I see, I hear, I feel: secrets of convincing speech

​​​​​​​Everyone knows that the eyes see, the ears hear, the body senses, the head thinks, but it is curious that the predominant development of one of these channels of perception changes the language of the person, the dictionary used by him. Looking closely, listening, trying to feel people and thinking about their speech and reactions, you can easily recognize these types: see the visual, hear the audial, feel the kinesthetic and determine the rationale. For example, in the same situation, you can hear identical in meaning, but so different in modality phrases:

- You all will see: in front of us - a visual. Obviously, in his dictionary also: "We need to take a closer look. What a clear picture! Look: full of clarity and bright prospects! "To the beloved woman:" Let me see you ... You are delightful! "

- You will all hear: audial always listens as the interlocutors loudly, quietly or rhythmically, and he cuts his ears when instead of the melodious murmur of conversation begins to squeal or hoarse barking.) To the beloved woman: "Your voice is the most enchanting melody!"

- You will understand everything ...: The kinesthetic strives to move and act ... Sitting in one place, feeling like a bag of ... potatoes, its like this His palm is holding up his throat.) It’s no use ears To the beloved woman: "You are so attractive, you kindle a desire in me, I want you!"

- You will all understand: it is a fact that some subjects in the situation of having an alternative prefer modal-indeterminate language constructions , thereby justifiably deserving an appraisingly neutral title: rationals.To the beloved woman: "Nobody approaches me like you, and I really appreciate our relationship. You must know: you are in my highest priorities! "

Naturally, one has to speak the rational language in the language of logic, clearly formulating the theses, justifying them with facts and making the following logical conclusions from the above schematic diagram, listed in the attached plan, and, best of all, in the written form, the audial will hear you when you remove your own, do not say anything to it, and tell the story, reproducing all the dialogues as intonationally as possible: - I say to him: "Listen, everything is said in the same order!" - And he : "And lyshat do not want to! " Vizuala needs to draw everything, and the more graphic your speech is and the simpler the picture, the more obvious will be the mutual understanding between you. There must be a picture ... In order to reach the kinesthetic, business visits include visits to a bath, good cognac - and "by the hand!", In close relationships - it is important to move towards him (to her), take these hands in your own and, breathing, talking, referring to your feelings.

If we do not speak the language that is most understandable to our interlocutor, our words are perceived by them as strangers and do not sound convincing. What to do? Two things. The first is to learn to speak the language closest to your interlocutor, the second - more often in your speech use all three VAK-modalities at the same time. In this case, the interlocutor as if sees what you want to show him, hears what you say to him, practically feels what you want to convey to him. Often this is called - the means of artistic expressiveness of speech. It is useful to develop your speech, making it more artistically expressive, such that more often you speak volume, alternating modalities, easily moving from pictures to sound and in time affecting kinesthetic experiences. This not only contributes to the greater credibility of our speech, it is also useful for ourselves: in this case we perceive the world brighter and more colorful, more sonorous and more tart...

You can practice turning a bare text into text if not artistic, then at the extreme least sensory voluminous. How? Take a simple sentence, for example, "The cow came out of the shed." Obviously, only visual modality is used in this proposal, and even that is weak. What happens if I add sound here? "The cow looked out from around the corner and mumbled something deafly, moo!" However, the kinesthetics are not enough here. We will add? "The cow, shifting, lazily out of the warm crib and muffled deafly, moo!" It’s better, but you can make the picture even richer: "The black cow, shifting and shaking his head, lazily emerged from the warmth of the stable, muffled dejectedly and lay down in the fresh, crunchy snow."

Speech, collected from such living pictures, remains in the memory of the interlocutor. The more pictures, the faster you understand the interlocutor, however pictures as quickly come to consciousness to a person, so quickly they can leave. If you want your pictures to live longer, they touch something alive in the interlocutor and immerse in it, you need to fill the text with kinesthetic.

Exercise QUAKKanie

If you work at the Distance, you will take for exercise these skills the exercise "Kvakanie" (from the abbreviation VAK). Content and OZR exercises:

• I hear in my own and other people’s conversational speech the words of the preferred modality;

• I can make my speech sensationally voluminous, enriching it with all VAK modalities;

• I am able to build my speech in the partner’s language, within the modality preferred by him.

Execution of the last paragraph: 1. Determine the time frame - how much time per day this is given. 2. Determine what to control what to distinguish from the speech of the interlocutor. 3. Make a recording of the dialogues during the day (if necessary), or work out also without a voice recorder, "live". 4. Make an analysis of the dialogues. What I say, what the other person is saying. 5. To "translate" your phrases into the language of the interlocutor. 6. Record how many phrases have been translated, or come up with your own way of controlling the exercise. 7. Make a control analysis. 8. Take another person for training. Exercise is considered worked out when you easily hear "another speech" and without difficulty you pass on the language of the interlocutor.

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