Adam Grant

There's some upside for you, presumably, in connecting with your audience and also connecting with a new audience and creating more opportunities for you to get your ideas out there. I think that's got to be balanced. So that's one option for emotion regulation is, okay, when you're feeling anxiety, it's a sign that you care about something that is beyond your control.

There's some upside for you, presumably, in connecting with your audience and also connecting with a new audience and creating more opportunities for you to get your ideas out there. I think that's got to be balanced. So that's one option for emotion regulation is, okay, when you're feeling anxiety, it's a sign that you care about something that is beyond your control.

And let's talk about then what the things are that you can control. And so you then went to preparation. And so you are potentially a defensive pessimist, somebody who worries about the worst case scenario and then harnesses that anxiety as motivation to prepare.

And let's talk about then what the things are that you can control. And so you then went to preparation. And so you are potentially a defensive pessimist, somebody who worries about the worst case scenario and then harnesses that anxiety as motivation to prepare.

And let's talk about then what the things are that you can control. And so you then went to preparation. And so you are potentially a defensive pessimist, somebody who worries about the worst case scenario and then harnesses that anxiety as motivation to prepare.

which is why I think we have to remember, we don't want you to be in a great mood for the next week and a half before you get on stage because that might actually quell your anxiety prematurely and then you get complacent and you don't do the preparation necessary and then you're more likely to disappoint yourself or others.

which is why I think we have to remember, we don't want you to be in a great mood for the next week and a half before you get on stage because that might actually quell your anxiety prematurely and then you get complacent and you don't do the preparation necessary and then you're more likely to disappoint yourself or others.

which is why I think we have to remember, we don't want you to be in a great mood for the next week and a half before you get on stage because that might actually quell your anxiety prematurely and then you get complacent and you don't do the preparation necessary and then you're more likely to disappoint yourself or others.

And then I think the last thing here is let's get some psychological distance and ask yourself, okay, you've been in this situation before. What is the base rate of failure? It's actually pretty low. That means you're fairly good at this and you're also mostly prepared. And so that's a reason to be confident that you're capable of controlling enough to have a high probability of success.

And then I think the last thing here is let's get some psychological distance and ask yourself, okay, you've been in this situation before. What is the base rate of failure? It's actually pretty low. That means you're fairly good at this and you're also mostly prepared. And so that's a reason to be confident that you're capable of controlling enough to have a high probability of success.

And then I think the last thing here is let's get some psychological distance and ask yourself, okay, you've been in this situation before. What is the base rate of failure? It's actually pretty low. That means you're fairly good at this and you're also mostly prepared. And so that's a reason to be confident that you're capable of controlling enough to have a high probability of success.

So I guess those are the range of emotion regulation strategies I would try here. Which ones resonate with you? Which ones are more of a struggle for you?

So I guess those are the range of emotion regulation strategies I would try here. Which ones resonate with you? Which ones are more of a struggle for you?

So I guess those are the range of emotion regulation strategies I would try here. Which ones resonate with you? Which ones are more of a struggle for you?

That makes sense. And so then I think what drives you is... wanting to live up to your own standards and wanting to make sure that you don't fall short of other people's expectations of you.

That makes sense. And so then I think what drives you is... wanting to live up to your own standards and wanting to make sure that you don't fall short of other people's expectations of you.

That makes sense. And so then I think what drives you is... wanting to live up to your own standards and wanting to make sure that you don't fall short of other people's expectations of you.

Let's go back to your idea of if you were going to cut 20%, what would you cut? I think one of my biggest frustrations on stage is it's really easy to just do your greatest hits and then stagnate. And so in every talk, I try to do 20% new material. And that's the zone of acceptable failure. I'm expecting that some of that content is not going to land. And there's a line drawn on that, right?

Let's go back to your idea of if you were going to cut 20%, what would you cut? I think one of my biggest frustrations on stage is it's really easy to just do your greatest hits and then stagnate. And so in every talk, I try to do 20% new material. And that's the zone of acceptable failure. I'm expecting that some of that content is not going to land. And there's a line drawn on that, right?

Let's go back to your idea of if you were going to cut 20%, what would you cut? I think one of my biggest frustrations on stage is it's really easy to just do your greatest hits and then stagnate. And so in every talk, I try to do 20% new material. And that's the zone of acceptable failure. I'm expecting that some of that content is not going to land. And there's a line drawn on that, right?