Having a great idea and getting someone else to buy it are two completely different things. In this older essay that he identified as one of his favorites, Scott Berkun offers some useful advice on pitches.
He notes that buried in any pitch is the notion that something has to change. Berkun:
Ideas demand change. By definition, the application of an idea means that something different will take place in the universe. Even if your idea is undeniably and wonderfully brilliant, it will force someone, somewhere to change how they do something. And since many people do not like change, and fear change, the qualities of your idea that you find so appealing may be precisely what make your idea so difficult for people to accept.... So when your great idea comes into contact with a person who does not want change, you and your idea are at a disadvantage. Before you can begin the pitch, you have to make sure you’re talking to someone that’s interested in change, or has a clear need that your idea can satisfy.
Pitching is one of those skills useful to anybody, whether that person is summarizing the conceptual strength of a grant proposal, thinking anew about an art project or seeking funding from a roomful of venture capitalists. Berkun's post walks any would-be pitcher through the questions she might want to answer before trying to make the sale.
Hasan Davis - We Cannot Reach Those We Refuse to Touch
The only people that we cannot reach are those we refuse to touch. - Hasan Davis
Striding on to the stage and offering a personal and very powerful story from his life, former commission of the Kentucky Department of Juvenile Justice, Hasan Davis, captivated IdeaFestival 2013 attendees. Sitting the crowd, CC Chapman wrote later that he tracked Davis down and to thank him for his work with at risk youth. Chapman:
Before I end, I must shine a light on Hasan Davis. I have not seen someone walk on stage and own it like he did in a long time.
He had me laughing, crying and standing on my feet to applaud him all in the span of fifteen minutes. Thankfully, I was able to track him down in the hallway and thank him for being part of the event and for sharing his story with me. The man is doing great work and hasn’t had an easy road to get where he is today.
Davis' video is part of the IF Uncut series, select IdeaFestival presentations offered in full. Watch it here. You won't be disappointed!
Davis is the founder of Empowerment Solutions, which offers training and resources to correctional facilities, community organizations, schools and non-profit groups nationwide in areas relating to youth, race, cultural dynamics and arts education. Hasan speaks, trains and advocates for justice, education, and diversity initiatives.
No man understands a deep book until he has seen and lived at least part of its contents. ― Ezra Pound
What distinguishes a genius from the merely creative? It's not intelligence, but a cognitive nimbleness with ideas, a capacity to think wide as well as deep according to the neuroscientist and medical doctor Nancy Andreasen.
That capacity for genius, however, may come at a cost. Following decades of work with the mentally ill, she has in more recent years studied the brains of extraordinarily creative people and finds between the two some commonalities.
One possible contributory factor is a personality style shared by many of my creative subjects. These subjects are adventuresome and exploratory. They take risks. Particularly in science, the best work tends to occur in new frontiers. (As a popular saying among scientists goes: “When you work at the cutting edge, you are likely to bleed.”) They have to confront doubt and rejection. And yet they have to persist in spite of that, because they believe strongly in the value of what they do. This can lead to psychic pain, which may manifest itself as depression or anxiety, or lead people to attempt to reduce their discomfort by turning to pain relievers such as alcohol.
I’ve been struck by how many of these people refer to their most creative ideas as 'obvious.' Since these ideas are almost always the opposite of obvious to other people, creative luminaries can face doubt and resistance when advocating for them. As one artist told me, 'The funny thing about [one’s own] talent is that you are blind to it. You just can’t see what it is when you have it… When you have talent and see things in a particular way, you are amazed that other people can’t see it.' Persisting in the face of doubt or rejection, for artists or for scientists, can be a lonely path—one that may also partially explain why some of these people experience mental illness....
Some people see things others cannot, and they are right, and we call them creative geniuses. Some people see things others cannot, and they are wrong, and we call them mentally ill. And some people, like John Nash, are both.
According to BBC Future, the secret to pickpocket's success is that the mind, spectacularly tuned to notice that single difference, can just as easily be misled by that difference to drop its guard.
According to neuroscientists our brains come pretty much hard-wired to be tricked, thanks to the vagaries of our attention and perception systems. In fact, the key requirement for a successful pickpocket isn’t having nifty fingers, it’s having a working knowledge of the loopholes in our brains. Some are so good at it that researchers are working with them to get an insight into the way our minds work.
The most important of these loopholes is the fact that our brains are not set up to multi-task. Most of the time that is a good thing – it allows us to filter out all but the most important features of the world around us. But neuroscientist Susana Martinez-Conde, the author of the book Sleights of Mind, says that a good trickster can use it against you. She should know: as a researcher at the Laboratory of Visual Neuroscience in Arizona, she has studied how Las Vegas stage pickpocket Apollo Robbins performs his tricks.
One day, over lunch at a Vietnamese restaurant in a Las Vegas strip mall, Robbins demonstrated his method on me. 'When I shake someone’s hand, I apply the lightest pressure on their wrist with my index and middle fingers and lead them across my body to my left,' he said, showing me. 'The cross-body lead is actually a move from salsa dancing. I’m finding out what kind of a partner they’re going to be, and I know that if they follow my lead I can do whatever I want with them.'
Robbins needs to get close to his victims without setting off alarm bells. 'If I come at you head-on, like this,' he said, stepping forward, 'I’m going to run into that bubble of your personal space very quickly, and that’s going to make you uncomfortable.' He took a step back. 'So, what I do is I give you a point of focus, say a coin. Then I break eye contact by looking down, and I pivot around the point of focus, stepping forward in an arc, or a semicircle, till I’m in your space.' He demonstrated, winding up shoulder to shoulder with me, looking up at me sideways, his head cocked, all innocence. 'See how I was able to close the gap?' he said. 'I flew in under your radar and I have access to all your pockets.'
Learning how magic tricks are done is often disappointing, because it’s not really magic. With Robbins, though, effect and method are one and the same, and seeing how he accomplishes his thefts is just as impressive as witnessing, or failing to witness, the acts themselves. Each movement dovetails perfectly with the next, with no extraneous steps or flourishes. When he places his arm somewhere, it’s not an accident; he’s blocking his victim’s view or locking him in place or temporarily stashing a wallet by pinning it against its owner’s body.
I loved the comparison of a pickpocket's work to a dance. The comic's ability to slip past our planked up defenses to lift hidden assumptions has, I think, a similar thieving grace. Live every art, its power is revelatory.
You've heard the classic advice to list the pros and cons when faced with a tough call, but Shane Parrish at Farnam Street highlights a video from Ruth Chang, who wants to remind you that a hard decision is hard because the right choice cannot be found on a ledger. An accountant's scoring of the problem doesn't work because the problem isn't one of ignorance, but of agency.
Hard decisions bring us face to face with what we value. Ruth Chang:
A world full of only easy choices would enslave us to reasons.... So the lesson of hard choices reflect on what you can put your agency behind, on what you can be for (emphasis supplied).