Gold Medal WinnerTops Sales World's Best Sales and Marketing Book
“Fast, fun and immensely practical.”
JOE SULLIVAN, Founder, Flextronics
“Move over Neil Strauss and game theory. Pitch Anything reveals the next big thing in social dynamics: game for business.”
JOSH WHITFORD, Founder, Echelon Media
“What do supermodels and venture capitalists have in common?
They hear hundreds of pitches a year. Pitch Anything makes sure you get the nod (or wink) you deserve.”
RALPH CRAM, Investor
“Pitch Anything offers a new method that will differentiate you from the rest of the pack.”
JASON JONES, Senior Vice President, Jones Lang LaSalle
“If you want to pitch a product, raise money, or close a deal, read Pitch Anything and put its principles to work.”
STEVEN WALDMAN, Principal and Founder, Spectrum Capital
“Pitch Anything opened my eyes to what I had been missing in my presentations and business interactions.”
LOUIE UCCIFERRI, President, Regent Capital Group
“I use Oren’s unique strategies to sell deals, raise money, and handle tough situations.”
TAYLOR GARRETT, Vice President, White Cap
“A counter-intuitive method that works.”
JAY GOYAL, CEO, SumOpti
About the Book:
When it comes to delivering a pitch, Oren Klaff has unparalleled credentials. Over the past 13 years, he has used his one-of-a- kind method to raise more than $400 millionand now, for the fi rst time, he describes his formula to help you deliver a winning pitch in any business situation.
Whether you’re selling ideas to investors, pitching a client for new business, or even negotiating for a higher salary, Pitch Anything will transform the way you position your ideas.
According to Klaff, creating and presenting a great pitch isn’t an artit’s a simple science. Applying the latest findings in the field of neuroeconomics, while sharing eye-opening stories of his method in action, Klaff describes how the brain makes decisions and responds to pitches. With this information, you’ll remain in complete control of every stage of the pitch process.
Pitch Anything introduces the exclusive STRONG method of pitching, which can be put to use immediately:
Setting the Frame
Telling the Story
Revealing the Intrigue
Offering the Prize
Nailing the Hookpoint
Getting a Decision
One truly great pitch can improve your career, make you a lot of moneyand even change your life. Success is dependent on the method you use, not how hard you try. “Better method, more money,” Klaff says. “Much better method, much more money.” Klaff is the best in the business because his method is much better than anyone else’s. And now it’s yours.
Apply the tactics and strategies outlined in
Pitch Anything to engage and persuade your audienceand you’ll have more funding and support than you ever thought possible.
|Publisher:||McGraw-Hill Professional Publishing|
|Product dimensions:||6.10(w) x 9.20(h) x 1.00(d)|
About the Author
Oren Klaff is Director of Capital Markets for the investment bank Intersection Capital, where he raises tens of millions of dollars from investors and institutions. Intersection Capital has grown to $250 million of assets under management by using Klaff’s pioneering approaches to raising capital and incorporating neuroscience into its capital markets programs. He is a specialist in financial modeling and the codeveloper of Velocity, a capital markets product that has raised more than $100 million of private equity and venture capital.
Read an Excerpt
PITCH ANYTHINGAn Innovative Method for PRESENTING, PERSUADING, AND WINNING THE DEAL
By OREN KLAFF
McGraw-HillCopyright © 2011 Oren Klaff
All right reserved.
Chapter OneThe Method
Here's the "big idea" in 76 words: 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.
I Am Not a Natural
I pitch deals for a living. My job is to raise capital for businesses looking to expand rapidly or go public. I am good at it. When companies need money, I get it for them. I have raised millions for deals involving Marriott, Hershey's, Citigroup, and many other household names—and I continue to do so at a rate of about $2 million per week. From the outside, the reasons for my success seem simple: I offer wealthy investors profitable deals that involve Wall Street banks. But others do that, too. Yet I raise a lot more money than they do. They compete in the same market. Do the same types of deals. Pitch the same kinds of facts and figures. But the numbers show I am consistently one of the best. The difference isn't luck. It is not a special gift. And I have no background in sales. What I do have is a good method.
As it turns out, pitching is one of those business skills that depends heavily on the method you use and not how hard you try. Better method, more money. Much better method, much more money. It's no different for you. The better you are at advocating your position, the more successful you will be. Maybe you want to sell an idea to investors, convince a client to choose you over the other guy, or even explain to your boss why you should be paid more. I can help you get better at it using the five methods in this book.
Pitching a Master of the Universe
Over the years, I've pitched to—and closed deals with—some of the iconic businesspeople of our time, including founding members of Yahoo!, Google, and Qualcomm. But the story of what I can offer you cannot really be told without my explaining the day I went to pitch one of the guys Tom Wolfe would describe as a "master of the universe."
"Jonathan" (never Johnny or even John) is an investment banker who controls vast sums of capital. He gets between 600 and 800 pitches a year; that's three to four every business day. He often makes multimillion-dollar investment decisions based on no more information than a few e-mails on his BlackBerry.
As a dealmaker, this guy—and I have absolutely no intention of giving you his name; he sues everyone and anyone at a moment's notice—is the real deal.
There are three things you must know about Jonathan. First, he's a math phenom who can calculate yield curves in his head. He doesn't need spreadsheets. He can instantly analyze what you are pitching him. Second, he's seen more than 10,000 deals and can detect any kind of flaw or BS no matter how well hidden. Third, he's tough talking and, at the same time, witty and charismatic. The upshot: When he's pitching you, his chances are good. When you're pitching him, yours aren't. Yet, if you want to be taken seriously in venture capital, you need to have done a deal with this guy. And so, some years ago, when I was working to raise money for a software company, I arranged to pitch Jonathan and his investment team. Given their reputation, I knew if I got them on board, it would be a lot easier to raise money from other investors who were still undecided. They'd say, "Hey, if Jonathan signed off on this, then I'm in too." But Jonathan knew the power of his endorsement—and he wasn't going to give me an easy win.
As my pitch got underway, he made things difficult. Maybe it was for sport. Maybe he was having a bad day. But it was clear he wanted to take—and keep—control of the whole presentation. I didn't realize this at the start, however, so, I began, as I always do, by framing (frames create context and relevance; as we will see, the person who owns the frame owns the conversation). I explained exactly what I would—and would not—be talking about, and Jonathan immediately started giving me a type of resistance called deframing, which is exactly like it sounds.
For example, when I said, "We expect revenues to be $10 million next year," he cut me off and changed the frame with, "Who cares about your made-up revenue projections. Tell me what your expenses are going to be."
A minute later, I was explaining, "Our secret sauce is such-and-such advanced technology."
And he said, "No, that's not a secret sauce. That's just ketchup."
I knew not to react to these comments. I pressed on.
"We have a Fortune 50 company as our largest customer."
He interrupted with, "Look, I'm done here in nine minutes, so can you get to the point?"
He was really making it difficult. You can imagine how hard it was to use all the right techniques: setting the frame, telling the story, revealing the intrigue, offering the prize, nailing the hookpoint, and getting the decision.
Collectively, I call these the STRONG method (you will learn about these soon).
Some 12 minutes after I began, what I had hoped was going to be my best pitch ever instead showed all the signs of being my one of my worst.
Put yourself in my situation. After just 12 minutes of your presentation, you've been told that your secret sauce is ketchup. Told that your projections are made-up numbers. And that you have nine minutes left to actually make a point.
I was faced with the presenter's problem: You can have incredible knowledge about your subject. You can make your most important points clearly, even with passion, and you can be very well organized. You can do all those things as well as they can be done—and still not be convincing. That's because 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.)
I reminded myself of these steps in the face of Jonathan's interruptions. Then I swallowed hard and hoped my nervousness wasn't showing. I went back to my pitch, concentrating on my three objectives. I was determined. When he deframed, I reframed. When he looked disinterested, I delivered an intrigue ping (this is a short but provocative piece of information that arouses curiosity): "By the way, an NFL quarterback is also an investor." And finally, I got him to the 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.
At the end of the 21 minutes, my pitch was complete. I knew Jonathan was in. He leaned forward and whispered, "Forget the deal for a moment. What in the hell was that? Nobody pitches like that but me."
I tried to show no emotion as I told him, "That, in general terms, is called neurofinance, an idea that combines neuroscience—how the brain works—with economics. I have taken it a step further and have broken it down into five parts" (the method we talked about above).
Now, even though Jonathan has MENSA-level intelligence, he doesn't have much interest in concepts like neuroscience. He—maybe like you—had always believed that the ability to pitch was a natural talent. But given what he had just seen me do in 21 minutes—it changed his mind. It was clear my pitching was a learned skill and not naked, natural talent like his.
"You can do that all the time?" he asked.
"Yes," I said. "It's based on research about how the brain receives new ideas. And I'm raising a lot of money with it."
Jonathan hears a lot of big claims. When you listen to three or four pitches a day, your "BS detector" becomes finely tuned. So he asked, "How many hours do you have working on this neuro-whatever-it's-called?"
He was sure my answer was going to be 20 hours. Maybe 50.
I shocked him when I said, "Over 10,000 hours."
He looked at me with a wry half-smile. Giving up all pretense of being disinterested, he said, "I need you on my team. Come do this for my deals, and you'll make a lot of money."
I had never been more flattered. Not only had Jonathan, a guy who had been on magazine covers, offered me a partnership, he had given me an even higher compliment—validation that my method worked in high-stakes situations.
I turned him down. He had a reputation for being difficult to work for, and no amount of money is worth that. But his reaction persuaded me to try my approach as part of an investment company. I joined Geyser Holdings in Beverly Hills, the most profitable venture firm you have never heard of. Even as the economy cooled down (and then frosted over), I helped take Geyser from $100 million to $400 million in about four years. How I did that can serve as your blueprint for success. As you will see, it's possible to use the PITCH method in any presentation where you need to be truly convincing. What worked for me will work for you—no matter what you do for a living.
The Need for a New Method
If ever there is a time to learn to pitch effectively, it is now. Funding is tight. Competition is more aggressive. On a good day, your customers are distracted by text messages, e-mails, and phone calls, and on a bad day, they are impossible to reach. If you've been in business for more than 10 minutes, you have figured this much out: The better you are at keeping someone's attention, the more likely that person will be to go for your idea.
But what kind of advice is this really? Telling someone, "Keep the audience's attention" is like telling someone learning to play tennis to "hit the ball with topspin when it comes." They know that! What they don't know is how to do it. But it's worth figuring out. If you have to sell anything as part of your job—a product, a service, an idea, and we all do at some point—you know how the right pitch can make a project go forward and the wrong pitch can kill it. You also understand how difficult it can be to pitch to a skeptical audience that is paying attention to you one minute and distracted by a phone call the next. But we all have to go through this because we all have to pitch if we need something. And though most of us spend less than 1 percent of our time doing it, pitching may be the most important thing we do. When we have to raise money, or sell a complicated idea, or get a promotion, we have to do it. And yet we do it incredibly badly.
One reason is that we are our own worst coach. We know way too much about our own subject to be able to understand how another person will experience it in our pitch, so we tend to overwhelm that person. (We will deal with this in Chapter 4.) But the biggest reason we fail is not our fault. As you will see in the pages that follow, we don't pitch well because there is an evolutionary flaw in our brain—a wiring kluge in our hardware—that we must understand and learn to deal with if we are ever going to pitch successfully.
Dealing with the Crocodile Brain
A brief history of how the brain developed will show
1. How the kluge got there.
2. Why pitching is so much more complicated than we first thought.
3. Why, as with any high-order skill, such as physics, mathematics, or medicine, pitching must be learned.
The three basic parts of the brain are shown in Figure 1.1.
First, the history. Recent breakthroughs in neuroscience show that our brain developed in three separate stages. First came the old brain, or "crocodile brain"—we'll call it the "croc brain" for short. It's responsible for the initial filtering of all incoming messages, it generates most survival fight-or-flight responses, and it produces strong, basic emotions, too. But when it comes to decision making, the croc brain's reasoning power is ... well, primitive. It simply doesn't have a lot of capacity, and most of what it does have is devoted primarily to the things it takes to keep us alive. When I am referring to the croc brain, I am referring to this level.
The midbrain, which came next, determines the meaning of things and social situations. And finally, the neocortex evolved with a problem-solving ability and is able to think about complex issues and produce answers using reason.
The Disconnect Between Message and Receiver
I learned from molecular biologist Craig Smucker that when we pitch something—an idea, product, deal, or whatever—the highest level of our brain, the neocortex, is doing the work. It's the neocortex that is forming ideas, putting them into language, and presenting them. This is fairly intuitive.
Three Brains Working Independently and Together
You can actually sense how the three parts of your brain work separately from each other.
When you are walking to your car and are surprised by someone shouting, you will first act reflexively with some fear. (This is the old crocodile/survival brain at work.)
Then, you will try to make meaning from the situation by identifying the person doing the yelling and placing him or her in a social context. This is your midbrain trying to determine if it is a friendly coworker, an angry parking attendant, or something worse.
Finally, you will process the situation in the neocortex, the problem-solving brain (which figures it out: "It's okay. It's just some guy yelling out to his buddy across the street.")
Our thought process exactly matches our evolution: First, survival. Then, social relationships. Finally, problem solving.
Pitching anything means explaining abstract concepts—so it didn't surprise me that ideas would be formed by the most modern, problem-solving part of the brain.
But this is exactly where my thinking—and probably yours—went off track. I assumed that if my idea-making abilities were located in the neocortex (as they are), then that's where the people listening to my pitch were processing what I had to say.
Messages that are composed and sent by your young neocortex are received and processed by the other person's old crocodile brain.
You may be where I was about 10 years ago. Back then, I subscribed to "the brain is like a computer" metaphor. With a computer, if I send you an Excel spreadsheet file, you open it and read it in Excel. This is how I thought the brain worked. If I created a message in my smart neocortex and "sent" it over to you (by telling you about it), I figured that you'd be opening that message in your neocortex.
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.
Ultimately, if they are successful, your pitches do work their way up to their neocortex eventually. And certainly by the time the other person is ready to say "Yes, we have a deal," he is dealing with the information at the highest logic center of his brain. But that is not where the other person initially hears what you have to say.
Let me explain further. Because we are a soft, weak, slow species compared with just about everything else out there, we survived for millions of years by viewing everything in the universe as potentially dangerous. And because very few situations we faced back then were safe, we learned to err on the side of extreme caution. And that continues (unconsciously) to this day every time we encounter something new. It happens whenever we encounter a pitch from someone who wants us to do something.
We are hardwired to be bad at pitching. It is caused by the way our brains have evolved.
The fact that you are pitching your idea from the neocortex but it is being received by the other person's croc brain is a serious problem.
It's the kluge we talked about earlier. The gap between the lower and upper brain is not measured in the two inches that separate them physically. It must be measured in millions of years (the five million years or so that it took for the neocortex to evolve, to be more precise). Why? Because while you are talking about "profit potential," "project synergy," "return on investment," and "why we should move forward now"—concepts your upper brain is comfortable with—the brain of the person on the other side of the desk isn't reacting to any of those highly evolved, relatively complicated ideas. It is reacting exactly as it should. It is trying to determine whether the information coming in is a threat to the person's immediate survival and, if it isn't, whether it can be ignored without consequence.
Excerpted from PITCH ANYTHING by OREN KLAFF Copyright © 2011 by Oren Klaff. Excerpted by permission of McGraw-Hill. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.
Table of Contents
Section 1: The Problem;
Chapter 1. Why This Book Can Help You;
Chapter 2. This is Your Brain, This is Your Brain During a Pitch;
Chapter 3. The Strong Method;
Section II: The Solution;
Chapter 4. Setting and Owning the Frame;
Chapter 5. Telling the Story;
Chapter 6. Revealing Intrigue and Building Novelty;
Chapter 7. Offering the Prize;
Chapter 8. Nailing the Hookpoint;
Chapter 9. Getting a Decision;
Section III: The Benefit;
Chapter 10. What the Perfect Pitch Looks Like;
Chapter 11. You are now one of the Best
Most Helpful Customer Reviews
Have you ever made a pitch or presentation that offered all the facts perfectly and countered every objection, but still fell flat after all your efforts? Investment banker Oren Klaff suggests that how you pitch is more important than how many pitches you throw. You can win your audience by knowing how the human brain reacts to new information and by learning how to control each interaction by using “frames.” With Klaff’s pitching method, you engage each listener’s emotional “croc brain” and keep your audience members in a state of “hot cognition” until you win their business. getAbstract recommends Klaff’s perceptive methods and illustrative stories to everyone who pitches and presents. You might have logical reasons to read this, but your emotional response is what will keep you interested.
Alyshia knocked on the door that read: George Yewman, Principal. <p> A strong voice behind the door said, "Come in." <p> She turned the doornob and stepped inside. Mr. Yewman looked up at her. His hair was a short salt-and-pepper and his hazel eyed watched her from behind squarish specticals. "Hello, Ms. Brooke. Mr. Denison told me you were coming." <p> "Yes, Sir." She squeaked and sat in the plush chair before his dark oak-wood desk. <p> Principal Yewman sighed and folded his hands together, leaning forward. "Now, please explain to me what happened." <p> "Didn't--?" <p> "Mr. Denison told me what he saw, but I like to get the story from the student." He peered at her. "You will be truthful, yes?" <p> "Yes, Sir." She repeated. She told him how some kids had been talking bad about her and she had let her anger get the best of her. She kept her eyes glued to the floor. <p> "I see." Mr. Yewman said. "Mr. Denison told me you used some vulgar language. Care to tell me what?" <p> "I-I said who<_>re. . ." Alyshia mumbled. <p> Mr. Yewman was silent for a moment. "I see." He repeated. "Well, your parents will be notified and you will have to hve a punishment." <p> She cringed. <p> "It will be minor, as this is your first offense." The principal added, his intense eyes watching her closely. <p> Alyshia nodded, her eyes flickering to his face. <p> "Community service." He said finally. "You will serve 12 hours worth. There is a group you will meet after school in the gym. You may return to class now." <p> "Thank you, sir." She murmured and rose from the chair. She walked to the door. <p> "Oh, and Miss Brooke," Mr. Yewman called softly. <p> Alyshia turned. <p> "Catch." Mr. Yewman picked something up from his desk and tossed it to her. <p> She caught it awkwardly and hurried out the door. <p> Closing the door softly behind her, she looked down at what he had tossed her. A red-and-white swirled peppermint rested in the curve of her hand. <p> She smiled slightly and popped it into her mouth, walking back to class with her hands in her pockets. <p> [ Who's your favorite character so far? <p> ~ NRM 壯 ]
I like Haley... she seemed like a supportive friend.
Yeah, I know, right, Splittah? At my school, if you aren't one of those crazy otakus, you're the weird one. So I fit right in. xD Erm . . . . Yeah, I like Haley, too. She's supportive. Aylisha or whatevah spelling decides to torture me with is a bit too easily-angered.
Amazing! Haley is one of my favorites.