http://stefanifuentas.blog.com/2011/05/01/their-marquis-so-remember/
http://stefanifuentas.blog.com/2011/05/02/before-you-head-out-for-parts-unknown/
http://stefanifuentas.blog.com/2011/05/02/bring-a-set-of-plugs-telephone-adapters/
http://stefanifuentas.blog.com/2011/05/02/how-does-it-sound-to-enjoy/
http://stefanifuentas.blog.com/2011/05/02/if-you-want-to-use-your-own-cell-phone/
http://stefanifuentas.blog.com/2011/05/02/so-stop-talking-about-getting-away/
http://stefanifuentas.blog.com/2011/10/10/and-this-is-not-a-big-problem/
http://stefanifuentas.blog.com/2011/10/10/available-by-the-companies/
http://stefanifuentas.blog.com/2011/10/10/business-make-no-mistake/
http://stefanifuentas.blog.com/2011/10/10/every-single-day-for-people/
http://stefanifuentas.blog.com/2011/10/10/extra-sweet-treats/
Posts Tagged ‘Audience’
Public Speaking – How to Connect With Your Audience Immediately
Public speaking demands that your opening salvo connect with the audience immediately. It’s easy to establish a connection. First you must understand your audience. An important part of preparing your speech is knowing who you’ll be speaking to.
I usually take the story route. People simply love stories. I generally make it a story that I have personally experienced. Not only that, it has to be a story the audience can quickly and easily relate to.
One thing’s for sure, they’ll let you know if you’re connecting or not. You’ll see smiles and heads nodding. When you see that happening, you’re including them in your speech. They’ll love you for it. If your story is humorous, all the better.
I don’t have an opening that I use all the time. Many things have to be taken into consideration when choosing an opening that grabs attention. Having said that, I do have a favorite opening I use more than others.
When my youngest son was marching through the 17-19 year old period, his body went through a few changes. He’s a swimmer. Been at it for over 15 years. His shoulders began to spread, exposing what he terms a ‘V’; his stomach is washboard, and a few other things happened.
Naturally, our phone began ringing off the hook. The girls were noticing him. I thought they were a bit aggressive. He didn’t think so. He said, “Daddy, they see something they like, they go after it.”
I shot back, “guys are supposed to make the first move.”
“That’s what happened in the olden days. Today, you snooze, you lose,” he replied.
Anyway, that’s not the story. I was only laying the groundwork. Here’s the story. My son approached me and said to me, “Daddy, I got ‘em.” (meaning the girls).
I said sarcastically, “you got ‘em. Let me tell you something. Just by you telling me you’ve got ‘em, let’s me know they’ve got you.”
I added, “Listen Hammer, calm those raging hormones. I’ve been with your mother well over 25 years and I still can’t figure her out.”
One year later, one of those beauties pulled the handbrake on him and stopped him dead in his tracks. He never saw it coming. Sheepishly, he came to me and said, “Now I understand what you meant Daddy.”
It wasn’t necessary for me to respond. He learned a few life lessons.
As I said before, this is my best public speaking opening. It has come through for me every single time I’ve used it.
Categories: Writing And Speaking Tags: Audience, Hook, Many Things, Olden Days, Public Speaking, Smiles, Stomach, Washboard, Yea, Youngest Son
Marketing Your Book
Many aspiring writers and new authors believe that after a manuscript (MS) has been accepted by a publishing company for publication, or after the author has chosen to self-publish that the book simply becomes a bestseller overnight all on its own. After all, if a publisher has chosen to publish it then the book is certain to attract an audience without any effort on the author’s behalf right? Um, no. Wrong.
What many authors have to learn how to do is to become entrepreneurs and not just through sitting at a computer and typing to their hearts’ content. Marketing a book requires a great deal of effort on the part of the author. Very few publishing companies invest their own finances or time in promoting their author’s work. It sounds strange since the book becomes a financial risk for the publisher as soon as it is accepted for publication yet that is the way it works. Either the author becomes involved in marketing or the book doesn’t see a bookstore shelf or likely make many sales.
If author success is measured by sales then I’m not writing this from the perspective of a successful author, merely a published author. I have recently had my second MS accepted for publication by the same publisher who produced my first book. Lovely. I was excited to hear the news. Thinking back on the abysmal sales of my first book I decided the same fate would befall this novel as well but I shrugged and figured “at least I’m published”. However things have changed in the past week or so.
I’ve decided I’m not content merely to allow my print on demand novel to float about in a major bookstore’s cyber-inventory yet never see it on the actual shelf. My book is good. This I know since nearly every publisher I queried about it wanted to see it and some outright offered to publish it. I’ve probably got a good story here then but I still know it won’t do me or my publisher any good if I don’t market, market, market my brains out so that is what I’ve decided to do. Hopefully through my efforts I will achieve a modicum of success at least. Certainly I can’t do any worse than with the first book my publisher released! To that end I’ve compiled a list of the steps I am taking to market my book. Hopefully you will find something helpful in here too.
Create a website. They are absolutely free nowadays yet they are still beautiful and very professional-looking. I sat down two nights ago and tentatively began building a site using a software company’s pre-formatted templates and a whole lot of patience. Bingo! I have a beautiful site that advertises me, my writing history and my two books with my current publisher. I must say it looks terrific. If you intend to create a site make sure you include your email and links to your blogs and any social media where you are a member.
Of course having mentioned social media you are already a member of the more well known commercial sites right? If not get enrolled and start marketing your book! Don’t use a “hard sell” however. People hate that. Just mention on your profile that you are published or are in the process of getting published and you hope people will check out your book.
Learn the art of social media. There are lots of free sites that have advice about how to message people and what to post. Offer links to other aspiring or published writers that include publishing sites, author sites, online literary journals, etc.
Keep an eye on your local authors’ community. Attend book readings and signings. Join book readings and bring copies of your book to sell and autograph.
Unless you are quite affluent you probably don’t have the money to go on actual book tours (of course you should go on them if you do). Set up a virtual book tour through your website or through an author’s club. They’re cheap. You schedule the time and date that you will be online so people can virtually “attend” your readings and you can also do virtual signings.
Virtual signings are cool. Most people do them through their own website. You need a webcam, a shopping cart embedded into your website for readers to purchase your book, a stack of your books and a pen. That’s it. Advertise on your site when you will be doing a virtual signing. People can communicate with you via chat. They will tell you who’s name to write the book to and then can you sign it and hold it up at the camera for the reader to see.
Do actual book signings and readings at local bookstores. If you are lucky enough to get picked up by a commercial publisher that distributes your books to a particular bookstore then that’s where you will do your signings. If you are a self-published author you have a bigger challenge in front of you. First you must convince the owner/manager of a bookstore to set up a signing for you. Then you have to convince them to keep your extra copies on their shelves when your signing is over. Not easy to do but if you are polite and persistent it can be done.
Ask local newspapers to print a review of your book at least 3 – 4 weeks before it is released. However you should contact the newspapers and tell them you are seeking a book review at least a couple of months before the book comes off the press to give them time to assign the book to one of their reviewers.
Blog, blog, blog about your book or yourself every day on your site or your separate blog. Also blog about your experiences marketing your book and anything else that is relevant.
Use your own word of mouth and do so unabashedly! Tell everyone you know about your upcoming book. If you have complimentary copies give them out only to one or two family members. Send the rest to the newspapers and online entertainment sites that have offered to review your book.
Best of luck!
Categories: Writing And Speaking Tags: Aspiring Writers, Audience, Brains, Fate, Financial Risk, Hearts Content, New Authors, Publish Book, Publishing Companies, Strange
A Report to an Academy – Reflections on a Short Story by Franz Kafka
‘A Report to an Academy’ is a short story by Franz Kafka told from the point of view of an ape. The ape, ‘Red Peter’, so-called for the red mark on his cheek, the only sign thought to distinguish him from his predecessor ‘Peter’, addresses an esteemed audience of academics on the topic of his life. Much of what he ‘remembers’ has been told to him. He doesn’t remember, for instance, the moment of his capture. That evening he came down to the shore to take a drink as usual. When the shots rang out all the apes in his troop scattered. He was the only one shot. He doesn’t remember the pain of the two wounds- one on his cheek, a ‘slight wound’, and one below the hip, the cause of his limp five years later. This part of his story was told to him long after the event.
His own memories, though it’s impossible to be sure, began when he ‘came to’ between the decks of the steamer that ferried him away from the jungle. His new home was three-sided cage nailed to a locker: “The whole construction was too low for me to stand up in and too narrow to sit down in. So I had to squat with my knees bent and trembling all the time, and also, since probably for a time I wished to see no one, and to stay in the dark, my face was turned toward the locker while the bars of the cage cut into my flesh behind.” Those first days were hellish. He was alone, uncomfortable, hungry, taunted by the crew; a beast in a cage.
He realised he had to find a way out. But as far as Hagenbeck, his captor, was concerned the place for apes was inside a cage. To get out of the cage he had to stop being an ape. “A fine, clear train of thought, which I must have constructed somehow with my belly, since apes think with their bellies.”
He didn’t know at the time how to affect this change, only that a vague seed had implanted itself in his head. He began to observe the men around him. They themselves held no great attraction to him, not as they went about with such ‘heavy faces’. But the more he watched them the more he came to understand. “It was only the mass weight of my observations that impelled me in the right direction”: he imagined that by becoming more like them he might be relieved of the condition he found himself in. Having watched the world around him he had built the (im)possibility of a way out.
It was easy to imitate the men. They appreciated it too, letting out a roar of appreciation when he performed such minor acts as pressing his thumb into the bowl of the pipe. The hardest lesson was the drinking (Red Peter realised that such a trick was vital to his evolution). “The smell of it revolted me; I forced myself to it as best I could; but it took weeks for me to master my repulsion.” One man among the crew took it upon himself to see to it that Red Peter mastered the bottle. It is worth quoting at length the beauty of this pedagogic relationship, the awe of student and the compassion of teacher. “He would slowly uncork the bottle and then look at me to see if I had followed him; I admit that I always watched him with wildly eager, too eager attention; such a student of humankind no human teacher ever found on earth. After the bottle was uncorked he lifted it to his mouth; I followed it with my eyes right up to his jaws; he would nod, pleased with me, and set the bottle to his lips; I, enchanted with my gradual enlightenment, squealed and scratched myself comprehensively wherever scratching was called for; he rejoiced, tilted the bottle, and took a drink; I, impatient and desperate to emulate him, befouled myself in my cage, which again gave him great satisfaction; and then, holding the bottle at arm’s length and bringing it up with a swing, he would empty it at one draught, leaning back at an exaggerated angle for my better instruction. I, exhausted by too much effort, could follow him no farther and hung limply to the bars, while he ended his theoretical exposition by rubbing his belly and grinning.” While his teacher was repeatedly disappointed, and Red Peter disappointed by this disappointment, they both took solace in the knowledge that they were fighting on the same side, fighting against the nature of apes in the name of humanity.
Red Peter persevered. At every moment he was stretched, physically and mentally, as he forced himself into a new way of experiencing the world, a new way of moving his arms, his eyes, his mouth. It was as people say of new born babies: that they learn quickly and develop their habits, behaviours and movements. Now Red Peter was undergoing the same process, but not, as it were, from scratch. The exhaustion he accepted as part of his ‘destiny’, as the necessary and only way out.
His transition came in a series of breakthroughs. The greatest came one night when there was a party below deck. Most of the crowd were pleased with themselves, not paying Red Peter any attention. One of them, perhaps already in a state of inebriation, placed a bottle near his cage. Red Peter, eager to please, took the bottle and ‘uncorked it expertly’. The group began to turn in ones and twos, their attention and interest slowly mounting. Red Peter, keen to his audience, set it to his lips and “with no grimace, like a professional drinker, with rolling eyes and full throat, actually and truly drank it empty; then threw the bottle away, not this time in despair but as an artistic performer; forgot, indeed, to rub my belly; but instead of that, because I could not help it, because my senses were reeling, called a brief and unmistakable “Hallo!” breaking into human speech, and with this outburst broke into the human community, and felt its echo: “Listen, he’s talking!” like a cares over the whole of my sweat drenched body.”
From this moment Red Peter’s progress and future were determined. He knew that he was no ordinary ape, no ‘zoo ape’. The point now was to take it further, to see how far this ape could travel towards humanity. So Red Peter under went tests: Food is placed on a high ledge beyond his reach. Red Peter is hungry. He knows that screaming or turning his back will not get him any more food, nor bring any more praise- and praise, he understands, is what keeps him alive. So, dutifully, he moves over to the corner and drags the two wooden boxes over to beneath the ledge. He climbs up and gets the bananas. The men in white coats smile at one another and speak sounds of encouragement, though Red Peter doesn’t yet understand what they mean. So Red Peter is groomed as an ‘intelligent’ being, a close relative. In the space of five short years he manages to reach the ‘cultural level of an average European’. “In itself that might be nothing to speak of, but it is something insofar as it has helped me out of my cage and opened a special way out for me, the way of humanity.”
No doubt his fate is an awful one. Later we learn of the bouts of depression he suffers, his need to be alone, his persistent and intense feelings of repulsion towards humans. Yet his own words convey a sense of achievement: he had managed to escape from the three-sided cage he was brought in to against his will. And how did he escape? By his own admission he escaped through his own intelligence. “And so I learned things, gentlemen. Ah, one learns when one has to; one learns when one needs a way out; one learns at all costs.” Red Peter learnt because he had to, because he was faced with two choices: life in a cage or life beyond the cage. “There was nothing else for me to do, provided always that freedom was no to be my choice.”
In the early days on board the boat, through the first fogs of his growing awareness, Red Peter weighed up his options. Between his sobbing, his apathetic licking of a coconut, the pain of the bars, he was filled with only one desperate feeling: no way out. “Of course what I felt then as an ape I can represent now only in human terms, and therefore I misrepresent it, but although I cannot reach back to the truth of the old ape life, there is no doubt that it lies somewhere in the direction I have indicated. Until then I had had so many ways out of everything, and now I had none.” He understood that having no way out he had to devise one, “even should the way out prove to be an illusion.” He considered the possibilities of escape, of flight- ‘for an ape it must always be possible’- now his teeth are filed down and straight but he must have had sharp teeth then, teeth capable of cracking nuts. But even if he bit through the lock they’d catch him again and treat him all the worse. It is not as though Red Peter asked for much. He didn’t want an abstract ‘freedom’, that to which some humans blindly aspire. He wanted only a way out, a way of exercising his arms and legs, of breathing air, of choosing where to go and what to do, “only not to stay motionless with raised arms, crushed against a wooden wall”.
And so Red Peter is forced through necessity, and we may call it desire, the desire to live, to do what the humans were unable to do: he extends himself into another world; he belies the impossible, the limitations of imagination and physicality, and becomes another being. The humans couldn’t understand that the ape possessed intelligence, yet it was he who discovered what it was they understood as intelligence, not through mimicry but through observation, attention, concern, desire and effort. He had to learn how they experienced the world so that they would accept him as something- a lesser being maybe, but one with freedom beyond the cage.
Humanity came to appreciate Red Peter’s progress as the movement of equality. They perceived the untamed Red Peter as a dumb, befouled, lice picking animal. They saw Red Peter’s imitations as some hope that there was really more to him than just that- something they had imagined possible through previous experiments, the way in which certain noises ‘they made’ were ‘just like talking’, or certain touches between a male and a female ‘just as if they were in love’.
This is determinism in its most brutal form: calculating and reducing the world to endless tautologies: is the ape intelligent? The ape shows it is intelligent if it gets the food; the ape got the food it must be intelligent. This determinism is applied generally. Of course the ape can learn and evolve, but only from a position of less, from a position of inferiority: it is never the one learning who defines the parameters of civilised and uncivilised.
Red Peter’s fate was determined by a choice: live like us or die like your own. He had no way of continuing as an ape, not in a world of humans. Transformation, adaptation, progress, change were thus held out to him as if they were empowering. “I repeat: there was no attraction for me in imitating human beings; I imitated them because I needed a way out.” This confession should cause consternation: he didn’t want to become more human, he was forced to against his will. After the consternation subsides the radical meaning of his confession becomes apparent: the ape was intelligent before he learned how to speak, before he learnt how to tie his own bow tie, before he learnt how to drink schnapps from a dirty bottle. He was intelligent from the start.
The aspiration to make things more equal by ‘raising the inferior’ is nothing more than the re-constitution of inequality through ascription and determinism. The way to break this circle is to assert another way of knowing, of being, of relating to the world. This is not easily done. It cannot be prescribed or represented. It emerges through the intelligence and expression of individuals, through moments of desire or fear, as experienced by Red Peter in his cage.
Red Peter explains how his life as an ape has been forgotten. “I could have returned at first, had human beings allowed it, through an archway as wide as the span of heaven over the earth, but as I spurred myself on in my forced career, the opening narrowed and shrank behind me; I felt more comfortable in the world of men and fitted it better.” But he adds that everyone, man and ape alike, retains the potential for that first, stuttering encounter with the world. “Everyone on earth feels a tickling at the heels; the small chimpanzee and the great Achilles alike.”
Categories: Arts And Entertainment Tags: Academics, Addresses, Apes, Audience, Cheek, Franz Kafka, Jungle, Memories, Short Story, Wounds
Public Speaking: Timing
Timing in public speaking is one of the most important aspects of humor and NO ZZZZZs speaking. Not only is timing involved in an individual piece of humor, it is also involved in the placement of that piece of humor in the overall presentation. Timing is also involved in spontaneous reactions to ‘expected’ unexpected developments during the presentation.
Jack Benny said, ‘When you are speaking, timing is not so much knowing when to speak, but knowing when to pause.’ He should know, because he delivered one of the funniest and most famous lines in the history of comedy after an extremely long pause. He was being held up by a robber at gunpoint. The robber said, ‘Your money or your life!’ Jack didn’t speak a word for an extended period of time. The robber became impatient and said, ‘YOUR MONEY OR YOUR LIFE!!’ Jack finally replied, ‘I’m thinking.’ His persona as a cheapskate, coupled with a long pause indicating he was having trouble deciding whether to give up his money, or die was hilarious. A pause lets the audience catch up and draw pictures in their mind. It is the audience’s signal to imagine.
In public joke telling, a pause just before and just after your punch line gives the audience a chance to laugh. Absolutely do not continue speaking when laughter is expected. Laughter is hard to get and easy to discourage. Hold eye contact a little bit longer than you think you should when delivering punch lines because time is hard to judge when you are pumped-up for a speaking engagement.
The size of your audience will affect your timing. Your presentation will take less time to deliver to smaller audiences. Smaller audiences should mean quicker laughter. Conversely, presentations will take longer for big crowds in large public arenas. Your pauses will be longer to compensate for the wave effect created because of the physical distance between you and the back row of the audience.
Categories: Writing And Speaking Tags: Audience, Audiences, Cheapskate, Crowds, Eye Contact, Gunpoint, Period Of Time, Public Arenas, Punch Lines, Wave Effect
Public Speaking – 3 Reasons Why People Fear Speaking in Front of an Audience So Much
There are so many people that fear public speaking these days. Heck, in the U.S. public speaking is the number one fear, closely followed by death.
But why do people fear public speaking so much? Why is it that people are more afraid of speaking in public than of death?
Embarrassment
I think one of the reasons why people fear public speaking so much is because they could be embarrassed. Of course that’s true in almost every activity you do but speaking in public means to speak in front of an crowd.
If you embarrass yourself there everyone in the audience is going to notice it. You thus might fear that the people will be talking about you if you are not able to deliver a great presentation. But there also might be other reasons.
Pressure
I also believe that pressure plays an important role. For years now society has dictated us how we are supposed to behave and what things we should know and what we should be able to do nicely. Speaking in public is one of those things that society expects us to be good at it naturally.
It’s strange since with other activities such as sport we are not expected to perform well without any training. Yet with public speaking it’s exactly the opposite. You have the pressure to perform well in order to not embarrass your family or friends.
Society
I guess society is the number one reason why people fear speaking in public so much. Society at least partly creates the pressure I have talked about above. It also tells us that we need to perform well. It expects us to be a good natural speaker. But not everyone is.
That’s why some people don’t even have a problem with speaking in public while others would rather die than to speak in front of an unfamiliar audience.
Categories: Writing And Speaking Tags: Audience, Crowd, Fear, Heck, Many People, People Talking, Public Speaking, Reason, Speaking In Public, Why Do People
Improve Public Speaking by Choosing Suitable Public Speaking Topics
How to choose speech topics is one of the most popular problems people have in public speaking. If you are having the exact same problem, what can you do to solve it? You can follow the following tips to choose the right speaking topic:
1. Your topic should be something you are familiar with
It is not recommended to browse the Internet or read magazines to find the topic you are going to use in your speech. When I was in junior high, I made the very same mistake in choosing my topic for a speech competition. I grabbed my old magazines, and found a topic about the environment that I actually did not know a lot about. The result was of course, I did not do very well.
Tony Hsieh, the CEO of Zappos, once also did a mistake in choosing his speaking topic. He used to be requested to speak in business events, but he used to memorize what he would say as he was not really knowledgeable in the topic he was going to deliver. So, one day he decided to only speak about the thing he’s been always passionate and familiar about, customer relationship and company culture. Since then, he’s been declining speaking requests about the topics he’s not passionate about.
2. You should be interested in discussing the topic
Knowing a lot about a certain topic does not always mean that you want to discuss it. You might be familiar and understand a lot about a topic, yet you don’t want to talk about it. You should always avoid this kind of topic, because first of all you should make yourself interested before you can make your audience do the same thing.
When you do this, your audience may get interested when you are finished speaking even though they are not paying attention at first.
3. Your topic should suit the speaking requirements
You should know what kind of speech you are requested to do, the duration you will have, and other requirements. Choose your topic accordingly.
The topic you choose may be general in the beginning, but you can always narrow it down later. For example, you may come up with the topic of “public speaking” (what a perfect example!) at first. You can then narrow it down into “public speaking fear”, “improving public speaking”, etc.
To end this article, I would like to say that you should not try to be perfect in preparing your speaking topics and also in delivering your speech. Understand that public speaking is not about getting 100% approval from the audience, but to give as much value as possible to them.
Categories: Writing And Speaking Tags: Audience, Company Culture, Customer Relationship, Duration, Mistake, Old Magazines, Public Speaking Topics, Speech Competition, Speech Topics, Zappos
FSBO Home Staging Tips
Here are my two top picks on FSBO Staging Tips:
The best home staging tip for ‘For Sale By Owners’ who want to greatly improve their opportunities of making a quick sale at the highest price possible is this; DE-CLUTTER!
That means purge unnecessary “stuff” inside the house and out; children and pet toys, tools, magazines, newspapers, etc. Kitchen counters should be clear of clutter; rooms should be neat and orderly.
This idea is not only great for selling your home, it’s a great living tip too. Over the last 6 months, I have greatly decreased clutter in my home (to the point, the workers at GoodWill recognize me). It has made my life much easier. With two grade school aged kids, clutter keeps creeping, so keep it up. You will appreciate it! If you can sense the change in peace in your home, buyers may sense peacefulness too.
The second most important home selling tip is to stage your home as “nonexclusive” or “general”. Rooms reflecting family, pet, hobby, or career interests will not be appealing to as diverse an audience of home buyers as decor with a more basic feel. Neutral tones, solid colors, accessorize with fresh flowers. Do away with family photos (for now), religious signage, sports paraphernalia and other personal specific taste decor.
These thing can be done by the homeowner or by a Professional Home Stager. A Professional Stager is trained and objective and can help you sell your home quickly and at top dollar.
NEVER lower your asking price before calling a Professional Home Stager. Staging your home before it goes on the market is a key ingredient in maximizing your selling price.
Categories: Real Estate Tags: Audience, Clutter, Family Pet, Fresh Flowers, Home Buyers, Home Staging Tips, Neutral Tones, Pet Toys, Professional Home Stager, Solid Colors
Finance Risk Management – Get in the Know
An interview between Stuart Mcphee and Ray Barros on finance risk management.
Stuart: I understand early on that you were almost forced to recognize and appreciate how important managing risk was. Was that position sizing, was it where do you set your stops or all of the above?
Ray: I didn’t manage the stops initially and then you read every book to put the stops in but then I didn’t manage portfolio risk. You are spread over a number of instruments and even if you risk 2% per instrument then you leave twenty instruments open. You know suddenly you have got 20% open you got to have that. You got to have risk for trade, how many contracts are you going to take so all of those things I had to learn the hard way.
Stuart: I am sorry to hear that. A lot of people make a lot of mistakes early on and it’s only through making those mistakes yourself. I mean you can read twenty books that say you know position size well and do this and do this. You go through and make all those mistakes and it hurts and what you say was since your wife funded you early on, that probably didn’t sit terribly well with you so it forces you, I guess.
Ray: Yeah, and I think early on you know a couple of times I have mentioned to you that I have an excuse to say, back in my day no one was there to really assist. I mean the stuff we had then is nothing compared to the assistance you get today. I mean you get some really good people out there trying to help.
Stuart: Okay, so it’s real big difference. About finance risk management, and you know about how important that is, and I hope others realize how important managing risk is. But a lot of questions we get from clients, it’s all about entry and you do the seminar thing and someone will talk about managing risk and you might have a good size audience but then someone else is talking about entry and in the room there is standing room only. Because this is the key to success. What are your thoughts on entry and why people focus on that so much and do you have guidance to people about entry and methodology and setups.
Ray: I think they have a place. I think your trading rules have probably the least important part. In my view identifying what are the trends, where you are going to take a trade and whether that trade is setting up, it’s much more important. The entry almost necessarily follows those things.
Secondly, I can’t remember when I brought the lower. I don’t think I have ever done that so at some point after entering the market you are going to take some heat. So you need to know with your methodology how much heat is normal. John Sweeney wrote a book called Maximum Adverse Excursion and Maximum Favorable Excursion. I would recommend that to anybody who is talking about trading and talking about entering because that approach tells you statistically how much heat you ought to be able to take in your system and it will still make a profit.
If you know that, it takes the pressure away from you. I have got to buy the exact low I want to buy within two ticks or sell it within two ticks and often some systems just aren’t geared for that sort of thing. So the beginner trader must quickly come to terms both with the rules for entry and finance risk management.
Categories: Investing Tags: Audience, Contracts, Finance Management, Managing Risk, Mcphee, Portfolio Risk, Position Sizing, Ray Barros, Risk 2, Risk Management
Effective Strategies for Telemarketing
Good telemarketing is a matter of reaching the right audience at the right time with the right message. Today’s business environment demands a systematic approach to succeed. Despite a variety of challenges, telemarketing continues to be one of the most effective tools for a business that is thriving to grow and develop.
http://stefanifuentas.blog.com/2011/10/10/interested-in-becoming/
http://stefanifuentas.blog.com/2011/10/10/of-the-accounting-system/
http://stefanifuentas.blog.com/2011/10/10/remodeling-your-house/
http://stefanifuentas.blog.com/2011/10/10/which-is-always-most-requested/
http://stefanifuentas.blog.com/2011/11/10/are-right-strong-conviction-comes/
http://stefanifuentas.blog.com/2011/11/10/concerned-frustration-signs-of-stutter/
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