one is over using the mouse in a demo. If you're given a demo, especially if it's up here on the power point screening, you're using your mouse toe show stuff. Remove all. Not a good idea. Keep your mouth. Still, there's a whole program I have called demo that shows you how to do this. And then the next one is over using one hands with constant movement, constantly moving your hands around. These are the ways that you look nervous, even if you're not. Even if you're not in front your audience, here's your activity. I'm gonna have you take five more minutes and I want you to practice and record two more minutes of a different section of one of your presentations. And here's what I want you to practice. You ready? Use the power of stillness practice at least one time consciously avoiding unnecessary movement. Note on your blue Pinter script. When you're going to use this power stillness move from the sweet spot. Only one necessary note when you're gonna move use your hands to give direction. Emphasis. Note when you're gonna use your hands and get rid of your nervous habits. And then what I want you to do is record yourself for two minutes doing all these things and then watch it back again and see if you can see any of those four nervous habits. Is there any pacing? Is Ernie loosen of your collars? Any overuse of the mouse? Is there too much hand movement? And then lastly, I want you right before your next presentation to practice this thing three times the day before and one time five minutes before you go on practice. Everything I'm teaching you one time five minutes before you go on, there's a whole opener program we have that teaches you how to open effectively and how to prepare for your opener right before you go on. This is a cool trick from that program. If you practice it right before just the 1st 5 minutes right before you're gonna actually have a lot less nervous and showing. Even if you don't feel nervous inside, take five minutes. Practice your movements. Now when we come back, we'll show you how to handle facial expressions 5. 3 BLB Master Your Facial Expressions: Hey, welcome back. It's time for facial expressions. These are my favorite. I told you I would mention the book from Daniel Pink. This is called a whole new mind. It's a great book, and in this book there's a really cool study they do about facial expressions. That proves pretty much, in my opinion, beyond a shadow over reliability and validity. Doubt that facial expressions are the most powerful tool that you have on this stage. And here's the study that they did. They actually took a whole bunch of pictures of people, and some of the people were surprised in the picture and somewhere angry and somewhere sad and somewhere happy and all these different emotions. And then they showed these pictures toe all sorts of different cultures all over planet Earth. Some of the cultures, by the way, had never really been around other cultures at all. They've pretty much been on their own for their whole lives. But when they showed him these pictures without fail, everybody identified the emotion correctly, no matter what culture was from. And so the And the reason for that is they showed pictures of people's eyes and they said, Okay, based on the pictures of their eyes. Is this person scared or they're happy or the excited and anxious? Whatever it is, they guessed it right. But when they did something with their body language, that wasn't their facial expressions like this, they actually extended a hand like this. Well, some culture said, Well, that's a very warm gesture. You're extending your hand to me and others said, Well, that's very rude. I can't believe you do that to me because their culture, that's what they felt when they that's that's what they have historically done when some extends a hand or another one is when you go like this and you shake your head, some cultures see this and say, Well, this person's disagree with me or they're saying no. But other cultures air saying No, Actually, this person's listening intently to me. This is what listening intently in our culture looks like, But nobody ever mistook the eyes. And what does this mean for you as a presenter? What this means is your eyes and your facial expressions are pretty much your most powerful asset, especially when you're on video or when you're in a small audience or if you're in a big audience and they can see your eyes on a projector So what do you do about your eyes? How do you help these eyes be effective? Well, the first thing I want to tell you is your eyes air Most important when they're looking at everyone in the audience. And I just said that everyone in the audience everyone in the audience needs to feel that at some point in that minute you looked at them. Did you hear that That minute? That means if you do it for 60 minutes, everyone in the room needs to feel that you looked at them 60 times. That's when they're gonna love your presentation. So how do you do this? Well, I'm gonna suggest that if you have 32 or less people in your audience, that's a small audience. And if you have this, then you want to look at every person in the room for 1/2 a second every minute because if you think about it, if you have 30 people in 1/2 a second each, that's 15 seconds. So you don't have to look at everybody this way. But the problem is When people give presentations, they see somebody in the audience. It makes them feel confident and comfortable, Somebody that may be really confident, comfortable in their own writer that smiling and still don't spend their old time looking at this person. Not a good move. What you need to dio is looking every person, the audience for 1/2 a second every single minute. And when you do this, it doesn't have to be obviously enough to go do like that. That's not what I'm talking about. What I'm saying is, and if you could watch one of the other programs in the lab, you'll see me model this with real audiences. You'll see how my head moves around when I have people in the audience like that are like this, but everybody gets my eyes every single minute. If it's a large audience of greater than 30 to say 100,000 even 10,000 then you want to divide the room up into nine sections left middle right front, middle back nine sections and look at every section for three seconds and then you know you've turned to another section three seconds every minute. Every section gets your eyes once a minute. This is not easy to do. You have to practice this, but it is one of the most powerful things you can do in this presentation. I'm looking at the camera the whole time because I'm actually talking to you on camera. But if there was an audience here, I would look at this audience and I would talk to them and I would look at each person or each section. Why is it three seconds for large audiences and 1/2 a second for small? Well, here's why. If I look at a section of the room that's large, I'm looking at 50 to 100 people all at once, and so I need to look at them for three minutes or 373 minutes, three seconds so that they feel like I'm engaging with them. It takes that long member, I said, big movements for a large audience. Same thing with big eye contact for three seconds. But if I only have 10 people in the room and I look at one person in the room for three seconds, that's gonna make that person feel very awkward. So it's just 1/2 a second and then I move on. So they just feel like I care. But then I move on and I'm not putting him on the spot. I can't tell you how powerful this is in my research. Of all the things I've taught off, all the things I've taught, this one's more. Probably one of the most important and Daniel Pinks book proves it. The other thing I'm gonna suggest for eye contact is that you maintain eye contact. Now, this is big. If I'm some page 13 if I'm looking at an audience and there's any time where I stopped looking at them, they will look where I look. I've already told you it's OK to do that if you need to show something on the board or if you want a point to a power point show. But otherwise your eyes should be looking at them 100% of the time. I don't know 100% of one person or one section, but on your audience all the time, you're I should be on them if you're one on 1 70% eye contact is optimal. More than 70% 1 on one is creepy. Less than 70% eye contact. One on one is even creepier. They actually did a study and they had somebody go to a party and Sterritt people. And that sounds creepy, right to somebody be staring at you. But then they had another person go to that same party and never looked at anyone the whole time. And that that person was they did. A survey found. The most creepy is the creepy study. And so the point is, is, if you look at this, the people, if you if you're if you only give eye contact a one side of the room, which, by the way, is the most common thing I see that people make mistake on is only look at one side or one set of people the whole time they feel comfortable with and not this side. Or if you only have your feet pointed to one side, and on the other side you will get half the people that aren't into you. I don't think this presentation was helpful, but if your feet are opened, everybody and your eyes are moving all around Well, that's powerful, so my I should be 100% focused on my audience the whole time. By the way, if you're wondering, when would you not do this? I can tell you I actually had a client who was an attorney and he was in the courtroom and he decided, Look out the window, all these talking. So has he's looking out the window, he said. He's talking and talking out the window and finally comes back and looked at people, and he thought it was fine. I said, Did you know when you looked out the window that your entire room looked out with you? He said they did, Yeah, where you look, they will look. But if you look at them, they'll stay with you. So look at them if you want them to look out the window. Five. You want to show him something out there. That's fine. But ultimately what you want to do is make sure that you're looking at them so that they feel cared about. This is powerful. Your eyes. Another thing you can't do is you can't fake a smile. Page 14. I want you to turn their now it says. Smile only when you mean it, and then it says keep your mouth closed and stay focused on your listeners. I'm gonna start with smile only when you mean it. It turns out that your eyes you'll see this. I'm gonna put this on the screen for you so you can see this. This is actually right out of the book, it says. On page 14 Pink cites the work of French neurologist. A genuine smile involves two muscles the zygomatic major muscle which stretches from the cheekbones and lifts the corners of the mouth. And the outer part, the occupy muscle which orbits the eyes involved in pulling down the eyebrows. In other words, when you smile sincerely, your eyes smile too, so you can't fake a smile. So when you're up here and you're giving a presentation, one of the biggest things I'm gonna suggest you do is smile only when you mean it. I can't tell you how many presenters will start. A presentation will go like this. Hey, everybody, welcome my presentation and they're fake smiling. And here's how you can tell if you cover up their mouth in their mouth and their nose. Their eyes actually look evil. They might be smiling down here, but their eyes were scared to death. And your audience? Comptel. Remember most of this body language stuff is subconscious. So what you want to do instead is Onley smile when you mean it. So if you say something funny and you smile, this is when you mean it. Some people watch my video on YouTube on how to give a killer presentation over where I'm talking to the camera and I'm not smiling at all. And they said, Jason, why aren't you smiling? That's totally inappropriate, you know? Now we're talking about a killer opener here. I want to match the mood when people are giving openers. Are they nervous and scared? Or they is so happy when they're giving their openers. Almost everybody's nervous and scared or they're not sure if it's gonna work. So I want to be serious with them. Write this down instead of being happy all the time, smiling all the time. You want to match the mood of your audience if they're happy? Yeah, I'm gonna totally be having a good time. It's great to see everybody. I'm so excited that you're so happy. But if they're not happy or if they're not starting on happy their tentative. I want to match their mood, and then when something happens, that's funny. You'll see me smile. If you go into the lab and look at all the presentations I give, you're going to see it. About 3/4 of them are with a really live audience, some of them with all audience of 10 some with an audience of 1000. And when you do this, you're going to see that there's times where the audience makes me laugh. But it's about them, not me. So if they're not thinking something's funny, I'm not gonna I'm not gonna laugh because not matching their mood, you see the difference. Next, let's talk about your mouth. Your mouth should stay closed when you're not using it. See that what most presented do. They don't know this is They will talk, especially with her answering questions, and then when they're done talking to go like this and it's not very credible. What you want to do instead is when you're done talking, close your mouth. You need to practice this. It's not gonna be easy to remember this, but it's important for you to do. Here's what I want you to do. I'm gonna give your activity in just a second. But before I do, I want you turn to page 15. And there's one last very cool thing I want to teach you about eye contact and facial expressions, and it's called Stay Focused on your listeners. Now look what I'm doing right now. A lot of presenters I see doing this, they grab a script like this and they just look at it the whole time. I actually had a presenter that did this on page 15 by the way, and they would glance down at a couple of clients that did this, actually, before I worked with them. So I want watch Dome and I took some notes and they did this a lot and they would look at their audience, but they would mostly have this in front of. It's totally okay, by the way, to have a script. It's totally fine, but it needs to be down here, and you only need to use it. We need to remind yourself what to say. The problem is, if you use in front of him like this all the time, they start to think you don't know what you're talking about. So I recommend using direction ALS to buy some time so that you can take a quick glance and you'll see this in our our lab program called Maintain the Attention of Your Audience. How to use directional. But I'm gonna teach a couple right now. Here's the deal. Look up here. A directional is something that starts with an action verb, and I actually just used one with you right now. It says, Look up here. It starts with an action. Verbinnen tells your audience to do something. Well, what's really cool about a direction was it often has your audience do something that's actionable. That's why it starts with this action verb. And when they do that, it buys you some time to look at your script and figure out what you're going to say. Next. Here's another one. For example, write that down, and as their writing, I get some time. Take a look at your hand out. They take a look at their hand out. I'm getting more time. Highlight that on page 56 they highlight. I'm getting some more time. Take a look about my screen. I look up there. And then while I move over, I'm gonna look down and think about what I'm gonna say next, All these things by me time so that I can keep my focus, my eyes on them when their eyes are on me. That's the rule of thumb paid 15. Write it down. It's a directional. I want you to write down your eyes need to be focused on them when their eyes are focused on you. And so how do you get? How do you get the directional to buy you? Sometimes you can take a glance at your scripts. You don't have to move your eyes away, have their eyes focused on something else for a second. Write that down. Highlight that. Look up here. Turn to the person next to you. Agree with the person next to you on that talk with the person next to you on this. Take a look about my board, all those things by me. About five seconds. Maybe even one second too quick glance and go or even 30 seconds. If they're gonna right to think about what I'm going to say next. Now, before I give you this activity, it's coming up here in a second on your facial expressions, let me tell you the top put him on the screen right now. Seven things that people do toe look nervous with their facial expressions. This is what Kennedy and Nixon in that first presidential debate that was televised. Nixon did a ton of this stuff. It's part of the reason why I lost the debate. You listen to Nixon and radio Nixon Kennedy's debate over the radio. Most people think Nixon one. But if you watch it on television, most people think Kennedy won the debate. Well, here's why. Turns out Page 16 that first of all, why did this happen to Nixon? Because he actually had this makeup they put on and made him sweat a lot. And so it made him do a bunch of this stuff that he didn't even know he was doing. But here's what they are, and this is what most presenters don't realize they're doing. Number one looking away from the audience either up, up or down, laughter right on, only looking at one side and not the other. Number two. Blinking excessively. Number three, Laughing inappropriately. Member. I talked about smiling inappropriately smirking. So a fake smile, widening your eyes for no reason, especially if you're scared, raising one's eyebrows for no reason and letting one's mouth hang open. I want to show you two quick tricks on your eyes and eyebrow before we go and have you do this activity. Very cool things is by language. Blueprint won't show you everything. One thing you can do and you can practice this in the next activity is every once in a while. If you say a really important point can raise your eyebrows just slightly, I just did it. If you want to go back, rewind it. I did it, major. I. Baltar slightly did again. Here's what might sound like any time you want something to be really important, you put your hands in the sweet spot. You pause, you bring your tone down a little bit and you share with him what's important with your hand. That's powerful. See, I use my bro. I did that a little bit in a non genuine way because I wanted to stick it in there to show it to you. But we have you used this. I did it again in the right way, it could be powerful, too subtle. Little thing. Another thing I want to tell you about is your eyes. If somebody, if you want to really make a point like, Oh, that's not showed, something's not good. You can make your eyes go big. So I might I might say something like when you do some of these nervous habits. Good luck. You and your audience wants to give you some evaluations afterwards. See what I just did. Little things that you could do. I want you to practice these now. There's a bunch of stuff I just taught you. Let's look at it on the screen. Master your facial expressions. I'm gonna give you another five minutes. I want you to write in your own words what you need to remember about eye contact specially for audiences of your size. What direction you're going to use if you have to glance at your script or blueprint, where in your script or you're gonna need to glance. Write that down and then I want you to practice two minutes and record it where you make. I could practice making eye contact people in the room, you know, if they're not there. Practice making eye contact. It's appropriate to the size. Don't fake a smile. Eliminate all those habits on page 16 and direct the gaze of the audience away from yourself with the directional. When you need to look back down, I want you to record yourself for two minutes, then watch it. And by the way, I know you can fast forward through these activities. But don't do it. Practice this stuff. This is how you're gonna get good. Well, the reason about just giving you great content. It's about getting a behavior change to occur. So five minutes practice your facial expressions. Now, when we come back, I'm gonna show you how to answer question, how to use your body language and you answer questions. See you soon. 6. 4 BLB Master Answering Questions: Hey, I'm back and I'm gonna teach you now how to use your body language to answer questions. I want to tell you something. This is not going to replace the program called Boomerang Q and A plan. There's an entire program in our lab that shows you how to answer questions on the any question on the planet. What I'm only going to do right now is show you how to use your body language when you answer questions. And essentially, when you answer questions, there's really only three times you have to deal with stuff when you get that, when you ask for questions when you get the question and when you answer it, how do you use your body language during those you could have You got a bunch of stuff in here on page 18 and 19 and 2021 22 great stuff on body language for questions you can read through all that in your workbook. I'm in 18 through 22 I'm actually going to tell you the top nervous habits people do at the end of all this when they answer questions. But if you're thinking to yourself, you don't need this. You need to think again because if you're given presentations, you're gonna have questions. And when you do, body language can take a huge hit. When this happens, I'm going to suggest that when you ask for questions every time you ask for questions, you need to be back in your sweet spot or the very least you need to make sure that your feet are including everybody in the room because you want everyone to feel like you're asking them this question. And when you ask it, you want to ask, what questions do you have about topic acts vs? Do you have any questions? Because if you ask, do you have any questions? You just gonna get a yes or no. You want to get the questions that you want to get, so it sounds something like this. Always. When you go back to asking this question, you bring your hands to your sides, your head goes back on the swivel and you look out of your audience and you do the half second every every minute or three seconds every minute. If it's a large Argentine, you say, What questions do you have about topic X Whenever the topic waas and you go like this and you just when you wait seven seconds. Seven seconds, it takes a second or two for the person to think about what you just said two or three seconds to come up with their answer and another second or two to get the courage to ask it . So what do you do during the seven seconds? Cause I can tell you this seven seconds is gonna be awkward for you, the presenter. But it's not awkward for them. They're fine with this. They need this seven seconds. Figure out this answer. So it looks like this. What questions do you have about Topic X and I'm gonna suggest what you do it to keep your brain going so you don't freak out here, is you? Go the half second with every person room or three seconds every section that gives you 67 seconds. Here it is. Let's say the small audience. What questions do you have about Topic X and right there? That's when a question will happen around five or six seconds. That's when it happens. Most presenters won't wait the five or six seconds there too, so they're too afraid that you're scared. What they do instead is go like this. Keep mouth closed when you stop asking this. What questions do you have about Topic X? Okay, lets keep going. That's what they do because they're afraid. So that's how you ask for questions, and that's what you do. You stand still the whole time. I already taught you what to do. If you get the question, let's say I get a question from over here. If I get the question, I can either take my arm and go like this, indicate and I want them to ask. I could take one step forward and gently extend my arm. Or I can simply just keep my stance and go like this and and say, What's your question or go ahead? But I almost always will extend an arm. See, I even wanted to do it there. This is a great time for a targeted movement. It makes them feel like you care. So oftentimes here's what it looked like. What questions do you have about topic acts? Yes, there it is just that yes, Once they ask, as he or she is asking, I'm going to make my feet Stay still. Still, I can't tell you how many people screw this up. They will walk towards the questioner. And when they do this when I walked toward the question what is everybody on this side of the room feel right now? Oh, yeah, that just if that's just him, that's asking. I can start paying, not paying attention right now. Or even worse. What? He really cares about him. But he doesn't care about me at all. So here's what I'm gonna do. Feet, Same exact stands If I'm like this still the same exact stand. Yes, Go ahead. And now my feet are still in the same place. But my eyes, my eyes and feet are still seen played My eyes are looking at the Askar. You know, I'm just gonna listen and I'm gonna nod body language. I'm gonna nod when I hear it every once in a while. I'll paraphrase when they're all done. I'm gonna paraphrase and say it sounds like you're saying dot, dot dot Is that right? But the whole time I'm giving an eye contact to that person. But my feet the whole time are looking at everybody. Now, when I'm gonna answer the question, then what I'll do is I will look at everyone again. Remember when they're asking the question? I only look at George. Uh, so George, it sounds like what you're asking is what happens when the sky's blue when you're giving a presentation, Is that right? And George says, Yes, that's right. Got it? Soon as I say, God, boom, I'm right back to presentation mode in my eyes or everybody again. And I might even say This is something that everybody needs to know what George just said. And so my my eyes air back to everybody again and I might even move in targeted movements. I might go to the board, like of everything I've taught you is back in play. But it's only during the answer. My answer, that it's back in play. If George asks me something that I'm not going to answer, I call these by the way out of scope questions, and you'll learn more about this in the boomerang Q. And A plan and I'm not gonna answer right now is out of scope. Then I'm still going to just look at George. I'm not gonna look at anybody and I'm going to say, Hey, George, thanks for asking that. Go ahead and write that down. I'll answer that for you. And now here comes my eyes and anybody else who wants to know that at 4 15 what other questions do you have about Topic X? Okay, lets keep going. And then I keep going on my thing. That's it. Very sweet. Stance. Sweet spot stands. Hands to the side, head on a swivel eyes. Everybody looking at the Ask her, looking at everyone when I answer, but not ever. And this is the top mistakes now, not every doing the things on page 22. Let's put those up on the screen for you right now. Not ever looking up or down, or to the side or anywhere other than the audience, because I can tell you this is so funny when people are getting asked a question. Is a presenter. If I look up to the left trying to remember what it is I was thinking, or I'm trying to remember the answer. If I look up to the right, I'm trying to make something up. If I look down, that's because I don't really know what I'm talking about. If I look up, I'm trying to think none of that's good for credibility. Next one they'll do is they ask what? Could you repeat that question, please? Any time you say, Could you repeat that question? If you only say it for some people, not others, it often times will make it sound like you don't know the answer. So what, all oftentimes do? Instead of saying, Could you repeat that? If I couldn't hear it is I'll go like this, say again just so that they know that I couldn't hear. That's why I'm asking this now because I'm buying time, cause I don't know the answer. 3rd 1 is the walk or take a step backward. I can't tell you how many people have been in your shoes watching this program right now, And I told them that when you're presenting and you get a question that you don't know the answer to, don't walk backwards. Don't even take a step backwards, because what does that imply either? I don't know the answer. I'm not. I'm not patient. I'm nervous. I'm not confident. Not sure about this audience. I want to get away from you. Whatever subconscious feeling comes up. That's what's happening, what you want to do instead of stand your ground. Stay still when you get a question, even if you don't know the answer, you want to do this, I can tell you there was a woman that I taught. Her name's Marissa. She was a trainer. She was working for this really big health care software company that actually puts hands on the walls for anybody has been there 10 years or longer. She was in her 1st 6 months and she was doing this process with me. And she had this big customer class coming up, and I taught her the boomerang Q and A plan and some of the body language techniques I'm showing you right now. In two days into this, they actually took a tour of the company, and they asked Marissa if her hands were on the wall where they were. They thought she'd been there 10 years. She only been there six months. That's how powerful this is. But moving backwards that doesn't work, and then the last one is sane. Good question. I know that's not a body language thing, but oftentimes it triggers a bunch of body language stuff. Oh, good question. And then you smile. And why is the presenter smiling? Because they know the answer. And you're giving away your poker face to talk more about this in the boomerang Q and A plan. But instead, what you want to do is say thank you for that question, because good question is praise and it's manipulative and implies you're trying to judge them in a positive or negative way. And what happens if you get a good question to her? But you don't say good question to her. You say good question to him, You know, it's a good question to him. You want everyone to feel the same. So again, it looks like this. What questions do you have about Topic X? Yes. Okay. Uh huh. Got it. Well, thanks for asking that. It sounds like what you're asking. That is what is this? What happens to the sky when I'm giving presentations? Is that right? God. Well, this is something everybody needs to know. When you're giving presentations, the sky stays blue. What other questions do you have about Topic X and there it is. You see that? I want you to practice that. No, his son. Page 23 I want you to write in five minutes. I want you to write in your own words how you're gonna include the entire audience while you're answering and asking questions. What's your body language gonna be when you're answering? What behaviors? Telegraph that you don't know and how you make eye contact. To do this, I want you to have a practice session with a colleague or record yourself. But imagine you're the audience member asking yourself and then answer it on camera two minutes to record it. Two minutes to watch it and write down your habits. Five minutes total. And when you come back, I'm gonna wrap this up and tell you some things you can do to really take advantage of everything you've learned. Seeing five. Hey, we're back. This is the body language blueprint and we're at the end of the program. But I want to give you your turns and want to put it all together for you. This is a powerful thing about to do with you. First of all, on page 26 27 28. There are three pages of gold. These air. What? I used to drive me crazy when I go to presentations and give me all this good stuff, but I really wouldn't know how to apply. It is not a you apply it. Page 26. How you master your stance? Exact things you need to go do 27. How to master your facial expressions. Exact things you need to do Page 27 at the bottom. How to how to answer questions and how to master movements on 26 then on 28. How to put it all together. And that's actually what we're gonna do right now. Now you'll see this either is in activity on 28 or on page 25. There's activity, but we're 24 actually, we're gonna put up on the screen. I want you to imagine you've got a presentation coming up today and you got to do the following things. You need to practice your stance, your movement, your eye contact. I want you to practice the following 10 9 or 10 things. Address your audience at eye level. Stay in the sweet spot, you stillness, avoiding unnecessary movement. Move only when necessary from the sweet spot. Use your hands to give direction around. Persist. Make eye contact with everyone. Smile only one. It's sincere and answered questions with confidence. Here's what I want you to do. I want you to go and give two more minutes of a presentation putting all those nine things together. If you've done all the activities we've done in this program, you are gonna be gold when you get up on stage. You just what I did. You see what I just did with my body language? That would be gold. You get up on stage, I want you to practice it one more time, put it all together, all four things we talked about. And then when you're done, go back and watch it. And if you don't like it, practice it again. And keep doing that until you've got what you need and go back and watch this program again and re watch it this time for my body language. You can see how I model everything I suggest you do now. I don't model for you all the time, the eye contact for a whole audience because it's used me in you right now, but you can see how it went with the other lab programs. Go back and watch all those lab programs so you can see me do this with a real audience. You can see how that looks different on video versus when I'm actually when there's a video recording me. But there's an actual huge group of audience in front of me, which right now it's just me and you. Anyway, here's the deal. This this right here. I love this picture. By the way, this woman is using body language and facial expressions with dynamic effect. I want you to go do that so that you can engage, build, credibility, report with your audience When go take a look at some of those other programs so you can see me model some more of this stuff. We'll see you in the next programme.