
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:
When It Really Counts, Be Positive
- When we express our ideas, we can usually choose between a positive construction and a negative one.
We can advocate for one path, or against another. Even though these choices have nearly identical literal
meanings, positive constructions are safer in tense situations.
Mastering Q and A
- The question-and-answer exchanges that occur during or after presentations rarely add much to the overall
effort. But how you deal with questions can be a decisive factor in how your audience evaluates you
and your message.
When You Aren't Supposed to Say: III
- Most of us have information that's "company confidential," or even more sensitive than that.
Sometimes people who want to know what we know try to suspend our ability to think critically. Here
are some of their techniques.
Exasperation Generators: Irrelevant Detail
- When people relate stories at work, what seems important to one person can feel irrelevant to someone
else. Being subjected to one irrelevant detail after another can be as exasperating as being told repeatedly
to get to the point. How can we find a balance?
Straw Man Variants
- The Straw Man fallacy is a famous rhetorical fallacy. Using it distorts debate and can lead groups to
reach faulty conclusions. It's readily recognized, but it has some variants that are more difficult
to spot. When unnoticed, trouble looms.
See also Effective Communication at Work and Workplace Politics for more related articles.
Forthcoming issues of Point Lookout
Coming June 14: Pseudo-Collaborations
- Most workplace collaborations produce results of value. But some collaborations — pseudo-collaborations — are inherently incapable of producing value, due to performance management systems, or lack of authority, or lack of access to information. Available here and by RSS on June 14.
And on June 21: Asking Burning Questions
- When we suddenly realize that an important question needs answering, directly asking that question in a meeting might not be an effective way to focus the attention of the group. There are risks. Fortunately, there are also ways to manage those risks. Available here and by RSS on June 21.
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