Speaking and Communicating Podcast

Because you're going to discover something that no one has written about or coaches, which is the neurological basis - you were born to speak perfectly!

Welcome back to the Speaking and Communicating podcast. I am your host Roberta. If you are looking to improve your communication skills, both professionally and personally, this is the podcast you should be tuning into. Communication and soft skills are crucial in your career growth and leadership development. Whether you're about to speak in public, make presentations at work,
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Pitch to investors or an entrepreneur looking to showcase the innovation to a wider audience, you'd be glad you joined us. The Speaking and Communicating podcast is part of the Be Podcast Network, which is a centralized hub that helps listeners become their best selves at work and in life. To learn more about the Be Podcast Network, go to BePodcastNetwork.com.
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And by the end of this episode, please log on to Apple and Spotify. Leave us a rating and a review and what you'd like for us to discuss on this podcast. That will be beneficial to you. Let's get communicating.
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Now, we usually focus on public speaking and my guest today, who's a former psychologist, actually did serious research and studying the neurological connection to public speaking, something that we haven't been able to touch on until today. So grab your seats, hold on tight, because Danny Slomoff, the Founder of Slomoff Consulting Group, is here to talk to us about the psychology
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behind public speaking. And he authored his bestselling book, The Myth of Public Speaking, which we will touch on later. And before I go any further, please help me welcome him to the show. Hi Danny. Hello Roberta. And thank you so much. I look forward to this. Thank you for being here. It's my pleasure. Welcome to the show. And as I said, you are going to be touching on the neurology behind public speaking.
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something that we've never discussed before. So this is gonna be very interesting. But before that, please introduce yourself. So I began my career a long time ago as a psychologist, but I was an entrepreneur and I had many small entrepreneurial type companies. So some obvious things, I had a clinical practice, but I also had pain clinics. I was a sports psychologist for the 84 Summer Olympics.
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I have, I'm currently the speaking coach for the US Ski and Snowboard Olympic team. I've had a strategy company, a sales development company. I've been involved in large real estate development on and on. But during the whole time, I was coaching executives. And I got to a point where I couldn't figure out what was wrong because the people I was coaching
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ended up looking more stiff and rigid and not the full richness of themselves. So at that point, I tried to figure out what was the problem. Was it me as the coach? Was it them or the methodology? And when I arrived at it, it was the methodology. So as a psychologist, I began reviewing the research on the neurons in the brain for talking. It turns out
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Every human being on the planet Earth is born with the exact same neurological coordination system for talking. Just like every human being is born with a system to walk. Doesn't matter who your parents are, doesn't matter your culture, doesn't matter your language. It's an internal coordination system. On the system, you attach personality, you attach language. But you're born with a...
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perfect system. If you use the system, you speak perfectly, but people don't. Because every human being learned to talk by imitation. Around the age of one, your brain has the neurons to control the lips, the tongue, and the mouth. And at that point, sound can be converted into words in the language that the parents want you to learn. And in that,
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you end up as an infant just imitating. And in the imitation, you have little ability to distinguish the difference between what's correct and incorrect. In fact, I'd probably say you have no ability to distinguish. So you absorb their speaking pattern. And then somewhere around middle school, you pick a very strong peer group and you absorb...
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through imitating theirs. It's the reason why, Roberta, you have a different accent than I do. It's because of imitation. That's it. It's not like you were born with that. No, you observed it and imitated and so did I. So when people come to us for coaching, they have a habit pattern, deeply ingrained, most often they're unconscious of it.
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because they are actually speaking over a thousand times a day. And that habit pattern is a certain distance from the neurons you were born with. So when we start to coach people on their speaking, that's the first thing we have to observe as a coach. How close or far away is your habit? Would I call your swing neurologically from the neurons you were born?
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And that distance is what we have to alter as quickly as we can in coaching. Because if you use the neurons, you speak perfectly, no errors, which is absolutely amazing to people when we coach them. And because I am a psychologist, if you focus people on errors, their mind becomes preoccupied and fearful of the error.
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And in that, they are now focused on not doing, which doesn't help. What you wanna be focused is on doing the correct. So in our work, we only help people figure out what they are doing well, what is the correct behavior, and give them chances to practice that over and over again until they are using those neurons
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they were born with. And the transformation is fast and dramatic. When you talk about focusing on the errors or focusing on what they shouldn't do, there's a story in your book where you talked about that. Would you like to tell us that story? You were coaching one of the executives and you said, don't focus on the thing you always known that you are doing wrong. Then you...
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you take away the focus from what you should be doing, right? Right. Honestly, in 35 years of coaching, we have coached thousands and thousands and thousands of executives. And some of them were willing to write their story or I wrote a story about them in the book. But the principle is the same. So I know there is a story in the book about
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which was I have a hobby of singing and acting. And I was supposed to sing with another person, a duet from Into the Woods. And accidentally, I had learned the wrong word. Now it wasn't a significant word, but when you're doing a duet, you can't have one singing a different word from the other. And they pointed this out to me about
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two days before the actual time we were performing. And I went, oh my God, how am I going to avoid saying the wrong word? I have to say the right word. He's saying the right word, et cetera. So now I am so wrapped up in that anxiety over the word, I'm actually on stage and I'm singing the song. And as my mind goes, I'm getting closer and closer to that word, to that word. I am choking up. I am freezing up.
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I have adrenaline going through my body. Am I going to make that mistake or not? And I didn't make the mistake, but the anxiety I felt over the fear of that error was too painful. So even though I'm highly trained, it's easy for the human mind to make this mistake and be focused on errors.
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as opposed to what correctly to do. Look, if you want to get improved quickly in any skill that has a coordination system as in spaces, doesn't matter if you're a musician, a dancer or an athlete, the fastest way to improve is figure out what you do well and do it more often. If you go, well, I've got to correct errors.
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it will slow you down significantly because correct behavior doesn't have the errors. And that's why just focusing on that corrects your speaking, which is the first part of every skill is the coordination system. If you're a guitarist, you're playing the guitar, pianist. If you're an athlete, let's say you're a basketball player,
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The units of basketball are dribbling, passing, and shooting. It doesn't matter if you are the greatest basketball player in the world, LeBron James, or you're a kid. Every one of them practices the exact same thing. The units, to do them correctly. And the world's greatest always practice the units because it's fundamental to the coordination system.
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There's a second and third part. And the second part is what we call the game, where you wanna use your coordination system in an important moment. So basketball could be championships, could be a game. Musicians could be playing in front of a group, a crowd. In speaking, it is the content you need to deliver to the mind of a person or a group.
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That's the game. Can you deliver it? So they leave thinking about it and moved by it. And then the third part's the part you were just referring to, the mind. That's where being a sports psychologist and a psychologist comes in. Because people can perceive an event as a performance, have anxiety over it. And that's the game.
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can easily interfere with using the swing in game time. Talking about, because you challenged a lot of executives in the book as well about, oh, but Danny, I want to speak about my expertise and how much I know, and that I'm good at this so that they know that I'm the expert in it. What is the problem with that? It's too egocentric. It's all about you, where if you look at the greats,
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And there's a chapter in the book of the 10 qualities of great communicators. And one of them is that the greats recognize any listener is giving them the two most valuable parts of their life, their personal time and their personal attention. So the greats believe talking is an act of respect for people who give time and attention.
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And therefore they organize their content and their delivery, their talking to maximize the experience of the mind of a listener. They focus on the mind. How do I help your mind discover something valuable for you? Everybody else on the continuum has a different point of view, motivation, and it's really common. It's rational.
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But it's wrong. And that is you are paying me in this job to be an expert. So I always have to demonstrate competency in my area of expertise. How do I demonstrate competency? I share with people what I know. I wanna be thorough. I wanna present everything I know so you perceive me as competent. In other words,
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myself, my competency is the driver of my communication. Where the greats go, I'm not here to demonstrate competency. I'm here to help a listener who's giving me time and attention discover something meaningful and valuable to them. So the greats focus correctly on moving minds. Everybody else on the continuum
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accidentally focuses on representation. I am here to represent my knowledge and it's just wrong, but it happens constantly. Which then is the reason a lot of people have anxiety when speaking because they perceive themselves to think I'm going to make a mistake. If I make a mistake, I won't be seen as competent. If I'm not seen as competent back too, then why are they paying me if I don't know my job, my expertise?
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that the focus is not on the audience who are giving you time and attention. I think that's profound and totally true. If you look at people who really focus on the audience, you could look at, for example, a band, musicians. Musicians don't go to play in front of a crowd so that the crowd goes, my God, what a great drummer.
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Wow, the technique of that drummer, you know, that guitarist or that singer. None of them have that thought. And I know this because my wife and I, we actually own a live performance theater in our town. It's her business. And I meet so many performers. Some of them are celebrities who perform. Some are just great musicians. But.
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If you ever walked up to a musician after a concert at our theater and you said, my God, your technique on playing the guitar, it's just so, you know what they would do? Yeah. They would say, thank you very much. But did you enjoy the music? That you, they are not there to demonstrate competency. They are there to play music that moves your mind, that makes you feel something and they know it.
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It's a great example that business people should follow. The listeners are there to have their minds affected emotionally and with ideas. They don't come and say, well, you know, I've got so much time in my day. I'm just going to come here and sit so you can demonstrate competency to me. This isn't happening. Here's another myth that you posted in your book. We talk about
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eye contact a lot and you say no, no, no, no, no, it's not about eye contact, it's mind contact. Well this goes toward the discoveries that become obvious when you learn the neurological system for speaking. There's not a single neuron in the human brain for public speaking. I used to earn a living teaching people public speaking. It doesn't exist.
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There's no neurons for presentations or speeches. The neurons we have for speaking are at least 30,000 years old. They haven't changed and they were designed and they are still designed to have a one-on-one conversation. That is the neurological structure. So when we're coaching people, we help them memorize themselves at their best in a one-on-one conversation and go,
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That should never change, should be the exact same. So that leads us to your question about eye contact. Well, the human eye is a sensory mechanism. It has zero intelligence. So once I realized this, I went, why are we teaching people to make eye contact? It makes no sense. Is no intelligence in the human eye? What we're trying to do is to make mind contact.
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which is about two inches behind the eye. And if you give me a crowd of 500, if, as I used to make this mistake teaching public speaking, you end up teaching people to scam, you know, just scan around the room, try and look at us. Go to this corner, stand on the stage, go to the side. Yeah, and it's all ridiculous ideas that I used to teach people, that the moment you study the neurology, you realize,
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They're absolutely ridiculous. So if you have a crowd of people and you intently have a one, two, three sentence conversation with a person, everybody in the room is pulled in and feels it. If you scan, no one's pulled in, no one gets involved. You lose people that way. So we're trying to show people, you are most successful in a one-on-one
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How do you translate it to a one on many? It's not that difficult the way we coach people, but it definitely is not scanning. It's being respectful of the mind of a person and really helping their mind learn something meaningful and relevant to them. One of the other stories regarding you was how your mom taught you executive presence with the handshake. I love that story.
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What would you describe as executive presence? Because it's not just the title of, oh, I'm a C-suite executive, but what is executive presence? And especially when you're speaking as well. So until I started reviewing the research on the neurons in the brain, executive presence to me was exactly like it was for other coaches and people. It was a mystery. People were told, you have great executive presence.
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And they go, well, thank you very much. And then we'd say, well, do you know what it is? And they go, nope, I just got, haven't. It's like it was a mystery you were born with. Or you go to somebody else say, you really lack executive presence. Oh, now I feel badly. And do you know what it is? I don't have any idea, but I'm lacking it. That's magical thinking. You're born with something, you're missing something. It's not true. It's all.
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learned. And there are five neurological behaviors. You do these five, they're written about in the book, and everybody will say, you've got executive presence. So for example, one of them is your posture. And it turns out, across every culture on the planet, if you have straight lines, you are perceived as powerful. If you have
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Angles you are perceived as weak. If I put my weight to one hip and I create an angle in my spine, people will perceive that as weak, where if I have straight lines, no tension but straight lines, they will perceive me as strong. This isn't my invention, it's my observation. As I mentioned to you when we were talking before the podcast,
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I spent 10 years roving around tribal societies in West Africa. And when you walk into any tribal society, you will know who the chief is because the chief stands in perfect straight lines, always. No tension in the body, but straight lines. In other words, this posture of authority goes back hundreds of years, thousands of years, even maybe a million years.
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we know straight lines. Or if you are using your hands and you have angles in your hands, this will be perceived as weak, where what you need are straight lines between your forearm, your wrist, and your hand when you do your gestures. Straight lines perceived as strong, angles perceived as weak. People watch themselves on video with us, see all their angles, easy to correct.
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They were just unconscious of it. But also another one is vocal tone. If I talk to you with a voice like this and I go, you know Roberta, I'm really excited to do this podcast with you, you'll have a reaction to that sound and it won't be positive. So it turns out the tonality across all cultures of authority is the lower range for women, musically we call it the alto.
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or the range for men musically we call it the bass or baritone. That baritone alto sound is perceived as warm, is perceived as connecting and is perceived as strong and powerful. We give people vocal lessons because they need to know. And in the lesson, what they discover is an amazing thing. Every listener processes your sound
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before your words. Where the speaker believes they're processing words, no they're not, sound comes first. And that's shocking to people. But in some cases, you know this at the positive extreme when you hear great actors in theater or even in movies that have these wonderful warm sounds and you just go, keep talking to me.
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Yes, you sounded like Gilbert Gottfrieder for a second, one of my favorite comedians. Here's the thing about tonality though, is there this women sound more higher pitch tones and men, obviously yes, the baritone voice. Is that a gender differentiation thing or? It's all learned. You just learned. If you've ever taken a singing lesson,
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I happen, that's my hobby, singing. And long time ago, I decided to at least get some lessons and I took them for 10 years. You would realize you have a huge vocal range. You can sing very high and you can sing very low. Your voice is a musical instrument. So whatever sound you have created habitually is just that. It's a habitual sound. You...
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developed it right or wrong when you were very young and you keep doing it over and over again. So we have women who come to us with fantastic voices and what's strange though is they don't know it. They don't realize how good their sound is and in some cases they will say you know now that you've said that to me other people have said my voice is so warm and strong.
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but they don't get it. They just hear it as a comment. They don't realize it's under their control and it produces a whole different relationship with people you talk to. So no one's trapped in a sound, no matter how habitual it is. If it is the right sound, we want you to know that. We want you to play it on purpose because people process sound before words.
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If it's the wrong sound, male or female, we're going to give you voice lessons to help you create the sound with these vocal cords that maximizes the processing of your listener. So however you got your sound, everyone got their sound the exact same way. Right, and it's something that you can certainly work on. When it comes to being creative with your speech, with your presentation,
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You gave an example of having like a talk show format, say for instance, you're doing a presentation to your team at work. Would you like to take us through that? You know, the executive who wrote about that in the book, I just actually talked to him two weeks ago and he was asking how well is the book doing, of course. And he was a really talented communicator, just was. So...
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when I was working with him for a few years, what we worked on was how can you push yourself and affect your audience, your listeners who are giving your time and attention. And so one time we came up with this idea of a talk show format, and it was for a user conference of theirs. And he had the desk and the couch.
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and he would bring out people and interview them. And we created different scenarios so that in that, they could demonstrate their software and show how amazing it was. And in that though, he had to have the ability to walk in the front of the audience to be able to speak to them just like a late night talk show host would with a monologue. So we worked on a monologue and he was able to deliver it.
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He really was that good, but we had to get him into the situation, give him enough practice that he could master it. And it was a tremendous creative talk and got incredible reviews and responses. So he took a risk knowing he would have to put a lot of practice in, but also knowing it would dramatically change how people...
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perceived the content and information, how it came to them. And look how much the audience gets involved as well. Cause I think a lot of challenges come from, how do I just get them involved in my speech instead of being a lecturer and just speaking all by myself for 45 minutes. The starting point is to realize you're neurologically designed for a conversation.
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Talking is a conversation. It's not a performance. It shouldn't be one way. However, people we coach are in different developmental stages. So it takes a while for somebody to switch and even have a 500, 1000 person audience and get off the stage, walk around and talk to people, engage with people rather than I'm taking everybody through a series of slides.
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It's a fantastic development. It takes a while to get there, but once you're there, people start to say your reputation's different. I love coming to your talks. They are so engaging. They're so interesting because you're having conversations with people. So sometimes I'm a keynote speaker and I don't stay on the stage long.
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I get off the stage, I walk around, I notice people's facial reactions. I see people who look puzzled and I'll say, you look puzzled, I'm curious, what are you thinking? And I have a handheld bike with me and a hand and they share with me what they're thinking. On the other hand, I see people who are nodding a lot. I go, you're nodding a lot. I'd love to know what your reaction is. And they will share. I use that conversation.
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as the foundation, then I add to it ideas that I want people to leave with, or at least share with them so that they can figure out which ones are most pertinent to them. It takes a while to get to that point because when you have 45 minutes, you're so concerned about memorization. Can I remember everything I'm supposed to say? Yeah, covering everything you
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And, oh my God, what if I forget something? And in conversations, people don't have that thought. So when I can get an executive past that transition into conversations, they all say the exact same thing, predictably. You know, I'm more relaxed. I'm just having a conversation. I'm not performing. Nobody cares if I've memorized everything and say everything exactly the way it should be said. And...
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you can tell the difference for executives like that. You really can't because they feel free to engage and talk to you. And when you see the executive who is, I got to get this right. I got it. I can't forget. Oh my God. Did I say, oh, you feel that tension and you know that stiffness is not warm and engaging. You won't feel connected.
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Another thing you say people don't visualize at least before your speech is, Oh, I can't wait for those 50 slides that Danny's going to bring. You know, but sometimes we do need to have slides. We do need to share some information. What would you say are best practices when it comes to PPT slides? Okay. There are many tech companies who have chosen.
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a slide-based communication culture. They actually define a talk as slides, not the person talking. So those companies, and I have many of them who work with us, the people show up with 25 to 40 slots. I then say, well, how much time did you put into this? I always get approximately the same answer, a week. So you spent a week developing slides. How much time did you spend
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on what you're going to say. The answer is always the same, zero. And then I say to them, so you've had the life experience of saying, I can't wait to go to this person's talk. They have slides that have changed my life. And they laugh because obviously it's not true. And then I say, but you have said that about speakers. You have said that this person, the way they talk,
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have inspired me, moved me emotionally. And you've just through slides wiped out the most important interaction you're gonna have. So our coaching is, how do we reduce the number of slides to the minimum you need and make sure that the slide you use absolutely is the most compelling way.
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to get an idea from your mind into another mind. And if it isn't the most compelling way, then we don't want the slide. So I'm constantly saying to people, you know, this was your opening, you didn't need a slide. Why do you have a slide for all these words? And then you're even saying the same words that are on the slide. Get rid of those five slides and just talk to people. And you'll see you have a different experience. You don't need them. So,
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I'm helping people select a slide based on important criteria, the most compelling way to transfer ideas to minds. However, people can tell an incredible story that's so much more powerful than slides. So we're looking for alternatives, giving them a chance to really excel as a communicator
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who is respectful and committed to the time and attention and the mind of your listeners. And too many slides just kills the whole thing. I cannot imagine that for sure. And then a compelling story. One, it needs to have suspense and tension. And then please explain the brain chemistry, the limbic brain. Actually, we'll go back even further for anybody.
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who has small children, you can easily remember that your children want you to read books to them that have pictures. Why? Because the first processing system you have is image-based and it's the most profound. And then it goes from those stories to people, children wanna watch movies that are made for them, Disney-style movies.
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And notice they want to see them over and over and over and over again. Why? Because the images are how we process. Then you get into a school system and for some strange reason, the school system decides to stop you from using the processing image based system you were born with and you're supposed to become analytic. So they reinforce.
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analysis, analytics, logical, rational thinking. And we forget that the images are the most important way we process. Now we get the stories. And how stories work is exactly how movies work. If you realize a movie is completely fake, you go into, let's say you go to a movie theater again,
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and you're sitting in a giant room with strangers. You know the person sitting next to you. You're watching a two-dimensional screen, nothing live. That screen is repetitive because the movie plays over and over again for days and days and days. And no one has ever said, I don't wanna go to this movie. It's a complete fake experience. There's nothing real to it. Everybody says the exact opposite.
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Why did they say, I have to see this movie? Because when they created the very beginning of movies, way back in the early 1900s, they discovered this simple, profound idea that visual images and sensory input creates a very strong impact on the human mind and people love it. So when you go to a movie,
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Movies are based on two senses. The visual, you see the visual on the screen, auditory. You hear dialogue and you hear music. Now, it's the same if you're watching a television series. You will hear music, dialogue, there's no narration, and you'll see these images. It's how we process at the highest level. So when we do storytelling, our methodology is based on
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how movies work in the human mind. What are the images? Which of the six senses are you using? Because there's the overall kinesthetic sense like floating or nausea, and then sight, sound, taste, touch, and smell. So you can play with those in a story that you're telling orally. And what's happening is everybody's creating the image in their mind.
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because of that. So if you want me to give you a quick example, I can give you one. Please do, yes. Okay, I was walking on a beautiful white sand beach. I didn't have my shoes and socks on, I had rolled up my pant legs, but the sand was really hot. So I squished my feet just a little and right underneath the hot white sand was that damp sand.
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And I could feel the damp sand and the contrast with the hot sand. And once my feet had cooled off a bit, I ran quickly to the water's edge. I'm standing with my feet in the water, the ocean water, and the coolness of that water is all around my feet, but it starts to rise up and it goes literally up the back of my neck. And I'm looking out.
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and there are waves crashing. I can see them and I can hear the sound of the crashing waves. And on the beyond those were surfers. I don't know how to surf, but I love watching people who surf because there's no friction. It's as though gravity doesn't exist. They flowed on water in this magnificent elegant way. I could hear birds cawing above me.
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There was foliage and the smell of seaweed and the foliage. There were even a couple of children, not too far away, playing in the sand with high-pitched voices, and you could hear them talking about what they were doing and what they were building. And the sun was right in front of me and it was hot on my chest. I took a deep breath. I exhaled and I said,
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So where's your mind? My mind's at the beach, because I'm about to ask you next which destination was that? Exactly. So notice we're in this completely different environment with a different topic. But the moment I played with senses and gave you a scene, I controlled your mind. Mm, it was like that. You went to a beach. Now this is important about storytelling, which is the beach you observed in your mind.
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It's not the beach I was at. That's why you're even going to say, what beach were you at? Yes. So it's the same thing in any storytelling. The mind of your listener goes to a memory. That's what we are triggering. And that's how we process a lot. You locate a memory and that memory is of a beach, somewhere in your life, sometime. And maybe it's...
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a beach you actually have been to, some people actually say, I'm seeing a magazine picture. It's all provoked by my images orally, and you then go to that beach. Yours, not mine. And that's important to know what's happening in the mind of a listener when you're speaking to them or you're telling a story. So it triggers a memory they have that is parallel to that. And that's why
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everybody's going to different places in their minds. Yes. And in fact, if you say in a business conversation, how do you create meaning and relevance in the mind of a listener? You do it through what they call a lot in software pattern recognition. Well, what is memory? Memory is pattern recognition. That's what memory is. It's something.
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that you experience, you say, and you locate some reference point, which is your pattern recognition, in the listener's mind. And with that, they attach to their memory, and then they use your idea to accentuate the memory and go someplace with it that's more than what they had before. That's what we're trying to do with content.
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Create pattern recognition. Create pattern recognition and not my confidence in my expertise. You got it. You got it. Because you're in service to the listener. They're giving you time and attention. Danny Slowmoth, I know we're not going to cover the book. There's so much there. But is there something that you were hoping to highlight today before we close? Actually, I would love it.
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if people picked up the ebook or the paperback book, because you're going to discover something that no one has written about or coaches, which is the neurological basis. You were born to speak perfectly. And if you learn how your mind speaks and you learn how your listener's mind processes, you can be absolutely terrific.
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And it doesn't matter your starting point. You can start as unknowing young, and you can start as this executive I mentioned earlier. He was already really, really good. Right. He was pushing himself, and all of this works. That's what I would say. And do your best to escape the trap of techniques, the trap of public speaking techniques. They don't work.
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you can always tell somebody got public speaking coaching because they don't look like their rich, interesting self. The authentic self, which you touched on in the book as well. Yeah. So you were born to speak perfectly. You just need to tap into that neurology and use that system within you. And in fact, I am guessing that everyone should learn.
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neurological basis of speaking around the age of 10. If you did, you would be speaking perfectly. Do you realize the dramatic change in your career if from the age of 10 you've always spoken perfectly? Unimaginable, yes. But instead people, even in American school systems, teachers teach these techniques to kids because they just don't know better. So you were born to speak
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Perfectly Words of Wisdom from Danny Slomoff, the Founder of Slomoff Consulting Group and bestselling author of The Myth of Public Speaking. Danny, thank you so much for being on our show today and explaining the neurological science behind public speaking. I've enjoyed it enormously. And thank you for putting all the time in from your side because you read the book. We had a meeting before this, so that means a lot to me too.
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My absolute pleasure. I certainly learned a lot and thank you for sending me the book. It's so much that we cover and probably we'll be back for another show when we can cover the rest of the concept that you describe in there. I would happily join you again. Excellent. And before you go, where can we find you on the web? Slomoff Consulting Group. It's my last name. The unique last name, so you're not going to get mixed up. S-L-O-M-O-F-F.
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So you don't have 100 Danny Slomoffs on LinkedIn? No, there's one. Excellent. Thank you so much, Danny, for being on the show. I had a great time talking with you as well. Thank you for joining the Speaking and Communicating podcast once again. If you have a guest that you think would be a great fit for the show, please email me, and my contact details will be found on the show notes. The Speaking and Communicating podcast
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