Read How to Fail at Almost Everything and Still Win Big: Kind of the Story of My Life Online
Authors: Scott Adams
Business writing also teaches that brains are wired to better understand concepts that are presented in a certain order. For example, your brain processes “The boy hit the ball” more easily than “The ball was hit by the boy.” In editors’ jargon, the first sentence is direct writing and the second is passive. It’s a tiny difference, but over the course of an entire document, passive writing adds up and causes reader fatigue.
Eventually I learned that the so-called persuasive writers were doing little more than using ordinary business-writing methods. Clean writing makes a writer seem smarter and it makes the writer’s arguments more persuasive.
Business writing is also the foundation for humor writing. Unnecessary words and passive writing kill the timing of humor the same way they kill the persuasiveness of your point. If you want people to see you as smart, persuasive, and funny, consider taking a two-day class in business writing. There aren’t many skills you can learn in two days that will serve you this well.
I found accounting nearly impossible to learn because of the bubbling moat of boredom that surrounds the entire field. But a basic understanding of accounting is necessary to be a fully effective adult in a modern society, even if you never do any actual accounting on your own.
Accounting
is part of the vocabulary of business, and if you don’t understand it on a concept level, the world will be a confusing place. In particular it’s helpful to be able to create your own cash-flow projection on a spreadsheet and feel some confidence that you understand the tax impacts and the so-called time value of money.
*
Accounting overlaps with the fields of economics and business, and in each of those fields you need an understanding of accounting practices.
In my town there’s a tiny restaurant that has changed hands several times, always with a new concept and menu. The one thing that all of the concepts have in common is that they can’t work because there aren’t enough tables in the place to cover their expenses. (I have a good idea what their expenses are because I once owned two restaurants in the area.) My guess is that each new operator has plenty of culinary skill and no accounting skill. No one with accounting skill would get involved with a business model that can’t work on paper.
You can pay others to do your accounting and cash-flow projections, but that only works if you can check their work in a meaningful way. The smarter play is to learn enough about accounting and spreadsheets that you understand the basics.
In today’s world we’re all designers, whether we like it or not. You might be designing PowerPoint presentations or a Web site for your start-up or flyers for your kid’s school event. You’re also furnishing your home, buying clothes you hope look nice to others, and so on. Design used to be the exclusive domain of artists and other experts. Now we’re all expected to have a working understanding of design.
If you’re like me, you were born with no design skills whatsoever. I was amazed to learn, well into my adult years, that design is actually rules based. One need not have an “eye” for design; knowing the rules is good enough for civilians.
For example, landscape designers will tell you that it’s better to put three of the same kind of bush in your yard, not two and not four.
Odd numbers just look better in that context. You don’t need an eye for design to count to three, and you get the same result as the expert, at least in that limited example.
I also learned that art composition for anything from a magazine cover to an oil painting to a PowerPoint slide should conform to a few basic templates. The most common is the
L
-
shaped layout. You imagine a giant letter
L
on the page and fill in the dense stuff along its shape, leaving less clutter in one of the four open quadrants. Artists call the uncluttered part negative space. In the case of an oil painting, you might have a tree going up one side, some landscape on the bottom, and the open sky in the top left. You can change it up by rotating the
L
and leaving a different quadrant less busy than the rest, but it’s still the
L
concept.
When you take a photograph, you can use the same concept. Instead of centering the person in the pictures, adjust your field until the person is one side of the
L
and the ground is the bottom. The less-busy quadrant might be some landscape or the sunset.
When you design a PowerPoint slide or a Web page, it’s the same idea. You leave one quadrant less busy than the rest. Skim through any well-designed magazine and you’ll see the
L
design in 80 percent of the art and photography. The other 20 percent will be some special cases that I won’t go into here. I’m only trying to convince you of the importance of design and the ease with which you can pick up the main idea. Learn just a few design tricks and people will think you’re smarter without knowing exactly why.
Few people are skilled conversationalists. Most people are just talking, which is not the same thing. The difference is that skilled conversationalists have learned techniques that are surprisingly nonobvious to a lot of people. I was among the clueless about conversation skills for the first half of my life. When I was a teen, I thought conversation was a complete waste of time and something to be avoided. I was aware that there were several alleged reasons for conversation, but I didn’t see much value in them. I was a bore.
There are probably a dozen or more reasons to have a conversation, depending on how you slice it. You might start a conversation to …
Exchange
informationPlan
Complain
Entertain
Feel connected
Befriend
Seduce
Persuade
Be polite
Avoid awkward silence
Brag
A bad conversationalist will focus on the impoverished part of the list, doing a lot of bragging, complaining, and exchanging of information. It’s fair to say that such a person doesn’t understand what conversation is or how to do it. I fell into that category for the first few decades of my life.
My first inkling that conversation was a learnable skill, and that the benefits of conversation were larger than I imagined, happened while I was taking the Dale Carnegie course I mentioned earlier. The focus of the class was on public speaking, but we also learned techniques for making conversation with strangers, such as one might in a party or business situation. The technique is laughably simple and 100 percent effective. All you do is introduce yourself and ask questions until you find a point of mutual interest.
I’ll paraphrase the Dale Carnegie question stack as best I remember it. It goes something like this:
If you’re like me, the questions seem a bit too awkward and personal for someone you just met. Prior to experiencing the Dale Carnegie course I would meet someone new and immediately go into joking mode because I didn’t know what else to talk about. I discovered
that perhaps only 5 percent of the general population wants to get into joking mode with a stranger. And of that 5 percent, maybe only half of them will appreciate whatever you think is funny. Everyone else will want you to go away. While most people enjoy humor, the typical person doesn’t go directly there before getting to know someone.
The secret to making the list of six questions work without seeming awkward is in understanding that the person you meet will feel every bit as awkward as you. That person wants to talk about something interesting and to sound knowledgeable. Your job is to make that easy. Nothing is easier than talking about one’s self. I would go so far as to say that 99 percent of the general public
love
talking about themselves. When you ask a stranger a personal question, you make that person happy. Your question relieves the stress of awkward silence and gets the conversation moving. Best of all, it signals that you have interest in the stranger, which most people interpret as friendliness and social confidence, even if you’re faking it. And faking social confidence leads to the real thing over time.
Your job as a conversationalist is to keep asking questions and keep looking for something you have in common with the stranger, or something that interests you enough to wade into the topic. In my entire life I have never met a stranger who didn’t have some fascinating life experiences that spilled out if I asked the right questions.
Everyone
is interesting if you make the situation feel safe. Here’s a summary of good conversation technique.
The point of conversation is to make the other person feel good. If you do that one simple thing correctly, the other benefits come along with the deal. For example, a person who likes you is more likely to
be persuaded, to recommend you for good opportunities, to share information, and to want a relationship with you. And if you must complain, because it’s just too hard to keep it in, you’re better off complaining to someone who already likes you; that way you’ll get the empathy you want.
So how do you get a stranger to like you? It’s simple, actually. It starts by smiling and keeping your body language open. After that, just ask questions and listen as if you cared, all the while looking for common interests. Everyone likes to talk about his or her own life, and everyone appreciates a sympathetic listener. Eventually, if you discover some common interests, you’ll feel a connection without any effort.
If you’re physically attractive, it probably isn’t a good idea to talk too much. People are predisposed to liking attractive people. Talking can only make things worse. If you’re attractive, be sure you’ve created a solid connection before discussing your hobby of collecting baby animal skulls or whatever the hell you’re into. The less you say, the better, at least in the early stages of getting to know someone.
If you’re unattractive—and this is my area of expertise—your conversation skills will be especially important. It might be all you have to sell yourself unless you’re accomplished in some world-class way. You’ll need to take your conversation skills up a notch. And that means becoming the master of short but interesting stories.
As a writer, I reflexively translate whatever I observe into a story form with a setup, a twist if there is one, and some sort of punch line or thought that ties it in a bow. You can do the same thing. Try to get in the habit of asking yourself how you can turn your interesting experiences into story form. I find it helps to imagine telling the story to someone in particular—a spouse, friend, or relative. Try a few versions in your head, telling the story and feeling how it goes. Was it brief? Did you save the surprise for just the right moment? Did you have a way to end the story with a punch line or interesting observation?
It’s a good idea to always have a backlog of stories you can pull out at a moment’s notice. And you’ll want to continually update your internal story database with new material. For example, if I know I’ll be seeing friends in a few days, I make a special note to myself to turn my recent experiences into story form because I know I’ll have a reason to bust one out. The most popular type of stories is …
funny stories
.
I
think everyone should learn how to tell a funny story. I don’t think people realize that storytelling is a learnable skill and not a genetic gift. Once you know the parts that compose any good story, you have all you need to sculpt your own out of your everyday experiences.
The most important key to good storytelling is preparation. You don’t want to figure out your story as you tell it. If something story-worthy happens to you, spend some time developing the story structure in your head—a structure I will explain in a minute—and practice telling the story in your head until you have it down.
The basic parts of a good party story are:
There’s only one important rule for a story setup: Keep it
brief.
And I mean really brief, as in “So, I took my car in for a brake job …” That’s it. Don’t tell us the problem with the brakes. Don’t tell us what made you think you had a brake problem, unless for some reason it is relevant. Try to keep your setup to one sentence, two at most.
Establish a pattern that your story will violate. For example, you could say, “Whenever I take my car for any kind of service, I’m always amazed how expensive it is.” That establishes the pattern. Now we know that what follows will be a violation of the pattern. And we call that hint of things to come …
Foreshadowing means you leave some clues about where the story is going. The foreshadowing can happen as early as the setup, as in “My in-laws in Arkansas have something they call the ‘fraidy hole’ that everyone climbs into in case of tornadoes. It’s meant to hold no more than four people.” That’s the setup with the foreshadowing built in.
Every story involves characters, and you might be one of them. For people who know all of your foibles, defects, and preferences, no
elaboration is required. But if you are talking to strangers or talking about unfamiliar others, fill in the story with some character traits that will be relevant. For example, “Our friend Bob has been borrowing our power tools for years because he’s too cheap to buy his own.” That sort of brief character profile is essential to any story that involves people. All good stories are about personalities.
There is one topic that people care more about than any other: themselves. Pick story topics that your listeners will relate to. If your story is about dealing with a stubborn bureaucrat, most adults can relate to it no matter the bureaucracy involved. But if your story is about the inner workings of competitive quilting, you’d better make it short and extra witty. People drift off when you stop talking about stuff that isn’t, well, them.