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長(zhǎng)年生活在商業(yè)世界里，不聽(tīng)上一兩次讓人昏昏欲睡的演講發(fā)言是不可能的，但在金融界，這種情況尤其可怕，“他們有時(shí)直接念Excel報(bào)表。”戴安·德瑞斯塔說(shuō)，她聽(tīng)起來(lái)有點(diǎn)嚇到了。德瑞斯塔是一位資深傳播媒體教練，寫了一本名為《制勝演講》（Knockout Presentations）的書(shū)。念一長(zhǎng)串干巴巴的數(shù)字“實(shí)在太浪費(fèi)了”，她補(bǔ)充道，“因?yàn)閿?shù)字背后都是故事——有些故事還十分精彩?！比绻氵x擇接受任務(wù)，那你的任務(wù)就是找出故事，然后按照我們新聞專業(yè)的說(shuō)法，開(kāi)門見(jiàn)山，用最?yuàn)Z人眼球的內(nèi)容開(kāi)頭。

打算在工作小組或大會(huì)上發(fā)言？德瑞斯塔提出了六個(gè)讓你一鳴驚人的技巧：

1. 談關(guān)乎聽(tīng)眾利益的事

也就是說(shuō)回答這個(gè)問(wèn)題，“他們?yōu)槭裁匆P(guān)注？”假設(shè)你正在進(jìn)行營(yíng)銷演講。別一上來(lái)就滔滔不絕地講你的產(chǎn)品服務(wù)多好多好這種沒(méi)用的內(nèi)容，坦率告訴聽(tīng)眾你的產(chǎn)品服務(wù)能為他們做些什么?！伴_(kāi)場(chǎng)就告訴聽(tīng)眾他們最大的好處是什么，是能幫他們提高收益、主導(dǎo)市場(chǎng)，還是其他什么他們最關(guān)心的事?！钡氯鹚顾f(shuō)。“或者繪聲繪色地描述一個(gè)據(jù)你所知他們關(guān)心的問(wèn)題，解釋你怎么能幫他們解決問(wèn)題?！薄叭绻匆?jiàn)人們點(diǎn)頭”，說(shuō)明這個(gè)開(kāi)場(chǎng)正中要害。

2. 描述矛盾

會(huì)對(duì)故事做出回應(yīng)是人類的本能，講故事這種古老又有力量的藝術(shù)可以一路追溯至穴居時(shí)代，那時(shí)人類圍坐在火堆旁講故事，而引人入勝的故事似乎有固定公式。比如說(shuō)，大多數(shù)爆紅的浪漫喜劇本質(zhì)上是同一個(gè)講了上千遍（或者幾百萬(wàn)遍）的故事：男孩得到女孩（或相反）、男孩失去女孩、男孩重新得到女孩。“如果里面沒(méi)有點(diǎn)掙扎，沒(méi)有點(diǎn)阻礙，你的故事就達(dá)不到預(yù)期效果?！钡氯鹚顾€說(shuō)其它的故事原型也有同樣效果。“商業(yè)界充滿了‘英雄的旅程’和‘大衛(wèi)與歌利亞’的故事?！彼f(shuō)?！皫ьI(lǐng)你的觀眾開(kāi)啟一段從高峰駛往低谷，再重達(dá)高峰的旅程?！?/p>

3. 調(diào)動(dòng)全部感官

因?yàn)槿藗冇貌煌姆绞教幚砀泄贁?shù)據(jù)——例如，我們中有些人更注重視覺(jué)，其他人更依靠聽(tīng)覺(jué)或觸覺(jué)——德瑞斯塔建議演講者要盡可能多地吸引不同感官?！敖o你的觀眾帶來(lái)體驗(yàn)，而不僅僅是事實(shí)。你希望他們能把你放在一個(gè)場(chǎng)景中，他們可以聽(tīng)到你聽(tīng)到的，感受到你的感受?！痹谒囊淮窝葜v中，德瑞斯塔想說(shuō)“查理握手很無(wú)力”時(shí)沒(méi)這么說(shuō)，而是說(shuō)他“‘握手時(shí)柔軟無(wú)力、像海蜇一樣。就像和魷魚(yú)在握手。’我看到觀眾里有人做鬼臉，還聽(tīng)到了幾聲嘟囔。這是因?yàn)樗麄冋臀乙黄鹩H身經(jīng)歷這個(gè)握手的場(chǎng)景?！焙迷诳蓱z的“查理”是個(gè)化名。

4. 使用類比和暗喻

在布魯斯·斯普林斯汀1985年的標(biāo)志性專輯《出生于美國(guó)》（Born in the U.S.A.）的“I’m On Fire”這首歌中，有句歌詞寫到，“我在夜晚醒來(lái)，床單濕透，一輛貨運(yùn)火車穿過(guò)我的腦袋?！钡侠姿顾硎荆蛊樟炙雇⊥耆梢詫?，“我半夜醒來(lái)時(shí)頭痛欲裂”，能表達(dá)同樣的意思。但哪個(gè)版本更能激發(fā)你的想象力？他被稱為“老板”（ “The Boss”），可不是白叫的。

5. 打破一成不變

事實(shí)證明，想讓人們開(kāi)始玩手機(jī)，那就用同樣的節(jié)奏、同樣的音調(diào)喋喋不休地說(shuō)下去吧。德瑞斯塔說(shuō)：“這樣觀眾就不會(huì)繼續(xù)聽(tīng)了，因?yàn)樗麄兡茴A(yù)測(cè)到后面的模式：用有邏輯的線性順序講第一項(xiàng)內(nèi)容、第二項(xiàng)內(nèi)容等等?！绷钊嘶杌栌８淖兡愕囊袅?、語(yǔ)調(diào)和語(yǔ)速，然后簡(jiǎn)單地講一兩句題外話，甚至是個(gè)小笑話，這樣觀眾會(huì)留心尋找接下來(lái)可能會(huì)出現(xiàn)什么驚喜。你甚至可以用演講教練稱之為“鹽析”的技巧，提出一個(gè)你所知道聽(tīng)眾關(guān)心的問(wèn)題，許諾在演講最后回答。當(dāng)然，不要忘了答，因?yàn)樗麄儾粫?huì)忘。

6. 加入個(gè)人因素

迪瑞斯塔曾經(jīng)為一位知名首席執(zhí)行官提供培訓(xùn)，他取得了很多廣為人知的成功，所以普通聽(tīng)眾會(huì)有點(diǎn)怕他。活動(dòng)主持人先介紹了他令人驚嘆的生平，之后“他講了個(gè)參加《危險(xiǎn)邊緣》（Jeopardy）節(jié)目慘敗的搞笑故事，讓所有人都放松了下來(lái)?！钡氯鹚顾貞浀溃骸叭绻阍敢夥窒硪粋€(gè)成功道路上的小缺點(diǎn)或過(guò)失，袒露自己的某一面，你會(huì)看上去更和善、更真實(shí)，聽(tīng)眾會(huì)好奇你還會(huì)說(shuō)些什么?！比绻隳茏屗麄冃Τ雎?，效果尤佳。（財(cái)富中文網(wǎng)）

安妮·費(fèi)希爾是職場(chǎng)專家和問(wèn)答類專欄作家，是《財(cái)富》雜志21世紀(jì)工作生活指南專欄“Work It Out”的作者。

譯者：Agatha

It’s probably impossible to hang out anywhere in the corporate world for long without being subjected to a snooze-inducing speech or two, but it’s a particular hazard in finance, where “sometimes people just read to you off an Excel spreadsheet,” says Diane diResta, sounding mildly horrified. diResta is a longtime communications and media coach who wrote a book called Knockout Presentations. Reciting a dry list of numbers is “such a waste,” she adds, “because numbers always tell a story—sometimes a truly fascinating one.” Your mission, should you choose to accept it: Find the story and then, as we say in journalism, don’t bury the lead. Start with what’s most likely to grab your listeners’ attention.

Planning to speak to a group at work or a conference? Here are six of diResta’s tips for hitting it out of the park:

1. Talk to your audience’s self-interest.

This means answering the question, “Why should they care?” Let’s say you’re giving a sales presentation. Instead of wading right into the weeds about the wonderfulness of your product or service, tell up front what it can do for the people listening. “Start with the biggest benefit to them, whether it’s boosting their profitability, dominating a market segment, or whatever concerns them most,” says diResta. “Or vividly describe a problem you know they have, and then explain how you can help solve it.” You’ll know you’ve hit a bull’s-eye “when you see people nodding.”

2. Describe a conflict.

Humans are hardwired to respond to storytelling, an ancient and powerful art that goes all the way back to when we lived in caves and told tales around a fire, and certain formulas always seem to grab us. Most hit rom-com movies, for instance, are really just the same story retold for the thousandth (millionth?) time: Boy Gets Girl (or vice versa), Boy Loses Girl, Boy Gets Girl Back. “Without some kind of struggle or obstacle, your story falls flat,” says diResta, who adds that other archetypes work, too. “Business is full of ‘hero’s journey’ and ‘David versus Goliath’ stories,” she says. “Take your listeners on a ride from high to low to high.”

3. Engage all the senses.

Because people process sensory data differently—some of us are more visual, for instance, while others rely more on hearing or touch—diResta recommends appealing to as many senses as you can. “Give your audience an experience, rather than just facts. You want them to picture you in a scene, where they can hear what you heard and feel what you felt.” In one talk she gave, instead of saying, “Charlie had a weak handshake,” diResta described the man’s “‘limp, jellyfish handshake. It was like shaking hands with a squid.’ I could see people in the audience grimace, and I heard a few groans. That was because they were experiencing that handshake viscerally with me.” Happily, poor “Charlie” is a pseudonym.

4. Use analogies and metaphors.

In the song “I’m On Fire,” on Bruce Springsteen’s iconic 1985 album Born in the U.S.A., there’s a line that goes, “At night I wake up with the sheets soakin’ wet and a freight train running through the middle of my head.” Sure, diResta observes, he could have said, “I wake up at night with a pounding headache” and made the same point. But which version kickstarts your imagination? He’s not called “The Boss” for nothing.

5. Break the pattern.

A time-tested way to make people start checking their phones is to drone on and on in the same rhythm and tone of voice. “The audience will tune you out, because the pattern is predictable: Fact A to Fact B and so on, in a logical, linear order,” says diResta. Zzzz. Vary the volume, tone, and speed of your voice, and throw in a brief aside or two—maybe even a quick joke—so your audience stays alert to find out what surprises might be coming next. You can even use a technique that speech coaches call “salting,” where you raise a question you know your listeners care about, and promise to answer it at the end of your talk. Then, of course, don’t forget, because they won’t.

6. Get personal.

diResta once coached a famous CEO whose many much-publicized triumphs made him intimidating to his audience of ordinary mortals. After an awe-inspiring introduction from the host of the event, “he put everyone at ease with a very funny story about his crushing defeat as a contestant on Jeopardy!” diResta recalls. “If you’re willing to reveal something of yourself by sharing a foible or a misstep along the path to your success, you become much more relatable and authentic, and your listeners will be curious about what else you have to say.” Especially if you can also make them laugh.

Anne Fisher is a career expert and advice columnist who writes “Work It Out,” Fortune’s guide to working and living in the 21st century.