
A studio publicity photo of Alfred Hitchcock (1899-1980), English film director and producer known as "The Master of Suspense." Although many films tell stories, achieving the levels of suspense Hitchcock achieved requires rare skill. And so it is at work. When the stories we tell at work reserve the ultimate message for the end, and when we lack — as most of us do — the mastery of suspense that great directors possess, the result for the listeners is frustration. Suspense is not your friend.
Photo courtesy Wikipedia.
I'll get right to the point. When communicating with others at work, start at the end. Don't keep people in suspense about the import of what you're saying. Start with the import, fill in a few salient details, and ask if they want more background. If they don't, you're done. If they do, give some detail, and then ask again. Keep iterating until done.
Do you want more detail? No? Then we're done. Yes? Keep reading. There's a lot more.
Storytelling has become fashionable in workplace communications. Trainers are offering classes in storytelling at work — to motivate, to persuade, or to drive the point home. Storytelling does have its place, but that place is much smaller than many realize.
In the modern workplace, most of us have too much work and not enough time. We want to hear what others have to say, but with a minimum of fluff. We care most about what. Why or how, or who said what are usually far less important, and if we want to know, we ask. We don't want to sit through a long tale of why or how to get to the what.
Want more detail? No? Stop here. Yes? Keep going.
In books and screenplays, suspense is delicious. It keeps us glued to the screen, or turning the pages of that book. We thrill as we try to sort out the relevant from the irrelevant, and predict how the plot will unfold.
But in workplace communications, any suspense is big trouble. Your communication is just one of hundreds your listeners receive each day. They have neither the interest nor the energy to devote to wading through suspenseful tales to learn how they finally end. They want the end, right now, at the beginning.
More detail? If not, stop. If yes, read on.
Two things In books and screenplays, suspense
is delicious. It keeps us glued
to the screen, or turning the
pages of that book.happen when you withhold a story's end. First, listeners try to guess the end as you go along, just as they would in reading mystery novels or watching movies. And if the story is explaining some bad news, they suspect that bad news is coming. They imagine bad things, and what they imagine is beyond the storyteller's control — often worse than the truth.
Second, because listeners don't know where the story is going, they usually have difficulty distinguishing the more important story elements from the less important. They accumulate questions. Confusion sets in. Confusion leads to misunderstanding; misunderstanding leads to trouble. It's all so avoidable if the communication starts with the end.
One last detail.
A strong aversion to starting at the end might arise from a desire for the rapt attention of listeners. That's fine, if you're employed as an entertainer. If you aren't employed as an entertainer, soon you might not be employed at all. Top
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Related articles
More articles on Effective Communication at Work:
Decision Making and the Straw Man
- In project work, we often make decisions with incomplete information. Sometimes we narrow the options
to a few, examine their strengths and risks, and make a choice. In our deliberations, some advocates
use a technique called the Straw Man fallacy. It threatens the soundness of the decision, and its use
is very common.
Irrational Self-Interest
- When we try to influence others, especially large groups or entire companies, we sometimes create packages
of incentives and disincentives that are intended to affect behavior. These strategies usually assume
that people make choices on rational grounds. Is this assumption valid?
Preventing the Hurt of Hurtful Dismissiveness
- When we use the hurtfully dismissive remarks of others to make ourselves feel bad, there are techniques
for recovering relatively quickly. But we can also learn to respond to these remarks altogether differently.
When we do that, recovery is unnecessary.
High Falutin' Goofy Talk: III
- Workplace speech and writing sometimes strays into the land of pretentious but overused business phrases,
which I like to call "high falutin' goofy talk." We use these phrases with perhaps less thought
than they deserve, because they can be trite or can evoke indecorous images. Here's Part III of a collection
of phrases and images to avoid.
Mastering Messaging for Pandemics: I
- When a pandemic rages, face-to-face meetings are largely curtailed. Clarity in text messaging and email
communication becomes more important than usual. Citing dates and times unambiguously requires a more
rigorous approach than many are accustomed to.
See also Effective Communication at Work and Workplace Politics for more related articles.
Forthcoming issues of Point Lookout
Coming February 8: Kerfuffles That Seem Like Something More
- Much of what we regard as political conflict is a series of squabbles commonly called kerfuffles. They captivate us while they're underway, but after a month or two they're forgotten. Why do they happen? Why do they persist? Available here and by RSS on February 8.
And on February 15: Four Razors for Organizational Behavior
- Deviant organizational behavior can harm the people and the organization. In choosing responses, we consider what drives the perpetrators. Considering Malice, Incompetence, Ignorance, and Greed, we can devise four guidelines for making these choices. Available here and by RSS on February 15.
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