November 5, 2025 • 33 mins
Effective storytelling is an essential component to successful sales results. In this episode I dive into the components of “story selling” from the stage with my guest, Sylvain “Sly” Haché.
Sly is an ex-chronic stutterer who has created a new public speaking system that turns regular people into ‘‘naturals’‘—without scripts, stress or memorization. Clients include international keynote speakers, TV hosts and national trainers.
His methods have helped people from 18 to 81 years old get over stage fright and his systems have replaced yearly incomes with 20-minute talks and produced multiple 6-figure days from the stage.
The Beginning of Sly’s Story Selling Journey
Everybody knows you must tell stories if you want to sell something, especially from the stage. Sly’s first experiences on stage weren’t the best to say the least. One time he had a panic attack on stage and because of that panic attack he made no sales. And at the time he was still a part-time stutterer.
Picture this. He started out as a chronic stutterer, meaning he was somebody that couldn’t easily form cohesive sentences. On top of that Sly was starting to learn English. He went from being a chronic stutterer in French (his native tongue) to now teaching international keynote speakers, TV hosts, and national trainers while speaking English.
Getting Into Story Selling from the Stage
The story selling part comes from the fact that if you don't have the proper conversational frame straight from the beginning of when you open your mouth on stage, it's nearly impossible to get people to take the action you want them to take by the end of your presentation. The only reason people do something is because they feel like doing it. The reason they don't do something is because they don't feel like doing it. So, the question becomes, how can you make people feel like doing the thing you want them to do? And how can you get them to do it when you ask them to do it so that your conversion rates go up, your buy-in goes up, and your sales go up?
One of the best ways is to be a professionally trained conversational hypnotist. But it takes a long time and it's a difficult process. How do you get similar results without being a professionally trained conversational hypnotist so that you can do it without scripts, without stress and without memorization? The best way is to tell stories. So, when people hear that, they think, well, that’s easy enough. I just have to tell a story. So let me tell the story about how I discovered whatever the solution is to my audiences problems. And they start telling stories that, frankly, their audiences don't care about. You can't be making up stories just to say what you want the audience to hear, because otherwise it's inauthentic.
How do you tell your story in a way that people care about your story? And so it makes them take the action that want them to so that they end up doing what you want them to do? Buy, vote, click, download, swipe, stop polluting the ocean, whatever you want them to do by the end of your story. With any story you're telling, you need to be mindful of this: What the purpose of each part of your story is so that you can chunk your information based on when the audience is ready to move on to the next section of taking some kind of action.
Where Do Stories Start?
You start to build stories by meeting your audience where they are. It might sound simple, but you can't know where they are before you actually know for sure. If you don't know where they are, you must ask them. When Sly is story selling he shares stories about him this system to have six figure days selling from the stage. He gets his audience to ask themselves “How do I have a six figure days” What he doesn’t do is immediately “go in for the kill” by just saying “Do you want to work with me? here's what you have to do. Let's do it. You ready?” That doesn't work.
Then you need to know what their pain points are.
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:00):
Welcome to the Idea Climbing podcast.
Effective storytelling is an essential component to successful
sales results.
In this episode, I dive into the components
of story selling from the stage with my
guest, Sylvain Sly Hache.
Sly is an ex chronic stutterer who has
created a new public speaking system that turns
regular people into naturals
(00:20):
without scripts, stress, or memorization.
Clients include international keynote speakers,
TV hosts, and national trainers. His methods have
helped people from 18 to 81 years old
get over stage fright, and his systems have
replaced yearly incomes with twenty minute talks and
produced multiple 6 figure days from the stage.
We dive into the structure of successful storytelling
(00:42):
in sales, why trying to sell what traditional
logic doesn't work and the definition of emotional
logic and how to leverage it, why the
stories you tell yourself dramatically affect your sales
presentations,
and the one thing above all else that
you need to do to tell stories that
sell and other golden nuggets of advice. You're
gonna love this show.
(01:08):
Thank you for making time to be on
the idea climbing podcast, Sly. I appreciate you.
This is gonna be awesome.
Oh, yeah.
And we're gonna talk about I gotta read
it to get it right. Story
selling.
How to know what stories to tell to
sell.
We'll talk about some tips, tricks, strategies, all
that good stuff in a couple minutes. When
(01:28):
it comes to story selling,
how did you get so good at it
that you talk about it now? What's your
story there?
Man,
this one time, if I think about this,
one time I had a panic attack on
stage.
So
everybody knows they have to tell stories if
(01:48):
they want to sell somehow.
And this one time I had a panic
attack
and made no sales. And at the time
I was still a
part time stutterer.
Picture this. So I started out as a
chronic stutterer, meaning somebody that cannot make sounds
with their face. Mark, when I would use
to speak, it would sound like, get get
(02:11):
the
this, this is where I started
in another language.
So
if I went from being a chronic stutterer
in French
to now teaching
international keynote speakers,
TV host, and national trainers
in English.
(02:31):
What happened there?
So
the storytelling part comes from
if you don't have the proper frame
straight from the beginning of when you open
your mouth on stage,
it's nearly impossible
to get people
to feel like doing what you want them
(02:52):
to by the end.
Because the only reason people do whatever they
do is because they feel like it. Mhmm.
The reason they don't do something is because
they don't feel like it.
So
the question becomes, okay, well, how do I
make people feel like doing the thing I
want them to before I ask them so
that your conversion rates go up,
your buy in goes up,
(03:13):
and your sales go up.
So
the best way is to be a professionally
trained
conversational hypnotist.
That's the best way, but it takes a
long time and it's hard.
So how do you get the same quasi
result without being a professionally trained
conversational hypnotist
(03:35):
so that you can do it without scripts,
without stress, and without memorization?
Well, the best way is to tell stories.
So when people hear that, they think, well
easy,
I just gotta tell stories. So let me
tell the story about how I
learned to tie my shoelace,
how I discovered
(03:55):
the whatever it is. And they start telling
stories that
frankly, the people don't care about. But
you can't be making up stories
just to
be
trying to say what you want the audience
to hear because otherwise it's inauthentic.
So how do you tell your story
(04:16):
in a way that
people care
and it makes them feel like doing what
you want them to so that they end
up doing what you want them to do
by the end?
Buy, vote, click, download,
swipe,
stop polluting the ocean, whatever you want them
to do by the end.
So in any story you're telling,
(04:36):
you need to be mindful of
what the purpose of each part of the
story is so that you can chunk
your information
based on when the audience is ready to
move on to the next section.
Nothing is able
sorry?
You mentioned I'd I'd love to just kinda
(04:56):
start at the beginning with you mentioned the
framing of the story. How do you know
where to start a frame when you get
on stage? Because what you said, so many
people do that. They're just like, oh, I'm
gonna tell about learning the time I shoot
in middle school, then college, and career, and
I'll assume it's a it's a great story
path. How do you know where to start
a frame?
Where they are,
(05:18):
the audience.
But you can't know where they are before
you actually know.
So if you don't know where they are,
you gotta ask them. If you're in a
sales conversation, let's say Mark, you come in
here, you want to work with, oh, I
heard Sly is doing this thing with 6
figure days. How do I have a 6
So you want to work with us? Okay.
(05:38):
And I say, okay, Mark, here's what you
gotta do. Let's Let's do it. You
ready?
That doesn't
work. I gotta need to know what your
pain points are. What's the bottleneck?
What are you bumping up against?
Out of the 175
problems you could be having that prevents you
from having 6 figure days, Which one are
you struggling with?
(05:59):
How long have you been struggling with this?
What's the consequences of that? All the sales
questions.
You got to know this first. So
if you are, you can send a pre
event questionnaire.
You can do it ask campaign by email.
You can do what I teach my clients
to do live on the spot, get the
questions.
(06:20):
We teach you to speak in such a
way that you
have
baseline confidence,
not jump up and down. Try to fake
it till you make it confidence.
Actual,
honest to God, take a blood sample,
check on the thing,
clear confidence
so that you can take
(06:41):
live questions from the audience in a way
that whatever they tell you
fits in one of your pillars, one of
your steps, one of the things you help
people with.
So if somebody is helping people become the
best underwater basket weaver there you go. Let's
do
underwaterbasketweavingsecrets.com.
(07:01):
Okay. These are the secrets we have. Well,
we have three things you need to do
in that order.
And
each thing you have to do has three
or four steps. Well, you got a system
there.
Check, check, check, check. So whatever questions the
audience gives you fits into one of those
boxes, one of those
checkpoints in your system.
So based on that audience, you can customize
(07:23):
in real time all the questions you get
and everything that's coming along in a way
that it's congruent and fits within your system.
So that whenever you double click
on one of the steps of your say
you oh, that's phase three. In your mind,
okay, that that's phase three, you know, the
secrets of underwater basket weaving.
Step two. There you go. That's what this
(07:44):
audience is stuck on.
You can stop holding back. You can tell
all the stories you need
that reflect
the transformation
that that audience needs to have
to get past that sticking point.
So you don't hold back as a storyteller,
as a teacher, as a pedagogue, as a
coach. You don't hold back. But at the
(08:06):
same time, they see that this thing is
this big in a system this big. Then
you connect
this little thing that's, oh,
They got an Oh my god. This is
amazing.
I can see clearly now the rain is
gone. Then you tie that to the whole
system.
And for those that want to move forward,
they can move forward with you for the
rest of the system. So you don't hold
(08:28):
back.
You use stories
as transformational
devices because people Mark, people don't need more
information.
They need
transformation.
Because if I'm not making this up. Think
about it.
If literally information was all that was needed,
(08:50):
everybody with access to YouTube
would have a six pack,
speak five languages, and work four hours a
week.
Literally. It's all there.
So why
do people
not do
what they know
they should do to get the result they
want? That's because they got stuff going on
(09:12):
somewhere inside them that prevents them. So you
have to meet them where they are to
get started, it sounds like. Then
what comes second? You meet them where you
are based on let's just I love what
you're talking about. You do live questions from
the audience, get the pulse, get the sample.
You know where they are. You know where
to start. You know what
how do you know what journey to take
them on after you get started, you meet
(09:32):
them where they are? What is that middle
ground of the speech or the conversation look
like?
At any given time, you always have three,
four, five, six
testimonials that could do the job.
At any given time, you have three, four,
five personal stories that could do the job.
So there's this split decision when you're doing
(09:53):
it live.
If If it's scripted, that's another story. But
if you're doing it live at any given
time,
there's a selection mechanism in the mind that
needs to cross reference. Okay.
This is where they needs to go. That's
where they are.
This story from that client would be the
(10:13):
perfect example.
Maybe because that person asking the questions
the question makes you think of one of
your clients.
Funny you ask. I was speaking with John
the other day,
And I told him, boom. Now you're in
the John story.
You need quick,
very quick little asides,
(10:35):
very quick little
transitions,
very quick little
lube
mechanisms
to never speak on ground level.
You're always in a story.
So when somebody asks you the question, you
say, funny you ask, I was speaking with
John the other day.
Whatever you say after that, you're not saying
(10:56):
it to him. You're saying it to John.
So now you have a straw man.
You have a steel man and every type
of other man you need.
Because you're speaking with John. Now what happens
if you start speaking to John
and you tell to that person that you
were speaking to John and you told John
about
Mary,
(11:17):
who happens to fit with some other avatar
in the room? Now you're
touching different points. You can, it's called parallel
storytelling.
Because back in the 1940s,
1945,
when most of the speaking system, the modern
ones were designed,
people did not spend their days
with 17
(11:37):
tabs open on their computer.
Three apps going on six conversation at a
time while thinking about
three of their favorite shows that have six
stories across three different timelines going on at
once.
People had one workbook,
one screen, one notepad,
(11:57):
one thing, one project,
one task. So you might
would have been able to get away with
one story.
All you need is a good story and
get anyone to believe anything. Maybe in 1945
or 1925.
Nowadays,
if you think you can
(12:20):
keep the attention of an audience for more
than
three minutes and a half with one story,
man, you're in for a treat.
You gotta layer these things one on top
of the other. Coming back to what I
was talking to you about, helping people become
conversational hypnosis.
Yes. Masters without scripts is this is how
(12:42):
you do it.
You open with the John story. Yada yada
yada yada. Yeah. I told John yada yada
yada. Now you set up the transformation.
You set up
the plot. You set up the stakes. You
set up what's going on.
You leave that one open
and you start talking about Mary.
(13:03):
And with Mary, it was a different subject.
Then you tackle a different angle that you
know, that resonates with 80% of the audience.
So now some people are in the John
camp, some people in the Mary camp.
And you tell that story about Mary.
And then what they both had in common
was the one limiting belief that we overcame
(13:23):
with.
Boom. Now you drop the money shot.
Now you drop the quote, the stat, the
audience participation element,
the demonstration,
the prop. Now you drop the thing that
makes people go, Oh, that's why you give
the
Then you close
(13:44):
conversationally
the Mary story, your second one, and then
you close the John story, creating a sandwich.
You're sandwiching
their understanding,
their eureka moment between two stories.
And then you
crush,
annihilate,
destroy
objections if you're selling,
(14:06):
or you dispel ignorance and myths if you're
teaching.
What about it makes you crush when you're
selling? Crush the,
objections. What about crushes objections?
Because no matter what you say, people think,
yeah, well, you know,
I maybe John, but I could never do
that.
Well, that doesn't apply to
(14:29):
me.
There's always some level of there's different layers.
There's there's the, well, it's impossible.
It's
too hard.
It's not possible,
which is outside of themselves. There's the thing
outside of themselves that, no, I could never
it's just too big.
Which people automatically put them in a state
(14:51):
that they can never do anything about their
life because it's
bigger than them.
These people are
somewhat screwed, but you can help them by
just showing them how it's
possible. This is good because these people, once
they see how it's possible, they can move
forward with the audio. I see how this
works. There's the other steps I can do
(15:13):
it.
There's another category of people
worse off
for them. It's like, okay, I see it's
possible, but I
could never do that. People
like me
can't do, maybe John and Mary, but not
me.
So
no matter what you say, there's that element.
(15:36):
So if you, even with the best arguments,
by the way, if anybody listening to this,
if you ever tried convincing people or writing
sales letters with logic,
you know logic
doesn't do the trick.
So when people
learn to become
conversational hypnotists from the stage using stories, then
(15:56):
they can move on to emotional
They can move on to what?
Emotional
persuasion.
So what That's interesting.
So you you want we call it emotional
logic.
You want to sequence emotional states in a
logical way, not the other way around.
Because since you know that there Yeah. You
(16:18):
want me to say that again? You want
to sequence
emotional states in a logical order,
not logical arguments in an emotional order. That
would be stupid.
That's even worth it to your logic. Because
no matter what you say, people are thinking,
well, I could never do that. So whenever
you have even a great argument, people say,
(16:39):
oh yeah, I got my point. I will
land my point. And then they will believe
me, and then they will trust me, and
then they will buy, or whatever it is
that I want them to do. Okay. Then
you do one and goes,
bounces off of them.
If it's not wrapped in story, it doesn't
go deep enough in the psyche. Oh, that
even rhymes. I'm a say that again. Nice.
(17:01):
I'm a yeah. Yeah. Yeah. That's the keeper.
If it okay. If it's not wrapped in
story, it doesn't go deep enough in the
psyche because
influence
is measured in degrees.
So they were going that direction and you
influence them one, two, three degrees.
Impact
is measured in-depth. How deep did it go?
(17:22):
So if you only have one
and it's logical, bounces
off. If you have two
and they're wrapped in story, well, then you
got multiple angles coming at the objection
and they go in deeper.
And when you sandwich them properly with what
we call a money shot, story one, story
two, money shot, deliver the payload, the Trojan
(17:44):
horse. Stories are Trojan horses
for
payloads
of
persuasion.
Literally what it is.
So lubrication
mechanisms of the mind to be open to
the payload, the persuasion payload,
to make them see it, help them get
it. Then you close that one, move on
(18:05):
to the next one. Close that one, move
on to the next one. So now when
people go through three, four, five
different angles of demonstrations of how people like
them can do it, how they can do
it, how John thought he couldn't, but he
could.
How Mary thought she couldn't because
insert
objection you know that they have.
(18:26):
And then Mary had an epiphany
that went to that result. People start to
think,
the second category of people, the people, not
the people that say
it's impossible,
but the people that say,
yeah, I see that it's possible, but not
for me. If they start to think,
(18:47):
you know what?
Maybe,
just maybe I could pull up. I could
do something about that. And then that internal
pressure
is what moves them to action because where
does the sale happen, Marc?
If you're gonna speak on stage or anywhere,
where does it happen?
It happens at the end if you're telling
(19:08):
from what you say, if you're telling the
right stories, it I believe at least it
happens at the end after you've heard
this is probably gonna be the wrong way
to say it, but someone argue their case
or make their points or tell their stories.
Ideally, I believe they're taking you on a
journey to be able to say, okay. And
you could do this too, and that's when
the call to action comes in. When you
can they realize they can do it too.
I mean, am I on point with that?
(19:29):
Am I close? Well, that, that, that would
be when it happens. That will be at,
at the end.
But where does it happen? Does the sale
happen on stage? Does the sale happen in
what you say? Does the sale happen in
your slides? Does the sale happen in your
preparation notes?
Where does it happen?
It happens in the mind
of what we call avatar.
(19:50):
The sale happens
inside
the mind
of the person buying.
The whole thing you're playing out. That's why
we call it hypnosis because as soon as
you open your mouth on stage,
you are a conversational hypnotist in the sense
that you are now charged
with
(20:12):
helping the audience
create,
perceive,
see, hear, and feel the proper images, sounds,
and feelings
inside their own mind
that empower them enough
to get over themselves enough
to move ahead.
And the whole thing happens
inside their mind. Now the only way you
(20:34):
can influence,
that's what we call the story going on
in their mind.
And the only way you can affect the
story going on in their minds is by
the story you tell with your face.
But the only way you can affect the
story coming out of your face, more Torah
can be better, is by affecting the story
you tell yourself about yourself.
(20:54):
That's why we always start with that first.
If somebody has any ifs or buts about
selling what they're selling, doing what they're doing,
it leaks
through the body language.
Your secret thoughts the night before,
as you're second guessing yourself and redoing your
(21:16):
slides for the third time.
These secret thoughts
are
robbing you blind,
costing you sales.
Because it comes out in your body language.
The body language, plus it comes out in
the presuppositions
of how you set up your stories. The
presuppositions
about how you set up your slides, the
presuppositions,
(21:36):
the stuff that's
under
the covers,
not discussed, presuppose as
baseline facts of reality that you now inside
your own self battle up against.
You can't let your inner dragons prevent you
from helping people get over theirs so they
can get over themselves and jump in your
(21:56):
offer. So you have to deal with your
own inner dragon, show up in a certain
state of mind if I hear you right,
then you can tell the right kind of
stories, make the right points, then you can
move past the it's impossible of be an
audience of one or audience at a seminar,
then you can move past the, you know,
the Joe story, the Mary story, move them
into, oh, maybe it is possible for me.
(22:16):
When you do all that, what is I
mean, you might have already said it, but
just to make it clear, what is the
closing look like? The close of that story,
the close of that sale, the one on
one, the one to many. What does a
close look like after you do everything you've
just been talking about?
Well, Denmark, then you bring on to the
part that scares people the most. People are
terrified of this. They come to my masterclass.
(22:39):
Every time I received like every time I
have a masterclass, somebody says, how do I
get over the switch? So the switch is
okay. People go like this. Okay. Let me
okay. I have to make an event.
I'm a sell my offer. Oh my god.
It's gonna be great. It's gonna be great.
Make a lot of sales.
Okay. So I'm a teach, teach, teach, teach,
teach, teach, teach, teach, teach,
(23:00):
switch,
sell.
Mhmm.
That's
why people suffer so much, Mark.
It's set to switch. I was
I came up with a slogan.
I was shopping around for accountants,
and I was meeting on Zoom with a
bunch of accountants.
They would be all nice,
(23:21):
warm and fuzzy,
talking about accounting and stuff, and then they
would all switch.
Their eyes would shift.
Their face would become pale, and then they
would freeze into our robotic script
of whatever they learned from a sales coach
memorizing a script to try to now get
me to buy. Try to
(23:43):
okay. The switch.
Now on
stage, you can't do that. So I came
up with a slogan that says,
don't do your taxes like a salesman,
but don't sell like an accountant.
You can't afford that. If you teach, teach,
teach, teach, teach, teach, teach, teach, switch.
Sell.
(24:03):
That's where people get it wrong. The How
do you avoid the switch?
The whole thing is a close. There's no
switch.
Okay.
The first thing out of your mouth
is a close.
The last thing out of your mouth is
a close.
If you take it in the middle,
it's a close. The whole thing
(24:24):
is a close.
How do you make it valuable though?
How do you make it so that people
that don't buy like it so much that
they refer their friends for the next time?
I've had a client
who's had a, I don't know if you,
anybody listening to this one too many
35.8%
closing ratio,
(24:45):
selling an offer live in a webinar,
35.8
closing ratio,
which
a 20%
you're in business.
Okay?
35%.
And people that did not buy the offer
are referring their friends to it.
(25:07):
So how is the whole thing a close?
The whole thing, because of the frame comes
back to the beginning. Good. Because of the
frame.
There's
the easy way to think about it is
that people are afraid of selling from the
stage because they think
I don't wanna do that to people.
(25:30):
I don't wanna take advantage of them. I
don't wanna twist their arm.
And you don't have to. If the whole
a close. If the whole thing
is a close,
selling
from the stage
one to many is 10%
overt, 90%
covert.
(25:51):
So if you're not aware of that in
your own mind, you're gonna do teach, teach,
teach, teach, teach, teach, teach, teach, 100%,
snap and sell. People tune up, they go,
there you go. I was waiting for the
bait and switch. Here's the pitch. The guy
knew it. Everybody knows it. The whole thing's
a pitch.
So it's all like it it's got it
kind
of diminishes the goodwill you've built in the
(26:12):
teaching part because you were just
trying to get them warm enough to do
your thing.
K.
If the whole thing
is selling
and the whole thing is value, we call
it think of it like like like a
like a crossfaded music. So it's not like
one song and then another song. The songs
are crossfaded,
(26:33):
like a mashup. Both songs are playing at
the same time together. All like there's a
beat of one and then the song of
the other.
Always.
10%
overt, 90% covert the way through.
And the purpose of your
presentation, the purpose of your event, the purpose
of your talk
(26:54):
is not to change
their life.
Because you can't change people's lives in ninety
minutes or fifteen or twenty five, but you
can
if you help them get over themselves enough
to jump into your program, which then you
can change your life.
So I had a guy once, he was
terrified about this, Terrified of speaking.
(27:15):
Well, a professional
speaker,
a professional on stage already, like international touring
guy, already big on stage,
but could not get himself to sell anything
because of all the sleaze artists he had
seen on stage,
all the crass. I would never do that.
He would see that. I was like, ah,
there's no way I'm doing that. So I
have a slogan again. It's called how to
(27:37):
sell with grace and ease, not grease and
sleaze.
Come on now, Mark.
Okay?
And what got him over that hump
is this.
He said, man,
I get it. Mhmm. You've seen all these
sleaze artists do things, and you can feel
it in a room. It's it's,
it's a bad thing. Some people
(27:59):
pitch so hard
that when you're in the room, it feels
like they're capturing people there and subjecting them
to their NLP jujitsu.
And people will go like, this is terrible.
I don't wanna do that, but then I
gotta squeeze it. If you do that, you
ruin your reputation with the host.
You ruin your reputation with the audience. And
(28:20):
even if you do the best of job,
even if you are a total Jedi
stud
of a converter,
let's say you convert 60% of the odd.
Nobody does that, but 60% of the audience
buys
your stuff, which never happens. You still have
40% of the people that don't buy. They're
not What did these people do to your
(28:40):
invitation?
Yep. Work gets around. So there's a thing
called the pitching spectrum
from the hardcore
stack and close
to the gentle
back foot in the invitation.
So contextually, you have to
gauge
the
strength of your pitching and your closing in
(29:02):
the
overt pitching part, Mark.
But the covert
closing mechanism, which is the container in which
it happens, that thing's always on.
So the reason people suffer so much is
that they only do the overt part
and they forget the rest of the iceberg.
So if I hear you right, the whole
thing
to button this up,
(29:22):
it 90% covert, 10% overt.
The whole thing is a close. You're not
you're not turning on a switch after 90%
of teaching to suddenly hit a switch and
be hardcore closing. With everything that you've just
said. And we've covered a lot of ground
in a short period of time. When it
comes to knowing what stories to tell to
sell, whether it's reiterating something you said or
(29:44):
maybe something you haven't touched on yet,
what would you say if you if you
were to tell me at least do this
one thing, at least adopt this strategy, what
would you tell them to do?
If you want to differentiate
yourself
and have what we call
(30:04):
ethical emotional torque on the audience that to
you feels effortless,
so it's not like you're
twisting their arm,
go three, four, five, six levels up
using what we call a charismatic
call to action.
So you ask yourself, okay,
what do I want these guys to do?
I want them to buy my stuff. Okay.
(30:27):
If they buy your stuff, what's that going
to give them? They're going to become
the best underwater basket weavers in the world.
Whatever the thing is, there's a thing at
the end. Okay.
If they become the
best underwater basket weavers, what's that gonna do
for them? All people are gonna be proud
with what then what? Then what? Why, why,
why? Then you get a big poof,
(30:49):
strong,
impersonal
driver, not an emotion, not a belief, not
a driver, a thing that's always there. Sex
drive, status drive, survival drive, whatever meaning, or
do these big ideas that always
motivate big archetypes.
Okay. Then you ask yourself this question. Okay.
(31:09):
You say, all right,
if I would give the mic to that.
So my commercial interest is, I want them
to buy now because I got
a second house to buy. Okay. Okay.
That's your commercial intent.
There's no charisma there because charisma comes from
embodying
greater than yourself ideas.
So you give the mic to that thing.
(31:31):
What does that thing, if it could speak,
what does that want the audience to do?
Oh my.
Now that's something else.
Now. Okay.
That thing
wants the audience to do
fill in the blank,
step up to the next step, whatever you
want them to do. Okay. Why won't they
(31:51):
do that?
Now you start overcoming the objections
as to why they will not do the
thing that they already want to do because
that greater
thing
has their best interests at heart.
It wants them to do that and they
want to do that, but they're not doing
it. So now all of a sudden, you're
(32:14):
not you against the audience. You're siding with
the audience, and you have a one on
one feel of a consultant
prescription
close
as to help them get over
we call it rectal myopia.
Okay?
Get over themselves enough to go and do
what they already want to do regardless of
(32:35):
you. So you don't feel you're, like, you're
pressuring the audience because you're not. They already
wanna do it and you help them
do it. Thank you very much. This has
been awesome. If people want to find you
online, where's the best place or places to
go?
Nextlevelpublicspeaking.com.
Can you imagine how good it is with
a cheesy name like that, Mark? It's gotta
be good with nextlevelpublicspeaking.com.
(32:57):
It's gotta be good. It's so cheesy. But
it's really next level. So nextlevelpublicspeaking.com.
Thank you very much. I appreciate you making
the time, Slade. This has been awesome.
Same here. Thanks.
Here it comes. And
Scene. Thank you for joining us today. I
hope you enjoyed the episode. I also hope
(33:18):
that you'll subscribe to the Idea Climbing podcast
and rate us on iTunes.
Visit ideaclimbing.com
to learn more about Idea Climbing and hear
more episodes about mentoring,
marketing, and big ideas.
Welcome to the Idea Climbing podcast.
Effective storytelling is an essential component to successful
sales results.
In this episode, I dive into the components
of story selling from the stage with my
guest, Sylvain Sly Hache.
Sly is an ex chronic stutterer who has
created a new public speaking system that turns
regular people into naturals
(00:20):
without scripts, stress, or memorization.
Clients include international keynote speakers,
TV hosts, and national trainers. His methods have
helped people from 18 to 81 years old
get over stage fright, and his systems have
replaced yearly incomes with twenty minute talks and
produced multiple 6 figure days from the stage.
We dive into the structure of successful storytelling
(00:42):
in sales, why trying to sell what traditional
logic doesn't work and the definition of emotional
logic and how to leverage it, why the
stories you tell yourself dramatically affect your sales
presentations,
and the one thing above all else that
you need to do to tell stories that
sell and other golden nuggets of advice. You're
gonna love this show.
(01:08):
Thank you for making time to be on
the idea climbing podcast, Sly. I appreciate you.
This is gonna be awesome.
Oh, yeah.
And we're gonna talk about I gotta read
it to get it right. Story
selling.
How to know what stories to tell to
sell.
We'll talk about some tips, tricks, strategies, all
that good stuff in a couple minutes. When
(01:28):
it comes to story selling,
how did you get so good at it
that you talk about it now? What's your
story there?
Man,
this one time, if I think about this,
one time I had a panic attack on
stage.
So
everybody knows they have to tell stories if
(01:48):
they want to sell somehow.
And this one time I had a panic
attack
and made no sales. And at the time
I was still a
part time stutterer.
Picture this. So I started out as a
chronic stutterer, meaning somebody that cannot make sounds
with their face. Mark, when I would use
to speak, it would sound like, get get
(02:11):
the
this, this is where I started
in another language.
So
if I went from being a chronic stutterer
in French
to now teaching
international keynote speakers,
TV host, and national trainers
in English.
(02:31):
What happened there?
So
the storytelling part comes from
if you don't have the proper frame
straight from the beginning of when you open
your mouth on stage,
it's nearly impossible
to get people
to feel like doing what you want them
(02:52):
to by the end.
Because the only reason people do whatever they
do is because they feel like it. Mhmm.
The reason they don't do something is because
they don't feel like it.
So
the question becomes, okay, well, how do I
make people feel like doing the thing I
want them to before I ask them so
that your conversion rates go up,
your buy in goes up,
(03:13):
and your sales go up.
So
the best way is to be a professionally
trained
conversational hypnotist.
That's the best way, but it takes a
long time and it's hard.
So how do you get the same quasi
result without being a professionally trained
conversational hypnotist
(03:35):
so that you can do it without scripts,
without stress, and without memorization?
Well, the best way is to tell stories.
So when people hear that, they think, well
easy,
I just gotta tell stories. So let me
tell the story about how I
learned to tie my shoelace,
how I discovered
(03:55):
the whatever it is. And they start telling
stories that
frankly, the people don't care about. But
you can't be making up stories
just to
be
trying to say what you want the audience
to hear because otherwise it's inauthentic.
So how do you tell your story
(04:16):
in a way that
people care
and it makes them feel like doing what
you want them to so that they end
up doing what you want them to do
by the end?
Buy, vote, click, download,
swipe,
stop polluting the ocean, whatever you want them
to do by the end.
So in any story you're telling,
(04:36):
you need to be mindful of
what the purpose of each part of the
story is so that you can chunk
your information
based on when the audience is ready to
move on to the next section.
Nothing is able
sorry?
You mentioned I'd I'd love to just kinda
(04:56):
start at the beginning with you mentioned the
framing of the story. How do you know
where to start a frame when you get
on stage? Because what you said, so many
people do that. They're just like, oh, I'm
gonna tell about learning the time I shoot
in middle school, then college, and career, and
I'll assume it's a it's a great story
path. How do you know where to start
a frame?
Where they are,
(05:18):
the audience.
But you can't know where they are before
you actually know.
So if you don't know where they are,
you gotta ask them. If you're in a
sales conversation, let's say Mark, you come in
here, you want to work with, oh, I
heard Sly is doing this thing with 6
figure days. How do I have a 6
So you want to work with us? Okay.
(05:38):
And I say, okay, Mark, here's what you
gotta do. Let's Let's do it. You
ready?
That doesn't
work. I gotta need to know what your
pain points are. What's the bottleneck?
What are you bumping up against?
Out of the 175
problems you could be having that prevents you
from having 6 figure days, Which one are
you struggling with?
(05:59):
How long have you been struggling with this?
What's the consequences of that? All the sales
questions.
You got to know this first. So
if you are, you can send a pre
event questionnaire.
You can do it ask campaign by email.
You can do what I teach my clients
to do live on the spot, get the
questions.
(06:20):
We teach you to speak in such a
way that you
have
baseline confidence,
not jump up and down. Try to fake
it till you make it confidence.
Actual,
honest to God, take a blood sample,
check on the thing,
clear confidence
so that you can take
(06:41):
live questions from the audience in a way
that whatever they tell you
fits in one of your pillars, one of
your steps, one of the things you help
people with.
So if somebody is helping people become the
best underwater basket weaver there you go. Let's
do
underwaterbasketweavingsecrets.com.
(07:01):
Okay. These are the secrets we have. Well,
we have three things you need to do
in that order.
And
each thing you have to do has three
or four steps. Well, you got a system
there.
Check, check, check, check. So whatever questions the
audience gives you fits into one of those
boxes, one of those
checkpoints in your system.
So based on that audience, you can customize
(07:23):
in real time all the questions you get
and everything that's coming along in a way
that it's congruent and fits within your system.
So that whenever you double click
on one of the steps of your say
you oh, that's phase three. In your mind,
okay, that that's phase three, you know, the
secrets of underwater basket weaving.
Step two. There you go. That's what this
(07:44):
audience is stuck on.
You can stop holding back. You can tell
all the stories you need
that reflect
the transformation
that that audience needs to have
to get past that sticking point.
So you don't hold back as a storyteller,
as a teacher, as a pedagogue, as a
coach. You don't hold back. But at the
(08:06):
same time, they see that this thing is
this big in a system this big. Then
you connect
this little thing that's, oh,
They got an Oh my god. This is
amazing.
I can see clearly now the rain is
gone. Then you tie that to the whole
system.
And for those that want to move forward,
they can move forward with you for the
rest of the system. So you don't hold
(08:28):
back.
You use stories
as transformational
devices because people Mark, people don't need more
information.
They need
transformation.
Because if I'm not making this up. Think
about it.
If literally information was all that was needed,
(08:50):
everybody with access to YouTube
would have a six pack,
speak five languages, and work four hours a
week.
Literally. It's all there.
So why
do people
not do
what they know
they should do to get the result they
want? That's because they got stuff going on
(09:12):
somewhere inside them that prevents them. So you
have to meet them where they are to
get started, it sounds like. Then
what comes second? You meet them where you
are based on let's just I love what
you're talking about. You do live questions from
the audience, get the pulse, get the sample.
You know where they are. You know where
to start. You know what
how do you know what journey to take
them on after you get started, you meet
(09:32):
them where they are? What is that middle
ground of the speech or the conversation look
like?
At any given time, you always have three,
four, five, six
testimonials that could do the job.
At any given time, you have three, four,
five personal stories that could do the job.
So there's this split decision when you're doing
(09:53):
it live.
If If it's scripted, that's another story. But
if you're doing it live at any given
time,
there's a selection mechanism in the mind that
needs to cross reference. Okay.
This is where they needs to go. That's
where they are.
This story from that client would be the
(10:13):
perfect example.
Maybe because that person asking the questions
the question makes you think of one of
your clients.
Funny you ask. I was speaking with John
the other day,
And I told him, boom. Now you're in
the John story.
You need quick,
very quick little asides,
(10:35):
very quick little
transitions,
very quick little
lube
mechanisms
to never speak on ground level.
You're always in a story.
So when somebody asks you the question, you
say, funny you ask, I was speaking with
John the other day.
Whatever you say after that, you're not saying
(10:56):
it to him. You're saying it to John.
So now you have a straw man.
You have a steel man and every type
of other man you need.
Because you're speaking with John. Now what happens
if you start speaking to John
and you tell to that person that you
were speaking to John and you told John
about
Mary,
(11:17):
who happens to fit with some other avatar
in the room? Now you're
touching different points. You can, it's called parallel
storytelling.
Because back in the 1940s,
1945,
when most of the speaking system, the modern
ones were designed,
people did not spend their days
with 17
(11:37):
tabs open on their computer.
Three apps going on six conversation at a
time while thinking about
three of their favorite shows that have six
stories across three different timelines going on at
once.
People had one workbook,
one screen, one notepad,
(11:57):
one thing, one project,
one task. So you might
would have been able to get away with
one story.
All you need is a good story and
get anyone to believe anything. Maybe in 1945
or 1925.
Nowadays,
if you think you can
(12:20):
keep the attention of an audience for more
than
three minutes and a half with one story,
man, you're in for a treat.
You gotta layer these things one on top
of the other. Coming back to what I
was talking to you about, helping people become
conversational hypnosis.
Yes. Masters without scripts is this is how
(12:42):
you do it.
You open with the John story. Yada yada
yada yada. Yeah. I told John yada yada
yada. Now you set up the transformation.
You set up
the plot. You set up the stakes. You
set up what's going on.
You leave that one open
and you start talking about Mary.
(13:03):
And with Mary, it was a different subject.
Then you tackle a different angle that you
know, that resonates with 80% of the audience.
So now some people are in the John
camp, some people in the Mary camp.
And you tell that story about Mary.
And then what they both had in common
was the one limiting belief that we overcame
(13:23):
with.
Boom. Now you drop the money shot.
Now you drop the quote, the stat, the
audience participation element,
the demonstration,
the prop. Now you drop the thing that
makes people go, Oh, that's why you give
the
Then you close
(13:44):
conversationally
the Mary story, your second one, and then
you close the John story, creating a sandwich.
You're sandwiching
their understanding,
their eureka moment between two stories.
And then you
crush,
annihilate,
destroy
objections if you're selling,
(14:06):
or you dispel ignorance and myths if you're
teaching.
What about it makes you crush when you're
selling? Crush the,
objections. What about crushes objections?
Because no matter what you say, people think,
yeah, well, you know,
I maybe John, but I could never do
that.
Well, that doesn't apply to
(14:29):
me.
There's always some level of there's different layers.
There's there's the, well, it's impossible.
It's
too hard.
It's not possible,
which is outside of themselves. There's the thing
outside of themselves that, no, I could never
it's just too big.
Which people automatically put them in a state
(14:51):
that they can never do anything about their
life because it's
bigger than them.
These people are
somewhat screwed, but you can help them by
just showing them how it's
possible. This is good because these people, once
they see how it's possible, they can move
forward with the audio. I see how this
works. There's the other steps I can do
(15:13):
it.
There's another category of people
worse off
for them. It's like, okay, I see it's
possible, but I
could never do that. People
like me
can't do, maybe John and Mary, but not
me.
So
no matter what you say, there's that element.
(15:36):
So if you, even with the best arguments,
by the way, if anybody listening to this,
if you ever tried convincing people or writing
sales letters with logic,
you know logic
doesn't do the trick.
So when people
learn to become
conversational hypnotists from the stage using stories, then
(15:56):
they can move on to emotional
They can move on to what?
Emotional
persuasion.
So what That's interesting.
So you you want we call it emotional
logic.
You want to sequence emotional states in a
logical way, not the other way around.
Because since you know that there Yeah. You
(16:18):
want me to say that again? You want
to sequence
emotional states in a logical order,
not logical arguments in an emotional order. That
would be stupid.
That's even worth it to your logic. Because
no matter what you say, people are thinking,
well, I could never do that. So whenever
you have even a great argument, people say,
(16:39):
oh yeah, I got my point. I will
land my point. And then they will believe
me, and then they will trust me, and
then they will buy, or whatever it is
that I want them to do. Okay. Then
you do one and goes,
bounces off of them.
If it's not wrapped in story, it doesn't
go deep enough in the psyche. Oh, that
even rhymes. I'm a say that again. Nice.
(17:01):
I'm a yeah. Yeah. Yeah. That's the keeper.
If it okay. If it's not wrapped in
story, it doesn't go deep enough in the
psyche because
influence
is measured in degrees.
So they were going that direction and you
influence them one, two, three degrees.
Impact
is measured in-depth. How deep did it go?
(17:22):
So if you only have one
and it's logical, bounces
off. If you have two
and they're wrapped in story, well, then you
got multiple angles coming at the objection
and they go in deeper.
And when you sandwich them properly with what
we call a money shot, story one, story
two, money shot, deliver the payload, the Trojan
(17:44):
horse. Stories are Trojan horses
for
payloads
of
persuasion.
Literally what it is.
So lubrication
mechanisms of the mind to be open to
the payload, the persuasion payload,
to make them see it, help them get
it. Then you close that one, move on
(18:05):
to the next one. Close that one, move
on to the next one. So now when
people go through three, four, five
different angles of demonstrations of how people like
them can do it, how they can do
it, how John thought he couldn't, but he
could.
How Mary thought she couldn't because
insert
objection you know that they have.
(18:26):
And then Mary had an epiphany
that went to that result. People start to
think,
the second category of people, the people, not
the people that say
it's impossible,
but the people that say,
yeah, I see that it's possible, but not
for me. If they start to think,
(18:47):
you know what?
Maybe,
just maybe I could pull up. I could
do something about that. And then that internal
pressure
is what moves them to action because where
does the sale happen, Marc?
If you're gonna speak on stage or anywhere,
where does it happen?
It happens at the end if you're telling
(19:08):
from what you say, if you're telling the
right stories, it I believe at least it
happens at the end after you've heard
this is probably gonna be the wrong way
to say it, but someone argue their case
or make their points or tell their stories.
Ideally, I believe they're taking you on a
journey to be able to say, okay. And
you could do this too, and that's when
the call to action comes in. When you
can they realize they can do it too.
I mean, am I on point with that?
(19:29):
Am I close? Well, that, that, that would
be when it happens. That will be at,
at the end.
But where does it happen? Does the sale
happen on stage? Does the sale happen in
what you say? Does the sale happen in
your slides? Does the sale happen in your
preparation notes?
Where does it happen?
It happens in the mind
of what we call avatar.
(19:50):
The sale happens
inside
the mind
of the person buying.
The whole thing you're playing out. That's why
we call it hypnosis because as soon as
you open your mouth on stage,
you are a conversational hypnotist in the sense
that you are now charged
with
(20:12):
helping the audience
create,
perceive,
see, hear, and feel the proper images, sounds,
and feelings
inside their own mind
that empower them enough
to get over themselves enough
to move ahead.
And the whole thing happens
inside their mind. Now the only way you
(20:34):
can influence,
that's what we call the story going on
in their mind.
And the only way you can affect the
story going on in their minds is by
the story you tell with your face.
But the only way you can affect the
story coming out of your face, more Torah
can be better, is by affecting the story
you tell yourself about yourself.
(20:54):
That's why we always start with that first.
If somebody has any ifs or buts about
selling what they're selling, doing what they're doing,
it leaks
through the body language.
Your secret thoughts the night before,
as you're second guessing yourself and redoing your
(21:16):
slides for the third time.
These secret thoughts
are
robbing you blind,
costing you sales.
Because it comes out in your body language.
The body language, plus it comes out in
the presuppositions
of how you set up your stories. The
presuppositions
about how you set up your slides, the
presuppositions,
(21:36):
the stuff that's
under
the covers,
not discussed, presuppose as
baseline facts of reality that you now inside
your own self battle up against.
You can't let your inner dragons prevent you
from helping people get over theirs so they
can get over themselves and jump in your
(21:56):
offer. So you have to deal with your
own inner dragon, show up in a certain
state of mind if I hear you right,
then you can tell the right kind of
stories, make the right points, then you can
move past the it's impossible of be an
audience of one or audience at a seminar,
then you can move past the, you know,
the Joe story, the Mary story, move them
into, oh, maybe it is possible for me.
(22:16):
When you do all that, what is I
mean, you might have already said it, but
just to make it clear, what is the
closing look like? The close of that story,
the close of that sale, the one on
one, the one to many. What does a
close look like after you do everything you've
just been talking about?
Well, Denmark, then you bring on to the
part that scares people the most. People are
terrified of this. They come to my masterclass.
(22:39):
Every time I received like every time I
have a masterclass, somebody says, how do I
get over the switch? So the switch is
okay. People go like this. Okay. Let me
okay. I have to make an event.
I'm a sell my offer. Oh my god.
It's gonna be great. It's gonna be great.
Make a lot of sales.
Okay. So I'm a teach, teach, teach, teach,
teach, teach, teach, teach, teach,
(23:00):
switch,
sell.
Mhmm.
That's
why people suffer so much, Mark.
It's set to switch. I was
I came up with a slogan.
I was shopping around for accountants,
and I was meeting on Zoom with a
bunch of accountants.
They would be all nice,
(23:21):
warm and fuzzy,
talking about accounting and stuff, and then they
would all switch.
Their eyes would shift.
Their face would become pale, and then they
would freeze into our robotic script
of whatever they learned from a sales coach
memorizing a script to try to now get
me to buy. Try to
(23:43):
okay. The switch.
Now on
stage, you can't do that. So I came
up with a slogan that says,
don't do your taxes like a salesman,
but don't sell like an accountant.
You can't afford that. If you teach, teach,
teach, teach, teach, teach, teach, teach, switch.
Sell.
(24:03):
That's where people get it wrong. The How
do you avoid the switch?
The whole thing is a close. There's no
switch.
Okay.
The first thing out of your mouth
is a close.
The last thing out of your mouth is
a close.
If you take it in the middle,
it's a close. The whole thing
(24:24):
is a close.
How do you make it valuable though?
How do you make it so that people
that don't buy like it so much that
they refer their friends for the next time?
I've had a client
who's had a, I don't know if you,
anybody listening to this one too many
35.8%
closing ratio,
(24:45):
selling an offer live in a webinar,
35.8
closing ratio,
which
a 20%
you're in business.
Okay?
35%.
And people that did not buy the offer
are referring their friends to it.
(25:07):
So how is the whole thing a close?
The whole thing, because of the frame comes
back to the beginning. Good. Because of the
frame.
There's
the easy way to think about it is
that people are afraid of selling from the
stage because they think
I don't wanna do that to people.
(25:30):
I don't wanna take advantage of them. I
don't wanna twist their arm.
And you don't have to. If the whole
a close. If the whole thing
is a close,
selling
from the stage
one to many is 10%
overt, 90%
covert.
(25:51):
So if you're not aware of that in
your own mind, you're gonna do teach, teach,
teach, teach, teach, teach, teach, teach, 100%,
snap and sell. People tune up, they go,
there you go. I was waiting for the
bait and switch. Here's the pitch. The guy
knew it. Everybody knows it. The whole thing's
a pitch.
So it's all like it it's got it
kind
of diminishes the goodwill you've built in the
(26:12):
teaching part because you were just
trying to get them warm enough to do
your thing.
K.
If the whole thing
is selling
and the whole thing is value, we call
it think of it like like like a
like a crossfaded music. So it's not like
one song and then another song. The songs
are crossfaded,
(26:33):
like a mashup. Both songs are playing at
the same time together. All like there's a
beat of one and then the song of
the other.
Always.
10%
overt, 90% covert the way through.
And the purpose of your
presentation, the purpose of your event, the purpose
of your talk
(26:54):
is not to change
their life.
Because you can't change people's lives in ninety
minutes or fifteen or twenty five, but you
can
if you help them get over themselves enough
to jump into your program, which then you
can change your life.
So I had a guy once, he was
terrified about this, Terrified of speaking.
(27:15):
Well, a professional
speaker,
a professional on stage already, like international touring
guy, already big on stage,
but could not get himself to sell anything
because of all the sleaze artists he had
seen on stage,
all the crass. I would never do that.
He would see that. I was like, ah,
there's no way I'm doing that. So I
have a slogan again. It's called how to
(27:37):
sell with grace and ease, not grease and
sleaze.
Come on now, Mark.
Okay?
And what got him over that hump
is this.
He said, man,
I get it. Mhmm. You've seen all these
sleaze artists do things, and you can feel
it in a room. It's it's,
it's a bad thing. Some people
(27:59):
pitch so hard
that when you're in the room, it feels
like they're capturing people there and subjecting them
to their NLP jujitsu.
And people will go like, this is terrible.
I don't wanna do that, but then I
gotta squeeze it. If you do that, you
ruin your reputation with the host.
You ruin your reputation with the audience. And
(28:20):
even if you do the best of job,
even if you are a total Jedi
stud
of a converter,
let's say you convert 60% of the odd.
Nobody does that, but 60% of the audience
buys
your stuff, which never happens. You still have
40% of the people that don't buy. They're
not What did these people do to your
(28:40):
invitation?
Yep. Work gets around. So there's a thing
called the pitching spectrum
from the hardcore
stack and close
to the gentle
back foot in the invitation.
So contextually, you have to
gauge
the
strength of your pitching and your closing in
(29:02):
the
overt pitching part, Mark.
But the covert
closing mechanism, which is the container in which
it happens, that thing's always on.
So the reason people suffer so much is
that they only do the overt part
and they forget the rest of the iceberg.
So if I hear you right, the whole
thing
to button this up,
(29:22):
it 90% covert, 10% overt.
The whole thing is a close. You're not
you're not turning on a switch after 90%
of teaching to suddenly hit a switch and
be hardcore closing. With everything that you've just
said. And we've covered a lot of ground
in a short period of time. When it
comes to knowing what stories to tell to
sell, whether it's reiterating something you said or
(29:44):
maybe something you haven't touched on yet,
what would you say if you if you
were to tell me at least do this
one thing, at least adopt this strategy, what
would you tell them to do?
If you want to differentiate
yourself
and have what we call
(30:04):
ethical emotional torque on the audience that to
you feels effortless,
so it's not like you're
twisting their arm,
go three, four, five, six levels up
using what we call a charismatic
call to action.
So you ask yourself, okay,
what do I want these guys to do?
I want them to buy my stuff. Okay.
(30:27):
If they buy your stuff, what's that going
to give them? They're going to become
the best underwater basket weavers in the world.
Whatever the thing is, there's a thing at
the end. Okay.
If they become the
best underwater basket weavers, what's that gonna do
for them? All people are gonna be proud
with what then what? Then what? Why, why,
why? Then you get a big poof,
(30:49):
strong,
impersonal
driver, not an emotion, not a belief, not
a driver, a thing that's always there. Sex
drive, status drive, survival drive, whatever meaning, or
do these big ideas that always
motivate big archetypes.
Okay. Then you ask yourself this question. Okay.
(31:09):
You say, all right,
if I would give the mic to that.
So my commercial interest is, I want them
to buy now because I got
a second house to buy. Okay. Okay.
That's your commercial intent.
There's no charisma there because charisma comes from
embodying
greater than yourself ideas.
So you give the mic to that thing.
(31:31):
What does that thing, if it could speak,
what does that want the audience to do?
Oh my.
Now that's something else.
Now. Okay.
That thing
wants the audience to do
fill in the blank,
step up to the next step, whatever you
want them to do. Okay. Why won't they
(31:51):
do that?
Now you start overcoming the objections
as to why they will not do the
thing that they already want to do because
that greater
thing
has their best interests at heart.
It wants them to do that and they
want to do that, but they're not doing
it. So now all of a sudden, you're
(32:14):
not you against the audience. You're siding with
the audience, and you have a one on
one feel of a consultant
prescription
close
as to help them get over
we call it rectal myopia.
Okay?
Get over themselves enough to go and do
what they already want to do regardless of
(32:35):
you. So you don't feel you're, like, you're
pressuring the audience because you're not. They already
wanna do it and you help them
do it. Thank you very much. This has
been awesome. If people want to find you
online, where's the best place or places to
go?
Nextlevelpublicspeaking.com.
Can you imagine how good it is with
a cheesy name like that, Mark? It's gotta
be good with nextlevelpublicspeaking.com.
(32:57):
It's gotta be good. It's so cheesy. But
it's really next level. So nextlevelpublicspeaking.com.
Thank you very much. I appreciate you making
the time, Slade. This has been awesome.
Same here. Thanks.
Here it comes. And
Scene. Thank you for joining us today. I
hope you enjoyed the episode. I also hope
(33:18):
that you'll subscribe to the Idea Climbing podcast
and rate us on iTunes.
Visit ideaclimbing.com
to learn more about Idea Climbing and hear
more episodes about mentoring,
marketing, and big ideas.
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