Author: Jesse Wilson

There's a hidden role within us all, and it is up to all of us to be able to find the real reason for why we would decide to pursue this hidden role, to make this hidden role front and center on this giant stage called life, and not just discover it and see it but live in this place. This reality of who we really are.

This is displayed with permission of Trial® (July 2017). No juror will recall every fact or piece fo evidence, so you need to connect jurors to your client's case on a deeper level. This means crafting an story that live and breathes. Approach this as if there are two stories to communicate: the "surface" story; and the "beneath-the-surface" story.

The Director's Cut What You Can Learn from the Stage and Screen to Help Find the Right Story for Your Client In our Tell the Winning Story workshops, when you create your client’s monologue (finding your clients emotional truth) you play the part of the actor/storyteller, with your partner directing you. Then you trade places to become your partner’s director.

There is nothing normal or natural about speaking in public--even if you're an attorney. I believe that this is where much of the fear that most people have about public speaking comes from. Think about it… public speaking basically means you’re speaking to a person or a group of people that you really don’t know and you’re trying to get them to care about what you’re saying. Or trying to say. When public speaking, your job is to take the unnatural (you standing up in front of total

Through the articles in this blog, as well as the interviews with influential thought leaders and “change agents” in the field of breakthrough communication, you’ll discover the same skills that can help you become a powerful communicator are the also the same skills that can help you become the best version of yourself… in all your relationships.

What are they trying to overcome? What are they trying to get through? What’s getting in the way of what they want? What is their deepest struggle? All of these questions lie beyond the surface of the story. What I mean by that, for example, is that beyond “getting the girl” in the scene an actor is portraying, what does “getting the girl” really get them? What is the character’s primal, universal hunger and need? Power? Freedom? Connection? Peace? Forgiveness? These are the same questions professional theater directors will ask of the actor and

As a jury trial consultant, when I’m asked to jump into a case and help discover the story that needs to be told to the jury, a big part of the job is about finding the moment with my client’s client… the Plaintiff. What is “the moment?” The moment is the place of possibility, where many emotions, words, ideas, thoughts—can turn on a dime. Finding the moment is necessary before it’s possible to stay in the moment. Of course, finding the moment applies to any area of the