Develop Content That Speaks To Your Audience
Michael Port, Amy Port
Develop Content That Speaks To Your Audience
Michael Port, Amy Port
4. Develop Content That Speaks To Your Audience
Class Introduction04:21 2
Crush Your Fears & Silence the Critics06:52 3
Master Authenticity as a Performer08:22 4
Develop Content That Speaks To Your Audience19:33 5
Make Sure Your Content Fits Your Format18:12 6
Rehearsal Secrets: How to properly prepare17:35 7
How to Create Compelling Visual Media10:32 8
How To Engage An Audience and Look Good on Camera32:09
Techniques to Maintain Your Energy & Save Your Voice11:28 10
The Biggest Mistakes Performers Make14:09 11
Dress For Success When Teaching05:29 12
Enhance Your Teaching with Props04:27 13
Storytelling Secrets: How to Find & Tell16:57
Develop Content That Speaks To Your Audience
Hi, we're back that's amy on michael and we started with some of the softer stuff you know, making sure that we can crush our fears we can silence the critics internally and externally and that we know that we could be authentic we can be ourselves and still deliver a remarkable creative live course, so now I'm going to go into content development so this is what we call our heroic public speaking protocol for creating content and just like in this course we have a big promise our promises if you do this course if you engage in this course, then you will be a better creative life instructor you also need a promise the promise of your course is such an essential part of all of your content development that we start with that now of course the promise needs to be supported buy a big idea. So what is the idea that supports the promise that you are making to your audience? For example, our heroic public speaking course that creative live of course, the promises you'll be a better public sp...
eaker and it's a hundred percent guaranteed now there's a big idea that supports it simply stopped speaking and start performing think of what you're doing now as performance rather than speaking, even though we're sitting here talking to you it's about performance so those two elements must be in place a big promise and a big idea now it's very, very let's start with that actually put it up there, big promise and big idea that's where we start, and then we look at the way the world looks to your students. Now we get really really clear on that. What does the world look like for them and that's number three so if the big promises one of big ideas too, and then here's the way the world looks for the people that you are serving, then you will know I'm going to start no it's great it's! Fantastic! Fantastic! So once we got the big problems in the big idea, what the world looked like, we're able to articulate that and then number four we can demonstrate the consequences of not adopting this big idea, not doing the work to achieve the promise, what are the consequences? What other things that will happen that will be bad now? We don't want to harp on that too much we don't wantto go after you would say, look, if you don't do this kind of training, if you don't do the work that we're suggesting you do for creative live, then you will bomb completely we don't want to go there because that's probably not the case you'll probably do just fine, you're experienced, you know you're an expert, but do you want to do just fine or do you want to be remarkable? Do you want to take it up to the highest level? So you're one of those courses that people talk about that creative life? Oh my god, did you just see that course was fantastic that's what you want so that's what you're looking for so number one is the big promise number two is the big idea number three is what the world looked like before where the consequences then of course, what other rewards of adopting this big idea and doing the work to achieve the deliver ble, which is the promise? And then number six your entire job is about delivery that's it the hole program is about delivering that big promise supported by your big idea and you need to know what the world looks like for them you gotta know the consequences will look like if they don't adopt it and of course they need to know and then one of the rewards what comes along with it fulfilling that promise and then all of the work we do, all the content, development work that we're going to continue in this lesson will serve that sixth point so you'll take all of your expertise and start to go through these steps now the next protocol we're going to give you is for actually mining your data all of the knowledge that you have, so we'll start with what we lovingly refer to as a brain dump. Thank you, michael, a brain dumb so without editing without judging oh, this is good or not good or I'll use this or I won't use this bit, you just get it all out, everything you know about your subject and as you can imagine, that might take a while, you know, but that's, the task here is don't jump on any kind of shaping yet just start putting it all out there without looking at anyone. Else's notes anything anyone else's taught you're just putting out there what you know about the subject at hand, then the second part of this is data mining process after doing your initial brain dump is to think about your direct experiences of the big idea, your direct experiences, whether they are, uh, stories, whether they are yeah, I mean anything that's happened to you that relates to exactly a content that you're teaching goes here so you might find in this circumstance that it'll tap you into why it is you're passionate about this subject in the first place. So one is your big brain dump to our your direct experiences and then three we want to look at what data either, uh, scientific data supports your big idea or anecdotal data supports so these two may come in the form of stories and again, we're just getting all of this out here. We're just sourcing at all right now and then four so we do the big brain dump you look at your own direct experiences number three your sourcing data, whether it's scientific data evidence to support your big idea or anecdotal data and then number four is that you look for the holes in your idea. You look for the holes in your argument because very often people, if you're asking them to change, if you're asking them to take on a new idea, they may sit back and they may think, huh? And they'll look for exceptions. They'll look for a way out so as to stay where they are, but your job is to demonstrate clearly for them. Why making the changes that you're suggesting they make why that will be transformative for them? So you're going to look for the holes in your argument look for the potential argument someone could have against it and then of course, fill the holes now five frameworks that you can use to organize your content for your creative live performance these frameworks will help you take what you know and organize it into a way that a helps you teach it and be helps your audience consuming, both of which are very important so let's start with well actually before I start let me make sure you know that these are guidelines this is a way in for you I don't want you to feel constrained by them so oh my god I have to use one of these frameworks that's the way that that you have to create content this just gives you away in a helpful way to take your ideas and organize it into very consumable content fair enough works for me okay good now they're fun and the first one is new miracle it's just as it sounds it's a number of things keys rules straight forward many, many books in how to advice type categories self help business help use this framework it's it's it's something that can be expanded or contracted depending on what you're doing with it so you could teach all seven keys or you can pull it back and teach just one or two because these frameworks they can be used interchangeably in your lessons so for one lesson you may use in miracle frame work for another lesson you may use one of the other frameworks which we'll get to in a minute the entire course maybe one framework and then inside you're using different framework it just makes it easier for you to take what you know and put it down on paper and then perform it so the first is in america the second is chronological or sequential same thing chronological sequential starts from here because here goes to here because to hear and goes to here now your audience is your audience will will watch your program differently. Some people will watch from the beginning all the way through to the end and others will just watch pieces though that looks like an interesting lesson I need that information so they just want that watch that lesson so if you do use a sequential chronological format it's very helpful to design it in such a way that each lesson orangey unit can stand on its own so that you don't have tio no what came before it or what's going to go after it if there's absolutely no way that would work for the kind of content than your you know creating that's fine but it is very, very helpful so for example book yourself solid which is one of the courses that I taught here is a sequential program it's a three day program that is chronological but it's also organized in a modular framework that's our third so there's so much information and it's a three day course it's three course based on the book and the book I did the same thing for I organized it into a number of modules so each module can stand on its own take a section of content that that fits together very well and then inside there is a sequential framework that helps you move through it. So there's module one then there's four building blocks there you do one two, three four module to there's four building blocks there then you move one, two, three, four but they can't take any of those building blocks out teach it on its own or you can take a whole module out and teaches teach it on its own so you see how you can now actually combined some of these frameworks as well so we have numerical sequential modular and then we have problem solution really great framework to start with if you are new to content development and if you're not if you're doing it for years you know that this is a really, really fast way to get what you know onto paper. So for example let's say maybe let's say somebody teaches flower arranging I'm goingto impress the flower uh, people at home maybe you teach the art of ikebana o which is japanese flower arranging who knew? I think so maybe you were going to help somebody create some sort of lovely bouquet. Well, you've never taught it before and the way you need to do it here so what you do is you look it the problems that people run into or you run into when you are creating that kind of arrangement so you find well there are ten problems that I run into okay, what are the solutions to each one of those problems? And now you can simply teach here are the ten biggest problems that people run into when they are doing x and I'm going to give you a solution for each one it's really exciting to the audience because they know I was going to address the problem that I often face and she's going to give me a solution to that problem as well easier for you to teach because it's easier for you to member teo either memorize it or simply pull it off your notes and deliver it smoothly so we have numerical sequential modular problem solution very nice thank you. And then of course our fifth one is comparing contrast compared contrast let's say for example you are teaching something on photography and you want to demonstrate the difference between one particular lens and another say well, this is the thirty five millimeter lens and this is the nifty fifty and then there's you the pros of this one the pros of this one the kinds of this one in the kinds of this one so now people can make their own choice they could decide I think I should just thirty five millimeter for this particular set up because I understand how it will be different than if I use the fifty millimeter and you've got some tools here to use and remember these are way in they're not the end all be all. There may be some other frameworks out there as well that you've used or you will hear about and if they work well for you use them too but this is a great way in it's often the case that an instructor will come across as much more of an expert if the material is well organized and sometimes it's just that's like difference of because you may know your material incredibly well but it's when you organize it well, when you give it a framework that it becomes, as michael said earlier easier for you to remember but also easier for the student to then digest. So we're going to get now into the molding process, which is really the editing process and it's a recurring process it's one that you'll cycle through again and again and again you start with that brain dump that creative mode where you create content, create content and then you organize it you put it into a framework you figure out where the pieces fit together and then by returning back to the big idea you start to cut out, you start to add it to do that is because we get married to our content, we get married to the things we have created I've heard you say so often that great phrase kill your darlings and its key for creating our content because you all are experts you know there is so much that you have to teach but you can't get it all into into of course not everything you know because you know so much and so that process of really being brutal in the editing process of going does this serve the big idea so that's a way to cycle through all of this material that we've been giving you all of these protocol that we've been giving you so then on top of that there's one more way to shape contrast what gets what gets boring is the same thing over and over and over again so for example, if I sat here and I didn't move and I just looked at the camera and I talked like this for the whole course eventually you're gonna turn off it's because it's the same thing I did hear there's there's no excitement and the same thing is true for the content of the content is consistent the entire time meaning it's on ly lists the whole time it may get a little bit uh boring in that it's not emotionally rich it may be intellectually rich but it's not emotionally rich so can you then counter with a story? There are other types of contrast that were also that introduced throughout this course but contrast as relates to content is where you start structural structural contrast indeed so then we get to the molding process we are through the mobile I did to write it down, but we can do a review let's make sure because we've given you a lot of processes here to go through big idea that's what we start, you gotta have a big idea if you want to do something big and creative live on a big promise because you've got to deliver something that is meaningful and relevant to the audience at home and then you you got to make sure you know what the world looks like for them, and they know you know what it looks like for them, you got to make sure that you can articulate clearly on the consequences if they do not adopt a big idea and then go after that promise and the rewards, of course, because you may be asking them to do something that's difficult, that's challenging and if they know what the rewards are give, you know that if you implement what we're teaching, you hear, your content is going to be much, much better. You're content producers are gonna be so much happier you're gonna have a better creative life course you're goingto perform better, and the people at home are going to appreciate your course, even mohr, which then means you become more more successful, which actually at the end of the day can ends up with more money, too. It works for everybody and this is your foundation this six part formula is your foundation that's what then there's the brain dump so you get it all down then you looked for your direct experiences then you look for data anecdotal as well a scientific data that's right? And then you look for the holes one of the holes you know if you were sitting on the opposite side what are the of the arguments you could make about say when you're comparing and contrasting those two lenses and so you find those holes and then you fill them by being able to address them in your concert and then we have our frameworks numerical sequential modular problem solution and compare and contrast there away in for you you can use one for the entire of course you could use one for the whole course and then inside each lesson you use different frame works you can combine frameworks and they're made from the other frameworks out there that you would like to use but this is a way in that really really helps you organize your information and the student consume it and then you have the molding process where you continue to create you continue to organize and you continue to get rid of what you don't need on then you do it again and again and again and then contrast contrast making sure that there's much contrast in there as possible now that is organizing your content for performance. But we also want to make sure that we can organize this for creative lives, because maybe you've taught this in a workshop somewhere. Or maybe you've delivered your information as a keynote, a sixty minute keynote, which is very, very different than doing a multi day course at creative live. Or maybe you've written a book on your content, but you've never. I pulled it out and unpacked it for an audience that you interact with on a set with lights and cameras and it's, a whole new experience. So, in our next lesson, we're goingto work on how to organize this information so that it fits perfectly with the creative life format. Nice work, amy. You, too. Thank you very much. Thank you.
Ratings and Reviews
a Creativelive Student
This was such a pleasure to watch. Thank you, Michael and Amy for the tips - excellent for both new and seasoned instructors! I had several *huge* take-aways that will help me improve my next class. I appreciate you and the thought that went into these sessions.
This class is full of great advice from two seasoned pros... I've worked with Michael Port in the past and attended a workshop with both Michael and Amy in NY last year that was AMAZING... this CreativeLive class is perfect for people like myself that are not only speaking to groups but also teaching them in the process.
a Creativelive Student
Amazing class! So many great tips & ways to connect with your audience. Thanks Amy & Michael!