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Linchpin_ Are You Indispensable_ - Seth Godin [94]

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can't write a play, but he's still an artist, and he benefits from this attitude every day.

The attitude of the artist.

What Moby Says About Art

Moby, multiplatinum recording artist with a great haircut, had this to say about art:

Ideally, the market should accommodate art, art shouldn't accommodate the market . . . I

know, it sounds idealistic. I had been trying to make myself happy and make radio happy

and make the label happy and make the press happy . . . and it made me miserable.

I also don't really aspire to selling too many records. See, my friends who are writers sell

20,000 books and they're happy. My friends who are theater directors sell 5,000 tickets

during a run and they're happy. I like the idea of humble and reasonable metrics for

determining the success of a record. And I like the idea of respecting the sacred bond that

exists between musician and listener.

The irony of this statement is that this plan will probably lead to Moby's selling more

records, not fewer.

The Problem with the Script

When your boss gives you a script to read, or when you crib something from a how-to

book, it almost never works. That's because you're not telling the truth, you're not being

human, and you're not being transparent.

You might be parroting the words from that negotiation book or the public-speaking

training you went to, but every smart person you encounter knows that you're winging it

or putting us on.

Virtually all of us make our living engaging directly with other people. When the

interactions are genuine and transparent, they usually work. When they are artificial or

manipulative, they fail.

The linchpin is coming from a posture of generosity; she's there to give a gift. If that's

your intent, the words almost don't matter. What we'll perceive are your wishes, not the

script.

This is why telemarketing has such a ridiculously low conversion rate. Why corporate

blogs are so lame. Why frontline workers in the service business have such stress. We

can sense it when you read the script because we're so good at finding the honest signals.

Honest Signals in Everyday Life

Sandy Pentland is a researcher and professor at MIT. His latest work involves the ways

that humans figure out what is really happening around them. His new book, Honest

Signals, is named after his term for information that flows back and forth between people.

Research has shown that we can easily distinguish hundreds or even thousands of

microgestures. We know that people all over the world smile in similar ways that have

nothing to do with culture and everything to do with neural programming.

Talking is more than words. Communicating is more than a speech. It may represent what

the sender meant, but it might not.

Dialogue, the words on the page, the words we hear, by themselves have almost nothing

to do with what we believe, how we feel, or how we respond. We can hear an

announcement repeatedly and do nothing. The words aren't sufficient. On the other hand,

we can watch a movie with no sound and understand precisely what's happening. We can

read between the lines and understand exactly when a boss is lying to us and when

someone is disrespecting us, regardless of the words being used.

Your wife opens her anniversary present and of course you know how she feels, long

before she says a word. Her body language and breathing patterns and the way she looks

at you communicate everything.

Pop photographer Jill Greenberg took a series of photos of gorgeous little kids, but she

snapped the photos moments after she had ripped a lollipop out of their hands. I don't

need dialogue to know what's happening in the photo. The honest signals are apparent. I

can hear the wailing from a thousand miles away.

Pentland's research shows that speaking quickly after someone has addressed you has a

fundamentally different impact from leaving room between the words and sentences. He

has researched speed dating and other interactions and can now accurately predict the

outcomes of interactions

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