The 7 seconds that change everything: Master the art of captivating from the very first words

What specific techniques can be used to create a «surprise effect» or a «click» in the first few seconds of a speech? How can you capture attention immediately?

You have to think about the very first seconds. In rhetoric, we refer to the introduction as «ex abrupto» (abrupt) to describe the first moments of your introduction. To put it simply, this is the introduction to the introduction. If these first moments are like all other first moments, you would be better off keeping quiet, because the general public will label you the same way they label everyone else.

To make a successful first impression, one technique is known as épanorthosis. This involves shocking your audience with strong language, then softening your message. Here is an example of how this might work in practice: 

«Ladies and gentlemen, you are all going to die... You are all going to die after living a long life. A life rich in love. A life in good health, surrounded by those who are dear to you... The most beautiful of lives.»

How can you strategically choose your words to maximise emotional impact? Are some categories of words more powerful than others (sensory words, action words, etc.)?

Kinesthetic language is a language related to physical and psychological feelings. If I bump into you, the sensation is purely physical. If I praise or criticise you, the feeling will be psychological. 

Kinesthetic language is therefore a language that seeks to engage the senses. If you meet a customer tomorrow, don't say, «I have a suitable solution.» Instead, say, «I have a solution that should make you smile.». 

It's quite simple, but kinesthetic language conveys more emotion, and emotion is essential for getting your audience moving.

Can you explain the art of «rhetorical storytelling»? How should a narrative be structured so that it effectively supports the argument and leaves a lasting impression?

Storytelling did not originate in Happy Meals in the United States. That is a Hollywood conception of the practice. Are you familiar with cave art? Cave paintings are prehistoric drawings. They depicted figures, symbols and other images (mostly animals). The purpose of cave art was already to tell stories, and it has left us with an essential practice: visual language.

Closer to our era, we have the anecdote. In Greek, the word «anecdote» refers to something that is unheard of.

Combine vivid language with original information, and you will have the basis of the rhetorical recipe for creating superb stories.

When it comes to structure, keep it simple and effective. Start with a three-step structure: begin with some context, thinking of the famous «once upon a time». Then add an element of disruption, such as «when suddenly...». Finish with a moral or lesson. These three steps form the basis of a clear and precise structure.

What vocal and gestural techniques enhance persuasiveness? How can verbal and non-verbal communication be synchronised to create total consistency?

We must succeed in triangulating verbal, paraverbal (intonation, tone, rhythm) and non-verbal communication. A myth about this has been circulating for years. This myth tells us that interpersonal communication is conveyed (and I emphasise the conditional) through words by 71%, intonation by 38% and body language by 55%. This is incorrect and has been clarified by the author of the experiment.

The key thing to remember about intonation and gestures is that neutrality is and will always be the basis. First, learn to stand still and focus on the message. Only then should you accompany your words with small gestures that complement or reinforce them.

How can you master the art of rephrasing and reframing to turn an objection into an opportunity to make a stronger argument?

You have to listen, listen and listen. To rephrase and reframe, you have to start by putting your ego aside. Why? Because it is essential to leave room for the other person. You have to observe and listen to them, and only then reframe. A hasty rephrasing will make you come across as a pretentious person who doesn't listen and who interrupts to put in their two cents. Even if your intentions are noble, you will then be struck with a bad reputation.

As for the rephrasing itself, it must be clear, concise and precise. A rephrasing that is too long would amount to giving one's point of view, which is quite different. 

What are the most effective stylistic devices in modern rhetoric (metaphors, analogies, antitheses) and how can they be used without sounding artificial?

Stylistic devices are like embellishments in speech. It's just like when you go out in the evening wearing a certain colour of clothing or putting on perfume. Stylistic devices dress up speech, pursuing specific objectives. First of all, it's important to know that there are several categories of stylistic devices. There are figures that will make the audience think, figures that will add rhythm and sound, and figures that will clarify the meaning of your thoughts.

In a meeting, you would never say to yourself, «Right, I'm going to start talking to my colleagues using figures of speech». It doesn't work like that, unless you want to end up sounding forced and artificial. First, you need to set yourself a goal.

If your goal is to make a lasting impression, then there is the epitrochasm. This figure consists of stringing together a series of short terms in the same sentence. The rhythm accelerates to capture attention.

In meetings, rather than saying that a project is «nice», say that it is «enriching, stimulating, fresh and innovative», speeding up your pace as you say it. This rapid, sharp sequence will capture people's attention.

How can you construct a memorable «punchline» that will permanently anchor the main message in the audience's mind?

Hyper-emotion = hyper-memorisation. If you want your fall to be memorable, it must convey emotion.

Forget about academic conclusions that simply recapitulate what has already been said. Forget about insipid conclusions that taste like a glass of lukewarm water. I'm talking about those that rely on cheap effects to create the «aperitif moment that everyone is waiting for».

A conclusion is the umbilical cord between your subject and your audience. It is what will continue to sustain and nourish the reflection you have established. To begin writing a conclusion worthy of the name, answer a single question:

If my audience were to remember only one thing, what would it be?