Nausheen Chen

And the top 1% always make sure they dedicate at least 50% of their prep time to the delivery aspect.

I tell my clients to think of the different roles that they can play. So if you imagine a film set, there's the script writer, there's the actor, and then there's the director. And those roles are happening in your head all the time when you speak. So you're preparing for your presentation. You're scripting what you want to say. Then, of course, you're going and performing it.

I tell my clients to think of the different roles that they can play. So if you imagine a film set, there's the script writer, there's the actor, and then there's the director. And those roles are happening in your head all the time when you speak. So you're preparing for your presentation. You're scripting what you want to say. Then, of course, you're going and performing it.

I tell my clients to think of the different roles that they can play. So if you imagine a film set, there's the script writer, there's the actor, and then there's the director. And those roles are happening in your head all the time when you speak. So you're preparing for your presentation. You're scripting what you want to say. Then, of course, you're going and performing it.

But then there's a voice in your head that critiques you. the best way to make sure that you're not attaching yourself too much to the performance is to focus on one thing at a time. So when you're performing, especially when you're practicing, just practice. And I always discourage people from practicing in front of a mirror because it's not very natural and it's very hard to focus on

But then there's a voice in your head that critiques you. the best way to make sure that you're not attaching yourself too much to the performance is to focus on one thing at a time. So when you're performing, especially when you're practicing, just practice. And I always discourage people from practicing in front of a mirror because it's not very natural and it's very hard to focus on

But then there's a voice in your head that critiques you. the best way to make sure that you're not attaching yourself too much to the performance is to focus on one thing at a time. So when you're performing, especially when you're practicing, just practice. And I always discourage people from practicing in front of a mirror because it's not very natural and it's very hard to focus on

the message and on the performance if all you're doing is staring at your face so recording yourself and watching yourself back is essential just like an athlete would go and review tapes of their performance and look at what they did well and what they didn't so being a performer in the moment when you're practicing and then when you're reviewing your footage

the message and on the performance if all you're doing is staring at your face so recording yourself and watching yourself back is essential just like an athlete would go and review tapes of their performance and look at what they did well and what they didn't so being a performer in the moment when you're practicing and then when you're reviewing your footage

the message and on the performance if all you're doing is staring at your face so recording yourself and watching yourself back is essential just like an athlete would go and review tapes of their performance and look at what they did well and what they didn't so being a performer in the moment when you're practicing and then when you're reviewing your footage

aim to only have your director hat on. So the person on the screen is the performer, but you're the director of the piece. And now all you need to do is improve the performance of that person on the screen. Okay, they happen to be you. That's a coincidence, but they could also be anyone else. So if you can separate those roles,

aim to only have your director hat on. So the person on the screen is the performer, but you're the director of the piece. And now all you need to do is improve the performance of that person on the screen. Okay, they happen to be you. That's a coincidence, but they could also be anyone else. So if you can separate those roles,

aim to only have your director hat on. So the person on the screen is the performer, but you're the director of the piece. And now all you need to do is improve the performance of that person on the screen. Okay, they happen to be you. That's a coincidence, but they could also be anyone else. So if you can separate those roles,

If you can let the script writer do their thing, but then shut up so that you can perform instead of rethinking and rewriting all the time. And then if you can let the director critique later and not in the moment, that's how you'll perform really well in the moment. And then when you're reviewing, if you can get the actor to step away,

If you can let the script writer do their thing, but then shut up so that you can perform instead of rethinking and rewriting all the time. And then if you can let the director critique later and not in the moment, that's how you'll perform really well in the moment. And then when you're reviewing, if you can get the actor to step away,

If you can let the script writer do their thing, but then shut up so that you can perform instead of rethinking and rewriting all the time. And then if you can let the director critique later and not in the moment, that's how you'll perform really well in the moment. And then when you're reviewing, if you can get the actor to step away,

and just focus on how can I improve next time, detaching yourself from the person on the screen, that's the best way that I've found of desensitizing yourself to your faults and focusing instead on how do you improve.

and just focus on how can I improve next time, detaching yourself from the person on the screen, that's the best way that I've found of desensitizing yourself to your faults and focusing instead on how do you improve.

and just focus on how can I improve next time, detaching yourself from the person on the screen, that's the best way that I've found of desensitizing yourself to your faults and focusing instead on how do you improve.

Improv itself is such an amazing practice because you get to face your worst fear. People are staring at you and you don't know what to say. You don't have a script. You don't have anything to fall back on. But the beautiful thing about improv is that you're not winging it. There are structures in place. There are rules that you learn. You learn yes and. You learn how to work with your team.