Listening notes: Li's birthday talk show workbook

This practical code shared by professional experts is most suitable for users; The more people who do things, the more they can see the brilliance accumulated by trial and error in these dull summaries.

In this book, he did not emphasize the uniqueness of talk show, but classified it as a creative job. Moreover, you can feel that he is deliberately using some hard-core expressions to help us filter out the romantic imagination of the talk show job. Even, he refused to call our readers "friends".

He said, "Remember, this is a job. The essence of work is trading. We use our personal time and talents to exchange money through a company and the market. It's that simple. "

Insert a sentence here. According to my statistics, the expression "this is a job" has appeared in the book 18 times. You know, this book, including the text and interviews, has a total of more than 50 thousand words. This is a very thin booklet. In more than half of the chapters, you will see that Li emphasized on his birthday that "this is a job".

And in our next content, you will also hear the words "this is a job" from time to time. Because, by understanding these words, we can understand Li Dan's main views on talk show creation.

For example, because this is a job, as a practitioner, you should always remind yourself that you are a professional.

This sentence extends to the attitude towards creation, that is, since you are a professional, don't do anything that harms your professional ability.

Friends who have seen the talk show conference may remember that Li Dan, as one of the commentators, has repeatedly said that he does not support the use of homophonic stalks by talk show actors. What is a homophonic terrier? For example, I ask you, how heavy are the stars in the sky? You said, eight grams, because Starbucks. This is homophonic terrier, that is, some words with the same or similar pronunciation are used instead of normal expressions to create a surprise joke.

Li Dan opposed homophonic terrier, not because it was not funny. Sometimes, some moments that make the audience laugh may come from a homophonic stalk. Li Dan opposed homophonic terrier, because he thought homophonic terrier was too simple to create. It is harmful to the growth of creative ability if you always joke by homophonic stalks.

Like homophonic stalks, there are plagiarism, teasing peers, or quoting online buzzwords. Li Dan opposed these, except for moral reasons, because these jokes are not really "creation", but you took other people's semi-finished products and made them in a rough way. Even if they are funny, they can only be regarded as "second-rate jokes".

In his view, the creator should have a most basic pursuit, that is, "take its method and use its strengths." A creative person, if he doesn't challenge those first-rate jokes, but lies in the comfort zone of second-rate jokes, may not even become a third-rate creator in the end.

Another important thing about the job of talk show is that because it is a job, don't treat yourself as an artist, pay first and then do something, and then do something else.

This sentence extends to the attitude towards creation, that is, completion is more important than perfection.

We often feel that creation is inspiring. Many talk show actors feel the same way, so they often complain that they have no inspiration, insight and emotion.

Li Dan's answer to this question is: you can't create by lightning, and you have to split yourself if you want nothing. Therefore, he will advise novices to turn over all the topics used in the talk show conference and write them one by one; In the process of writing, those feelings that are usually ignored will naturally be mobilized, and those emotions can't be hidden. If you can't do it again, set yourself a few more deadlines and let them push you away. Anyway, write first. Is it not bad or bad? Bad things come first, good things come later.

Well, what I said earlier is Li Dan's attitude towards talk show work. As you can see, he is very serious when he talks about this. He will emphasize to you with all kinds of long sentences and short sentences: this is a job. If you want to eat this bowl of rice, you have to abandon those unprofessional habits and suppress those utopian fantasies. If you only look at the words, it is difficult to associate the person who wrote these words with Li's birthday, who is always cheerful and loves to say "the world is not worth it" in variety shows.

Well, then, let's talk about what Li Dan, as such a "serious talk show worker", thinks is the most important thing in this job.

If I had to guess this question directly, I might say creativity, baggage or style.

But in Li Dan's view, these are not the most important, sincerity is the most important.

This seems a bit strange. We often think that talk show is also a kind of performance. Since it's a performance, you can't be too sincere. You must show your stage personality and show what you think the audience will like. Whether it's setting up people or speculating cp, it's all part of the performance, not the real you, but it's understandable.

Li Birthday is not against these acting skills, he just thinks that these are not enough to make you a truly popular talk show actor. He said that the fundamental principle of performing art is to make people believe. Talk show is to let the audience know you and fall in love with you from the beginning of believing you. If you want to win the trust of others, you need to be a sincere person, don't hide your pain, don't be ashamed of happiness, and confidently give yourself to the stage, to your partner and to the world.

Be more specific. We can learn from the book that for a talk show actor, sincerity is actually when you are on the stage, you are acting yourself-your own story, your own values and your own style. Say it one by one.

First, tell your own story. Jia Xingjia, a teacher who interviewed Yan Hexiang, a crosstalk performer from Deyun Society, said that crosstalk and talk shows have turned the most innate communication instinct of human beings into their own jobs. Unlike sketches and plays, it is more penetrating to talk directly to the audience.

Teacher Yan Hexiang emphasized here that the similarities between crosstalk and talk show are mainly reflected in the form. But in this book, Li Dan focuses on the difference between crosstalk and talk show, which is mainly reflected in the content. Li Dan believes that talk shows are realistic creations, but cross talks are often magical realistic creations.

What do you mean?

He gave an example. For example, in the small matter of drinking Sprite, crosstalk performers may say, "Drinking Sprite is not enough. You must mix Chili oil. You have to make instant noodles after adding Chili oil ... why doesn't anyone drink it? My second uncle drank two pots that day ... "But talk show performers can't do that. If he really wants to drink Sprite, he should say, "Yesterday afternoon, I was with my colleagues, and I drank mineral water.

Maybe this is not a joke, but it does reflect the content characteristics of talk shows, that is, telling their own stories. The ego mentioned here refers to both the actor himself and the "ego" in the audience's mind.

This is one of his words. Let me read it to you:

"Don't think that things that are off track and dramatic enough are interesting, and things in life are interesting; Life itself is ridiculous enough, and there is no need to find those magical special cases to prove it; In addition, about those special cases, have you ever talked about Deyun Society? People have been practicing for so many years, specializing in this, and their audience is here to listen to this.

"As a talk show actor, we should find some common realities. There are only a few ways of thinking and several personality patterns in the human brain. This will happen to you, which means it will happen to many people. Then make it clear, make it clear, make it funny, and it's over. "

Ok, after talking about what "your own story" is, let's talk about "your own values". As we just mentioned, talk show creation is realistic, directly reflects the present life, and naturally contains your values, that is, you think such a life is not worth living.

In Li Dan's view, what kind of person you are on the stage can't be hidden; If you want the audience to believe in you and fall in love with you, you have to share your true values with the audience. Don't be afraid that someone doesn't like you. For talk show actors, the purpose of presenting their values is to find people who agree with you, not to please as many people as possible.

Well, what we said earlier is that a sincere talk show actor should be able to tell his own story and his own values on the stage. These are actually not difficult. However, the next difficult thing is to say your own style.

As an audience, we can all feel that those talk show actors with distinctive styles are more likely to get angry. However, it is not easy to find your own style, which is also a matter of distress for many talk show actors.

Li Dan believes that style is actually your personality charm. One of his writer friends once told him, "Writing a novel, to fight in the end is to fight for personality". In his view, talk show actors finally spell personality. Aside from all the skills and words, what a talk show actor finally attracts the audience is your personality that you can't hide; And sometimes, personality charm may come from your shortcomings, not your strengths.

So, how can talk show actors have their own style? Li Dan said, in fact, style is like fame and fortune, which is only a by-product of this job; You don't know when it will come. The only thing you know is that you have to keep working, honing and studying. When you can mobilize your whole life and provide nutrients for your creation, the style you pursue may automatically appear. Because your style is your life.

the second part

Well, what we just said is that in Li Dan's view, talk show is a job, a job that needs to put sincerity first, and a job that needs to mobilize the whole life to provide nutrients for creation.

Next, let's talk about specific talk show creation methods. In this part of the interpretation, you may not hear the jokes of the talk show, because the jokes of professional actors cannot be spread casually, so we should respect the copyright.

However, before reading this book, I did a small survey in the knowledge city-state, in order to know what you want to hear about the interpretation of this book. Among several options, the highest number of votes is that I want to hear some ideas shared by talk shows and other content products on the market. Therefore, in the following interpretation, I will talk about Li Birthday's creative methods, and at the same time add some creative experiences that we have gained from internal work and are similar to Li Birthday's views. As a practitioner in the content industry, I want to share with you some insights brought by this book. I hope this collision will bring you more inspiration outside the talk show industry.

Let's start with a basic approach, that is, please write a draft word by word. That is to say, write down word by word what you will say on the stage in the future and recite it. This is Li Dan's advice to all those who need to say or perform what is written on paper.

For talk show actors, a five-minute performance is probably an armchair strategist 1000 words, so we should dig the manuscript carefully. Then, if it is an hour, two hours, or even longer, is it necessary to write word for word?

The answer is necessary.

Here I add a gossip. There is a principle that everyone should abide by, that is, everyone on stage should write a word-for-word manuscript. Whether it's a 10-minute live broadcast, a 30-minute book-listening show, an hour's inspiration club or a full four-hour New Year's speech, it's no exception.

We agree with Li Dan on this matter. Writing a word-for-word manuscript is not only to build self-confidence and reduce nervousness in front of the audience, or to avoid saying "well", "then" and "that" by yourself, but also because when you write a word-for-word manuscript, you are actually rehearsing your own performance. You need to imagine yourself standing on the stage and write down what you want to say, what you want to do and what rhythm you want to follow.

Li Dan mentioned an interesting thing in his book, that is, when he looked at the word-for-word manuscripts of the talk show actors in his company, he found that everyone's manuscripts looked different.

For example, talk show actor Hulan, whose manuscript has no commas and almost no paragraphs; Bring me the manuscript, my eyes are full of words, all soft. However, such a verbatim draft is exactly in line with Hulan's style on the stage. Some friends may know that Hulan speaks very fast when performing, and there is not much gap between words; Someone commented that he took a deep breath and then lasted for five minutes. Others said that he was really worried that Hulan didn't catch his breath halfway and carried it back. Therefore, Hulan's originality without comma is exactly the same as his performance style without venting.

There is also a talk show actor Rock, whose performance style is very different from Hulan's. His expression is faint and his rhythm is slow. After a word, he will pause for a few seconds. His manuscript is almost the opposite of Hulan's: the layout of the manuscript is like a poem, and when a sentence is finished, it cuts directly into the next line; If it is short, six or seven words can be used in one line. This also truly restored his situation on the stage.

So, what if it's a longer manuscript than a talk show? Here I would like to share with you a method that Luo Pang emphasized when he gave us content training, that is, to make good use of punctuation marks.

For example, if your manuscript is to be told in front of an audience, or to be converted into audio or video, you must use more commas. Because in these scenes, everything you say is better to be short sentences, not long sentences and complex sentences, so that others can feel comfortable and digest them easily. Comma can not only break down long sentences, but also serve as a pause reminder to help you find your own rhythm.

In addition, all your punctuation marks and paragraphs should be used as accurately as possible. This is not to emphasize the standardization of writing, but to let you know what kind of tone and rhythm should be used in various places during recording or live broadcast through every punctuation and paragraph.

Let's talk about writing a verbatim manuscript first. You will find that if you have enough experience and talk a lot, this is not something you don't have to do. You see, even Li Dan and Luo Pang, who have had so much stage experience, will honestly type the manuscript word for word before each stage, and honestly ponder over every punctuation mark in the manuscript.

Because as Li Dan said, most live performances can only be pursued out of control under high control. Among them, height control is the first, and your language, rhythm and movements should be designed in advance; On this basis, we can improvise according to the atmosphere at that time. A personal performance may lead to a good live effect, but the most fundamental thing that supports your performance is the verbatim draft that you rehearse repeatedly. This principle applies to many situations involving public speaking.

Ok, let's talk about how to design the overall rhythm of a manuscript. One method emphasized by Li Dan in his book is to synchronize first, then lead, and then loop indefinitely. Generally speaking, let the audience stand with you psychologically by telling stories and throwing questions. Then lead, that is, break through the audience's original expectations-at this time, the burden will come out, and then immediately enter the next round of synchronization and guidance. A manuscript is many cycles of this process.

If you look closely, you will find that many talk show actors' manuscripts follow this pattern. For example, watch the fourth season of Talk Show Conference. There is a new contestant, Bird Bird, who appears more frequently in her manuscript, and it is the problem of "social fear" and "appearance anxiety" that people often mention at present; There is also Doudou, who is good at performing, who has restored his experience in 10 yuan barber shop in all directions; Veteran Lu Cheng, in several performances, will imitate the style of the leader's speech to the end ... all these are to arouse the audience's resonance and be completely synchronized.

Not to mention the champion Zhou Qimo. What he said is "watching comedy", and the creative materials are all from the observation in daily life, which is easy to synchronize with the audience. However, as we all know, actors have to find unexpected jokes and present them delicately. This is "leading".

Here, I want to add a few words. "Synchronize first and then lead" is not the unique method of talk show creation. This statement itself is what Li Dan saw from a persuasive book; There is a similar theory in pedagogy, that is, when teaching children new knowledge, first talk about what they already know, and then add new content bit by bit.

Also, if you analyze the content products on the Internet, you will find that many of them also follow the mode of "synchronization first, then guidance, then infinite loop", because this mode can firmly grasp the attention of the audience.

Let me talk about a few common methods of "synchronization" and "leading". Do you know anything familiar? For example, we will tell you a story first, and then suddenly stop and ask, "Hey, did you find anything strange in it?" Then we'll answer after we finish the strange place. Or, first throw you a dilemma that you may have experienced personally, such as "what should I do if the other department does not cooperate with me", and then give a solution; Another way, as you may know, is to clarify what people's common view of something is first, and then with a wave of his left hand, tell you that this view is wrong, incomplete or simplistic. These are all in the process of "synchronization first, then leading".

What is an "infinite loop"? In Luo pang's words, it is "it is not advisable to stay here for a long time." For example, when a doubt in the story is explained, the next doubt is immediately put forward; When a dilemma is solved, a new dilemma will appear immediately ... which will make the other party follow you unconsciously.

I used this method myself in previous interviews. For example, when talking about your experience in organizing large-scale activities, don't just state the results, but focus on the problems encountered in the process and say them one by one. For example, first emphasize the problem of insufficient funds, and then talk about how to solve it; As soon as the speech was over, the next question was thrown-the number of applicants was not enough; When all the people are mobilized, the invited guests have something to do temporarily ... In this way, in the process of telling them how to solve each dilemma, the other party can not only understand your abilities in all aspects, but also listen attentively and have a deeper impression on you.

Ok, next, let's go back to the talk show. Let's have a look. Where does the path of "synchronization first, then guidance, then infinite loop" finally lead to in the talk show?

Friends who like watching movies should have heard of a concept called "character arc", radian arc and glorious light. It is said that the protagonist will change from the beginning of the film, through development, and finally to the end, and achieve a certain degree of growth. The reason why "arc of characters" is indispensable in movies is that it gives a sense of story value. Because if your story is worth telling, you need to show its influence on people-not only the characters, but also the audience.

Li Dan believes that the same is true of talk shows. Talk show actors need to use the standards of movie protagonists to demand themselves in short stories. This means that you need to grow up openly on the stage. The growth mentioned here can be that you understand your ignorant father, tease your stupid boss, or get out of the shadow of lovelorn, and so on. Maybe you didn't solve any problems, but you let the audience know through these five minutes that you have finally reconciled with yourself-this is also a kind of growth, which is the growth of wisdom and is very common on the talk show stage. When the audience sees your growth, they will understand you and grow with you. This is the charm of the work.

Well, as we have said here, before a talk show actor takes the stage, he needs to write a word-for-word manuscript. The rhythm design of the manuscript is "synchronization first, then leading, and then infinite loop". Also, after the whole manuscript comes down, you should let the audience see your growth. Then, when the manuscript is rehearsed, the next step is to go on stage.

There is a theory that when performing a talk show, the relationship between the actor and the audience is the most important, and it is necessary to feel the atmosphere and keep up with it.

Li Dan believes that although this statement is true, it has no practical value and may even be harmful. Because, if you pay too much attention to the atmosphere, it is easy for you to be at a loss on the stage. Once you feel cold, you may panic, stutter, and even start to interact crazily, adding old baggage and telling dirty jokes, just like a drowning person.

What is the correct performance posture? Li Dan repeatedly emphasized in his book that the essence of talk show performance is to restore what you imagined when you wrote the manuscript. When you are writing a manuscript, you should make the audience a part of your imagination; When you go on stage, just follow the prepared performance. What if the luggage doesn't ring? Let's finish it according to your word-for-word draft, and be generous. Don't deliberately add actions to please the audience, because even if the audience laughs, it will only be meaningless success. And if we can analyze our shortcomings in creation or performance through an icebreaker and adjust our imagination when writing, even if we fail, it is a meaningful failure.

The reason behind this is that the purpose of a talk show actor's practice on the stage is not to serve a certain audience well, but to become a stronger talk show actor. It is not that the more people you can please, the more your audience will be; But the more creative you are, the more viewers will come to see you. In the process of self-cultivation, laughing at the audience is only a by-product, just like fame and fortune. There is only one thing you have to ask yourself before going to bed every day: Do you have anything today that you didn't have yesterday? This is Charles Munger's suggestion. Li Dan found that many excellent people around him have been doing this all the time. He also said with emotion: In fact, many chicken soups for the soul are right. People call it chicken soup only because few people practice it.

label

Well, today I mainly talked about Li Dan's views on the job of talk show, and some specific talk show creation skills. In the appendix of this book, there are some interviews given by Li Dan for this book. If you are interested, please click on the e-book at the end of the manuscript to expand your reading.

Before the end of today, I want to talk to you about a problem that deeply touches me in this book, that is, how to improve my creative ability.

Li Dan said that he had seen a training video of the national table tennis team. At that time, coach Liu kept serving fast, and player ZhangJike kept catching the ball. After the training, sweating Liu held the table tennis table and stammered a little, "That's enough."

Li Dan said that he often thought of Liu's calm manner when he said this sentence. There is great pride hidden in his calm. This sense of pride is accumulated bit by bit through day-to-day investment. And every creator should think of this sentence when complaining that his inspiration is exhausted, and then ask himself: Have you written enough?

As a book-listening writer, I am also very moved to see this place. Some time ago, Li Nannan, the person in charge of listening to books, asked us a question:

In what way do you think your ability is growing as you get older?

Many people think that when you get older, your ability will naturally improve. Actually, it's not. Except for a few people with extremely high talents, most people will feel that they have reached the upper limit of their abilities in their early forties. In other words, you will find that it seems difficult for you to surpass the peak level.

So, does this mean that there is no room for promotion after 40 years old?

Not exactly. Although your upper limit will not increase with age, your lower limit will always increase. In other words, if your peak level is 95 points, you will become more and more stable after your forties, although it may be difficult for you to surpass the previous 95 points. Even if the score is worse, it will not be lower than 80 points. To put it bluntly, your life expectancy has improved. This is a more solid advantage.

Then, since the ultimate picture of ability growth is stable growth, not upper limit growth, how can we exercise our ability?

In fact, it is just a word, don't hold back big moves, train hard, produce quickly and continuously.

Li Dan also said something similar in this book. He said: If you want to improve your ability, there is no other shortcut except continuous practice-don't leave the battlefield, don't leave your comrades, and don't leave the enemy.

I give this sentence to you and to myself. I hope we can all take root in the battlefield of life and polish a better life interval for ourselves through constant tempering.