Rob Jolles provides practical wisdom on how to come across as more believable.
- The number one reason why people don’t believe you
- How method acting can lead you into peak presenting performance
- Why you should embrace your own dysfunctions
Rob Jolles is a sought-after speaker who teaches, entertains, and inspires audiences worldwide. His live programs around the world have enabled him to amass a client list of Fortune 500 companies including Toyota, Disney, GE, a dozen universities, and over 50 financial institutions. He is the best-selling author of six books, including his latest release, Why People Don’t Believe You…Building Credibility from the Inside Out.
Items Mentioned in this Show:
- Sponsored Message: BetterHelp provides affordable therapy on demand
- Sponsored Message: The University of California, Irvine is a leader in Continuing Education
- Rob’s book: Why People Don’t Believe You…: Building Credibility from the Inside Out
- Rob’s website: www.Jolles.com
- Commercial: Fed Ex Stolen Idea
- Book: The Alter Ego Effect: The Power of Secret Identities to Transform Your Life by Todd Herman
- Book: Be the Hero: Three Powerful Ways to Overcome Challenges in Work and Life by Noah Blumenthal
- Previous episode: 412: Access Superpowers by Embracing Alter Egos with Todd Herman
Rob, thanks so much for joining us here on the How to be Awesome at Your Job podcast.
Great to be here. Thanks for having me.
Oh, I’m excited to dig in. I think you’ve got so much good stuff to share. Maybe you’ll be able to share it, if necessary, in a rapid format because you are a licensed auctioneer! How does one get licensed to be an auctioneer and tell us a tale or two of your auctioneering adventures?
Okay. Well, when you have a big mouth and you run it around for 30 years giving seminars, everybody assumes, “Hey, this guy can do anything on a stage.” But I want to tell you, in the State of Virginia, where I initially got licensed, it’s harder than it looks. It was 80 hours of certified instruction.
To be allowed to take the three-and-a-half-hour exam. I had to study cattle and cars and horses and antiques. But really all I wanted, unfortunately there isn’t a license like this, all I wanted to do was be able to work charities. I felt like it was a good way of giving back, maybe using my skills for something really valuable.
That’s about nine and a half years ago. I took my courses. I got certified. I’ve been probably averaging an auction a month, maybe an auction every other month, but 95% for charities.
Well, that’s awesome. Then I guess if you’re doing it for charities, then you’re doing it for free. I’m wondering with all that education, what would an auctioneer be paid if he or she were doing a gig for a bankruptcy? Hey, we’ve got an auction. I’m the auctioneer. I’m well-trained and licensed and educated. What would that return in a gig?
Actually, it’s usually a percentage of profit there. For charity auctioneers, we’re not quite as fortunate. It’s a fraction of what I normally get paid. Actually, what I typically do with a charity is, I sort of get paid a little and then I never walk out the door with it. I just simply hand it back so that I can deduct from my taxes.
I want to stay true to the intent, which is there are certain things that we do in life that really have to pay the bills and keep the electric running and there are other times in life where we do things that are really just to help others.
When I speak at universities and things like that and they have a little honorarium, what’s the sense of me really taking that? I’m going to do something nice, let’s go all the way. That’s for charity. Now sometimes I’ll do a shopping center or I’ve done some universities. I’ll take a little something, but it’s a fraction of what I normally get.
Understood. Have you ever auctioned off anything crazy or strange or just noteworthy?
Yeah, I’ll tell you the best thing I ever auctioned off. Believe it or not – and this is for anybody that’s ever thinking of putting an auction together, this is what you’re looking for. It’s not a yard sale.
When Letterman was still doing his show, we got two tickets to Letterman. Well, they’re free, but we got backstage passes and you can’t always do that. Then Marriot threw in a couple nights and we got two train tickets. When we packaged that altogether and particularly with that unique ability to get back stage, something you can’t really get on your own, sort of like Saturday Night Live tickets, that item went for a little over 30,000 dollars. It was fairly simple.
That and we also got one time I auctioned off tickets to the Academy Awards. Again, something you can’t normally get on your own. You’re not going to find it on Craigslist. Other than the limo, I think that was in the 30 – 35,000 dollar range. Those are the kind of things that really actually will excite an audience.
That is very clever. If there are any fundraisers in the house, there’s the trick. You get something you can’t get under normal circumstances. Then you package it together into a cool experience and there it is, the secret to a successful fundraising auction. Didn’t even know we were going to learn that today. Thank you.
But what I was planning on learning a bit about was some of the wisdom in your book, Why People Don’t Believe You. Great title. Tell us, what’s the big idea? Why don’t people believe you?
When you say big idea and I’m ready for you now because I actually thought, “What is the big idea? I better know that. It is my book.” I think the big idea is, there’s two of them. First of all, I’m pleased you like the title. It wasn’t my title, but most of us who write books, we’ll get everything but our title in there. The publisher typically knows more about titles than we do.
But the big idea in my original title was it’s not the words; it’s the tune. A lot of times, and I’m guilty of this spending 30 years of my career, of my life, running around the country teaching people what to say, what to say, what to say. We don’t really stop and say wait a minute. Let’s forget the words. How are we saying it? I’d say in a sense that’s part of the bigger picture of the book.
But to really drill down on your question, I think the biggest reason why people don’t believe us, as strange as this may sound, is we don’t believe us. Things in the book, I know they sound simple, but so are asking questions and listening, but who does that? It’s such a fundamental communication piece. The easiest way to be believed is to actually tell the truth.
When you stop and think about that, do you have the best podcast out there? Well, from what I hear, it sure is, but you have to believe that. If it isn’t, you have to do everything you can to make it a great podcast, to put your heart and soul into it. If you go to bed at night and you truly believe that, you don’t have to worry about sounding authentic. Now you believe it and the tune will follow.
I like that a lot. Now, you’re getting me thinking here because we were talking just beforehand when I was stalking you and deciding whether or not to invite you. You passed. Nice job. You made reference to the greatest life insurance salesperson ever; Ben Feldman is his name, if anybody wants to take a look. I’m always intrigued by the greatest in the world.
I sort of listened to an interview with Ben Feldman. He doesn’t sound super engaging in the interview, but boy, does he believe in life insurance being just a powerful force for goodness for humanity. It’s clear that he believes that with a deep abiding passion, which is striking because I hadn’t thought of life insurance in that way before, but there you have that. The best in the world had that at a really high level.
Let’s put a cherry on that sundae because yup, he completely dominated the insurance industry for decades and I mean dominated from the sprawling metropolis of East Liverpool, Ohio. But how about this that we add to that story, the fact is he was the greatest that ever lived by the numbers. He spoke with a lisp. He was actually a fairly quiet guy.
He didn’t have any of the attributes that we naturally associate with the greatest salesperson, that Glengarry Glen Ross kind of Alex Baldwin character. He was the complete opposite. I guess when you hear that, whoever’s listening just remember that he was true to his own unique style. You can’t imitate this guy. The best imitation you do is of yourself. Not only did he believe in his product, he was true to his style. He didn’t emulate anyone but himself. That’s what made him really successful.
All right, you’re telling the truth, you’re believing it deep down. If you’re not yet believing it, you’re doing all you can to get there with believing it in terms of improving the actual kind of facts of the situation. Then when it comes to the tune, how do we sing a tune that’s more appealing?
That’s interesting you say sing because as I was working through the manuscript I was actually at one point trying to create a musical score in a sense of the tune, but my musical score had places where we would pause, had places where we would change our pitch, had places where we would change our pace. Actually all found in music if you think about it.
Unfortunately, although I’ll work on pitch and pace and pause with people, the problem is every question you just asked me right now, I can’t go, “Okay, hang on one second. Let me figure out where my pitch goes up and let me figure out where I’m going to slow this down and where I’m going to speed it up.”
We do focus on pitch, pace, and pause, which to me are critical pieces. But the key is to get that authentic voice to do it without having to sort of stop and micromanage where those pieces are. I don’t know if when you’re talking to me, for instance, you’re gesturing with your hands, but imagine if we stopped and I said, “Point here. Put your hand up over there.” We want that to kind of become as natural as we can.
I think one of the secret sauces, if you will, of the book is actually thinking more like a method actor. What if we took ourselves and actually placed ourselves in the moment. I don’t mean just in the moment. I mean even the point we were just talking about, truly believing.
Well, maybe we’re getting beat up a little bit out there right now. Maybe our product is – it’s just been tough for us but weren’t there times in our life where everything we touched sort of worked out well, where we knew the next time we picked up the phone or knocked on a door, it was going to go well. The other six did.
Why can’t we as a method actor take ourselves to that moment? Are you telling me that when we knock on the door this time, we’re going to be less effective with that in our mind? That’s where that pitch, pace, and pause sometimes can come more naturally.
Okay, got you. You’re saying let’s not put our focus on “Okay, at this point in my second sentence, I’m going to drop my pitch low,” and sort of plan that out in great detail, but rather to get in the zone associated with when you were rocking, rolling, and believing and nailing it and high performing, so just sort of method acting into that spot and these things will sort of naturally follow well.
Could you maybe bring this all together in an example or a case study of someone whose credibility wasn’t so hot and then they did some things and they saw it really get hot again?
Sure. Actually, this whole book really began with me in a bad mood in a bad evening being asked to speak to a group called the Career Network Ministry, a group that just helps people in career transition. I don’t necessarily like to speak free a whole lot, but I bumbled my way in and figured I’ll talk to a dozen people and get this over with. There 250 to 300 people in the room. I’ve been volunteering for six years ever since. It was such a moving experience.
But one of the things I noticed in that room – and that was my petri dish, that’s where this started – was I noticed words. We were working on resumes – words. We were working on elevator pitches – words. We were working on LinkedIn sites – words. We were working on the words and nobody was focusing on the tune.
To answer your question, I actually stated about five and a half years ago I put together my first group of a dozen people. To get in this program, two days, you had to be unemployed a minimum of two years. Half my room was unemployed for over five years. That’s chronic unemployment.
We put on a two-day program. I bumbled and fumbled my way through it, but we were hitting on something because 10 of the 12 people were hired within three months. That’s when I realized, okay, we’ve got something.
But I’m telling you, going back on some of the questions you asked, I wasn’t working on the words in there. I took that elevator pitch – there’s some value in those – but I put it in the corner and we worked on their character. We worked on who they were, what they were, taking them through those moments of success and man, the hands and the words, and the pitch, and the pace, it followed.
But there’s an answer to your question. It was 10 for 12 coming out of the gate. That’s when I knew, I think we maybe even have a book here, but I’ve got to keep digging into this.
Well, that’s fascinating. Do tell, what are some of the most impactful transformational exercises or practices that make that come alive?
Wow, that’s a good question. One of them we were talking about is whenever I ask them anything, I really try and trim people down to what I call a communication shot clock. Look, there’s a shot clock in basketball. It keeps the game moving. There’s a shot clock in football, actually. It keeps the game moving. There may very well be a shot clock in baseball, they’re going to try it in preseason, to keep the game moving.
We are in a society now where books are getting smaller and people just don’t have that bandwidth to stay with us. Even our videos are four to six minutes in length. One of the things as an example was, stop talking to them, getting them up to speak, getting them into character, and working on their shot clock, meaning, trimming those questions down and saying, “Rather than giving me your three best points. Give me your best point. If I want more, I’ll ask for it.”
It was an example of really trying to get them a little bit quicker, a little bit lighter on their feet. As an example, that was one technique that we used.
Then you said with the shot clock, is there an optimal do you recommend time that you would put on the shot clock in terms of number of seconds that you would speak before being quiet?
Yeah, I actually have a number and I’m going to give it to you, but please understand I’m answering your question, so it’s sort of like when I teach people to sell and I’m saying you’ve got to ask second and third level questions. The hand will go up and say, “Exactly how many?” It’s like, “Well, that’s going to really depend on the personality of the client, etcetera.”
But I really actually like 45 seconds. I think it’s a great number. If I go a minute and ten, that’s okay. If we go shorter, that’s okay too. A lot of the times if I’m dealing with a more social environment, more social client, I’ve kind of got the green light to go a little bit longer. If I’m dealing with a more dominant client, I’m probably going to trim back. There’s other variables.
But I love the conversation we’re having because I get frustrated when people are bobbing and weaving, saying, “But …” I think 45 seconds is a good target, but read your audience.
Certainly, yes. That is a helpful benchmark because I think it’s possible that you can under speak as well. I’m just thinking about this. I said, “Hey, tell us about you becoming a licensed auctioneer.” It’s like, “I had 80 hours of instruction and then passed a three-hour exam.” It’s like, “Okay, well, Rob, this is really interesting.”
… on the show. You’re really talented.
I think that makes good sense in terms of it’s a very rough ballpark zone, but if you’re five seconds, it’s like, “Okay, do you hate me? What’s going on here?” It’s hard to form a connection. If you’re too long, it’s like, “Okay, I already sort of got the message I was after way earlier and ready to move on to something else.” I appreciate that. That’s one principle is the communication shot clock. What are some of the other practices or exercises that are really transformational here?
Well, I’m going to give you a couple more, but I want to give you a big picture here because if you study my career, I’m actually going at a different angle right now. I got my hardcore training with Xerox. You didn’t tie your shoe without a process of some sort at Xerox. But when you have a process, you have a way of measuring what you’re doing. When you can measure it, you can fix it. Boy, am I a repeatable, predictable process person.
Yet, the topic that we’re in, I’ve sort of had to look at the mirror and go it’s not all process-oriented. I sort of reframed it in my mind and I said it’s more about percentages, meaning. It’s sort of like when we eat, okay? “I’m a healthy person.” “Good. Well, what do you do?” “Well, I no longer put sugar in my coffee, just Stevia.” “That’s it?” “Yeah, that’s it.”
Well, okay. If you really do that all the time and you’re a big coffee drinker, I guess that’s about a one percent – two percent play. I don’t know if you’re healthier yet, but I guess it beats the alternative. But you look at healthy people’s example and they’re doing 15 – 20 things, exercise, this, that. Together, they create a formidable percentage.
What we’re talking about right now is really percentage plays. A communication shot clock gives us a couple of percentage plays. Truly believing in yourselves gives us percentage points. Taking ourselves mentally to a place where we’re successful gives up percentage points. I’m going to give you percentage points as opposed to process. Like I said, I’m almost arguing with me right now because I’m so bred into process, but we’re into a topic that is more percentage than process.
When you say percentage, you’re sort of using this as a label of a different means of thinking about approaches such that a process seems to apply if you do A, B, C, D, E, F, you’ll arrive at this end result, whereas percentage says, “Of the result you’re after, one thing can account for 5% of getting to the result and another thing can account for 10% of the thing.” Thusly, you’re kind of suggesting that an A, B, C, D, E process ain’t going to get you 100% of the way to where you want to be.
Exactly. Let me give you a percentage move as an example. Thank you because that’s exactly what I’m saying, by the way.
A percentage move for me, a lot of people, for instance, when they’re struggling to be believed and they’re, “Okay, I’m going to believe in myself, this and that, but this company, they’re looking at four other people. One of them, I don’t know, they may have a better relationship.” Well, they might. They might not.
I love really actually focusing the brain on playing the course and not the opponent. I’m going to get percentage pieces out of this because by that I mean if you watch actually a good golfer it’s shocking. They never look at the scoreboard. For three days, they don’t look at the scoreboard. They don’t care.
They’ll look in the final two holes, three holes because they may have to change their strategy, but how in the world do you play a competitive event without looking around at your opponent? The answer is well, what value does looking at the opponent really have? If you sink a 40-foot putt, good for you. Me focusing on that not only doesn’t change a thing, it removes the focus from my putt. It removes the focus from what I’m doing.
I think, as an example, we spend too much time worrying about things we can’t control. Honestly, if I thought worrying about it would move the dial one percentage point, I would be the most competitive worrier you ever met, but it actually takes away. It doesn’t add. Things like playing, the course, not the opponent, things like accepting your limp.
You started the conversation about Ben Feldman. Again, look him up folks. Like I said, appearance-wise, he wasn’t necessarily that natural salesperson look or sound, but in a sense he had his own limp. We all walk with a limp. Do you know how many people are held back from their own ability to convince others because of their limp?
I lost my hair, I wasn’t thrilled about it, but I had to accept it. It’s one of my limps. But what I found is, the moment it stopped being important to me, it was never really important to anybody else. It was me that was focused and obsessed. If we take that example and look at people that just have certain issues, maybe they don’t have that natural punch in their voice, it’s okay. Don’t be somebody you’re not. Just move it from a two to a four, that’s all I’m asking.
But if we accept our limp, if we play that course.
We don’t have to misuse our imagination. That lovely quote I actually have by my coffee bar, “Worry is the misuse of your imagination.” It’s a wonderful quote. If we start removing those pieces, each thing I’m talking about is getting us a percent here and three percent here and two percent there. I can give you five more, but I think you’re getting the drift of it.
I am, I think, getting the drift of it. I imagine you’ve given me the biggest percentages already upfront. Is that fair to say?
It depends on the mood that I’m in. It actually depends on the person because when you’re communicating, for instance, if you just pay attention to your transitions – so many people will micromanage the body of whatever they’re communicating about, particularly presenters. If they actually micromanage the transitions and stuck their landing in the end and spent 90% of their time on the opening, they would increase their credibility.
Again, because it’s percentage plays, each percentage move will fit a different customer a different way, but yeah, I’m not wasting your time. I’m giving you ones that I think really resonate and I see get a big bang for the buck for most of the people that I’m working with.
Oh great. Now, I just want to make sure I got the transitions point clear. You’re just saying if you’re doing a presentation or a speech, you want to give some extra attention to how you’re transitioning from one section to another instead of fumbling or being awkward during those moments?
Yeah, I did chuck that one in from left field, didn’t I? Absolutely. I train a lot of speakers. The irony is usually that the core of most presentations have oftentimes, particularly for corporate America, but oftentimes they’ve gone through a legal read. We can’t really change them all that much.
What makes a great communicator and an average communicator? It’s not the body of the message. It’s them coming out of the gate with an interesting story and idea, really addressing what’s in it for the client. Thinking out the beginning.
But to get right at what you just asked, the transitions, yeah, we probably have three or four major points. If I really think those out – I’m not a guy who believes in scripts – but if I actually write them out, maybe back them down to a Word outline, if I spend my time working on how I’m going from Point A to Point B and sewing that body together, as I said, coming out of the gate strong and sticking my landing, closing strongly, yeah, I’ll probably give one of the best presentations I’ve ever given. But it has very little to do with memorizing the body. That’s not where success lies.
That’s interesting because the big chunks one, they may be unmovable because of legal review, two, you probably remember them just because one thing leads to another. “This is the story about how I formed an accountability group in college.” Hey, that’s one chunk and I know it. We’ll go and make it happen. But what I don’t know so much is how I’m going to move from maybe that piece to how friendship is important.
By the way, that’s the way most people do it. They’ll go … “Friendship is important,” but when they transition with, “We all have these different pieces I just mentioned, but there’s one piece that we don’t pay attention to and that’s friendship. You see, friendship is important,” something along that line so that it’s effortless. When people walk away they go, “Boy, that was really good.”
Now look, we could spend our time talking about presentations. I’m going to involve that audience. The more they talk, the more they typically like and trust that presenter. I’m going to do other things, but it’s the transitions even when we communicate and are not giving presentations.
What if we’re just in front of somebody giving a proposal, what if we’re having a conversation and we want to get the three major points, it’s that smooth transition as opposed to that bumpity, bump, bump, bump. It sounds like Pete wanted to talk about this one. That’s the one I want to avoid. That doesn’t sound authentic. We circle back to our topic, which is why people don’t believe you because it’s not sounding authentic.
Oh certainly. I get a real kick out of when the transition is too, “So, can I have your money?” and it’s done poorly. It’s like, “Oh, you poor guy. Well, I’m already on board with your vision, so it’s fine, but-“ Okay, awesome. Let’s dig into a little bit of this now. Believing in yourself, that sounds classic and helpful and essential, but in practice, if your belief in self is moderate, like “Yeah, I can do a decent job most of the time I guess,” how does one elevate that?
Yeah. Did you ever see there was a commercial done years ago by FedEx? It’s actually on YouTube. You can find it online. It was called The Stolen Idea.
It deals with a boss who’s asking for ideas. One guys says, “Well, we could probably save money by putting all our shipping in one area and using FedEx.” You could hear a pin drop. Five seconds later the boss says, “I’ve got it. We can put everything in one area. We can use FedEx to do it all. That’ll save us on shipping.” Everybody goes, “That’s brilliant.”
The guy says, “You just said the same thing I said only you did this,” and he’s moving his hands horizontally. The boss says, “Nope, I did this,” and he moves his hand vertically because that was his gesture. I actually look at that commercial and I think that’s our jumping off point. Yes, I know what FedEx was after and shame on that boss for stealing that idea. But we need to teach people how to do this. This matters. That moving of the hands, that really matters.
To me, it’s a matter of kind of oftentimes finding your real voice. Not finding some voice you saw on television or who you heard on a podcast, but finding your real voice.
I don’t know last time you’ve been on a plane, but when you’re on a plane and the flight attendant starts speaking, you think “It’s funny, he or she was just here. We had a nice conversation. But now I’m hearing this really weird singsong ….” That’s not a real voice.
Why is it that a lot of times when we’re presenting or when we’re under pressure, we start going after this I guess the voice we thought we were supposed to have? Nobody wants that. People just want to believe. They want that to be authentic.
I always look at people and I think, if we were two people having a beer or having a cup of coffee, would you still talk and walk and behave this way or would you just drop all that and have a conversation? It’s really about finding that real voice. Honestly, you don’t have to look that far.
I’ll whisper this to presenters right before they go on stage when they’re a little bit tight. The last words I’ll typically tell somebody is, “If you were walking into your living room, what would you feel and how would you take that stage? That’s your living room. Now go enjoy yourself.” Forget all that other nonsense. In the living room, it’s pretty easy. Well, that’s all the audience wants. Whether it’s 50 people, 500 people or 1 person, they’re in your living room. Go have a conversation. We don’t need anything but authenticity.
It’s funny when you say the living room, my first thought is, “Well, I’m taking off these dress shoes and putting on my slippers.”
Well, I knew a presenter who was actually very successful. Now this was in the ‘90s. But he was a finance person and a finance specialist, which already you think, “Well, okay. Here’s comes that big old suit.” But he would take his shoes off when he went on that stage.
It was kind of his shtick. It was like George Burns smoking a cigar or something. This was his shtick. He was the guy who would take his shoes off. But it worked for him. It wasn’t shtick. I got a chance to speak to him a couple times and he just wanted to get to a place where he was as comfortable as he could be because then he could take that communication and make them as comfortable as they can be.
Last thing about that, but it’s really important to understand that an audience really they want to enjoy themselves. They want you to be successful. The best way to make an audience uncomfortable is for you to be uncomfortable.
It’s very true.
Then they feel badly for you and then they have a problem. Yeah.
Right, yeah. It hurts to watch somebody who’s bombing. They know they’re bombing. They’re nervous about bombing. It’s like, “Oh man.” It’s just fun to watch someone having fun. It’s like, “I’m not super into the content of what you’re saying, but it’s kind of enjoyable to watch you be into it. Yeah, take it away.”
Yeah, that’s the funny thing. If you think about some of the great – Johnny Carson or Jay Leno or Jimmy Fallon, what are some of the most enjoyable parts of the monologue or the conversation? When something bombs. They don’t put their head in their hand and they go, “Oh no. What happened here?” What they do is they just work with it.
The audience loves it because you didn’t make the audience feel sorry for you. You said to them in a sense, “I’m glad this happened. Let’s just work with it.” When you can take that with you and realize that what’s the worst happen, really just making them feel badly, so don’t. Away we go. It’s a lot easier up there than you think.
That’s true. I think I made some references to maybe college audiences and they’re just like, “We have no idea what this.” I was like, “Oh, I guess I’m getting old.” They all just sort of – you can just sort of laugh about that. It’s like, “Yup, okay.” Then away we go. As opposed to “Oh, that’s so stupid. I shouldn’t have made that allusion. Look up the dates next time, Pete. Oh! Bad, bad, bad.”
You know something, Pete? You hit on something else that I think is actually really important. When we’re not in front of people, and remember we’re talking about building credibility, believing in yourself, and then taking that to others.
Do you know – and my wife helped me with this one – do you know how innocently that inner voice starts chirping at you of “If you had half a brain, you would have remembered to bring this with you on the road.” “Hey stupid, don’t forget that.” Do you know that that’s a lot more dangerous than we give it credit? It doesn’t have to be in front of anyone. It can just be with ourselves. But you keep beating yourself up like that, you’re going to start believing it.
I really some years ago decided it’s not okay to make fun of me and to start moaning and whining and complaining about certain things. People forget things. I’m two and a half million miles in the air, believe me I’ve forgot things in my bag. But I’ve decided – and it really works and I think it works for others – to be a lot kinder yourself.
Stop chirping and beating yourself up about things. Just like we would talk about in front of an audience, be nice to yourself when there isn’t an audience in front of you too.
I’d love to hit that point real quick. If you are in that mental habit, how does one kick it?
Yeah. Well, the first thing we have to do is we have to go from unconsciously incompetent, which is “Hey, that’s okay,” or “I don’t even notice it,” to really starting to become aware of it. I don’t know if you’ve ever heard of the four levels of conscious behavior, but we start with unconscious incompetency, which is sometimes we don’t know that we don’t know. That’s a dangerous place to be.
Well, that’s why you and I are having this conversation because now maybe we’ll be on the lookout for it. As a matter of fact, just talking about it, I can assure you, there are many people who are listening right now will go, “I do that, but I don’t mean anything by it.” I’m telling you it’s a cancer. It grows. You don’t realize it. Let’s move you to conscious incompetency, which means I want you to be aware when you do it.
Then let’s move to conscious competency. I want you to be a little robotic and every time it accidently happens, I want you to stop and correct it. I know that’s a little bit stiff and weird. Until we become unconsciously competent, when we do it and we don’t have to think about it anymore. But it’s natural to be on that scale. The first thing is we have to remind ourselves it’s not okay. It is not okay.
Okay. All right. Well, so now-
I said it’s not okay. Sorry.
That is not okay. I am now acknowledging what you said and moving to something new.
Okay. I’ve got to climb in through the window there. I was out there yelling at people. Okay, I’m back in. Let’s keep going.
Let’s talk about that process by which you take yourself back to a place in which you were successful and thusly you method act your way into having a high performance moment. In practice, what are the steps to make that happen?
Well, the first thing – I’m going to leave the corporation out. There’s a Fortune 500 company I’ve been working with on this. One of the things we did was, again, think method acting. What we did was we began to on a piece of paper create a character.
One of my favorite actors is Daniel Day-Lewis. I’m not sure he’s ever going to be in another movie again, but when he was – I don’t know if you saw Lincoln, but if you did, it was probably a little slower than you imagined. I knew it was going to be slow because I actually read a bunch of books on Lincoln and Lincoln wasn’t the most exciting person in the world. But on set, you had to call Daniel Day-Lewis either Mr. President or Mr. Lincoln. He doesn’t mess around.
When we’re talking, to answer your question, we’re talking about getting into character, sometimes we have to sit and actually think about that character. I did some acting earlier in my life. I remember the first play I was in I was Bennie Van Buren in Damn Yankees. I was supposed to play a 70-year-old. But I had a great director, who, by the way, I spoke to when I wrote this book and we talked about this.
I remember him saying, “What kind of car does Bennie drive? What kind of cereal does he eat? Tell me about his house. What’s his office look like?” What he was doing – at first I thought he was a lunatic. I don’t know. It’s just a character I’m playing. But he didn’t want me to learn the script. At some point I knew that character so well, I walked around, I was 70 years old in my mind.
What I do sometimes is actually get people on a piece of paper to begin to actually write out their character a little bit, not necessarily what kind of cereal do they eat, but tell me about your character. Perform some tasks in front of me like your character. Forget everything else. We clear the mind. We work on establishing a character.
Actually, for some people it will be three characters. It’s a more dominant character, it’s a more social character, and it’s a more analytical character. If you’re wondering why in the world I do that, it’s because I work with a lot of salespeople. We have to kind of mirror the character we see in front of us.
Maybe I’m very social, what if I’m talking to somebody who’s really dominant? Well, I’ll just play the role of a dominant person. Not so fast. You better understand – before you put that white glove on, you better understand that character, so we actually write it out and think about it. I actually give them simple questions, like a questionnaire. They begin to role play and really get in touch with that character. Then they can tap into it when they need it.
Okay, interesting. You’re mapping out upfront. You’re doing some role play there. We also had Todd Herman talk about his book, The Alter-Ego Effect. He recommended sometime putting on a blazer or glasses or something that sort of en-clothed cognition, sort of stepping into that all the more. That’s handy.
Then I’m also wondering is there some visualization or some key memories that you’re bringing up and how do you go about doing that part?
Yeah, that’s where we go into that piece about, for me at least, and remember, I frequently work with people who are selling. Look, what I’m trying to have them visualize are moments of dominance, moments of success.
It’s weird. I’m 26 years in business as a professional speaker and yet, just like everyone else, sometimes you’re as good as your last presentation, you’re as good as your last quarter and all of the sudden a speaker’s bureau threw three clients at me. I spoke to them on the phone. None of them wanted to hire me. What do you think I sound like on the fourth call?
What I’m trying to do is get to moments where when we do get three in a row, when we do knock it out of the park and somebody says, “Okay, now I have another client I want you to talk to.” That’s what I mean in terms of that visualization of “Okay, maybe I’m not there right now, but I can think back on when I was. What was I feeling like?” I sort of take myself to that moment.
Pete, it kind of comes back to that percentage play. I’m not guaranteeing you that we’re going to be successful right now, but I guarantee you this, having that mindset and being able to pull that memory down is going to pick up some percentage plays and that’s what I’m looking for. Again, it’s mental, but it’s there.
No one’s had a life of complete loss. It’s everybody. We win some; we lose some. We win some; we lose some. It’s when we lose some, a bunch in a row that all of the sudden the shoulders start to droop and we kind of start picking up the phone going in my mind, “I know this guy isn’t going to buy from me, but here we go.” That’s not going to work for anybody.
That’s great. Thinking right back to the hot streak, the winning moments. That’s good. That’s good.
Well, it’s the winning moments. I keep pushing everything into sales, but in presentations a lot of times, particularly when somebody is new or somebody – I’ll also whisper in their ear, track record because maybe people who are listening right now have got 10 or 20 years under their belt, but maybe this quarter hasn’t been so good. Or maybe they haven’t given a presentation in a while or they’re being put in an awkward position.
What’s your track record like? Most people go, “Usually I’m pretty good at that.” Okay, again I’m looking for a couple percentage moves. To get the experience, how about we focus on what usually happens. Pete, when you have a podcast, what usually happens? When I’m a guest on a podcast, it usually goes real well. Not all the time, but usually goes real well.
I’m better off kind of focusing on my track record. That’s to me another kind of really great visualization. It’s simple and it’s easy.
Excellent. Thank you. Well, tell me, is there anything that you recommend that we really don’t do? We’ve talked about the negative self-talk, not doing that. We talked about not stepping into who you think that you are supposed to be, but rather just using your own natural authentic voice. Any other top don’ts you want to make sure we highlight?
That’s a great question. I’m actually thinking of how I would address that. Yeah, I would say that I think we should stop being so fearful of dysfunction. We brought it up a little bit when maybe things don’t go well in front of an audience, but I think, again, whether it’s while we’re alone or whether we’re in groups, I like to tell people that I’m coaching or working with, let’s embrace that dysfunction a little bit.
Kind of going back to that limp a little bit, let’s remember that there’s only two types of people that don’t walk with a limp, that don’t have some level of dysfunction. They’re either not telling you the truth or they would have no ability to have compassion for another individual. Most of them really aren’t necessarily people I’d want to have as a client. I can tell you that much.
It’s funny, I wrote a piece one time where I said “knowledge is overrated.” Believe me, all the analytical practically followed me to the parking lot going, “Now what did you mean by that?” They were not happy.
I didn’t say it’s not important. I just said it’s overrated meaning as simple as it sounds, but I’m a guy that takes and has people record themselves, if we just work harder at asking questions and listening, if we just go a little easier on ourselves, if we embrace that dysfunction rather than run from it and understand, “That’s okay. That’s my limp. I’m not going to have trouble with it.” All those little pieces get us plays.
Just last real quick point, but I’m in a neighborhood where we’ve got a lot of dog walkers, including our Lilly, who we take for a walk. There’s not one but two dogs that are missing legs, a leg each. I got to tell you, it touches my heart because I look at them and I think I wish we were more like that because I promise, Pete, that dog doesn’t give a hootenanny that he’s missing a leg.
And neither does any other dog that’s walking by it. They’re sniffing. They’re curious where they might have been on that tree over there, but they don’t care. It’s not an issue. I wish we could learn lessons like that and remember that whatever it is and everybody’s got one, if it’s not a worry for you, it’s not a worry for the other dogs in the park. I promise you.
Awesome. Well, anything else you want to make sure to mention before we shift gears and hear about some of your favorite things?
Yeah, I would say as strange as this conversation may have sound because we’re talking about some kind of wacky – once I said role and character, what is all that. I want to remind people they probably do this more often than they think.
An example I’ll give you is if you have children that you parent, don’t tell me that you don’t actually drop into role, meaning particularly for the younger ones, when they brought back a homework assignment that wasn’t quite right or something, we kind of look at our spouse and go, “Okay, I’ll go in there.” We play the role of disappointed. I’m actually not as disappointed. I love you so much. But for tonight Rob Jolles will be playing the role of disappointed.
I think we do that more naturally than we think. Where we explore this finding a character and getting into role, please remember there are times where we all play roles; you’re just not thinking about it as much. I want you to think about it. Then I want you to stop thinking about it again. But that would be the last thought I give you on that one.
All right. Thank you. Now could you share with us a favorite quote, something you find inspiring?
I gave you one, which is “Worry is the misuse of your imagination.” Okay, now I’ll give you another one “We weren’t put on this earth to make a living. We were put on this earth to make a difference.”
It’s always meant something to me, particularly for a guy who – when I tell you I’ve got two and a half million miles in the air, Pete, part of you should smile and part of you should look concerned, meaning “Well, does this guy have a family? Does this guy have children? Does he get to a birthday party?”
I’m really blessed. I have a wonderful wife, Ronnie, who helped me realize that I was a little out of balance earlier in my career, and I’d never heard of that quote, nor did I take it to heart. But I really believe in balance. I’m no longer a 1K and that’s just fine by me. I think that we focus on that, things will go a lot better for us.
How about a favorite study or experiment or bit of research?
I’ll tell you a bit or research or a study. It kind of falls into an author I happen to like. He’s with my publisher, Berrett-Koehler. Name is Noah Blumenthal. But he studied – he wrote a book called Be the Hero, but he studied how easy it is for us to have negative opinions of others, particularly of others that have done us wrong, maybe a previous boss or a neighbor or somebody just that – the person at CVS, I don’t know, where it really rubbed us the wrong way.
He really got me thinking, and it’s really helped, that we really don’t know many of the people that we form opinions about. We really don’t know them that well. We create a scenario that’s usually very negative. Now that scenario might be right, but we actually don’t know whether it’s right or not.
How about a favorite tool, something that helps you be awesome at your job?
I keep a journal. I’ve kept it for 22 years.
But what I found was by methodically being observant, which is a journal will do, because I will only write twice in my journal, on the way out and on the way back of a trip. I am almost OCDish. When we get to 10,000 feet, I’m putting a date and a location on that journal entry.
But it’s a tool that actually, particularly for the way back, that allows me to kind of figure out to stop, pause and in process say, “Okay, what do you think was working there and what do you think wasn’t working there?”
Like I said, I’ve been doing this 31 years, putting a mic around my neck and talking to audiences and yet, I want you to know Pete that I still want to get better and that means I still want to figure out “Okay, what did we do well? What can we improve?”
Very importantly, I always balance that feedback because I’ve said it too many times already, but this isn’t a beat-up session. A lot of times we undervalue taking time to figure out what we’re doing well, so we don’t do it by accident. But that’s been a tool. I probably have well over 3,000 pages of journal entries.
Cool. Thank you. Is there a particular nugget you share that really seems to connect and resonate with folks and they quote it back to you at times?
If you want to get at the most fundamental way to communicate, we have to ask questions and listen. That doesn’t just mean what you and I are doing right now or if we’re going one-on-one with a client or a prospect, even in front of an audience.
If you want to know what the amateurs and even the pros do wrong, if I put down the 20 biggest mistakes they make, 19 of them don’t equal number one, which is too much information and that means constricting the ability for that audience to communicate with you, even if it’s rhetorical questions.
But those little touches, those little “Turn to your left, look at that partner, and say three things here. Try two things there,” that ability to build a conversation as opposed to a lecture are very valuable. I would like to think that I’ve said it enough, that who knows, maybe people would associate that with me. I’d be proud if they did.
If folks want to learn more or get in touch, where would you point them?
That’s an easy one. I would just take them to J-O-L-L-E-S.com that’s where you’ll find – I write something called a BLArticle. I am in my tenth year of BLArticles. That’s a blog-article. I just try – and by legal definition it’s 500 to 700 words. I just try and practice what we’re preaching, you and I, which is let’s not over communicate, but let’s provide value and drip out information. But anyway that’s where all sorts of information on me is.
Do you have a final challenge or call to action for folks seeking to be awesome at their jobs?
Okay. Pete, you’re really coming at me. I like this. My final challenge would be I don’t care who you are, I don’t care what you think is out there holding you back; get out of your own way. Pete, you and I have hit it over and over and over again. Just be kinder to yourself, accept whatever limp you have, and I can assure you, you’ve got one. That’s okay. Don’t let it be a big issue. It won’t be with anybody else.
Go in there, again, the easiest way to find that authentic you is just get up there, wherever it is, tell the truth. If the truth is a struggle right now, double back and figure out – I’ve got to rebrand, I’ve got to do something, but I’ve got to find a way of telling the truth. If you solve that, then you’ve got it made. The rest is easy.
Beautiful. Rob, this has been a blast. Thanks so much for bringing it. I wish you lots of luck with your speaking and all you’re up to.
Oh, I appreciate it. Thank you so much. I’ve really enjoyed the conversation.