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From the notebook

Pitch Anything: An Innovative Method for Presenting, Persuading, and Winning the Deal

Oren Klaff

Book Cover

Main Ideas

  • Pitching is difficult because our “crocodile brains” filter out information, ignore details, summarize things too quickly, and react emotionally with fear. Successful pitching requires understanding and engaging this primitive part of the brain.
  • STRONG is an acronym for the key elements of an effective pitch:
    • Setting the frame
    • Telling the story
    • Revealing the intrigue
    • Offering the prize
    • Getting the decision
  • You must “set the frame” and control the context of the conversation. Frames collide, and the strongest frame wins.

Types of Frames

  • Power frame: Held by “big shots” and “egomaniacs.” Collide frames with defiance and humor.
  • Time frame: Constrain time to avoid being trapped in long meetings.
  • Intrigue frame: Tell a personal, intriguing story with risk and consequences. Hijacks attention.
  • Prize frame: Position yourself as the prize to be won. Make them chase you.

Gaining Frame Control

  • Take frame with small acts of defiance and denial. Tease then deny access.
  • Plow through the awkwardness when frames first collide.
  • Fun and humor attracts attention and builds stronger frames. Enjoy your pitch.
  • Build “local star power” with wealth, power, popularity.

Explain the Big Idea

  • Explain idea in context of market forces, social trends, technology changes.
  • Describe your unfair advantage, your “secret sauce.”
  • Use classic positioning statement format to communicate key benefits.

Stack Frames for Hot Cognition

  • Stack multiple frames to trigger an intuitive, emotional reaction.
  • Hot cognitions short circuit analysis and objections.

Handle Objections

  • Push/pull pattern introduces constructive tension. Don’t be afraid to challenge.
  • Create desire with rewards, novelty. Create tension by taking away rewards.

Getting the Decision

  • Avoid asking validating questions that reveal neediness.
  • Have an intention to leave at any time to eliminate neediness.
  • Follow the STRONG sequence: Frame control, explain idea and advantage, offer deal, stack frames, get decision.

Let me know if you need any clarification or have additional questions!

Citations:
[1]
https://ppl-ai-file-upload.s3.amazonaws.com/web/direct-files/7742445/cbbbf830-2ca7-4082-b1f1-92f0c161df0e/paste.txt

Knowledge-19 1.jpg (image unavailable)

There is a fundamental disconnect between the way we pitch anything and the way it is received by our audience. As a result, at the crucial moment, when it is most important to be convincing, nine out of ten times we are not. Our most important messages have a surprisingly low chance of getting through. You need to understand why this disconnect occurs in order to overcome it, succeed, and profit. This book tells you how. (Location 50)

setting the frame, telling the story, revealing the intrigue, offering the prize, nailing the hookpoint, and getting the decision. (Location 90)

a great pitch is not about procedure. It’s about getting and keeping attention. And that means you have to own the room with frame control, drive emotions with intrigue pings, and get to a hookpoint fairly quickly. (Details on those last two in a second.) (Location 97)

hookpoint, the place in the presentation where your listeners become emotionally engaged. Instead of you giving them information, they are asking you for more on their own. At the hookpoint, they go beyond interested to being involved and then committed. (Location 103)

But no pitch or message is going to get to the logic center of the other person’s brain without passing through the survival filters of the crocodile brain system first. And because of the way we evolved, those filters make pitching anything extremely difficult. So instead of communicating with people, my best ideas were bouncing off their croc brains and crashing back into my face in the form of objections, disruptive behaviors, and lack of interest. (Location 174)

If you got a chance to look at the croc brain’s filtering instructions, it would look something like this: If it’s not dangerous, ignore it. If it’s not new and exciting, ignore it. If it is new, summarize it as quickly as possible—and forget about the details. And finally there is this specific instruction: 4. Do not send anything up to the neocortex for problem solving unless you have a situation that is really unexpected and out of the ordinary. (Location 198)

unless your message is presented in such a way that the crocodile brain views it to be new and exciting—it is going to be ignored. (Location 209)

Boring: Ignore it. Dangerous: Fight/run. Complicated: Radically summarize (invariably causing a lot to be lost in the process) and pass it in severely truncated form. (Location 228)

two questions we always ask ourselves after we have made a presentation or pitch: Did I get through? Was my message well received? (Location 232)

First, you don’t want your message to trigger fear alarms. And second, you want to make sure it gets recognized as something positive, unexpected, and out of the ordinary—a pleasant novelty. (Location 235)

The croc brain is picky and a cognitive miser whose primary interest is survival. It doesn’t like to do a lot of work and is high maintenance when it is forced to perform. It requires concrete evidence—presented simply in black and white—to make a decision. Minor points of differentiation don’t interest it. And this is the brain to which you are pitching. (Location 240)

The harsh but true reality is that the croc brain—the source of your target’s first reaction to your pitch—is Going to ignore you if possible. Only focused on the big picture (and needs high-contrast and well-differentiated options to choose between). Emotional, in the sense it will respond emotionally to what it sees and hears, but most of the time that emotional response is fear. Focused on the here and now with a short attention span that craves novelty. In need of concrete facts—it looks for verified evidence and doesn’t like abstract concepts. (Location 248)

acronym STRONG: Setting the frame Telling the story Revealing the intrigue Offering the prize Getting a decision (Location 270)

Imagine for a moment that there is some kind of powerful energy field that surrounds all of us, silently transmitting from the depths of our subconscious. This invisible defense shield is genetically designed to protect our conscious minds from sudden intrusion by ideas and perspectives that are not our own. When that energy field is overwhelmed, however, it collapses. Our mental defenses fail, and we become subject to another person’s ideas, desires, and commands. That person can impose his will. (Location 300)

When frames come together, the first thing they do is collide. And this isn’t a friendly competition—it’s a death match. Frames don’t merge. They don’t blend. And they don’t intermingle. They collide, and the stronger frame absorbs the weaker. Only one frame will dominate after the exchange, and the other frames will be subordinate to the winner. This is what happens below the surface of every business meeting you attend, every sales call you make, and every person-to-person business communication you have. (Location 319)

Everyone uses frames whether they realize it or not. Every social encounter brings different frames together. Frames do not coexist in the same time and place for long. They crash into each other, and one or the other gains control. Only one frame survives. The others break and are absorbed. Stronger frames always absorb weaker frames. The winning frame governs the social interaction. It is said to have frame control. (Location 355)

If you have to explain your authority, power, position, leverage, and advantage, you do not hold the stronger frame. (Location 386)

Whenever you are entering a business situation, the first question you must ask is, “What kind of frame am I up against?” (Location 401)

Going into most business situations, there are three major types of opposing frames that you will encounter: Power frame Time frame Analyst frame (Location 413)

You have three major response frame types that you can use to meet these oncoming frames, win the initial collision, and control the agenda: 1. Power-busting frame 2. Time constraining frame 3. Intrigue frame There is a fourth frame you can deploy. It’s useful against all three of the opposing frames and many others you will encounter: 4. Prize frame (Location 415)

Power frame types (a.k.a. big shots, egomaniacs—whatever you want to call them) tend to be oblivious to what others think. (Location 425)

When you approach an opposing power frame, your first and most important objective is to avoid falling into the other person’s frame by reacting to it. And make absolutely certain that you do nothing that strengthens the other person’s frame before your frames collide. Observing power rituals in business situations—such as acting deferential, engaging in meaningless small talk, or letting yourself be told what to do—reinforces the alpha status of your target and confirms your subordinate position. Do not do this! (Location 431)

To instigate a power frame collision, use a mildly shocking but not unfriendly act to cause it. Use defiance and light humor. This captures attention and elevates your status by creating something called “local star power.” (Location 478)

Taking the Frame (Location 480)

Perpetrate a small denial, or Act out some type of defiance. (Location 482)

If you deal in creative work and you brought visuals, let the target sneak a peek and then, when you see him curiously looking, turn it over, take it away, and deliver a soft reprimand that says, not until I say you’re ready. (Location 485)

quick tease followed by a strong denial, and it is massively disruptive to the target’s croc brain. What you are doing is not offensive, and it’s not mean. It’s playful, and it tells the target subconsciously, “I’m the one in charge here, not you, my friend.” (Location 487)

The key to taking the frame is to perpetrate the denial and make it clear: Not yet. This is my meeting, we’re following my agenda, and everything that happens will be on my timeline. Another way to control the frame is to respond to a comment with a small but forceful act of defiance. TARGET: “Thanks for coming over. I only have 15 minutes this afternoon.” YOU: “That’s okay, I only have 12.” You smile. But you are serious, too. (Location 489)

As you’ll find out, these kinds of frame games are good for relationships. They are a way of prizing (which you will read about next) and can be entertaining for both parties. (Location 496)

When you are defiant and funny at the same time, he is pleasantly challenged by you and instinctively knows that he is in the presence of a pro. (Location 506)

entire purpose of this game—to capture and keep attention until your pitch is complete. (Location 510)

dominating the frame is not how you win the game but rather a means to win the game. No one likes to be dominated, so once you own the frame, use this power in ways that are fun and mutually exciting. (Location 512)

you offer to reschedule and acknowledge that these things happen (we have all missed meetings before), but for the next meeting, they must come to you. (Location 551)

“Can you tell me more about yourself? I’m picky about who I work with.” (Location 559)

When you rotate the circle of social power 180 degrees, it changes everything. (Location 563)

no situation has real meaning until you frame it. Frames are mental structures that shape the way we see the world and put relationships in context. The frame you put around a situation completely and totally controls its meaning. (Location 602)

moment of first contact. It’s that moment when two opposing frames are about to collide with full force. You can feel it—usually as a pang of anxiety in the pit of your stomach. It is at this moment when you need to strengthen your resolve and commit completely to your frame. No matter what happens, no matter how much social pressure and discomfort you suffer, you must stay composed and stick to your frame. This is called plowing. (Location 636)

When you are reacting to the other person, that person owns the frame. When the other person is reacting to what you do and say, you own the frame. (Location 692)

Running long or beyond the point of attention shows weakness, neediness, and desperation. (Location 701)

“No. I don’t work like that. There’s no sense in rescheduling unless we like each other and trust each other. I need to know, are you good to work with, can you keep appointments, and stick to a schedule?” (Location 716)

deep dive into technical details? That’s the analyst frame coming at you. (Location 725)

The moment your audience does a “deep drill-down” into the minute details, you are losing control. (Location 727)

audience members will ask for details. They believe that they need them. So what should you do if someone demands details? You respond with summary data that you have prepared for this specific purpose. (Location 736)

“The revenue is $80 million, expenses are $62 million, the net is $18 million. These and other facts you can verify later, but right now, what we need to focus on is this: Are we a good fit? Should we be doing business together? This is what I came here to work on.” (Location 740)

Keep the target focused on the business relationship at all times. Analysis comes later. (Location 746)

Of the four frame types at your disposal, intrigue is the most powerful because it hijacks higher cognitive function to arouse the more primitive systems of the target’s brain. (Location 779)

Narrative and analytical information does not coexist. (Location 780)

When your target drills down into technical material, you break that frame by telling a brief but relevant story that involves you. (Location 782)

You need to be at the center of the story, which immediately redirects attention back to you. People will pause, look up, and listen because you are sharing something personal. (Location 786)

create intrigue in the telling of the story by telling only part of the story. (Location 788)

Your intrigue story needs the following elements: It must be brief, and the subject must be relevant to your pitch. You need to be at the center of the story. There should be risk, danger, and uncertainty. There should be time pressure—a clock is ticking somewhere, and there are ominous consequences if action is not taken quickly. There should be tension—you are trying to do something but are being blocked by some force. There should be serious consequences—failure will not be pretty. (Location 793)

Perhaps, in a broader sense, this is why we tell each other intriguing narratives—to participate in powerful emotional experiences involving high-stakes situations that we hope we will never have to face ourselves. A short, personal narrative like this is important to your audience because it reveals something about you, your character, and your life. As you think about your intrigue story, don’t be afraid to make it very personal. As long as it’s relevant to your business and has the six elements described earlier, it will serve you well. (Location 841)

Stop the Analyst Frame Cold (Location 845)

It focuses on hard facts only. It says that aesthetic or creative features have no value. It requires that everything must be supported by a number or statistic. It holds that ideas and human relationships have no value. (Location 848)

myth that you can succeed by badgering your clients into buying something. The truth is, this rarely works, and when it does, you are sure to encounter buyer’s remorse. (Location 876)

Whenever we chase someone or value someone else more than ourselves, we assume the subordinate position and put ourselves at a disadvantage. (Location 879)

If you are trying to win your target’s respect, attention, and money, he becomes the prize. When your target is trying to win your attention and respect, you are the prize. (This, of course, is what you want.) (Location 883)

We chase that which moves away from us. We want what we cannot have. We only place value on things that are difficult to obtain. (Location 902)

Make the buyer qualify himself back to you. Do this by asking such questions as, “Why do I want to do business with you?” Protect your status. Don’t let the buyer change the agenda, the meeting time, or who will attend. Withdraw if the buyer wants to force this kind of change. (Location 913)

“So, are we in the ballpark?” or “What do you think so far?” Don’t do it. This shows you as being too eager to get a deal done. Anyway, trial closes are crude and ineffective. (Location 917)

It’s important to get used to making statements instead of asking questions. Doing it this way shows that you aren’t constantly seeking validation. (Location 921)

embrace the idea that money is a commodity, that it is available in a thousand places, and that it’s all the same no matter where it comes from. Knowing this, it is more likely you will embrace ABL—“Always Be Leaving.” (Location 932)

many places to source money, but there is only one you. Your deal is unique among all others. If you think of yourself and your deal in this way and build frames around this idea, you will be pleased at how it will change the social dynamics in your meetings with investors. (Location 936)

“I’m glad I could find the time to meet with you today. And I do have another meeting right after this. Let’s get started.” (Location 939)

small acts of defiance and denial, combined with humor, are extremely powerful in maintaining your frame control and in reinforcing your high status. Humor is important here—don’t leave it out, or I guarantee that you will encounter unpredictable responses. (Location 945)

Status plays an important role in frame control. (Location 948)

You don’t earn status by being polite, by obeying the established power rituals of business, or by engaging in friendly small talk before a meeting starts. What these behaviors might earn you is a reputation for being “nice.” They do nothing for your social position—except reduce it. (Location 950)

He called out my mistake and then quickly polled the table for the information needed to make the correct decision. He chose the correct wine, making sure it was a better wine at a lower price than I had chosen, and then gave me credit for making the proper choice. This was an early masterstroke that secured his control of the social power he had taken from me two minutes earlier. (Location 1028)

His next move was to strengthen his position by co-opting one of my guests into his frame, making it impossible for me to attack him without simultaneously attacking her. (Location 1031)

(called building rapport, which contributes absolutely nothing to your social rank), (Location 1071)

The first beta trap you encounter is the lobby. (Location 1095)

Your social value is fluid and changes with the environment you are in—or the environment you create. If you wish to elevate your social value in any given situation, you can do so by redirecting people into a domain where you are in charge. (Location 1193)

creating local star power. (Location 1199)

The person makes a hasty judgment using three measurable criteria: your wealth, your power, and your popularity. (Location 1203)

a well-chosen, well-timed friendly but disruptive act will dethrone the king in a single stroke. (Location 1264)

To keep my frame strong, after the apple thing, I just ignored anything that didn’t advance the pitch. This is an important lesson. In general, just ignore conversation threads that don’t support your deal, and magnify ones that do. (Location 1266)

If you think you’ll start a meeting from the beta position, always be on time for the appointment. When you are late, you are giving away power. It’s difficult to establish strong frames when you can’t play the game of business by its most basic rules. Momentum is key. Create high status immediately. Do not hesitate. Choose a frame, and force a collision at the most opportune moment—and do it early. The longer you wait, the more you reinforce the status of your target. Avoid social rituals that reinforce the status of others. Idle social banter diminishes your status. Have fun. Be popular. Enjoy your work. There is nothing as attractive as someone who is enjoying what he or she does. It attracts the group to you and allows you to build stronger frames and hold them longer. (Location 1281)

you’re not going to sit down with a billionaire and have him believe that you’re somehow a triple billionaire. Global status is fixed. It’s only situational status that you can grab and control. (Location 1293)

Politely ignore power rituals and avoid beta traps. Be unaffected by your customer’s global status (meaning the customer’s status inside and outside the business environment). Look for opportunities to perpetrate small denials and defiances that strengthen your frame and elevate your status. As soon as you take power, quickly move the discussion into an area where you are the domain expert, where your knowledge and information are unassailable by your audience. Apply a prize frame by positioning yourself as the reward for making the decision to do business with you. Confirm your alpha status by making your customer, who now temporarily occupies a beta position, make a statement that qualifies your higher status. (Location 1299)

Ask another qualifying question: “Have you ever done a deal this large before?” This is the best way I’ve found to get an audience to qualify my dominant frame. (Location 1315)

The most important scientific discovery of the twentieth century can be pitched in five minutes. Yet nearly every pitch that I’ve seen—and I see hundreds every year—takes at least 45 minutes and usually an hour, a ridiculous amount of time! No company in America should let’s its executives pitch for an hour. (Location 1323)

when attention runs dry—after about 20 minutes—the brain starts forgetting things it has already learned. Talk about going in reverse. (Location 1330)

To put them at ease, I have a simple solution: It’s called the time-constraint pattern. This is what you say, exactly, to let the target know he isn’t trapped in the typical hour-long-meeting: “Guys, let’s get started. I’ve only got about 20 minutes to give you the big idea, which will leave us some time to talk it over before I have to get out of here.” (Location 1334)

Introduce yourself and the big idea: 5 minutes. Explain the budget and secret sauce: 10 minutes. Offer the deal: 2 minutes. Stack frames for a hot cognition: 3 minutes. (Location 1342)

This is why you need to introduce a “Why now?” frame. It’s vitally important that the target knows that your idea is new, emerging from current market opportunities and that it’s not some relic left over from bygone days. (Location 1369)

There are unspoken questions in the target’s mind as to why your idea is relevant and important and why it should be considered as important now. (Location 1373)

When you describe your idea, project, or product, first give it context by framing it against these three market forces or trending patterns that you believe are important. Economic forces. Briefly describe what has changed financially in the market for your big idea. For example, are customers wealthier, is credit more available, is financial optimism higher? Increases or decreases in interest rates, inflation, and the value of the dollar are considered as prime examples of forces that have significant impact on business opportunities. Social forces. Highlight what emerging changes in people’s behavior patterns exist for your big idea. An obvious example in the market for automobiles, concern over the environment—a social force—is driving demand for electric vehicles. Technology forces. Technological change can flatten existing business models and even entire industries because demand shifts from one product to another. In electronics, for example, change is rapid and constant, but in furniture manufacturing, change is more gradual. (Location 1379)

The backstory of the idea is always interesting to the target. (Location 1387)

Explain the most important changes in our business. Forecast the trends. Identify important developments—both in your market and beyond. Talk about the impact of these developments on costs and customer demand. Explain how these trends have briefly opened a market window. (Location 1391)

A huge part of the brain is devoted to detecting movement. This is what makes it so hard to find things you have lost. Your keys, cellphone, or pencil do not move. You can look right at something and not see it because it is still. This is why animals, when they are frightened, tend to freeze. Your brain grows accustomed to things that are not changing, and they effectively vanish. (Location 1415)

you realize that you cannot just show audience members two possible states and hope that the difference captures their attention. You need to show them the movement from one to the other. (Location 1426)

One of the most important things I’ve learned that has made every one of my deals possible is that targets simply do not like old deals. They want to see movement, and they don’t like deals that have been sitting around, ignored by other investors or partners. (Location 1438)

“For [target customers] Who are dissatstifed with [the current offerings in the market]. My idea/product is a [new idea or product category] That provides [key problem/solution features]. Unlike [the competing product]. My idea/product is [describe key features].” (Location 1448)

Neuroscientist Evian Gordon is convinced that minimizing danger and threats around us is “the fundamental organizing principle of the brain.” As I’ve said before, the croc brain doesn’t think about threats too deeply. (Location 1480)

simplicity doesn’t really matter. (Location 1522)

Simplicity can make you seem naive or unsophisticated. You can underwhelm the target with too little information just as easily as you can overwhelm him with too much information. What you really want to do is tune the message to the mind of the target. (Location 1523)

ideas you come up with using your problem-solving brain—the neocortex—must be intentionally retuned for the croc brain that will receive them. (Location 1529)

When you have a strong theory of mind, you recognize how other people have different perspectives—and that they know different things about the situation, and that their desires are not always the same as your desires. (Location 1533)

one of the things that can go wrong is that your pitch is boring. (Location 1545)

when a person is feeling both desire and tension, that person is paying serious attention to what’s in front of him or her. (Location 1565)

The critical lesson of brain scans is that attention is always a delicate and unstable balancing act between desire and tension. It comes down to the presence of two neurotransmitters: dopamine and norepinephrine. Dopamine is the neurotransmitter of desire. Norepinephrine is the neurotransmitter of tension. Together they add up to attention. (Location 1566)

To give a dopamine kick and create desire, offer a reward. To give a norepinephrine kick and create tension, take something away. (Location 1573)

“How do you get more dopamine flowing in your brain? NOVELTY. (Location 1583)

You create novelty by violating the target’s expectations in a pleasing way. (Location 1585)

People enjoy some intermediate level of intellectual complexity. (Location 1601)

It’s only when the target feels that he knows enough to fully understand your big idea that the curiosity ends—and he becomes satiated. At that point of satiation, whether you recognize it or not, the pitch is over. (Location 1605)

When a signal from the pitch tells the target there is something new to be discovered, dopamine is released in the brain. (Location 1609)

Tension is the introduction of (Location 1618)

some real consequences to the social encounter. (Location 1618)

Tension indicates consequences and therefore importance. (Location 1620)

But in narrative- and frame-based pitching, you can’t be afraid of tension. In fact, you have to create it. (Location 1635)

Low-Key, Low-Intensity Push/Pull Pattern. PUSH: “There’s a real possibility that we might not be right for each other.” [Pause. Allow the push to sink in. It must be authentic.] PULL: “But then again, if this did work out, our forces could combine to become something great.” (Location 1639)

Medium-Intensity Push/Pull Pattern. PUSH: “There’s so much more to a deal than just the idea. I mean, there’s a venture-capital group in San Francisco that doesn’t even care what the idea is—they don’t even look at it when a deal comes in. The only thing they care about is who the people are behind the deal. That makes sense. I’ve learned that ideas are common, a dime a dozen. What really counts is having someone in charge who has passion and experience and integrity. So if you and I don’t have that view in common, it would never work between us.” [Pause.] PULL: “But that’s crazy to think. Obviously you value people over smart ideas. I’ve met corporate robots before that only care about numbers—and you are definitely not a robot.” High-Intensity Push/Pull Pattern. PUSH: “Based on the couple of reactions I’m getting from you—it seems like this isn’t a good fit. I think that you should only do deals where there is trust and deals you strongly believe in. So let’s just wrap this up for now and agree to get together on the next one.” [Pause. Wait for a response. Start packing up your stuff. Be willing to leave if the target doesn’t stop you.] (Location 1644)

There’s a two-way connection between pushing and pulling that, when it operates simultaneously, introduces enough tension to create alertness. (Location 1656)

To hold your target’s attention, there must be tension—a form of low-level conflict—guiding the interaction. If there’s no conflict, the target may be politely “listening,” but there’s no real connection. The target is thinking, “He seems like a nice guy, and his idea seems good, but I have other things to worry about right now.” (Location 1690)

Conflict is the basis of interesting human connections. (Location 1698)

When there’s no tension between you and the target, there’s no interest in what happens. The target also has no emotional involvement in what’s going on. (Location 1702)

Every experienced buyer and investor knows that you will be doing these two things: (Location 1729)

Saying that your budgets are “conservative” Preparing absurdly aggressive and optimistic plans (Location 1730)

Unrealistic budgets and miscalculating costs are the greatest risks to a growing company, especially startups. How do you get around the skepticism that surely will fall on your plans? Focus on demonstrating your skill at budgeting, which is a difficult and highly regarded executive talent. Spend almost no time on your skills at projecting revenue—a task any simpleton can perform. (Location 1733)

How easy it is for new competitors to jump in the game? How easy it is for customers to switch out your product with another? (Location 1740)

staying power against competition. (Location 1743)

“secret sauce”—the unfair advantage you have over others. (Location 1744)

Phase 4: Frame Stacking and Hot Cognitions (Location 1782)

Deciding that you like something before you fully understand it—that’s a hot cognition. (Location 1787)

“Oren, once we get through this deal, and we know you can close deals, I’m going to introduce you to our senior trader, John Kincaid,” the seller told me. “He’s a wildman, just like you. It’s going to be a total love connection, and he’ll get you into the big deals that don’t come to my desk.” This was hot cognition 1—intrigue. I wanted to meet the senior trader and get introduced to these bigger deals. The bank trader continued: “You know the market is on fire right now, and I have the French, English, and South Africans begging me for this package, but if you work hard and don’t play any funny retrade games, you can earn your (Location 1851)

way in.” It was true, the market was hot, and those were all players. This was hot cognition 2—prizing. Although I was the buyer, he was asking me to prove myself. I wanted to impress him so that I could earn my way into the deal. He continued: “I’d love to give you until next week, but this market is not letting me, and you have to make up your mind by Friday.” He said, “I’m totally okay with a ‘No’; there’s no pressure. But Friday is D-day.” This was hot cognition 3—time frame. He gave me just enough time that I felt I had free will. (Location 1856)

He continued: “And I don’t need to tell you, we’ve done $150 billion in trades this year without a single SEC [Securities and Exchange Commission] sanction; right now we’re very particular about our reputation and counterparties. We do things right over here, so no games, no missing wire numbers, just clean paper. We give you a fair price, and that’s the deal. Can you play by the rules?” This was hot cognition 4—moral authority. (Location 1862)

four-frame stack. (Location 1868)

four-frame hot cognition stack. (Location 1876)

Hot cognition 1: the intrigue frame. Hot cognition 2: the prize frame. Hot cognition 3: the time frame. Hot cognition 4: the moral authority frame. (Location 1886)

A narrative that feels correct in time will convey a strong sense of truth and accuracy. (Location 1933)

Short and strong narratives that introduce characters who are overcoming real-world obstacles can ignite hot cognitions—which, in turn, push the target out of paradigmatic and analytical thinking mode. (Location 1936)

When we listen to your narrative, it’s not what happens to you that makes you interesting, but it’s what you do about the situations you are in. (Location 1951)

prize frame relies a great deal on how strong your conviction is. (Location 2017)

I am the prize. You are trying to impress me. You are trying to win my approval. (Location 2020)

doctor frame may be the most powerful frame in the world. (Location 2071)

“Selling” tempts you to do the three things I dislike the most: (1) supplicate; (2) make rational appeals to the neocortex, and (3) ask invasive questions. (Location 2115)

best way to define hot versus cold cognition is to compare it to chocolate and spinach. You know the cold, hard facts. Spinach is good for you, it has lots of nutrients, and you should be eating more of it. But when offered a piece of chocolate instead, you go for it. (Location 2123)

Showing signs of neediness is about the worst thing you can do to your pitch. It’s incredibly bad for frame control. It erodes status. It freezes your hot cognitions. It topples your frame stacks. (Location 2169)

Neediness triggers fear and uncertainty, causing the target’s croc brain to take over—but not in a good way. (Location 2218)

Neediness is a signal of threat. (Location 2220)

awkward two-minute period that every presenter must face after finishing his or her pitch. This is a dangerous beta trap and the easiest time to screw things up. Here is where small mistakes are amplified into deal killers. Slight missteps can erase all the good work you’ve done in the last 20 minutes. And it’s unnerving because there’s always an unspoken directive: You need something from the target. Money. (Location 2241)

“Do you still think it’s a good deal?” “So, what do think?” “We can sign a deal right away if you want us to.” (Location 2247)

This is the purest form of validation seeking and the most lethal form of neediness. (Location 2248)

One dramatic way to eradicate neediness involves going into every social interaction with a strong time frame that you are prepared to use at any moment. This frame communicates, loudly and clearly, that you are needed somewhere else. (Location 2280)

Want nothing. Focus only on things you do well. Announce your intention to leave the social encounter. (Location 2283)

Eliminate your desires. It’s not necessary to want things. Sometimes you have to let them come to you. Be excellent in the presence of others. Show people one thing that you are very good at. Withdraw. At a crucial moment, when people are expecting you to come after them, pull away. (Location 2309)

avoided the deep-rapport trap that many pitchmen step into. I would be focused, instead, on a unique theme and storyline. A compelling human drama. (Location 2524)

three rules of eradicating neediness: Eliminate your desires. It’s not necessary to want things. Sometimes you have to let them come to you. Be excellent in the presence of others. Show people one thing that you are very good at. Withdraw. At a crucial moment, when people are expecting you to come after them, pull away. (Location 2568)

Phase 1: Frame control, grab status, introduce the big idea. Phase 2: Explain the problem/solution and our special advantage. Phase 3: Offer the deal. (Location 2611)

Phase 4: Stack frames for hot cognition. (Location 2613)

The second insight is procedural: You always have to be (Location 2909)

on the watch for opposing power frames and then win the ensuing frame collisions with better, stronger frames. And then you must further your frame control by perpetrating small denials and showing defiance. (Location 2909)

fundamental to successful frame control, to seizing alpha status, and to social dynamics in general: humor and having fun. (Location 2911)

Frame control Power-busting frame Frame collisions Prizing Beta traps Seizing status Local star power Push/pull Alpha Hot cognition Crocodile brain Neocortex (Location 3005)