1 00:00:00,020 --> 00:00:01,400 Carol Cox: That's a good thing to think about when we 2 00:00:01,400 --> 00:00:03,200 want to add humor to talks. 3 00:00:03,230 --> 00:00:05,570 Now, I know that people watching this are 4 00:00:05,570 --> 00:00:07,910 thinking, well, but I'm just talking about my 5 00:00:07,910 --> 00:00:09,800 business topic or whatever. 6 00:00:09,830 --> 00:00:11,330 Like, why do I need humor? 7 00:00:11,360 --> 00:00:13,550 I just want to convey this information. 8 00:00:13,550 --> 00:00:16,070 And so why is humor important for us to 9 00:00:16,100 --> 00:00:18,110 include, whether it's a keynote, a Ted talk, 10 00:00:18,140 --> 00:00:19,430 a business presentation, 11 00:00:19,430 --> 00:00:24,530 a conference session that we're doing. Hi, 12 00:00:24,530 --> 00:00:26,210 and welcome to Speaking Your Brand. I'm your 13 00:00:26,210 --> 00:00:28,460 host, Carol Cox, joined by our lead speaking 14 00:00:28,460 --> 00:00:29,480 coach, Diane Diaz. 15 00:00:29,480 --> 00:00:30,080 Hi, Diane. 16 00:00:30,110 --> 00:00:30,950 Diane Diaz: Hi, Carol. 17 00:00:30,980 --> 00:00:34,430 Carol Cox: We always recommend that you add humor to any 18 00:00:34,430 --> 00:00:37,610 presentation, keynote or talk that you give. 19 00:00:37,640 --> 00:00:40,040 Now, you may think when you hear a humor that 20 00:00:40,040 --> 00:00:42,110 you have to do a corny joke. 21 00:00:42,140 --> 00:00:43,280 Maybe like this one. 22 00:00:43,310 --> 00:00:46,130 Diane Diaz: Did you know that koalas actually aren't 23 00:00:46,130 --> 00:00:49,370 bears? They don't have the qualifications. 24 00:00:49,460 --> 00:00:52,940 Carol Cox: Okay, so that's where that's where the laugh 25 00:00:52,970 --> 00:00:54,470 track would come in on a. 26 00:00:54,470 --> 00:00:56,570 Sitcom, because clearly that's a super corny 27 00:00:56,600 --> 00:00:59,330 joke. Now, you could tell that in your talk 28 00:00:59,330 --> 00:01:01,380 if you wanted to, it could find a place in 29 00:01:01,380 --> 00:01:03,270 there. But you don't have to find a knock 30 00:01:03,270 --> 00:01:06,180 knock joke or a corny joke or a comedy stand 31 00:01:06,210 --> 00:01:09,270 up set to include in your talks to add humor 32 00:01:09,270 --> 00:01:10,950 to it now. Diane, I know that you've actually 33 00:01:10,950 --> 00:01:13,080 done a stand up comedy set, 34 00:01:13,110 --> 00:01:14,220 a five minute set. 35 00:01:14,250 --> 00:01:16,320 Can you give an example of one of the 36 00:01:16,320 --> 00:01:17,310 vignettes that you shared? 37 00:01:17,340 --> 00:01:21,810 Diane Diaz: Yes. So my mother was very frugal, 38 00:01:21,810 --> 00:01:25,080 as am I, but she grew up during the 39 00:01:25,080 --> 00:01:26,880 depression, so she was extremely frugal. And 40 00:01:26,880 --> 00:01:31,080 one of the things that she liked to do was to 41 00:01:31,650 --> 00:01:32,850 clip coupons, right? 42 00:01:32,880 --> 00:01:34,560 So that was one way of saving money. 43 00:01:34,560 --> 00:01:36,030 But that isn't the only way that she saved 44 00:01:36,030 --> 00:01:38,340 money at the grocery store. She also, 45 00:01:38,340 --> 00:01:39,690 back in the day when I was a kid, 46 00:01:39,720 --> 00:01:41,280 there was in the grocery store. We shopped 47 00:01:41,280 --> 00:01:43,500 and there was a big table that was divided 48 00:01:43,500 --> 00:01:45,270 into sections that had like wrapped candy in 49 00:01:45,270 --> 00:01:47,940 it, like caramels and things. And this is pre 50 00:01:47,970 --> 00:01:50,400 technology. So you would take a little bag 51 00:01:50,400 --> 00:01:51,900 and put five pieces of candy, and you would 52 00:01:51,900 --> 00:01:53,490 put your little quarter in the slot of the 53 00:01:53,490 --> 00:01:56,400 box. So my mom would tell my sister and I, 54 00:01:56,430 --> 00:01:58,080 who were five and seven at the time, 55 00:01:58,110 --> 00:01:59,320 go and get the candy. 56 00:01:59,320 --> 00:02:01,990 But first she would give us some instructions 57 00:02:01,990 --> 00:02:03,430 and she would say, now listen, 58 00:02:03,790 --> 00:02:05,710 I don't want you to take five pieces of 59 00:02:05,740 --> 00:02:08,260 candy. I want you to take six. 60 00:02:08,440 --> 00:02:09,580 And we were like, mom, 61 00:02:09,580 --> 00:02:12,640 but isn't that stealing? Just go get the 62 00:02:12,640 --> 00:02:15,250 candy. This was my mom's way of saving money. 63 00:02:15,280 --> 00:02:17,530 Now you can understand it from her point of 64 00:02:17,530 --> 00:02:18,730 view. Like this really, 65 00:02:18,730 --> 00:02:20,140 legitimately happened. 66 00:02:20,140 --> 00:02:21,760 She's saving money because we didn't have 67 00:02:21,760 --> 00:02:24,280 much money. Technically it's stealing, 68 00:02:24,280 --> 00:02:26,410 but I find that hilarious that she's 69 00:02:26,410 --> 00:02:27,910 basically turning her children into petty 70 00:02:27,940 --> 00:02:28,450 thieves. 71 00:02:28,480 --> 00:02:30,580 Carol Cox: Well, and also, the way that you tell it 72 00:02:30,760 --> 00:02:32,800 makes it funny because you could see telling 73 00:02:32,800 --> 00:02:34,360 it to like, well, we would go to the grocery 74 00:02:34,360 --> 00:02:35,500 store. My mom would say, 75 00:02:35,530 --> 00:02:37,540 take six pieces of candy instead of five, 76 00:02:37,570 --> 00:02:39,280 right? And you're like, okay, well, really, 77 00:02:39,310 --> 00:02:41,020 where's the humor in it? Right? Like, you do 78 00:02:41,020 --> 00:02:43,840 the dialogue, you do your mom's voice and how 79 00:02:43,840 --> 00:02:45,610 she's saying it and how you're reacting as a 80 00:02:45,610 --> 00:02:48,220 little kid. Yes. So thinking about adding 81 00:02:48,220 --> 00:02:49,780 humor to talks is like, 82 00:02:49,810 --> 00:02:52,180 find the the humor in the situation, 83 00:02:52,180 --> 00:02:53,950 but then kind of play it out, 84 00:02:53,980 --> 00:02:55,750 like how to bring it to life. 85 00:02:55,780 --> 00:02:56,920 Diane Diaz: Yes. And even act it out. 86 00:02:56,950 --> 00:02:58,870 So when I, when I was doing the comedy set, 87 00:02:58,900 --> 00:03:02,410 telling that story, I would be my mom and 88 00:03:02,410 --> 00:03:04,270 then I would bend down like I'm talking to 89 00:03:04,300 --> 00:03:05,590 two small children, right. 90 00:03:05,590 --> 00:03:07,240 So giving us the instructions and then I 91 00:03:07,240 --> 00:03:08,770 would lean back up because now I'm, 92 00:03:08,800 --> 00:03:10,090 I'm me saying, but mom, 93 00:03:10,090 --> 00:03:11,950 isn't that stealing? Then I'd bend back down. 94 00:03:11,950 --> 00:03:14,110 So you're acting it out to create the whole 95 00:03:14,110 --> 00:03:15,340 scene for the audience? 96 00:03:15,850 --> 00:03:17,470 Okay, girls, this is what I want you to do. I 97 00:03:17,470 --> 00:03:18,850 want you to go get that candy. 98 00:03:18,880 --> 00:03:21,250 But I don't want you to take five pieces. 99 00:03:21,550 --> 00:03:23,020 I want you to take six. 100 00:03:24,010 --> 00:03:25,480 But, mom, isn't that stealing? 101 00:03:25,510 --> 00:03:27,340 Shh. Just go get the candy. 102 00:03:28,300 --> 00:03:30,670 Carol Cox: Well, that's a great transition to another 103 00:03:30,670 --> 00:03:33,670 form of humor that you can include in a talk, 104 00:03:33,670 --> 00:03:35,410 which is more physical comedy. 105 00:03:35,410 --> 00:03:37,210 So I actually like physical comedy, 106 00:03:37,210 --> 00:03:39,430 which I'm surprised to discover about myself. 107 00:03:39,430 --> 00:03:41,860 But from doing the in-person workshops and 108 00:03:41,860 --> 00:03:43,990 retreats that we've done where we really we 109 00:03:43,990 --> 00:03:45,430 get the women who attend, 110 00:03:45,460 --> 00:03:46,840 we do improv exercises, 111 00:03:46,840 --> 00:03:48,160 we do dance parties. 112 00:03:48,250 --> 00:03:50,320 We really get them comfortable in their 113 00:03:50,320 --> 00:03:53,020 bodies and doing things and kind of expanding 114 00:03:53,020 --> 00:03:55,300 where they're at by the time they get on the 115 00:03:55,300 --> 00:03:57,260 stage to practice their talks or their 116 00:03:57,260 --> 00:03:59,960 stories, they feel much more expansive. 117 00:04:00,140 --> 00:04:01,730 And so I like physical comedy, 118 00:04:01,730 --> 00:04:03,770 and I think it's because of watching sitcoms 119 00:04:04,070 --> 00:04:06,260 growing up, because you would have to. 120 00:04:06,290 --> 00:04:08,330 The actors did kind of have to act things 121 00:04:08,330 --> 00:04:11,360 out. And I was recently watching an old 122 00:04:11,360 --> 00:04:13,310 episode from friends, which of course was 123 00:04:13,310 --> 00:04:14,570 like, is on all the time, 124 00:04:14,570 --> 00:04:16,100 so you can always catch an episode. 125 00:04:16,100 --> 00:04:18,170 And I was it was an early one, 126 00:04:18,170 --> 00:04:21,890 and I had forgotten how physically comedic 127 00:04:21,920 --> 00:04:23,780 those actors are. Like Jennifer Aniston, 128 00:04:23,780 --> 00:04:25,190 there was like a scene and she's like, 129 00:04:25,190 --> 00:04:26,750 grabbing her mouth because, like, she hit her 130 00:04:26,750 --> 00:04:29,270 tooth and she's like, really getting into it. 131 00:04:29,270 --> 00:04:31,220 And there's other TV shows which are much 132 00:04:31,220 --> 00:04:32,750 more like cerebral. 133 00:04:32,780 --> 00:04:34,250 Or maybe they're just not that much into 134 00:04:34,250 --> 00:04:35,300 physical comedy. 135 00:04:35,810 --> 00:04:40,160 Speaker5: Oh, Emily. Emily. 136 00:04:43,490 --> 00:04:45,680 Okay, so that's me as a cheerleader. 137 00:04:45,920 --> 00:04:49,550 I'm. Fine. I'm fine. 138 00:04:49,550 --> 00:04:50,900 I just listen to tooth. It's no big deal. I 139 00:04:50,900 --> 00:04:52,100 have a dentist. You know, 140 00:04:52,460 --> 00:04:54,320 I'm gonna go put some ice on it. Excuse me. 141 00:04:54,350 --> 00:04:56,040 Diane Diaz: Yeah. That's a great example. 142 00:04:56,070 --> 00:04:57,840 Another example is stand up comedians. 143 00:04:57,840 --> 00:04:59,820 If you go most not all comedians, 144 00:04:59,820 --> 00:05:01,500 but most comedians, or at least the ones I 145 00:05:01,500 --> 00:05:03,570 like, like Iliza Shlesinger and comedians 146 00:05:03,570 --> 00:05:05,400 like that. They are very physical. 147 00:05:05,400 --> 00:05:07,140 So they don't just tell jokes, 148 00:05:07,140 --> 00:05:10,200 they actually act out what they're doing. 149 00:05:10,200 --> 00:05:12,870 Speaker6: And I can say this as a woman who chose to be 150 00:05:12,870 --> 00:05:14,280 single for a very long time, 151 00:05:14,280 --> 00:05:16,290 as a feminist, as a champion of women, 152 00:05:16,290 --> 00:05:18,810 I genuinely feel that when women ask me, 153 00:05:18,840 --> 00:05:19,260 how did. 154 00:05:19,260 --> 00:05:20,010 Speaker7: You guys meet? 155 00:05:20,010 --> 00:05:22,710 Speaker6: It's less about a genuine personal inquiry 156 00:05:22,710 --> 00:05:25,110 for me, and it's more like they're digging 157 00:05:25,110 --> 00:05:26,130 for clues, like. 158 00:05:26,130 --> 00:05:28,350 Speaker7: Where did you find a suitor? 159 00:05:30,750 --> 00:05:33,780 Tell us. We wish to know. 160 00:05:34,020 --> 00:05:35,850 Diane Diaz: And so if they make up a character, or even 161 00:05:35,850 --> 00:05:37,740 if Mike Birbiglia is another one, 162 00:05:37,770 --> 00:05:39,930 if they're telling a story about their child 163 00:05:39,930 --> 00:05:41,400 and something that a conversation they had 164 00:05:41,400 --> 00:05:43,650 with them, they're acting it out to the point 165 00:05:43,650 --> 00:05:45,210 of actually laying on the ground, 166 00:05:45,210 --> 00:05:47,280 which just adds to the humor level. 167 00:05:47,310 --> 00:05:48,960 Speaker8: I write some jokes for you. 168 00:05:48,960 --> 00:05:50,280 I write some for my daughter. 169 00:05:50,310 --> 00:05:53,070 Where you need to know for the story is that 170 00:05:53,070 --> 00:05:56,530 it killed, you know, like it was like, 171 00:05:56,560 --> 00:05:58,000 ah. 172 00:05:58,030 --> 00:06:01,240 Speaker9: What'll we have for dinner? 173 00:06:01,270 --> 00:06:04,480 Carol Cox: So we have finding the humor in situations, 174 00:06:04,480 --> 00:06:06,370 stories, little vignettes. We have physical 175 00:06:06,370 --> 00:06:08,800 comedy. There's also maybe what, 176 00:06:08,890 --> 00:06:10,780 like sardonic or maybe a little bit more 177 00:06:10,810 --> 00:06:13,030 sarcastic or intellectual humor. 178 00:06:13,060 --> 00:06:14,680 Diane Diaz: Yeah, I love sarcasm. 179 00:06:14,680 --> 00:06:16,420 Yeah, that's like my second language. 180 00:06:16,420 --> 00:06:18,250 Carol Cox: And I know that you're a big fan of Seinfeld. 181 00:06:18,280 --> 00:06:20,290 Oh, you love watching that. So how what kind 182 00:06:20,290 --> 00:06:21,790 of humor do they have? And how do you see 183 00:06:21,790 --> 00:06:22,570 that show up? 184 00:06:22,600 --> 00:06:24,610 Diane Diaz: Yeah, it's the type of humor that I like to 185 00:06:24,640 --> 00:06:26,500 call. Well, it's situational humor, 186 00:06:26,500 --> 00:06:28,270 but I think it's also what I would consider, 187 00:06:28,300 --> 00:06:30,940 like stupid humor, where it's it's really 188 00:06:30,940 --> 00:06:33,610 nothing. But they make such a big deal out of 189 00:06:33,610 --> 00:06:35,260 the nothing that it makes it hilarious. I 190 00:06:35,260 --> 00:06:38,470 mean, completely absurd every day, 191 00:06:38,500 --> 00:06:39,820 you know, the characters going through their 192 00:06:39,820 --> 00:06:42,370 everyday absurd situations that they turn 193 00:06:42,370 --> 00:06:43,780 into this big, huge deal, 194 00:06:43,780 --> 00:06:46,180 but they really carry the joke really far. 195 00:06:46,180 --> 00:06:47,740 So they don't just it's not a joke, 196 00:06:47,740 --> 00:06:49,750 joke, joke, joke, joke. It's a joke that goes 197 00:06:49,750 --> 00:06:51,340 throughout the entire show. 198 00:06:51,340 --> 00:06:54,080 So they take that situation and they really, 199 00:06:54,110 --> 00:06:57,140 like go deep with it and that makes it 200 00:06:57,140 --> 00:06:58,820 absurdly hysterical. 201 00:07:03,260 --> 00:07:04,100 Speaker10: I didn't get any bread. 202 00:07:04,130 --> 00:07:05,450 Speaker11: Just forget it. Let it go. 203 00:07:08,960 --> 00:07:11,030 Speaker10: Excuse me. I think you forgot my bread. 204 00:07:11,060 --> 00:07:12,560 Speaker12: Bread. $2 extra. 205 00:07:13,040 --> 00:07:15,230 Speaker10: $2. But everyone in front of me got free 206 00:07:15,230 --> 00:07:15,740 bread. 207 00:07:15,770 --> 00:07:16,880 Speaker12: You want bread? 208 00:07:16,910 --> 00:07:17,600 Speaker10: Yes, please. 209 00:07:17,600 --> 00:07:21,680 Speaker12: $3. What? No soup for you? 210 00:07:31,940 --> 00:07:33,560 Carol Cox: It's almost like they like, blow it out of 211 00:07:33,560 --> 00:07:34,010 proportion. 212 00:07:34,040 --> 00:07:34,640 Diane Diaz: Absolutely. 213 00:07:34,640 --> 00:07:36,320 Carol Cox: They make it much bigger than whatever the 214 00:07:36,320 --> 00:07:37,730 actual situation would be. 215 00:07:37,760 --> 00:07:39,230 Yes, yes, yes. Okay, so that's a good thing 216 00:07:39,260 --> 00:07:41,600 to think about when we want to add humor to 217 00:07:41,630 --> 00:07:44,150 talks. Now, I know that people watching this 218 00:07:44,150 --> 00:07:45,950 are thinking, well, but I'm just talking 219 00:07:45,950 --> 00:07:48,530 about like my business topic or whatever, 220 00:07:48,560 --> 00:07:50,060 like, why do I need humor? 221 00:07:50,090 --> 00:07:52,260 I just want to convey this information. 222 00:07:52,260 --> 00:07:54,780 And so why is humor important for us to 223 00:07:54,810 --> 00:07:56,820 include, whether it's a keynote, a Ted talk, 224 00:07:56,850 --> 00:07:58,110 a business presentation, 225 00:07:58,140 --> 00:07:59,610 a conference session that we're doing? 226 00:07:59,640 --> 00:08:01,620 Diane Diaz: Yeah, I think humor does a couple of things. 227 00:08:01,650 --> 00:08:03,420 Number one, I think it sort of lightens the 228 00:08:03,420 --> 00:08:05,790 mood. So we've had clients who are talking 229 00:08:05,790 --> 00:08:07,110 about, yeah, they might be talking about 230 00:08:07,110 --> 00:08:08,280 something in their business, but maybe 231 00:08:08,280 --> 00:08:09,780 they're sharing a story that's particularly 232 00:08:09,780 --> 00:08:11,790 poignant or or moving. 233 00:08:11,790 --> 00:08:14,880 And I think adding a humorous element, 234 00:08:14,910 --> 00:08:16,500 not necessarily to that story, but somewhere 235 00:08:16,500 --> 00:08:18,120 in the talk kind of lightens the mood and 236 00:08:18,120 --> 00:08:19,350 breaks the tension. Right? 237 00:08:19,350 --> 00:08:22,260 I think it also lets the audience know it's a 238 00:08:22,260 --> 00:08:24,300 safe space because we all relate to humor. 239 00:08:24,300 --> 00:08:25,890 If you can get people to laugh, 240 00:08:25,890 --> 00:08:27,600 they're releasing all this energy. 241 00:08:27,600 --> 00:08:28,920 Everybody feels connected. 242 00:08:28,920 --> 00:08:30,630 They feel tied together that we all laughed 243 00:08:30,630 --> 00:08:32,670 at the same thing. Ha ha. Right. So it's it's 244 00:08:32,670 --> 00:08:35,580 unifying. It is a release. 245 00:08:35,580 --> 00:08:38,100 It is energetic, right? 246 00:08:38,100 --> 00:08:39,750 It creates an energy in the audience. So it 247 00:08:39,750 --> 00:08:41,040 has so many purposes. 248 00:08:41,070 --> 00:08:43,590 Carol Cox: Yeah, I love that. And I love this idea of 249 00:08:43,620 --> 00:08:45,360 like breaking the tension. It's almost like 250 00:08:45,390 --> 00:08:47,100 what we describe when we're working with our 251 00:08:47,100 --> 00:08:48,630 clients at the in person workshops. 252 00:08:48,660 --> 00:08:51,720 Like you almost need to have energetic highs 253 00:08:51,720 --> 00:08:55,350 and lows, even in a kind of more heartfelt or 254 00:08:55,380 --> 00:08:56,820 kind of more difficult story. 255 00:08:56,850 --> 00:08:58,890 You still have to have an energetic high 256 00:08:58,920 --> 00:09:00,930 point, because your audience doesn't want to 257 00:09:00,930 --> 00:09:03,690 stay flat and monotone like you as the person 258 00:09:03,690 --> 00:09:06,270 delivering it, but they emotionally don't 259 00:09:06,270 --> 00:09:08,340 want to stay flat and neutral throughout the 260 00:09:08,340 --> 00:09:10,470 entire thing. So humor allows you some of 261 00:09:10,470 --> 00:09:12,090 those energetic high points. 262 00:09:12,120 --> 00:09:14,280 Diane Diaz: Absolutely. Yeah. And it gives it sort of 263 00:09:14,310 --> 00:09:15,540 takes the audience on a ride. 264 00:09:15,540 --> 00:09:17,910 Right. So where it's it's and they kind of 265 00:09:17,940 --> 00:09:19,470 don't know what to expect. And then when 266 00:09:19,470 --> 00:09:21,450 you're able to pepper some humor in there, 267 00:09:21,450 --> 00:09:23,490 it's those little unexpected nuggets. 268 00:09:23,490 --> 00:09:25,530 Carol Cox: So I know that sometimes we're like, 269 00:09:25,560 --> 00:09:28,200 oh, okay, I'm just going to just wing it and 270 00:09:28,200 --> 00:09:29,640 something funny comes out or something funny 271 00:09:29,640 --> 00:09:31,710 comes out and and that will be fine. 272 00:09:31,710 --> 00:09:33,000 So yes, that could happen. 273 00:09:33,030 --> 00:09:34,590 Like you could just end up saying something 274 00:09:34,620 --> 00:09:36,510 funny in your talk without having it planned 275 00:09:36,510 --> 00:09:39,540 out. I like actually planning the humor, 276 00:09:39,540 --> 00:09:40,950 which is kind of funny because in that other 277 00:09:40,950 --> 00:09:43,350 episode, we talked about you being the 278 00:09:43,350 --> 00:09:45,690 procrastinator, and I very much not being the 279 00:09:45,690 --> 00:09:47,370 procrastinator, but I will plan out the 280 00:09:47,370 --> 00:09:49,570 humor, and one of the ways that I'll do that 281 00:09:49,570 --> 00:09:51,310 is I'll look through my whole slide deck once 282 00:09:51,310 --> 00:09:53,950 I have it done, or a client's slide deck, 283 00:09:53,950 --> 00:09:55,450 and I look and it's like, okay, 284 00:09:55,480 --> 00:09:58,090 like we have no humor in here whatsoever 285 00:09:58,090 --> 00:10:00,340 unless it happens to just impromptu happen. 286 00:10:00,340 --> 00:10:02,770 We need to go make sure we find some spots. 287 00:10:02,770 --> 00:10:04,270 So I'll find their stories, 288 00:10:04,480 --> 00:10:05,860 like, okay, where is either a humorous 289 00:10:05,860 --> 00:10:07,810 element to the story or right after the 290 00:10:07,810 --> 00:10:10,000 story. How can we lighten the mood? 291 00:10:10,030 --> 00:10:12,100 So to add an aspect to the story, 292 00:10:12,100 --> 00:10:15,460 or I'll find a funny GIF or a funny video 293 00:10:15,460 --> 00:10:17,440 clip to kind of highlight. 294 00:10:17,470 --> 00:10:19,030 Maybe it's like, you know, 295 00:10:19,060 --> 00:10:20,620 to the audience like, hey, I know you really 296 00:10:20,620 --> 00:10:22,300 want to achieve X, y, Z, 297 00:10:22,300 --> 00:10:24,070 and kind of some type of funny gif that 298 00:10:24,070 --> 00:10:25,750 represents that. So that's also a really 299 00:10:25,750 --> 00:10:27,640 great way to think about intentional humor. 300 00:10:27,670 --> 00:10:30,910 Diane Diaz: Yeah. And I think GIFs and memes are great 301 00:10:30,910 --> 00:10:33,670 for clients who like, we hear a lot of times, 302 00:10:33,670 --> 00:10:35,560 well, I'm just not funny. Well that's okay. 303 00:10:35,560 --> 00:10:36,970 You can still incorporate humor. 304 00:10:37,000 --> 00:10:38,590 You don't have to be a comedian, 305 00:10:38,620 --> 00:10:40,570 right? You don't have to tell jokes to make 306 00:10:40,570 --> 00:10:43,630 it funny, but you can incorporate funny memes 307 00:10:43,630 --> 00:10:46,090 or funny cartoon that sort of gets your point 308 00:10:46,090 --> 00:10:47,800 across, makes the audience laugh, 309 00:10:47,810 --> 00:10:49,220 and they identify with it. And you still 310 00:10:49,220 --> 00:10:50,510 achieve the same goal. 311 00:10:50,510 --> 00:10:52,130 But it doesn't have to come from you 312 00:10:52,130 --> 00:10:53,180 personally. 313 00:10:53,210 --> 00:10:55,460 Carol Cox: Let's talk about self-deprecating humor, 314 00:10:55,490 --> 00:10:57,230 because that's another form of humor. A lot 315 00:10:57,260 --> 00:10:59,960 of stand up comedians use that as well. 316 00:10:59,960 --> 00:11:02,210 I know as women, we have to be a little bit 317 00:11:02,210 --> 00:11:05,030 careful with self-deprecating humor because 318 00:11:05,030 --> 00:11:07,670 it can. It can hurt us more than it helps us, 319 00:11:07,670 --> 00:11:09,680 depending on what it is. And I remember years 320 00:11:09,680 --> 00:11:13,520 ago I got the advice from someone who does 321 00:11:13,520 --> 00:11:15,290 comedy, and she said to me, 322 00:11:15,290 --> 00:11:17,330 she's like, self-deprecating humor is good 323 00:11:17,360 --> 00:11:19,340 because it builds trust between you and the 324 00:11:19,340 --> 00:11:21,560 audience, and it kind of you let down your 325 00:11:21,560 --> 00:11:23,630 guard. You show that you're not perfect. 326 00:11:23,630 --> 00:11:25,640 The audience will then relate to you. 327 00:11:25,670 --> 00:11:28,340 But, she said, you have to be careful not to 328 00:11:28,370 --> 00:11:30,740 use self-deprecating humor that harms your 329 00:11:30,740 --> 00:11:32,990 credibility for what it is that you're there 330 00:11:32,990 --> 00:11:34,970 talking about. So, for example, 331 00:11:34,970 --> 00:11:37,700 if I'm there talking about what we do here at 332 00:11:37,700 --> 00:11:40,550 Speaking Your brand, I could do a funny bit 333 00:11:40,550 --> 00:11:43,070 about maybe that I'm not a great gardener, 334 00:11:43,100 --> 00:11:44,570 which I'm not like. I have a black thumb. I 335 00:11:44,570 --> 00:11:45,890 cannot keep anything alive. 336 00:11:46,010 --> 00:11:47,450 Like, I could talk about that and that would 337 00:11:47,450 --> 00:11:49,370 be funny, but I wouldn't necessarily want to 338 00:11:49,370 --> 00:11:51,470 talk about something related to the core 339 00:11:51,470 --> 00:11:53,060 message that I'm talking about. 340 00:11:53,090 --> 00:11:55,160 Diane Diaz: Yes. Yeah. I think, like you said, 341 00:11:55,160 --> 00:11:58,310 self-deprecating humor done carefully can be 342 00:11:58,310 --> 00:12:02,210 effective. I do like, again, 343 00:12:02,210 --> 00:12:04,310 when someone takes that self-deprecating 344 00:12:04,310 --> 00:12:06,260 element and then will thread it through the 345 00:12:06,260 --> 00:12:07,340 talk, right? 346 00:12:07,370 --> 00:12:09,410 So that it comes, it sort of comes back. 347 00:12:09,410 --> 00:12:11,060 And they keep not constantly, 348 00:12:11,060 --> 00:12:13,130 but like a few times they'll reflect back 349 00:12:13,160 --> 00:12:16,460 like to it. And then it sort of creates that 350 00:12:16,490 --> 00:12:18,800 sort of content continuity throughout the 351 00:12:18,800 --> 00:12:21,230 talk and still self-deprecating, 352 00:12:21,230 --> 00:12:22,850 but in a safe sort of way. Like, I could joke 353 00:12:22,880 --> 00:12:24,320 about being short because, I mean, I am 354 00:12:24,320 --> 00:12:25,730 short. It's obvious you can see that, right? 355 00:12:25,760 --> 00:12:28,940 So I often use that as a tool because it is 356 00:12:28,940 --> 00:12:30,560 funny to say, like, I don't know if you've 357 00:12:30,560 --> 00:12:31,640 noticed, but I'm short, 358 00:12:31,670 --> 00:12:33,020 right? Like, because duh, 359 00:12:33,050 --> 00:12:35,240 but but things like that that are safe, 360 00:12:35,240 --> 00:12:35,540 safe. 361 00:12:35,570 --> 00:12:37,070 Carol Cox: And it doesn't harm your credibility by 362 00:12:37,070 --> 00:12:38,090 saying that. Right. 363 00:12:38,120 --> 00:12:39,560 Because clearly it's not related to the work 364 00:12:39,560 --> 00:12:40,580 that you do. Okay. 365 00:12:40,610 --> 00:12:42,200 So we talked about so different types of 366 00:12:42,200 --> 00:12:44,210 humor that we can use in our talks. 367 00:12:44,210 --> 00:12:45,630 So we have situational humor. 368 00:12:45,630 --> 00:12:47,520 So find the humor in a story that you're 369 00:12:47,520 --> 00:12:49,890 sharing. We have physical humor. 370 00:12:49,890 --> 00:12:51,600 So physical comedy, when you're acting out 371 00:12:51,600 --> 00:12:53,130 stories or things on the stage, 372 00:12:53,130 --> 00:12:54,960 we have maybe like more sardonic, 373 00:12:54,960 --> 00:12:57,600 sarcastic, intellectual humor. 374 00:12:57,780 --> 00:12:59,340 We have just like funny maybe. 375 00:12:59,370 --> 00:13:01,650 Maybe you do like knock knock jokes and corny 376 00:13:01,680 --> 00:13:03,360 jokes and you want to throw a few of those 377 00:13:03,360 --> 00:13:06,030 in. Or like funny gifs and memes and then 378 00:13:06,030 --> 00:13:08,550 self-deprecating humor. Yes. So for those of 379 00:13:08,550 --> 00:13:10,410 you who have been listening to this and 380 00:13:10,410 --> 00:13:12,030 watching this, think about these different 381 00:13:12,030 --> 00:13:13,770 types of humor that we just talked about, 382 00:13:13,770 --> 00:13:15,570 and how can you incorporate some of these 383 00:13:15,570 --> 00:13:17,160 into every single talk, 384 00:13:17,190 --> 00:13:19,290 every single presentation that you give, 385 00:13:19,320 --> 00:13:20,880 because your audience is really going to 386 00:13:20,880 --> 00:13:23,370 appreciate having that connection not only 387 00:13:23,370 --> 00:13:25,740 with you, but also with everyone else who's 388 00:13:25,740 --> 00:13:26,910 in the audience. 389 00:13:26,910 --> 00:13:29,070 I wish I had another corny joke that we could 390 00:13:29,070 --> 00:13:30,540 end this with I can't have any other no. 391 00:13:30,570 --> 00:13:32,160 Diane Diaz: I cannot think of. I'm fresh out. 392 00:13:32,190 --> 00:13:33,420 Now that you've put me on the spot, I can't 393 00:13:33,420 --> 00:13:34,020 think of one. 394 00:13:34,050 --> 00:13:35,880 Carol Cox: Why did the chicken cross the road? 395 00:13:36,390 --> 00:13:37,860 To get to the other side. That's the only one 396 00:13:37,860 --> 00:13:39,690 I know. Until next time. 397 00:13:39,690 --> 00:13:40,830 Thanks for watching.