7 Things About Magic That You Should Have Learned In Business School – #4
#4 – Just because your process is boring to you doesn’t mean the result will be. The details of the process aren’t important to the audience, who only care about the end result. But the process is critically important to you, the producer of the effect. You have to be judicious about which methods are best for your capabilities. You have to be realistic about what methods are either within your current capabilities, or learnable with the kind of investment that you’re willing to make. What’s more – despite your best research, you may invest time and effort in learning a method that doesn’t produce what you ultimately want, and not know until it’s too late. Yes, it will require some tedious practice to develop the skills to execute the methods so that they feel like magic to the audience. They don’t really care, of course, but you do — because those ten thousand hours of rehearsal of that little movement with your ring finger will elevate the audience’s experience from “process” to “magic.” What about you? Were you in a business that invested in building a given process or implementing a given solution, only to find out afterward that it wasn’t what you really wanted? Let me hear from you in the comments!
7 Things About Magic That You Should Have Learned In Business School – #3
#3 – If it doesn’t look like magic, it still needs work. The most important thing to your business audience is not how hard you worked on the technique. The most important thing to your audience is not whether your back-office software is the coolest. The most important thing to your audience is not how many degrees your team has, or where you all worked before, or which group is providing your capital. The most important thing to your audience – at least in the context of creating the sensation of magic – is that you deliver an amazing business experience in a way that makes it look natural and effortless. If they can see you struggle to execute your business process, then they may respect your effort but they will not experience “magic.” If it doesn’t look like magic, then it still needs work. Your goal is for your audience to experience the final effect and have almost no perception of the process or method that got them there. Every bit of method that your audience perceives is a bit of lost impact. What about you? Can you think of a brand who makes it look easy? Apple used to have that mojo, but it seems to have dissipated. Who is the top brand in the world today that makes delivering high value look like a natural gift? Let me hear from you in the comments!
7 Things About Magic That You Should Have Learned In Business School – #2
#2 – Mystery is valuable. It’s one of the primary rules of magic: don’t reveal the secret of the illusion. If you tell the audience your secrets, then the wonderful moment you created for them only seconds ago will lose a lot of its impact. Mystery, in the context of magic, is not about lying or deception. Magic is not about “fooling people.” The whole point is to create an experience that doesn’t seem possible. That unexpected mystery is a captivating element that engages interest and it should not be squandered. Mystery is too valuable to be squandered. In business, if you create an experience in working with you and in experiencing your product or service that surpasses expectations of what people generally consider possible, then you will have created a rare and beautiful mystery. Don’t spoil it by letting the process become the narrative. Keep your secrets secret, and let your customer focus on what you made them feel, not how you made them feel it. What about you? Certainly the secret formula to Coca-Cola is a classic example of a valuable business mystery. Can you think of any others? What about your own business – without exposing it, do you have a secret that helps you preserve some mystery for your audience? Let me hear from you in the comments!
7 Things About Magic That You Should Have Learned In Business School – #1
#1 – Audiences will pay to be amazed. What does magic have to do with business? I mean, David Copperfield is nearly a billionaire, but he’s certainly the exception. Why would anyone think magic has any relationship to business principles? The truth is, the art of magic is loaded with important concepts for sales, marketing, customer service, brand engagement, and entrepreneurship. In this series, we’ll discuss seven ideas just to get you thinking about the power of this metaphor! Here’s the first one: Audiences will gladly pay to be amazed. When a person buys a ticket for a magic show, they expect the show to create wonder and amazement. If they don’t leave having experienced the impossible, they will feel shortchanged and dissatisfied. Fortunately, the bar isn’t set quite as high in other industries, but the principle remains the same. The person who buys your product or service may not expect to be amazed with an impossible experience in terms of physics, but they still want it and will react positively if and when you exceed their expectations. Give them an amazing and wondrous experience, and they will become your fan for life. Handle it just right and you may create something even better than a raving fan: a raving and replicating fan! What about you? What product or service have you experienced for which you gladly paid a premium to enjoy? Was it an expensive concert, or a special cruise? Why were you willing to pay the extra cost? Let me hear from you in the comments!
Branding, Acting, and the Given Circumstances
Branding, Acting, and the Given Circumstances Sometimes we talk about the art of acting as if it were somehow dishonorable, and about nothing but lying and ego. But the reality is that great acting is about the truth, and understanding that can affect the way you make decisions about your brand and your real life responses to change and challenge. In my college acting days, I read A Practical Handbook for the Actor by Melissa Bruder et al. This little book transformed my approach to acting by boiling down much of the Sanford Meisner technique into its most accessible components. It dispensed with a lot of the esoteric emotional exercises and helped focus the actor on the questions at the heart of any scene. Who are these characters, and what do they want? In providing a way to answer those questions, the book first introduced me to a formulation of Meisner’s definition of acting, and it has stuck with me ever since. Generic Viagra https://www.wolfesimonmedicalassociates.com/viagra/ In short, acting is the art of living truthfully within given circumstances. The Given Circumstances In the theatre, the given circumstances can include the words of the script; the choices of the director with regard to blocking, style, and characterization; and the physicality of the set, costumes and props. Sometimes the director chooses to be flexible and allow changes to the given circumstances, but sometimes they are solid boundaries. The magic of acting, though, is that there is nearly infinite room for creativity and expression even within what may seem heavily constraining limits. In fact, some of the most memorable moments on film were improvisations by actors who, in character, reacted most honestly and authentically to changes in their given circumstances. From Jack Nicholson’s “Here’s Johnny!” in The Shining to Dustin Hoffman’s “I’m walking here!” in Midnight Cowboy, there are numerous film examples of amazing, high-impact moments created by actors committed to their purpose and the authenticity of their reactions. Accutane online https://advicarehealth.com/accutane.html In the past couple of weeks, I’ve watched several friends encounter difficult changes in their given circumstances, including lost jobs, problems with children, and the loss of their spouses. Other friends have had happy changes including signing new contracts, landing huge new clients, and having children – or in some cases, grandchildren! All of them will make new choices and they will take new actions as a result of the changed circumstances. Regardless of the nature of the changed circumstances, though, the actions they take will illustrate who they really are. What are their core values? What is, ultimately, their personal brand all about? Authentic Actions Illustrate Character In the same way that people illustrate their values and personal brands through their actions in changing circumstances, so also do organizations and corporate brands. Sometimes the changing circumstances are a function of the economy, or technology, or a change of leadership. Sometimes the new circumstances are a function of a crisis brought on by a customer service or public relations misstep. That there will be changes in the given circumstances is inescapable. That we deliver insights to our audiences by how we perform in the given circumstances is undeniable. Human beings instinctively process stories and characters based on the actions they take as the plot unfolds. Authentically motivated, value-driven responses to changing circumstances are the hallmark of top performers, whether on-stage or in the market. We are all actors because we all take action. When you act with authenticity that is driven by your goals and values, and you will captivate and amaze your audience.
The Gratis Factor: 5 Tips for Convincing Performers to Donate Shows
The Gratis Factor: 5 Tips for Convincing Speakers or Entertainers to Donate or Discount Fees (Note: The original version of this article appeared in February 2011.) Last week I had the opportunity to be part of a wonderful tradition here in Atlanta. Bert Weiss, host of Q100’s “The Bert Show,” created a foundation (along with his wife Stacey) to help children with chronic or terminal illnesses experience a magical weekend with their families at Walt Disney World. The first trip happened in 2003, and “Bert’s Big Adventure” has been an annual event ever since. One of the most anticipated parts of the Adventure experience is the huge send-off party, staged in a ballroom at a local hotel and featuring a variety of entertainment. “The Bert Show” itself is broadcast live from the event each year. This year, I was asked to be a featured entertainer at the event, performing magic for these families and helping them create magical memories that they’ll have forever. Entertainers of all kinds and at all levels are approached constantly about donating their services for charitable purposes. Even if we could perform at a different charity event every day, we would only scratch the surface. There are literally more good causes and worthy events in the world than there are days in any performer’s entire career. The 5 Gratis Factor Tips How can you get a speaker or entertainer to consider donating a show for your cause, or discounting their fee for your organization? Consider some of these keys to unlock the door to a gratis performance. 1. A little respect goes a long way. No entertainer wants to be thought of as “and we’ll have a magician, too, or a singer, or maybe a clown or something.” Having your professional services requested for free as a disposable afterthought is discouraging. Being treated as a generic commodity who is completely interchangeable with any other performer doesn’t inspire generosity of spirit. When you call a performer, have a reason that you want that particular individual at your event. As Uncle Sam said, “I want YOU!” Demonstrate the same respect that you would show to someone who was considering donating several thousand dollars to your organization, because that is what you are asking some performers to do. 2. Quantify “exposure.” As the old saying goes, you can die from exposure. Most entertainers are promised untold heights of publicity and exposure for doing charitable events. Then the story appears in the paper or organizational newsletter saying, “… and there was also a wading pool, a petting zoo, a banjo player, and a magician.” The positive PR that comes from charitable events is a great tool for attracting a variety of companies and individuals to your cause. Don’t promise some nebulous “exposure” – give the facts on how you can really get that person’s or organization’s name out. Will their logo be included on shirts, posters, and programs? Will they be considered a sponsor at a donation level equivalent to the fee they have foregone? Will the organization include their name and web site in all promotion of the event? Will their appearance be promoted on air or on the microphone at the event? Will there be someone on hand to give a real introduction to start their show? The best way to get a performer to commit to your cause is to specify that they will be included in promotion and publicity of the event, and that you will provide specific introductions and leads to them for future paid engagements. Charitable organizations are always run by people who interact with other donors, both individuals and corporations. Those are potential clients for your entertainer; help them make those connections and you may just wind up with free shows for ALL your events! 3. Be honest about the money that is really being spent. It is, at best, a faux pas to ask one entertainer to donate performances when other providers of goods or services are being paid; at worst, it is demeaning. Is the venue itself being donated, or are they being paid – even by another donor or a sponsor? Is the food being donated, or was it bought – even at a reduced rate? If you are asking an entertainer to donate his or her services, be ready to explain why his or her livelihood is of less importance to your charity than the providers you are willing to pay for, even if the rate is reduced. There may be a real reason your organization has made that decision, but you should be willing to talk about it honestly instead of trying to hide it from the performer. 4. Help the entertainer deliver the value they have pledged to your organization. Let’s say your entertainer agrees to donate a performance for your cause, and has arrived on site. Don’t make the mistake of minimizing or undercutting the value of that donation; instead, find ways to maximize the impact they can have on your event. For example, when it’s time for the performance, don’t just send them into a crowd or onto a stage with no build-up. Give them a strong introduction, preferably by the event’s host or the charity’s top official at the event. Give the attendees a sense that what is being contributed is valuable and worth their attention; it will help your event have a greater impact on everyone present. Also – don’t interrupt a performance to place attention on another person who has arrived simply because he or she is “a celebrity.” Would you interrupt someone who was in the process of signing a check to your organization? The value of the donation is undermined when the presentation is interrupted. If the show needs to be shortened or rescheduled during the event, work it out with the performer before he or she takes the stage. A working performer almost certainly sacrificed more to be there for you than the celebrity did. Please honor that.
Remembering John Calvert
Remembering John Calvert Last Friday the world became a little less magical. John Calvert, a man who was regarded in many entertainment industry circles as “a real-life Indiana Jones,” died on September 27 at the age of 102. Mr. Calvert – despite our friendship, I could never bring myself remotely close to calling him “John” – was legendary in the magic community. He had an enormous illusion show that toured the world repeatedly in the 1940s and 50s. Mr. Calvert would fly the show on his own plane, transport it on his own yacht, and perform it for thousands of people in venues literally spanning the globe. In addition to magic, he was a Hollywood film star. He played “The Falcon” in a number of films, later producing and directing his own movie, “Dark Venture,” set in Africa. His biography, John Calvert – Magic and Adventures Around the World, is the true story of his life and career. If you track down a copy and read it, you’ll realize why I considered him the closest thing to a real-world superhero I ever knew. In July 2002, I booked the then 90-year-old John Calvert to lecture for IBM Ring 9 – The Georgia Magic Club. The lecture venue was the fellowship hall of First Baptist Church of Tucker, a suburb of Atlanta. He and his wife Tammy would arrive at the venue several hours early to load in and set up. I planned to meet them there to assist. As they traveled in a large RV, the plan was for them to simply stay in the parking lot that night before driving off to their next engagement. As was Mr. Calvert’s nature, he arrived a bit early. By the time I got to the venue, he was already in the church office charming the staff with coin tricks and his captivating personality. Nearly 91, Mr. Calvert had driven and parked that giant RV perfectly, and together we unloaded the show and loaded it into the hall. He was a racehorse of a man – tall, broad, muscular, statuesque. He seemed to lift and move heavy loads not just easily but in fact gracefully, doing it without a bit of strain, never getting a hair out of place or wrinkling his clothing. It was almost as if his mere touch caused the curtains and tables and cases and carts and boxes to get out of the RV and move themselves inside by themselves. Once inside, he and Tammy set up the curtains and other pieces of the show. Mr. Calvert took me aside and showed me a case containing about two dozen cassette tapes, each of which was cued to the next piece of music in his show. He explained how I was to play the cue, eject the tape, insert the next one, and play it on the next cue as indicated in his script. He was admittedly not an early adopter of new technology in his later years. After the show and the lecture – during which he mesmerized laymen and magicians alike – he broke down the show and we loaded out. With everything replaced in the RV, we began to settle them in for the night. Except that the power to that outlet wasn’t working. Whether it was a blown fuse or some other problem, I don’t know. But there was no way to power their air conditioner in that parking lot. In July in Atlanta, that’s a significant problem. No worries. I suggested they drive to my home and we’d plug them in there. He drove the RV into my neighborhood, parked it in front of my house, and… that wasn’t working either. The extension cords I had weren’t rated high enough to power what he needed, apparently. It powered some of the things in the RV, but not the air conditioner. So I invited them inside while I worked on a solution. It was rather late, but it was not so late that Mr. Calvert didn’t want to talk about magic. We went down into the basement where my books and props were stored. We talked about performing and traveling. We talked about the business and the art of magic. We talked about relating to audiences and interacting with people. He gifted me with notes and pictures and wisdom from his rich career. By now it was late enough that the idea of driving to a hotel was not appealing to anyone. My wife was out of town, so I suggested that the Calverts take the master suite. I would be honored to have them stay there. We had no guest room furniture at the time, so I planned to take the hide-a-bed in the sofa in our family room. Mr. Calvert, the Hollywood star and globetrotting magic legend, looked me in the eye and flatly refused. I was afraid I had offended him, but that wasn’t the case. To my amazement, he said that he and Tammy would sleep on that couch and I would sleep in my own bed. This was not an acceptable solution to me. John and Tammy Calvert… on our hide-a-bed? It seemed insulting and beneath the level of hospitality that I was determined to show them. I strenuously argued my case, but it was like arguing with a mountain. The decision was made and the subsequent conversation was nothing more than Mr. Calvert’s exercise in seeing how long it would take for me to accept it. Tammy and I made the bed in that fold-out sofa, and there they slept until morning. The next day, I resolved to overcome the previous night’s travesty and take them out to breakfast somewhere nice to give them a great send-off. It was not to be. Tammy had risen before me and had plugged in the extension cord. The power was now working, including the RV’s air conditioner. Who knows why, but everything was now in order. I came downstairs and Tammy was
Five Kinds of Amazing, Part 3: Mystery
Five Kinds of Amazing, Part 3: Mystery In our previous articles we’ve established the “5 Kinds of Amazing” model for delivering brand experiences that create audience amazement. We’ve discussed the first two pieces of the model: – Talent/Expertise: relating to open and frequent knowledge sharing – Science/Process: relating to embedding unexpected positive experiences in standard processes In this article, we continue with the third kind of amazing, the experience of Mystery and its counterpart, Empowerment. Mystery, as we use the term here, relates to the apparent contradiction of a natural law. Most traditional magic falls here – people are cut in half and put back together, or birds appear from nowhere. Even a signed card vanishing and reappearing in a wallet fits here. This is an enormous category but the characteristic of all the effects is that the laws of nature are being visibly contradicted. When an illusionist, either a magician or a mentalist, creates amazement by convincingly appearing to contradict the physical laws of nature, they will elicit a strong response. This response will be proportional to the directness and blatancy with which the law seems to be broken. Earlier this month I saw a show featuring the exceptional South Korean card magician Yu Ho Jin. He stood at the center of a large stage in Las Vegas and, using props that would fit in a lunchbox, he captivated a huge audience. Although he performed at the end of a dynamic, high-energy show full of motion and flash, he stood planted center stage, looking out at the audience with a beatific smile. He transformed a white scarf into a single playing white card. That card was transformed into a pink card, then it changed to blue, then to green. He then reached into the air repeatedly pulling fans of cards from nowhere, dropping them and instantly producing fans of other cards. In a key moment, he visibly tore a playing card lengthwise and held the barest sliver of it in his right hand. The left hand made the other, larger piece vanish completely. The music stopped. In silence, the piece he held expanded visibly, growing at his fingertips until it was a completely restored card. It was as if it were being materialized and reconstructed from the atoms in the air as we watched. That moment was a complete refutation of reality. A gasp went out from the audience. A huge stage, over a thousand people in the crowd, and the defiance of physics in a space of about six square inches caused an honest, uncontrollable emotional response. This was a beautiful experience, and it beautifully illustrates a remarkable point: the power to alter reality in ‘impossible’ ways is charged with emotional potential. So what does that look like on your stage? Empowerment and Brand Engagement In a business, your “laws of nature” are your business processes. These processes describe how your universe is supposed to work. If you choose the right moment to break one of those rules, however, you can create an unforgettably amazing moment for your audience. Most of us can think of a time when a policy was ignored, a rule was broken, or we received some other special dispensation. It makes us feel special when exceptions are made to accommodate our needs or wants. Certainly Ritz-Carlton’s work in going beyond normal expectations is legendary, with a policy that formally empowers every employee to spend up to $2,000 to solve a guest’s problem or rectify a situation. I have personally witnessed how free first class, hotel room, or rental car upgrades can change a bad travel experience into a good one almost instantaneously. Even if upgrading to first class isn’t possible, I still feel special when the flight attendant pops an extra pack of Biscoff cookies in my hand. But just as Yu Ho Jin didn’t need a full stage illusion to break through to his audience and deliver an unforgettable experience, you don’t have to have a Ritz-Carlton budget to create amazing against-the-rules moments. If free gifts aren’t in the budget, there are other ways to show the ability and willingness to color outside the lines. Extending a sale price for a day or two after a sale can create loyalty from a customer who was just price-shopping. Merely going above and beyond in the interest of service can be almost as impressive as a policy break. Earlier this summer, I was on the leadership team for a convention at a large hotel in the Southwest. One of the activities during the convention required a full-length mirror. Rather than charge us to locate or rent a mirror, one of the hotel staff offered to loan us his mirror from his own office. That was unexpected, outside the normal rules, and made a positive impression. Are your employees, managers, or other brand representatives empowered to break the rules if needed in order to ensure that your audience gets an amazing experience? The mysterious, logic-defying feeling of magic is a brand-engagement power that you don’t have to be a wizard to wield.
Protecting Your Brand or Industry Image in the Media – Part 2
Protecting Your Brand or Industry Image in the Media, Part 2 More Lessons Learned Last time we discussed some important questions about being ready to join a media conversation when your brand or your industry is under attack or scrutiny. Sometimes that scrutiny is warranted, even if it’s unwelcome. Sometimes it is based on a false assumption but still captures enough media attention to require a response. If the situation arises, then, are you prepared to make your case in a court of public opinion? Note: In the previous article I discussed that while this particular experience is instructive across industries and topics, it does involve some issues of faith and religion. As before, I remind you that my point in sharing this adventure isn’t to proselytize, but rather to share lessons learned that you might be able to apply to your own media involvements. In my first post on this topic, I shared links to the video that sparked another author to write the article that led to my response. [spacer size=”60″] More Tips for Protecting Your Brand Image in the Media After both of our articles appeared online – along with a reporter’s article on the subject – I received a phone call from the producer of the Alan Colmes Radio Show on Fox News Radio asking if I’d come on the air to talk about it. I agreed, making it clear as before that I was more interested in response and conversation than I was in argument or debate. Being familiar with news and talk radio shows and personalities (including Mr. Colmes), I wanted to make sure that we were not going to be pitted against each other. I was not interested in decimating or insulting the other writer, despite the fact that I thought he was completely mistaken. So from the original conversation with the producer, I made it clear that whether we were on together or separately, I was interested in a conversation, not a shouting match. Nevertheless, I took the risk of going on live national radio to make my case with a host whom I knew would be interested in at least some degree of conflict. I discovered in the preliminary talk with the producer that the other interviewee didn’t want to be on at the same time with me. This wasn’t congruent with my original hope of having a “conversation,” but it did avoid the possibility of any unpleasant “debate,” which may have been what he feared. (I was also given the advantage of going second, as my comments were a response to his original column.) It is worth noting, however, that his decision not to participate in a three-way discussion gave me the opportunity to publicly mention my willingness to have appeared together. By positioning myself that way, I was able to establish my point of view as being more open to discussion, and willing to listen to him as an equal. It’s important to stake out the high ground of being obviously fair, open, and reasonable whenever possible. If you listen to the interview, you’ll hear me return to my points often. I’ll start by answering the question in a brief way, but pivot with “But to the point I was making before…” and emphasize my key idea. Even when given the opportunity to plug myself, I took advantage of the moment but immediately pivoted with “Thanks for the opportunity to plug, but that’s not my purpose here…” and went back to my content. I listened to the other person’s interview while I waited on hold. As I did, I made notes about ways that we agreed. He emphasized the idea that we would agree on many things, and I took my opportunities to demonstrate that. I also made notes of words and phrases he used so that I could use them myself but apply them to my own point. As I listened, I also heard his tone change from the original article to the discussion on the radio. It was softened and not as accusatory. I made it clear that I noticed and that I thought that was a good idea. It did not serve whatever common faith-oriented goals we share for me to simply argue or disrespect him, or to cause him to lose face. It also didn’t serve my professional credibility or industry needs to let misconceptions go unanswered. Finding ways to credit the other side on areas of agreement or on areas where there has been a correct shift in position allows us to go for a win/win situation. It strengthens my credibility on the points where we disagree if I am able to point out legitimate areas of agreement. Any appearance on national media, web or broadcast, is worth leveraging. In addition to my social-media sharing as the issue unfolded, there is a lasting value in mining the experience for lessons that can be shared. As business strategist Marna Friedman advised, the lessons learned from going through this not only have interest to other people strictly as a media opportunity, but they contained insights related to the topics on which I speak and write. As a result, I have two blog articles and you have 8 practical tips that you can apply to your own media opportunities in the future. Let me know how your experiences work out! Relevant Links The original article is here. My response is here. Here’s a reporter’s news article. Here’s the original author’s follow-up article. Here’s the Fox News Radio interview: [media url=”https://www.youtube.com/watch?v=o4THh71LWCs” width=”360″ height=”300″ jwplayer=”controlbar=bottom”]
Protecting Your Brand or Industry Image in the Media – Part 1
Protecting Your Brand or Industry Image in the Media, Part 1 A Brief Case Study, Plus Some Lessons Learned Several weeks ago an online video of a magician doing a levitation stunt in London went viral. After a brief flurry of activity, an opinion piece appeared on a targeted-audience news site in which one of their columnists cast some pretty serious accusations and aspersions on not just that performer, but all magical performers. I wrote an article in response, and somehow we both ended up on national radio. Are you ready to engage in a public conversation that may involve accusations or misconceptions about you, your brand, or your industry? If the national media calls, are you prepared to make your case in a court of public opinion? In this post and the next, I’ll share and discuss the original piece that started the discussion, my response, our subsequent radio interviews, and some of the brand management lessons I learned along the way. One quick note: While this example involves some issues of faith and religion, there are important ideas here for brand management in any arena. I rarely insert my personal beliefs into my writing or speaking, but in this case I think the events are instructive beyond that specific content. So please don’t let your agreement, disagreement or disinterest in the topic dissuade you from the value of this experience. Likewise, let’s keep any comments on this post focused on brand and media management concerns rather than any religious content. Thanks in advance. [spacer size=”60″] Tips for Protecting Your Brand Image in the Media I saw the original video of the levitation. Then, due to maintaining social media connections with a wide range of people in my industry, I saw the critical and misinformed op-ed being shared and discussed. This discussion was, as you would imagine, extremely negative. Comments on the original site became progressively more heated against my industry, while discussion among my industry colleagues became heated against many people of faith whether they agreed with the article or not. A good bit of anger and lack of understanding resulted from the original article, causing unnecessary heartache among people sympathetic to both groups. It also resulted in an exacerbated credibility gap, as the demonstrably false accusations came from a point of view that is already considered largely ignorant by a significant percentage of the industry under attack. As the discussion within my industry continued, I was contacted by a fellow performer who had a connection to the original publication. He felt that I’d be an ideal person to write a rebuttal and contacted me to ask if I’d do it. I said I’d be willing to write a response, but I’d prefer not to frame it as a “rebuttal.” He recommended me to the publication. Even when that publication called and asked me to write the piece, I declined to call it a rebuttal, preferring to eliminate or at least minimize any antagonistic connotations of the word. Instead, I looked for ways to frame my piece as simply “a contribution to the conversation.” Despite that intent, though, my first draft still had some pretty pointed criticism. After submitting the article, the editor of the publication and his staff talked with me by phone. I was asked to consider eliminating part of the article that went very directly at the credibility the publication and of the original author. I was convinced by their argument that I had made my case sufficiently without it, and that their willingness to publish my piece was a testament to their credible intent to present multiple viewpoints. They had and wanted to maintain a long-term relationship with the other writer, and frankly they wanted to protect him to some degree. If I had chosen to be obstinate or to resent input from the editors, my final piece would have had an angrier tone than I really intended. Even though the advice to cut some of it came from a source who was protecting a person whose work I was critiquing, the suggestion was correct. Legitimate, informed criticism – even from a source you don’t necessarily respect – deserves consideration. My response article was improved by my decision to take good advice. What About You? What about you? Have you had media experiences that caught you by surprise because you weren’t paying attention? Have you charged in, guns blazing, with a rebuttal instead of a response? Have you ignored good advice based on its source, and lived to regret it? What did you learn in that situation? Have you put that lesson into action since then? If so, how? In the next post I’ll continue with another 5 lessons I learned in this recent adventure, and I’ll share the audio from the interview. Stay tuned!
