BODY

LANGUAGE
IN THE
WORKPLACE
 C O N T E N T S

ACKNOWLEDGMENTS
• vii •

INTRODUCTION
SUBTEXT
• 1 •

WHAT YOU SEE IS NOT WHAT YOU GET

SUPERTALK
• 38 •

• i x
 CONTENTS

3
TOUCHY SITUATIONS
• 48 •

4
BODY LANGUAGE: THE EYES, THE HEAD,
AND THE HANDS
• 58 •

5
BODY LANGUAGE: GESTURES, POSTURE,
AND SPACE
. 79 .

6
INSIDE OUT
. 92 .

TRUTH AND CONSEQUENCES

• 120 •

8
ASPECTS OF POWER
• 135 •

9
THE JOB INTERVIEW
• 157 •

10
THE MAGIC BEHIND THE SALE
• 175 •

• x •
 CONTENTS

11
DANGEROUS LIAISONS
• 192 •

12
WHEN WORLDS COLLIDE: SUBTEXT AND THE
GLOBAL WORKPLACE
• 204 •
AFTERWORD
. 229 •

INDEX
• 233 •

xi
SUBTEXT
 I N T R O D U C T I O N

SUBTEXT

In any exchange between two

people or within a group, messages are communicated not only
through what is said, but also through the underlying dynamics
of what is not said: the subtext. Subtext is a kind of covert language
that may add to the spoken text, reinforcing it and strengthening
it; or may contradict the text, canceling out any promises or agree-
ments.
 SUBTEXT

A salesman, for example, might promise to deliver his product

on a definite date, but his subtext lets his customer know "There's
no way I can meet this deadline."
Maybe the boss promises her employees big bonuses if the
business continues the way it's going, but her subtext may also
be saying "I have no confidence at all that sales will continue at
this rate."
And what about the junior executive who tells the CEO, "I'll
have this report done tomorrow"? In spite of those confident words,
the real message might be "Now I'm going to have to find a really
clever excuse to stall another day!"
I was introduced to subtextual communication years ago when
I was hired by a psychological research outfit to act as consultant
on an experiment in counseling. In an attempt to get better results,
the research team was videotaping interviews between counselors
and disturbed children, then playing the tapes back so the counsel-
ors could see themselves in action.
I remember one session in which the counselor, a woman, sat
across from a ten-year-old girl. The counselor's legs were crossed,
and her body was pulled back, her posture tight and restricted.
She seemed to be putting as much physical distance as she could
between herself and the child.
The girl was abnormally shy, answering only in monosyllables,
refusing to meet the counselor's eye—a disappointing interview,
to say the least.
The counselor told us later, "I couldn't get anywhere with that
one. She resisted me every inch of the way!"
When we talked to the girl alone, she said, "I don't like the
lady who talked to me."
"Why not?"
"Because she didn't like me!"
 INTRODUCTION

My project director explained to the counselor and me, "Two

subtexts are at work here. The child's subtext blatantly declared
no cooperation. And yours"—she nodded at the counselor—
"spelled out distaste and arrogance. What I'd like you to do now
is sit down and watch the tape of the interview. Watch it carefully!"
We ran the tape of the interview for her, and the counselor
was shocked. "I never realized how tight I was, how rejecting
my whole posture was! No wonder she wouldn't look me in the
eye!"
"At your next session," the director suggested, "why not loosen
up. lean forward, touch the little girl's hand, and let's see what
happens."
A second session was held, and the counselor followed the
director's advice, making an effort to lean forward, and to keep
her posture more relaxed. The child responded by looking up
and making eye contact. But the real turning point was when the
counselor put her hand on top of the child's. It was as if something
in the child melted, and what poured out was exactly what the
counselor had hoped for.
"I thought the counselor's loosening up would change the inter-
view," I told the director, "but I had no idea it would change it
so drastically!"
She nodded. "When two or more people interact, there's always
the obvious text and the more subtle—and incidentally, more
honest—subtext."

The subtext in any exchange is

a mixture of many different elements. In part, it is composed of
each person's body language, posture, hand movements, eye con-
tact, how he or she handles space, and the ability to use subtle
 SUBTEXT

touch at the right moment. The way we use our voices also influences
how our words are interpreted. The same sentence can be said
in many different ways, ranging from bland disinterest to passionate
intensity. Each delivery spells out a different subtext.
For instance, when former president Jimmy Carter spoke off
the cuff his normal speech pattern lent a pleasant, down-home,
and honest subtext to his words. When he spoke formally, however,
before an audience or for television, his voice became stilted
and he would pause at awkward intervals, sending a message of
uncertainty and uneasiness.
Who knows? Proper coaching might have changed his speaking
pattern and subtext, perhaps increasing his popularity, and eventu-
ally changing the course of history.
In contrast, the subtext behind former president Ronald Reagan's
speech pattern was one of ease and reassurance. It sent the message
"I'm a good fellow. You can trust and like me." Maybe his acting
career had shown him the value of subtext in communication and
how it can affect an audience.
The image we project is another form of subtext. How many of
us have walked down a city street and watched uneasily as a
group of young men in ripped jeans and leather jackets have
come toward us? Are they ordinary, harmless citizens, we wonder,
or is there something threatening about them? Is there reason to
be apprehensive, or should we shrug our feelings off? The same
group approaching us in business suits and ties would arouse no
such apprehension. Why? Quite simply, they would project a differ-
ent subtext, one that's reassuring and ordinary.
In most established businesses, such as law firms and brokerage
houses, there is a rigid protocol of dress. Your appearance, the
thinking goes, should inspire confidence in your customers; the
subtext should be one of assurance, one that will convince clients
 INTRODUCTION

that you are a solid professional, and that they are in competent
hands.
However, in some industries, the clothes you wear may be
selected to say something completely different. I have a neighbor
who runs an advertising agency; all his clients are in the music
business. He's very successful—a limo picks him up and takes
him to work each day—but I have never seen him wear anything
but well-washed jeans, a shirt with no tie, and a casual sport
jacket. His subtext? "You can trust me because I'm not uptight!"
Even the way we eat influences the message we send, as many
corporations are discovering. As one CEO told me, "I have this
incredibly bright, well-educated guy who really has a grasp of
the business. Well, we had lunch with an important client and
he ate like an animal, shoveling food into his mouth without the
slightest regard for appearance!"
"What do you mean by appearance?" I asked.
"Why, the message he was sending to the client! In effect, he
was saying, I don't know the rules for eating properly. How can
I know the rules for interacting with people?" He shook his head.
"You may not believe it, but now we have sessions with our upcom-
ing executives to teach them the proper way to behave at the
table!"
Again, it's a matter of subtext. Not knowing how to handle
oneself properly in the executive dining room or at a business
lunch can contradict the image of competence a professional person
wants to project.
Subtextual messages also differ according to gender. For exam-
ple, women are usually better at expressing warmth through their
facial expressions. In business their smiles and nods can communi-
cate friendliness and openness; their graceful ease with their own
bodies sends a ready subtext of sincerity. Men have different
 SUBTEXT

advantages. They are more comfortable with handshakes, and the

casual touch, and it's easier for them to make eye contact. These
are all social skills related to the roles men are taught to play in
society.
Another kind of subtext is related to regional or national speech
patterns. We tend to trust the sound of our own regional accent
and listen with suspicion to that of another. A New Yorker in
Middle America may carry the baggage of a distinctive accent.
He or she is immediately suspect. Conversely, the Midwesterner
or New Englander in New York City might send out a subtext of
naivete, no matter how smart he or she is. The point is, we are
uneasy with subtexts that differ from our own, and we tend to
treat the "other" with suspicion, contempt, or, in some cases,
unwarranted respect.

Most people subconsciously per-

ceive and understand subtexts in others. They meet someone who,
on the surface, seems friendly and cooperative, but underneath
they sense an entirely different personality. For some reason, they
don't trust the person, although the mistrust is not based on anything
concrete. What they have done is sense a contradictory subtext.
That feeling can be brought up to the conscious level. With
the help of this book, you will no longer have to say "There's
something about her that I don't trust, but don't ask me what,"
or "I'm not sure why I like him despite his touchiness." You
will learn to understand the underlying message and bring it to
the fore.
Knowing and understanding the elements of subtext will also
allow you to change your own to match what you really want to
project. Take the case of Lisa, who was hired as an assistant by

. 6 •
 INTRODUCTION

one of the stockbrokers in a large Chicago firm. She was promised

that eventually she would work her way up in the company. "There
are tremendous opportunities for someone with your skills and
competence," her boss assured her, but a year in the same rut,
with no sign of promotion or salary increase, began to demoralize
her.
"Your problem," her superior told her frankly, "is the way
you interact with your clients. You know your stuff, but . . . "
He shrugged. "Somehow you don't project confidence, and your
sales record shows it."
Thoroughly crushed, Lisa turned to her friend Karen for advice.
Karen was hired at the same time, but was far ahead of Lisa on
the corporate ladder. "I've been watching you," Karen said, "and
I believe it's your general attitude. You sit with a customer, slumped
forward, your head down—why, you hardly ever make eye contact.
Are you afraid of the customers?"
Lisa sighed. "I guess I am. I'm going to have to face the fact
that much as I want the job, I'm in the wrong field. When I talk
to the clients I feel uneasy, anxious that I'm giving the wrong
advice. So much is riding on the investments I suggest!"
"That's a crock!" Karen told her. "Your advice is a hundred
percent great. Look, let's do a little body language reconstruction.
Try sitting up straight, leaning forward, making eye contact and,
yes, even smiling!"
Lisa watched Karen at work and began imitating her posture,
her movements. To her surprise, she found that sitting and moving
in an affirmative way increased, to a small extent, her confidence
in herself and the advice she was giving. It became easier to
take a more affirmative posture, and in turn her positive feelings
grew greater. She entered a kind of circular feedback where, as
the confidence she projected through subtext grew, her inward
 SUBTEXT

feelings of confidence increased as well. One fed on the other,

and by the year's end she had been promoted to the next level.
Dr. Robert Zajonic, a psychologist at the University of Michigan,
has uncovered evidence of a physiological basis to what Lisa discov-
ered—that convincingly changing the subtext you project can affect
your mood and attitude. As facial muscles relax or tighten, the
temperature of blood flowing to the brain is raised or lowered.
These changes in temperature in turn affect the brain centers
that regulate emotions.
As proof, Dr. Zajonic had volunteers repeat certain vowel sounds
over and over. A long "e," which forces a smile, and "ah," which
imitates the expression of surprise, both induced pleasant feelings.
Other sounds, such as a long "u," put volunteers into a bad mood.
A team of psychologists at Clark University in Worcester, Massa-
chussets, found confirming evidence for Dr. Zajonic's theory. Like
Dr. Zajonic, they showed that facial expressions indicating disgust,
anger, fear, or surprise indeed aroused those emotions. The expres-
sion caused the mood! Simply stated, looking happy makes you
feel happy. Looking sad makes you feel sad.
Dr. Paul Ekman and other psychologists at the University of
California Medical School in San Francisco went a step further.
They showed that when people mimic different emotions, they
actually experience distinct physiological reactions, such as
changes in body temperature and breathing rates.
In these and other instances, science is catching up with folk
wisdom, which tells us to "put on a happy face" or "walk tall."
The very act of changing your expression or your posture starts a
chain reaction that makes you actually experience change, which
makes it even easier to "look the part."
Changing your subtext by changing your behavior gives strength
and validity to your text.

8
 WHAT YOU SEE
IS NOT WHAT
YOU GET
1
MAKING AN IMPRESSION
Sometimes, it's not what's on the inside, but what is on the outside
that counts in projecting a subtext. External techniques can be
just as important as inner personality traits in producing an image,
especially when it comes to interviewing for a job, making a sale,
or closing a deal.
A winner of the prestigious Westinghouse Science Award came
 SUBTEXT

up with a very clever project which illustrates the point. Mina

Chow, a young Korean-American girl who attended Cardozo High
School in New York City, noticed that teachers base a lot of
grades on a student's image, on what students look like. Mina
originally looked like a typical "punk" kid with spiked hair and
blue lipstick. Her grades were slipping until she decided on an
image change. She toned herself down to a more average appear-
ance, and her grades went up. "I figured that the teachers' percep-
tions had a lot to do with it," Mina realized.
Mina elaborated on her own perceptions for a science project.
She collected "neutral" pictures of black, white, and Asian stu-
dents, male and female, and distributed them along with a question-
naire to eighty-seven teachers in New York City high schools.
The results scored a big point for the subtext behind image
projection. Asian students were rated highest for motivation, blacks
the lowest. Blacks were rated highest for physical activity, Asians
the lowest. Mina concluded that Asians might do better in school
simply because teachers had preconceived notions about them.
We all carry preconceived notions around with us. Certainly,
in an ideal world, we would judge people by what they do, not
by their race or clothes or social status, but this is not an ideal
world, and we judge others by the images they project.
Nowhere is this more true than in television. In 1987, during
the Senate confirmation hearings of Judge Robert H. Bork for
the U.S. Supreme Court, John Dancy, a TV correspondent, said
of the Bork hearings, "The wind blows from the image." According
to John Corry, the New York Times television critic, Judge Bork
"looks like a Reform rabbi, and speaks like an Oxford don." He
went on to note that Bork's constitutional interpretation is "as
interesting as origami folding. How one looks, however, is some-
thing else. Appearance is what counts."

10
 WHAT YOU SEE IS NOT WHAT YOU GET

In business, as well as in television, how one looks becomes

all important. There are lessons that businesspeople can learn
from television techniques.

CREATING THE RIGHT IMAGE

FOR ANY SITUATION
A statement by Michael K. Deaver, who used to manage President
Reagan's news conferences, holds a key to projecting an image
with a serious and dramatic subtext. Deaver had Reagan stand
in front of the open doors of the East Room for press conferences,
because it made the president appear livelier and more substantive.
"The open doors with the light coming across the hall makes a
much better picture," Mr. Deaver told reporters. Moving the lectern
away from the open door was, in Mr. Deaver's opinion, unwise—
telegenically speaking.
In politics, we see an example of subtext at work. How the
president looks sends a strong subtext to the television viewer no
matter what he says! Margaret Mead, the great anthropologist,
was aware of this. She once told me that her advice to President
Carter was, "It doesn't matter what you say. What's important is
how you look."
Television critic John Corry recognized the importance of subtext
in politics. He pointed out that Reagan's campaign used visual
effects that were very strong and sent a clear image of patriotism.
There were flags, waving placards, balloons rising up in clouds,
and, at his 1981 inaugural, the Mormon Tabernacle Choir singing
"The Battle Hymn of the Republic." President Reagan himself
was so moved that he cried. It worked!
The paradox of television campaigning, according to John Corry,

11
 SUBTEXT

is that what is real always works better than artifice. The president's
tears worked. However, combine reality with carefully planned
presentation, and you have a compelling subtext!
Unfortunately, television can create an artificial subtext that is
often accepted as real. Viewers can be moved, not by the issue,
but by the projected image. The candidate may be an empty shell,
but that doesn't matter. Is the candidate too cold, too remote?
Let that person appear before the camera as one of us, as a common
man or woman. Is there some doubt about the candidate's patrio-
tism? Let that candidate appear before the memorial of the flag
raising at Iwo Jima, or even in a flag factory. The strong subtext
will carry him or her through.
In the business world, the same rules apply. Is the boss seen
as too cold, too far removed? Let him or her appear at a plant
inspection in work clothes and a hard hat—a warm, caring subtext!
We must never underestimate the strength of image projection,
nor how much seemingly obvious and calculated mechanisms can
move people. Politics, with its finely tuned communication direc-
tors, takes the lead. In the eighties we had Reagan's "Morning
in America" commercials; their warm, fuzzy, golden, glowing,
and sentimental patriotic images sent out a solid subtext of "I
love America."
Representative Jack F. Kemp jumped on the same patriotic
bandwagon. He used a commercial that opened with "Hometown,
USA." Golden sunlight illuminates the streets at dawn. A newsboy
tosses a paper at a porch. A woman opens her shop. A fireman
hoses down his truck—and, in case the message still eludes some
dim viewers, someone runs up the American flag.
And, of course, the subtext hits home: patriotism, American
values, family values. These are all linked, by subtext, to the
candidate.

12
 W H A T YOU SEE IS NOT W H A T YOU GET

Politicians learn from business because they hire the same public-
relations firms that business uses. Mr. Kemp hired B.B.D.O. Inter-
national of New York, the same firm that created the Reagan
commercials.
What we see in these commercials is an unusual distancing.
The candidate no longer needs to project his or her own subtext.
Instead, a series of video pictures projects it. The pictures make
us smile, nod in agreement, and end up with a catch in our
throat. Put the candidate's name after the pictures, and even his
or her image is not necessary. It is subtext once removed.
How many commercial ads have we seen that employ the same
technique? How about ads for cereals that show a hazy early
morning in Anytown, USA, a kitchen bathed in golden sunlight,
smiling, happy people—a warm, kind America eating breakfast
cereal. Or on a stronger note, consider ads depicting beautiful
women, handsome men, and sleek new cars. Women and cars,
men and cars, cars tearing along at speeds we can never reach
on the highway: What are they telling us? Advertisers hope viewers
will respond to the subtext of power and sexuality rather than to
any facts about the car itself. Recently, a subtle television ad
for a new car used only subtext with not even a picture of the
car. Images of breaking waves, lightning bolts, and other natural
phenomena denoted power and harmony, then the name of the
car was whispered with awe. The subtext does it all!
Turning to politics again for another lesson, consider the way
President Reagan used the setting of the White House. In 1986,
a newspaper reporter wrote that Reagan would emerge from behind
a closed door, stride purposefully down a long, red-carpeted corri-
dor, then fairly bound onto a platform. The subtext was communi-
cated before he spoke: vigor, authority, and ease.
A clever executive can walk into a conference room with that

13
 SUBTEXT

same attitude. Those who can do it send out a subtext of I'm in

charge here. The confident walk, the physical energy, and the
relaxed style all work together.

PUT ON THE MASK

Marshall McLuhan once said, "TV will not take a face. It has to
have a mask." Face, in this statement, is "the expression that
projects the personality." Mask means an expression that reveals
very little about the person.
TV talk-show host Morton Downey, Jr., appeared without a
mask, in all the rawness of his personality. The audience saw
the abrasive character of the man and soon grew tired of him.
They felt they knew all they needed to know. There was no subtext
to uncover; what you saw was what you got.
On the other hand, people like Johnny Carson assume a mask;
in Carson's case, a faintly bemused expression. Viewers are never
sure that they know the real Carson, and so he is always intriguing.
Ted Koppel, who hosts ABC's "Nightline" program, also wears
a television mask, a rather bland one. "Such a mask," Mr. Koppel
has said, pleases the viewer who "watches me and . . . chooses
to believe that I believe what he believes."
How do you develop such a mask for television or business?
According to Mr. Koppel, it's a question of toning down your
own views, of not getting trapped in an inflexible image, and of
not allowing others to think that they've got you figured out.
It is not easy to assume an unreadable mask. Take Vice President
Dan Quayle, for example. In an article in the Sunday New York
Times, writer Philip Marchand suggested that for Quayle to escape
from his subtextual image as an inexperienced lightweight—a sub-

14
 WHAT YOU SEE IS NOT WHAT YOU GET

text that friends see as guilelessness and enemies perceive as

dim-wittedness—the vice president should take a lesson from Mr.
Koppel. That lesson could be summed up in three points: (1)
Don't smile; (2) look as if you've seen and heard it all before;
(3) don't make speeches.
These are interesting points, particularly since most people who
give advice about subtexts advocate smiling. The smile is the
most direct way of saying "I like you," "I'm happy in your presence."
It conveys a subtext of trust and caring. In the case of someone
like the vice president, however, it has an unhappy effect. It
seems a bit juvenile for his station, too simple. A serious mask
would convey a better subtext.
The second point made by Mr. Marchand, "look as if you've
seen and heard it all before," signals a subtext of competence,
of being in charge. Along with an unsmiling face, this subtext is
easily conveyed by a raised eyebrow and a shrug.
In Dan Quayle's case, the advice not to make formal speeches
is particularly applicable. While his off-the-cuff speaking style
is acceptable, his formal prepared speeches tend to slip into a
high school debating style, according to Mr. Marchand. The authori-
tative voice is lost.
Mr. Marchand advises politicians to let people "see themselves
in the mask they wear." The advice we give to politicians seeking
to send effective subtextual messages applies just as well to execu-
tives and CEOs.
In Vice President Quayle's case, it means suppressing that
"boyish" smile. In the case of an older man, a man who has
achieved a serious and sincere image, it means allowing the smile
to become part of the mask. On the executive level, it is important
not to be trapped in a predictable image. Do not allow others to
believe they've "got you figured." A certain subtext of mystery

15
 SUBTEXT

will create uncertainty in your opponent. The mystery is created

by the mask, the mask that signals "I'm unguessable."

THE JANUS FACTOR

Civilization, to a large degree, is based on masking, or its first
cousin, control. When people live together and work together, a
great deal of their day is spent covering up what they really feel
and in controlling their real emotions. It may seem surprising,
but sometimes it is very important to mask the subtexts we send
out, to keep what we really feel hidden.
Sometimes the masking is consistent, but more often than not
it is based on what I call the Janus Factor. Janus, you will remember,
was the Roman god represented with two opposite faces. Jake is
a perfect example of the Janus Factor in action.
Jake's job is to supervise a dozen workers in his department.
"One thing about Jake," one of the people under him said, "he's
consistent. A grade-A bully every time!"
The executives above Jake couldn't believe the occasional nega-
tive reports they heard about him. "This is a very sweet guy,"
his immediate superior insisted. "He's always ready to do a favor,
always helpful and pleasant. Gets his job done quickly. There
must be a couple of bad apples in that crew of his."
Was Jake two different people? A dual personality? Not at all.
He simply used the Janus Factor to cope with life. In essence,
the Janus Factor says that every man or woman in a corporation
has two faces. One face is turned toward the people higher up in
the corporate structure, and sends out one type of subtext. Another
face is turned toward those lower down, with quite a different
subtext.

16
 WHAT YOU SEE IS NOT WHAT YOU GET

A corollary of the Janus Factor is that the more secure the

person is in the corporate structure, the less difference there is
between the two faces and the two subtexts. The president of
Jake's company seems to have only one face, but of course no
one at work sees the face he presents to his wife and children.
The Janus factor is best observed in industry, but it also applies
to politics. In the Watergate affair, the nation saw one face of
President Nixon and received one subtext—a calm, rational man
in control. The secret tapes disclosed a completely different face—
vulgar and out of control. Were the two faces one man? Certainly.
It was the Janus Factor in action.
Of course, just about every president has two faces. President
Bush, when he was vice president, wore a subservient face. Now,
as top dog, he makes it plain that no one is telling him what to do.

WEARING THE MASK

What is important about the Janus Factor in business, in politics,
and even in the family is learning when and how to mask, to
cover up your real emotions and the subtexts they send out. Politi-
cians must learn this lesson early on. Edmund Muskie was destroyed
as a possible presidential candidate by crying in public, letting
the mask drop. On the other hand, when television evangelist
Tammy Faye Bakker cried openly, she was using tears as a mask.
Doctors must learn to mask in front of patients; lawyers must
wear a mask in court. The higher you climb on the corporate
ladder, the more important the mask becomes. The simplest mask
is the noncommittal look, the expressionless face. But expression
itself is a much better masking device.

17
 SUBTEXT

Lack of expression sends a negative subtext—"No one is home."

An expression of any kind sends a positive subtext: joy, anger,
fear, hate, whatever. A smile is the easiest way to mask unhappi-
ness, anger, or disappointment. It sends a pleasant subtext. A
grim look can mask joy and elation; a frown can cover up happiness.
Some of us use more than expressions to mask. Women use
makeup to emphasize their lips and eyes, create a blush on their
cheeks. Men use hair to mask: a full moustache can be a virility
mask; a beard can change the contour of the face, strengthen a
receding chin, add a subtext of wisdom, of cool.
When does masking start? As far as we know, it is present in
early childhood. Most children approach strange adults with solemn
faces and wary eyes, giving little of themselves, holding back
their true feelings. The bright child learns quickly what adults
expect and masks accordingly.
When children discover that their own feelings are not acceptable
to society, they have the choice of changing those feelings or
covering them up—masking. In most cases feelings can't be
changed, so the child covers them up and creates a secret, inner
world of emotions and fantasies.
Teenagers become even more adept at masking as their changing
bodies release a flood of hormones that sharpens their desires
and needs. They don't dare reveal those needs, and yet they are
not nearly as adept at masking as grown-ups. As a compromise,
they usually dredge up the noncommittal mask of childhood, or
hide behind a sullen look. Unfortunately, the subtexts sent out
are not I'm upset, I'm in trouble! but I don't give a damn!
Parents and teachers write off teenage sullenness as typical of
the child at that age, but behind the sullen mask there may be a
sensitive person—too tender, frightened, and vulnerable to face

18
 WHAT YOU SEE IS NOT WHAT YOU GET

the world. The mask and its subtext are a way of protecting that
fragile interior.

USING THE MASK

If we consider all the situations in which we use the masking
technique, we can realize what a universal device it is to send
out subtext, or rather, not send a subtext. Politeness, something
we think of as a civilized pleasure of our culture, is simply an
elaborate form of masking. We use masking constantly in business,
at school, at home, with our enemies, and with our friends. When
it comes right down to it, very few of us will dare to expose our
inner selves by sending out the subtext of our true feelings.
This inner self is the most sacred part of us, and we are not
expected to reveal it. Masking these feelings is important, provided
the masking is kept within reasonable limits. In fact, showing
our true feelings can be wrong and selfish.
Sandy, in charge of training in the computer department of
her firm, explained this in terms of her relationship to her trainees.
"I can't tell them the truth about their work in the beginning. It
would be counterproductive. Sure, they make some stupid mistakes
and I point out the obvious ones, but I can't let them see how
exasperated I get. I must encourage them, and as long as they
understand the subtext of encouragement behind what I say, they'll
keep on trying. If they think they're doing well, they'll go on to
do better."
Sandy's training technique was a form of masking. Sid, a foreman
on the production line, used a similar technique. "I never tell
the new guys how klutzy they are. I tell them they're doing fine,

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build them up, and they lose their nervousness and actually do
better. I guess I put on an act, but it encourages them to keep
at it. I turn out some good people that way."

CONTROL
Another aspect of masking is control, something we need in order
to adapt to life in a civilized society. We need to control our
basic desires to take what we want, to do what we want, even to
live and work as we want. The modification of want is what control
is all about.
We learn control at an early age. Hungry babies scream until
the bottle comes, but gradually they learn to control their hunger,
to wait for food at appropriate times. They learn to control their
bladder and bowels as they grow up, then learn to control their
desires and suppress those that are antisocial.
The act of learning control can be pleasant, because along
with control the growing child learns anticipation with all its joys.
The gradual refinement of control and the suppression of drives
and desires are steps to maturity. We even define the subtext of
immaturity as a lack of control.
Immature children who can't or won't learn control are hard to
live with. When they want something, they want it at once. When
they feel angry, they cry or yell or throw a tantrum. When they're
hungry, they beg for food. If they're old enough to get their own
food, they eat erratically with no regard for regular hours.
Gavin was that kind of a child, and not much better as an
adult. He was unlucky enough to have parents who gave in easily
and catered to his lack of control. When he moved out on his

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own, his apartment became as messy as his room at home, junk

and clothes everywhere.
For a brief period he shared his apartment, and his life, with
a young woman, but it didn't last. "I can't live like that. I'm not
that neat, but to just drop everything everywhere and wonder
where it is when you want it! And meals. I plan dinner at seven
and at six you're hungry so you fill up on junk food!"
Gavin shrugged. "Why not eat when you're hungry? I'm hungry
at six. Why wait till seven?"
"Because I go to a lot of trouble to prepare dinner at seven!
Can't you control your hunger?"
Obviously Gavin couldn't, and finally his girlfriend moved out.
He was upset, but not enough to change. "Why do I have to be
uptight about everything? It's not my life-style!"
But his life-style spilled over into his work. He started a good
job with an outfit making documentaries for cable television, but
he could no more control his work than he could control his life.
He misplaced important documents, neglected dull projects, failed
to change scripts, and eventually lost his job.
It's difficult, he discovered, to be controlled on one level while
you're out of control on another. To be effective, control must be
exhibited in most areas of your life.
Sometimes we find a deceptive charm about uncontrolled people.
The subtext they send out is romantic, above commonplace de-
mands, even primitive and natural, but they are difficult to live
with and next to impossible to work with—or, worse still, to work
for!
Few people are controlled in every area, but most people use
degrees of control to send out a subtext of sensibility and order.
The ones who can't or won't are the gamblers who never resist a

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long shot: the person who buys the too-expensive car because
"even if I don't need it, it looks great"; the thief who can't resist
an easy setup; or the dieter who must have that extra piece of
cake.

SOME ADVICE FROM A PRO

Walter J. Pfister, Jr., is president of the Executive Television
Workshop. A former vice president of news for ABC, Mr. Pfister
is a veteran of twenty-five years in network television. He produced
six national political conventions and covered five national elec-
tions. Currently, he trains leading executives and spokespeople
in presenting the correct subtext in TV interviews, speeches, pre-
sentations, and board meetings.
During a recent conversation with Mr. Pfister, he told me, "Tele-
vision has changed the world in terms of image projection and
subtext in any business encounter. The first impression you form
of somebody is the most important one. Ten minutes after a presenta-
tion, no matter how inspiring, ask someone who heard it to jot
down what was said, and he may be able to come up with one or
two topic sentences. That's about it. But ask, were you at ease
with the speaker? Did you like him? Did you believe him? Did
you think he was sincere? Would you trust him? Ask those questions
and they'll have definite impressions. They'll answer with much
more certainty!"
It's the image that counts, according to Mr. Pfister, because
the image transmits the subtext. "Take political debates. If you
look at the text of any of them you'll find that they're pretty meager.
No one says anything of substance. What matters is the impression
on the audience and their reaction to the speaker's subtext. Did

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I like this candidate or didn't I? It's sad, but unfortunately it's

true.
I asked Mr. Pfister how, in a business situation, one can make
the right impression. How, for example, do you send out a subtext
of confidence?
Smile, was his first suggestion. "Someone gets up to address a
board meeting, and often he or she is too flat, too nervous, or
just frightened. The board senses that, just the way animals sense
fear. The same is true for one-on-one meetings."
Remembering Philip Marchand's advice to Dan Quayle, I asked
Mr. Pfister how he reconciled this with his own advice about
smiling.
"That's a special case. Of course the wrong sort of smile, the
too eager and boyish one, may send out a subtext of callow youth.
In that case, you either change your smile or ease up on it.
"In any business situation," he stressed, "it's very important
to look as comfortable as you can. A smile certainly helps. Another
way of transmitting comfort and ease is to use the other person's
first name. The first name, far from offending, puts the other
person at ease, and creates a subtext of friendliness. To keep
that subtext going, be conversational. Don't speechify or lecture,
even if you're addressing a group. Remember, the shorter your
talk, the better. It's not so much what you say as the way that
you say it!"
I wondered if it didn't take a lot of practice for executives to
learn these rules, but Mr. Pfister shook his head. "You'd be amazed
at how quickly executives in large companies learn. Executives
must be leaders. The better they are at communicating, the more
they know about transmitting the exact subtext they're after, and
the better they are at leading. The executive in the ivory tower
is a thing of the past."

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What about executives interacting with people above or below

them in the corporate hierarchy? Should they vary their style?
"You should talk neither down nor up to someone. You have
to be yourself," he said firmly. "Ask permission to use your boss's
first name. In most cases, he or she will agree."
On the other hand, don't walk in on someone you don't know
and use his or her first name. The subtext, then, is one of crassness
or arrogance. You must first get an indication of how that person
feels about being on such a friendly basis with you.
Dealing with a subordinate is an even more tenuous situation.
"If you're talking to the foreman of the shop and you wish to
give him a sense of dignity," Pfister says, "address him as mister.
The subtext is respect."

DO CLOTHES MAKE THE IMAGE?

As for the subtext of dressing, clothes do make a big difference
in how you are perceived. In Walter Pfister's opinion, neatness,
cleanliness, and appropriateness are the all-important factors.
While he believes certain colors in men's clothes are "power col-
ors," he also feels that most business advisers have gone overboard
on the subject. "Say the shop foreman comes in to see the chairman
of the board. For him to get dressed up in a blue suit he only
wears on Sunday is just not appropriate. But he certainly shouldn't
come in with grease on his hands!"
I agree. There are colors that send a strong subtext, though
it's nonsensical to think you can guarantee success by wearing
them. What colors can do is help change your image. For men
in the business world, dark blue, black, and charcoal gray are
colors that project a subtext of strength and competence. White
shirts and muted ties complete the image.

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While women have a wider choice in clothes, men are usually

advised to play it safe. Clifford Grodd, president of Paul Stuart,
says that in business men should try to project a subtext of intelli-
gence. They shouldn't appear overly involved with clothes unless
they work in the fashion world.
In architecture, industrial design, publishing, or advertising,
a sport jacket and slacks are generally acceptable. I have seen a
number of young male executives in these creative fields wearing
neat denim jeans with shirt, tie, and jacket.
The classic blue blazer with dark gray slacks, a white or even
light blue shirt, and a dark, striped tie is an acceptable outfit in
many business situations. "The dark trousers send a business
subtext," Grodd says. "As long as you don't look as if you're
going to a party at the yacht club!"
And Joyce Grillo, president of Impression Management image
consultants, who has a background in psychology, has some strong
ideas about women's clothes in the corporate world. She believes
that the entire idea of dressing for success has been taken to
extremes, especially for women.
"For men it's still the dark colors in suits, the white shirt,
and the muted tie. Unfortunately, men are limited; brown, green,
yellow, plaids—they are all out. Tan is not a decisive color, and
light gray—well, some men can wear it depending on their coloring.
"For women, what they wear does, to an extent, depend on
where they work, but today it's really wide open. In a sober industry,
such as banking, brokerage, or law, women still need to dress in
conservative colors. However, they can wear dresses instead of
the suits that are generally advised, as long as it's the right kind
of dress, a coat dress perhaps or something that looks like a
jacket—nothing too frilly or cutesy. A dress can give the subtext
of competence, which is the subtext a woman wants."

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Ms. Grillo pointed out that there is no easy formula. "You

can't go to a book on how to dress for success and follow a rigid
pattern. It won't work. For one thing, those books are too conserva-
tive for today's world! For another, each woman must develop
her personal style, a style that suits her own personality and sub-
text." She stresses that women in business should, above all,
dress with quality. As for color, that depends on the situation.
"If I were going into a bank in a business situation for the first
time I would wear red. It's a very warm color and it stimulates
people. It sends a subtext of confidence, and today it's as acceptable
as navy for women. People like to look at it, and women like to
wear it."
She listed yellow as another attractive but unappreciated color,
warning, however, that women must find the shade of yellow that
suits their particular complexions. "It's not an easy color, but it
can be effective. I think green is another wonderful color, particu-
larly teal."
The point she emphasized is that women in business can be a
lot more creative today in terms of dress. They should develop
their own style and be comfortable with what they wear. There
are a lot of options available, but the businesswoman must be
careful to avoid clothes that are too trendy or outlandish. The
most important element in dressing for business is that the type
of business will dictate the style of dress—and, in turn, your
style of dress will dictate your subtext.
As an example, Ms. Grillo cited the area of sales where a
subtext of credibility is the most important thing. "If you don't
impress me as being credible, why should I buy from you? Why
will I believe you're selling me something that works?"
The subtext of credibility comes not only from how you speak
in the sales pitch itself, but also from how you dress. A saleswoman

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 WHAT YOU SEE IS NOT WHAT YOU GET

in an expensive urban department store such as Saks Fifth Avenue

or Bergdorf Goodman would dress with high style and some degree
of flash. In a store like Tiffany, which sells very expensive but
traditional items, she would dress more conservatively—a tailored
dress. In a store like L.L. Bean in Maine, where the outdoors is
featured, jeans and a flannel shirt project credibility. A saleswoman
selling real estate in Beverly Hills, where the prices run to the
millions, might wear mink and diamonds, while a woman selling
in a Rodeo Drive boutique could wear trendy high fashion.
Mara Urshel, senior vice president and senior merchandising
manager of women's wear at Saks Fifth Avenue in New York
City, believes that the most important rule of dressing for business
is conformity. Know what everybody else is wearing "because
that's what you're going to live with if you want to succeed." She
agrees with Ms. Grillo that, in general, women have more options.
The traditional matched suit is on its way out.
Louise Maniscalco, a personal shopper at Barneys in New York
City, says, "Businesswomen can wear a jacket that goes with the
skirt in terms of color, but that isn't necessarily the same design,
color, or fabric or even made by the same designer."
She also suggests that women can wear offbeat outfits, depending
on where they work. Women in conservative fields must still wear
skirts and dresses. "Trousers and pants suits work in fashion,
publishing, advertising, medicine, or real estate." She suggested
that hemlines are up for grabs. They can be at the knee, mid-
calf, or even longer, and with the new styles, they can even go
above the knee.
An unmatched outfit—say, a mustard jacket, white blouse, and
black skirt—is a versatile first purchase for a young business-
woman. Unmatched suits are accepted, and a variety of jackets
are useful to combine with different blouses and skirts for different

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effects. If the job is not too conservative and a jacket is not

required, a vest gives an outfit polish and fashion savvy.
Working at home presents women with different subtext chal-
lenges. Most may dress more casually, but some still take time
to apply makeup every morning.
Luci R. Knight, who operates a marketing office from her Pleas-
antville, New York, home, believes that wearing makeup gives
her confidence and a business persona when she talks on the
phone. "It makes a definite difference in how I come across,"
she claims.
Joyce Matz, a public-relations consultant in Manhattan who
works out of her home, uses some makeup because "I like to
have it on if the doorman or UPS man comes up." Some women
find that wearing makeup helps them send out a subtext of profes-
sionalism.
Joyce Grillo sums it up: "When you dress up, even to work at
home, you are more productive. Wear something that makes you
feel good about yourself. The way you dress sends out a subtext
of how you feel about yourself and your work."

HAIR—THE LONG AND SHORT OF IT

I asked Joyce Grillo about women's hair, and she suggested that
in most business situations short, neat, and polished sends a subtext
of competence. Long hair, while it is attractive, is often perceived
as inappropriate in a business setting. As Ms. Grillo remarks on
the paradox of hair in the workplace, "A lot of women tell me
that when they cut their hair they feel freer, more aggressive,
more energetic. Of course there are some who feel naked and
vulnerable!"

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There is, indeed, a strong subtext to hair. Most women have

been brought up with long-haired fashion models and screen stars
as their role models. Long hair is particularly fascinating to men,
and women are made aware of this at an early age. Some women
equate cutting their hair with losing their femininity, but worry
that the image projected by long hair can be problematic in busi-
ness. Of course, in some fields long hair is an asset. The cosmetic
industry and the world of high fashion welcome the glamorous
subtext sent by long hair, but also accept the particular chic of
short hair. Increasingly, fashion models sport short cuts, especially
when the subtext desired is slick, contemporary style.
In men, longer hair is becoming more acceptable in the work-
place, but only on younger men. With older men, the hair is
best cut short and neat. Long hair seems out of place. In balding
men, combing the few remaining strands of hair to disguise the
loss of hair is also unsuitable. The subtext implied is that of a
man rather pathetically holding on to youth. In business, as in
any realm of life, men and women should learn to age gracefully
and accept the subtexts that an older appearance brings: among
them, greater experience, expertise, and wisdom. If their dress
and appearance are in keeping with their age, the subtexts will
also be acceptable.
Accepting your age gracefully might mean avoiding pointless
attempts at youth, but it certainly does not mean that you shouldn't
take sensible steps to overcome certain biases against age. There
is nothing wrong with avoiding gray hair by using hair coloring,
provided it is done subtly; and plastic surgery has helped many
men and women stay on in their jobs.
While changing your image to change your subtext works when
your business has a bias against age, it also works when age is

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not a factor. Joyce Grillo tells of a man referred to her by a

rather conservative corporation. He was very good at his job,
which was in a technical field, and he was in his mid-forties.
"Unfortunately, he knew nothing about clothes and cared even
less. When I met him, he had a rumpled appearance. He needed
a haircut and he was wearing slacks with a tear in them, a worn
plaid sport jacket, a patterned shirt, and a flowered tie!"
Obviously he was aware that something was wrong with how
he looked. He told Ms. Grillo that during his years at the company
people had subtly mentioned his appearance. "I know I'm no
fancy dresser, and I guess that's why the company hired you to
talk to me, but I just don't want to spend much on my clothes.
It's not worth it. I've got some money put aside, but my wife
wants new kitchen cabinets and that's where the money's going
to go!"
After some discussion, he settled on a budget that he was willing
to spend on clothes. He and Ms. Grillo went shopping together
and picked out a charcoal gray suit, white shirt, dark maroon
tie, and new black shoes—and then to a barber for a conservative
haircut. "Dressed in his new clothes," Ms. Grillo said with a
smile, "he looked good—a very attractive man, though you wouldn't
have guessed it before. The rumpled look was gone, along with
its old subtext."
A week later he called Ms. Grillo. "You know," he told her,
"I have to tell you something. I went to a meeting with some
new people and they treated me differently from the way I've
always been treated. They listened to me and I felt good about
it. The same thing has been happening at the plant. People are
relating to me better. It's a whole new experience!
"About the money for the kitchen cabinets, my wife and I agreed

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 WHAT YOU SEE IS NOT WHAT YOU GET

to put them on hold. Nobody's going to see my cabinets. I'm

using the money to buy new clothes."

SUBTEXT AND THE LAW

In 1972, Bill Clark, a police officer in the Seventy-eighth Precinct
in Brooklyn, was promoted to detective. His new colleagues sug-
gested that he dress to fit his new role, so Bill went out and
bought two double-knit suits, one raspberry and white, the other
a flashy plaid, some striped shirts, and vivid ties.
The other detectives were startled, but finally one of them took
him to a clothing wholesaler where a salesman helped him pick
out a three-piece flannel suit. Despite television images of sloppily
dressed New York City detectives, Bill Clark told a New York
magazine reporter in 1984, police dress in New York is based
on common sense. Detectives, he explained, try to project a subtext
of dignity and even charm. Sometimes, dress can be even more
important than their guns.
Things have changed since 1984 when Detective Clark was
interviewed. Today the savvy city detective tries to project a tough
street subtext. It's the best way of handling a drug-ridden city.
However, in any precinct house you will still find detectives in
business suits, in keeping with the more formal subtext.
Some time ago I was fortunate enough to be able to interview
a group of Philadelphia trial lawyers. I showed up in my best
outfit: a tweed jacket, sleeveless sweater, a knit tie, and slacks.
I was carrying The New York Times, a paper I had read on the
train.
During a discussion on selecting jury members, one of the lawyers

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said, "I'd never allow Mr. Fast on one of my juries! That tweed
jacket and sweater spells out 'intellectual' to me. Also the paper
you're reading. I don't want any intellectual on my jury. They
think too much. Now if you were carrying the Daily News ..."
Picking a jury by the papers they read is not so farfetched.
One lawyer I spoke to said that as a prosecutor he would strike
anyone reading The New York Times, but perhaps accept a reader
of The Wall Street Journal. "Tabloids or trash novels are okay,
but forget anyone carrying War and Peace into the courtroom!"
What a person reads as well as how he or she dresses projects
a subtext. A subtext can be read into almost any part of a person.
An African-American trial lawyer I talked to said he uses his
color and minority status as a positive image. "People still have 1
biases about a person's color. They don't have huge expectations
for me, and I throw them off base by being bright and articulate.
Whatever I do or say then seems a bit better."
Another lawyer, a Vietnam veteran with one leg, told me that
he refused to use a prosthesis. "I come to the courtroom early
and put my crutches below the table. At a crucial moment I will
stand up, holding the table, and make my point. The jury suddenly
sees my disability. What theater! What a subtext I send out! Believe
me, it always works."
However, I was told of a lawyer with a flamboyant style who
favors white suits and suspenders and gets away with it—but
only because he has the panache to carry it off, and because he
is an extremely clever man. The subtext he projects is suitable
to his style and delivery and to the court in which he operates.
The same clothes on another man could be laughable and a disaster.
The subtext must suit the style. In general, men are best advised
to avoid slacks and sport jackets and stick to suits.
For women in law, subdued colors are best, if the image is to

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be serious. As the shades of color lighten, the subtext that a

woman projects lightens as well. A softer image is projected by
beiges and browns. A woman can wear a suit, as most women
lawyers do, but she can also go for a smart dress or a skirt and
blouse in court, being always conscious of the subtext she wishes
to project.
Again, there are exceptions. A young lawyer from Marin County
in California told me that she once dared to go into court in
jeans. "The judge gave me some flack, but not much. I knew he
had jeans on under his robes. It was the jury I wanted to reach.
They were all young, counterculture types, and I knew they'd
react negatively to the subtext sent by a suit or even a dress. I
know the jeans swung the case in my favor." This approach would
be foolish in most cases, but this time it worked to project an
image with which the jury could identify.
The subtext the jury perceives is often a determining factor in
a case. In a rape trial, for example, verdicts often depend not
on the facts, but on the appearance, reputation, social life, and
demeanor of the accused—in short, on his subtext!
According to Dr. Barbara F. Reskin, a professor of sociology
at the University of Michigan, jurors tend to place the accused
in a rape case in two categories. If he seems a loser, disheveled,
unemployed, and unmarried, jurors are biased against him. But
if he is good-looking and has a girlfriend or is married, the jurors
usually do not believe he would commit rape. "He doesn't look
like a rapist," was often heard. Most men and more than half of
women jurors surveyed had this attitude.
In the courtroom, lawyers are faced with a particular problem—
jurors who tend to accept the subtext projected by the image of
the man or woman on trial. Attractive people are favored by most
jurors. Well-dressed people are seen as less likely to be guilty.

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It's standard procedure for a lawyer to dress petty criminals in

sober attire, to groom their hair, dress them in a shirt and tie,
and even give them spectacles for a scholarly look.
Cleanliness may not be next to godliness, but it is tremendously
important for the man or woman on trial. There is an ingrained
belief in most jurors' minds that someone who keeps clean, no
matter what class he or she comes from, is inherently decent—a ]
subtext that every lawyer should wish a jury to perceive in a
client. Defendants are advised to create a subtext of good citizen-
ship.

CHANGE THE IMAGE:

CHANGE THE SUBTEXT
Recently, Donny Osmond, the sweet Mormon boy who nearly twenty
years ago charmed the nation with his song "Puppy Love," and
who was held up as a role model for youngsters because of his
healthy, clean-cut subtext, decided to make a change. Saccharine
sentimentality is out now, and pop roughness is in. The new Osmond
has a ragged haircut, wears a black leather jacket, a work shirt,
worn jeans, and boots. He sings "Soldier of Love" now to a strong
beat. The subtext? A brooding, repressed violence meant to appeal
to today's youth market.
Has Donny changed, or is it only his subtext that has changed?
Dr. Barry Schlenker, a social psychologist at the University of
Florida, says, "Our identities . . . are something we have con-
structed with the help and agreement of others. If Osmond wears
a leather jacket, we say, 'Why would a nice, sweet guy like him
wear that jacket?'"
But is Osmond a nice, sweet guy inside? Which is real and

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which is the image? Donny, who for years has symbolized whole-
someness and Mom's apple pie, says what we see now, the sophisti-
cated person, is what he's been all along. He claims that the
audience has misperceived what he was.
If we can believe that, we can also believe in the Tooth Fairy.
Images and the subtexts change because the audience wants that
change. Entertainers like Osmond are well aware of the importance
of image in creating a subtext. They also know that the subtext
they create clings to them. The audience usually believes that
the role matches the performer's personality. They believe that
the subtext is real.
In the workplace, you can apply the truths learned by entertain-
ers, politicians, television executives, and others in the business
of image projection. Sometimes the clothes—and hair, and facial
expression—do make the man. Simon Jones, the well-known En-
glish actor who appeared as Bridie in "Brideshead Revisited,"
noted that during the filming of the series the crew "tended to
treat the actors who were playing aristocrats with far greater respect
than those playing servants." He also has noticed that "if you're
playing a clergyman, the cast and crew have a tendency to avoid
swearing."

ALL THE WORLD'S A STAGE

A strong link exists between your ability to "act" a certain way
and the subtext you send out to the world. A successful businessman
told me, "I choose my clothes each day depending on the way I
feel. When I'm low, for one reason or another, and I feel I'm
going to have a hard of a time of it, I'll wear something upbeat,
a tie with a little life to it, one of my brighter shirts. I try to
perk up my image."

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When I pressed him about this, he said, "It's not so much to

change the way I feel as it is to convince everyone else that I'm
really dealing with things. The trouble is, no matter how I dress,
it's not too hard for people to read me, to see the subtext, 'I
can't handle things today!' Thank God it doesn't happen often."
Another friend, the director of a national foundation, says she
faces the same problem. "There are times when I simply can't
cope with things, and usually they are the exact times I don't
want the people who work for me to know I can't manage."
"What do you do?"
She shrugged. "I become someone else. If I have a meeting
and I want to look very efficient, I decide I'll be a Sigourney
Weaver type. That takes a smart suit and a beautiful blouse and
pin. If I have to coax a donation out of a big shot, I'll be Blanche
DuBois with a few ruffles, and if I go from the office right to
someone's house for dinner, I can be Doris Day. I use pretenses
to send out a particular image."
Selecting an image and trying to live up to it may not help
much in actually dealing with the problem at hand, but it could
send out a subtext that you are dealing just fine, thereby gaining
the confidence of those around you. Still, there are better ways.
While playacting can work for some, other methods are necessary
for people who often have problems dealing with situations, and
therefore send out a subtext of inadequacy.
Today's world is an overwhelming one, and many people find
it difficult and often impossible to handle the economic and political
upheavals of our time, the turmoil of our troubled cities—and,
on a more intimate level, the difficulties of the workplace or personal
life.
All these problems create anxieties which we may often feel
helpless to handle. Others then sense a subtext of helplessness

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in us. So, it is important to reduce the anxieties, to deal realistically

with life, and change the subtext that others read in us.
Each of us is different, thus each has a different method of
coping with life. We all, however, use certain basic external tech-
niques. Learning, understanding, and using these techniques will
allow us to manage life better and control the subtext we send
out to others, changing the way others see us and enabling us to
successfully handle our jobs and make our way up the corporate
ladder.

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 SUPERTALK
2
THE MAN WITH SOMETHING MISSING
"When I hired Mark," Ed told me, "I really thought that he was
the man for the job. I needed someone who could handle the
clients, who knew the business."
Ed's brokerage firm was in trouble, and he was using me as a
sounding board to discuss his problems. "Has Mark worked out?"
I asked.
"Well, that's the trouble." Ed shook his head. "I can't be sure.

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"He's popular with the clients, and that's half the battle, but the
other half is doing the job, and unfortunately that's where there's
something missing. The man has no business sense!"
I didn't understand what Ed meant until I met Mark, and then
it became clear. I liked him instantly. He was tall, well built,
with a youthful face and stylish gray sideburns, and he had an
easy and comfortable style. And his voice! It was deep and resonant.
Its low register signaled strength, determination, and serenity.
You couldn't help but trust a man like Mark.
"What you have," I told Ed later, "is a contradiction between
Mark's subtext and his abilities. You say he can't do the job,
but my God, he comes on strong. That voice is reassuring, sincere,
a definite asset."
"And the clients love him. What can I do?"
I thought about it for a moment, then shrugged. "Use him where
he's strongest. Make him part of a team where the other man or
woman can do the job but doesn't impress the client. Maybe by
working with a competent partner he'll realize what's expected."
"In other words, I pay two people to do one job."
"Is it worth it?"
"I'll have to think it over," Ed told me, but a few weeks later
he confessed that he had let Mark go. "If only he knew the score—
but I'm sure he'll have no trouble getting another job and holding
it until the boss catches on. You know, he's taught me a lesson.
Looks and charm work for a while, but they can't compare with
doing the job right!"

RESONANCE, REGISTER, AND PITCH

Our voices and how we use them send out very strong subtextual
Messages. By manipulating the resonance and register of his voice,

39
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Mark was able to project a subtext of dependability and success.

It is this subtext that makes us trust certain television personalities.
Walter Cronkite is the best example: The low pitch and resonance
of his voice signal honesty and believability.
In the motion picture Broadcast News, the plot hinged on a
contradiction between subtext and ability. William Hurt played
a newscaster whose intelligence and understanding of events was
limited, but whose resonant, authoritative voice and empathetic
manner came across very successfully on the screen. Teamed up
with a reporter who was both intelligent and capable, he managed
to rise to prominence as an anchorman. His success was due to
his instinctive ability to effectively harness the subtext of his voice
and manner.
In television newscasting, a lower pitch and a deep resonance
are most desirable. High-pitched voices present a subtext of ineffec-
tiveness no matter how capable and able the person is.
Women like Mariette Hartley are blessed by nature with the
low pitch and register that come across so well. However, Hartley's
failure on a morning news show makes it clear that a strong voice
alone cannot guarantee success in that field.
Pitch, resonance, and register are three of the most impor-
tant elements in conveying subtext through the voice. To define
them briefly: Pitch is the highness or lowness of a sound; reso-
nance is the vibration given the voice by the vocal chambers
such as the mouth or pharynx; and register is the range of the
voice.
Many of us can, to an extent, control these elements. We can
resonate through the chest to signal strength, dependability, firm-
ness, solidity. An authoritative voice resonates from the chest.
The extent to which you control your register depends upon your
vocal cords. If they are thin and tight, and you resonate through

40
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the head, your voice will be high and delicate. Heavy cords and
a good, strong chest can give deep, mellow, earthy tones.
Pitch, too, is dependent on the vocal cords. We tighten our
cords to raise our pitch and convey a subtext of anger, fear, or
joy. When we are depressed or very tired, our vocal cords lose
their tension, and our pitch is lowered. While a low pitch can
help to transmit confidence and sincerity, it can also convey a
subtext of depression and weariness—and, paradoxically, one of
sexuality. Marlene Dietrich provides a classic example of how
low pitch and a husky register can signal a seductive subtext.

THE MELODY LINGERS ON

Another important part of the subtext of speech is a rather elusive
quality called melody, which is the rhythm, music, and harmony
of speech. A friend told me how he used melody to enjoy a season
of rich, classical music. When he was a young man growing up
in Cleveland, he longed to attend the concerts at Severance Hall,
but he couldn't afford the admission fee. He and a friend bought
secondhand tuxedos at a thrift shop and each concert night they
walked to the backstage entrance, talking to each other in agitated
Russian. They would wave aside the bewildered doorman, who
assumed they were foreign members of the orchestra, then go
through the stage door down to the floor and find empty seats.
The point is that neither one could really speak a word of
Russian. "How did you do it?" I asked.
"Well"—my friend shrugged—"the doorman didn't know Rus-
sian either, so we used nonsense words that sounded like Russian,
and we were good mimics, so we were able to catch the melody
of the language."

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 SUBTEXT

It is that melody that stand-up comics sometimes use while

talking gobbledygook and making it sound like a foreign language.
Sid Caesar is magnificent at this.
Every language and every dialect of a language has its own
melody, which is affected by grammatical structure, emotional
content, mood, and attitude—and every melody has a subtext of
its own. In addition to the rhythm, music, and harmony, melody
incorporates pitch, register, resonance, speed, and volume.
When you change the melody in your voice, you change the
subtext of what you say. In a job interview a simple statement,
such as "I'd like to work here" can ring with conviction if the
melody is right or fall flat as a pancake if there is no melody to
it. Try saying it in as many ways as you can, and you'll realize
what melody is all about.
A "detail man" I worked with in a pharmaceutical company
used to complain about the difficulty he had with doctors. "I
hardly get into my sales pitch before they tune out. They say,
'I've got patients waiting. Leave the samples and literature.'
But I know that they give detail men from other houses a lot of
time!"
What was wrong with this salesman was a flat, expressionless
voice, one that lacked melody. It had a subtext of weariness and
boredom. Whether he meant it or not, his voice sent the message
"This is my job. It's dull and uninteresting. 1 couldn't care less
if you listened to me."
When I got to know him better, I found that he came from a
family where any display of emotion was considered "common,"
and this attitude must have rubbed off on him. He was simply
behaving in a way he had always behaved, not realizing how it
affected him professionally.

. 42 •
 SUPERTALK

THE POWER OF LOUD

Several years ago, I was an observer at a sales seminar. It had
been in progress for most of the day and the attendees were ex-
hausted, dispirited, and fed up with the slogans and suggestions
they had been given.
Sensing this, the leader suddenly took a new tack. "Are you
going to make that sale?" he yelled out suddenly.
Bewildered, the salespeople responded with halfhearted yeses.
Again, he yelled out, "Let me hear it! Stronger! I'll make that
sale!"
The answer was a little louder, and again he thundered out,
"I'll make that sale!" His volume was up and his voice booming.
It was as if a charge of electricity had galvanized the audience.
Suddenly their tiredness slipped away as they began to match
his volume. I'll make that sale! I'll make that sale! The room
rocked with their enthusiasm, and later, leaving the hall, I heard
them talking in excited voices: "What a session!" "Dynamite!"
"He really got the juices flowing!"
What had happened to change a tired group into such an eager
bunch? Subtext. The message behind the booming shout of the
leader was sheer power. By matching their volume to his, they
had also matched his subtext and had felt an infusion of energy
at the end of an exhausting day.
While raising the volume of your voice can emphasize what
you are saying in casual conversation and add a subtext of power
and strength, lowering the voice can also achieve the same subtext.
I once worked for a CEO who, at staff meetings, would deliberately
lower his voice to push home significant facts. We had to lean
forward to hear him—and we did because we knew and understood

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 SUBTEXT

the subtext of that lowered voice: "I'm in power here. Hear what
I say the first time, or you might not be around the second time!"

THE PHONINESS OF FAST TALK

"He almost had me sold," Kurt told me as we left the secondhand
auto dealership. "I liked the car and the test drive was okay. I
guessed he sensed that my initial doubts were wearing off, because
suddenly he began to 'fast talk' me. I got suspicious right away
and figured he was trying to con me!"
What we call "fast talk" is talk we sense as false. The subtext
is obvious: I'll say anything to get you to do what I want, whether
it's true or not. What is less obvious is just how much actual
speed or slowness of speech conveys in terms of subtext. Fast
talk may actually signal a "con" job. Or sometimes, a speeding
up of words can signal embarrassment or awkwardness. Nancy,
complaining to her office manager about an incident she perceived
as sexual harassment, begins to rush her words together, so much
so that the office manager can barely understand her. However,
her subtext of awkwardness and shame comes through clearly.
Conversely, the moderately slow talker often conveys a subtext
of conviction, thoughtfulness, interest, and sincerity.

A ROSE BY ANY OTHER NAME

Some time ago, Los Angeles economist Arthur H. Hawkins wrote
an article on labor-management relations. The gist of the article
was that certain terms or labels we use call up inaccurate subtexts.
Why not change the labels and thus change the subtext? For

44
 SUPERTALK

example, labor has a historical overtone of manual toil. Most people

we think of as laborers have nothing to do with toil, however.
Hawkins suggested we call them the paycheck population.
He would have us make a few other changes as well. Cease to
purchase could substitute for boycott; motivation through fear for
coercion; difference for dispute; temporary work cessation for layoff.
For segregation, why not use distinction without evaluation? For
scab, how about noncertified worker?
Hawkins's recommendations clearly align with management's
thinking. The words scab, segregation, boycott, and the others
call up a very strong subtext. Labor, or the paycheck population,
has used them for years to make a point. They are welded to
uneasiness in our collective consciousness. They arouse a definite,
almost palpable, subtext and certainly changing them would destroy
that subtext. Do we, as a culture, want that?
Euphemisms, the use of one word for another to create a more
favorable subtext, is nothing new. People in the Victorian era
were adept at it. Even the word legs brought to mind too sexual
a subtext for them. Limbs were gentler, more delicate. We accept
more today, but we still don't like the subtext behind died. Friends
and relatives pass away or pass over. She left us, he's gone.
In business, euphemisms, along with jargon and slang, create
a subtext of inside knowledge. Tune in on Harper, the CEO of a
middle-sized company, talking to his new marketing people. "It
wouldn't hurt you to interact with some of the competition (find
out what the competition is up to). When that deal fell through
you just didn't see the right button pusher (decision maker). And,
Jim, you're the man for junk bonds. I don't want anyone else
treading on Jim's turf. (Here's slang for "field of exploitation"
borrowed directly from street gangs. It may, subtextually, give a
hint of the ruthlessness of wheeling and dealing in the marketplace.)

45
 SUBTEXT

And finally," Harper winds up, "Gary, you've been evaluating

that new outfit, Cooperative Ratchets. Tell me about their R's. "
(Here's jargon used to cover ROE—return on equity; ROA—return
on account; and ROI—return on investments. Lumping these to-
gether under the term "R's" gives a subtext of a CEO in a hurry, 9
a CEO who hasn't time to fool around, a CEO after facts and
performance. It impresses the marketing people!)
Words—what they mean, what they express, and how we use
them—are very much the basic stuff of verbal subtext. We call
someone skinny, and it's a derogatory description. We call that
same person slim, and it's a compliment. We can make a list of
words that have the same meaning but arouse different subtexts,
some positive, some negative. Just think, do we compliment the
boss or flatter him? Is a fellow worker stubborn, or someone with
perseverance? Is the personnel director selective, or is she picky?
Is the office Romeo suave or just glib?
In any discussion, the words we choose to label people can
create a positive or negative subtext. The clever speaker uses
words with discrimination and deliberation.

A QUICK COURSE IN SPEAKING

What can we learn from this chapter about either public speaking
or private speaking? One important point is to begin to study
and analyze your own voice. Does it reflect what you want to
say, or does the subtext behind your words contradict the text
you use? Use role models whose subtexts you admire. Analyze
their voices for all the different qualities and try to apply those
qualities to your own speech.
The first thing to do is hear yourself as others hear you. Nobody

46
 SUPERTALK

can be objective about his or her own voice. You must distance
yourself from your voice, and the best way to do this is by using
a tape recording with excellent fidelity. It is worth the investment
of buying or renting equipment.
Set up imaginary situations, such as buying, selling, talking
to the boss, talking to subordinates—then tape yourself in these
situations. Let a week or so go by between taping and listening
to the tape. Then listen analytically. Is your voice too high? Too
low? Is the pitch right? The resonance? The register? The speed?
The pausing? Do you use too many fillers like "uh" or "I mean"
or "you know" or the current favorite, "basically"?
I was once a guest on a radio talk show, and tacked to the
wall of the studio a large sign warned that "I mean," "uh," and
"you know" could take up more than 50 percent of precious air
time. Fillers like these can waste time in any tight situation, not
to mention sending out a subtext of indecision and uncertainty.
Clear thinkers—at least those who want others to perceive them
as clear thinkers—speak clearly.
Most important, does your voice reflect what you want to say?
Is your subtext in tune with your text? Is there any quality in
your voice that will turn people off?
Once you've picked up what's wrong with your voice, decide
what changes you want. Experiment with your voice on tape and
keep playing it back until it pleases you.

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 TOUCHY
SITUATIONS

THE ART OF SHAKING HANDS

Of all the elements that make up a person's subtext, none is as
intimate as touch. If it is used correctly, touch can overcome
barriers, dissolve anger, and create a feeling of trust and warmth.
Used unwisely, it can put up barriers, cause annoyance and anger,
and betray both trust and confidence.

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 TOUCHY SITUATIONS

In any business situation, the first possibility of touch comes

with the handshake. It is the first step on meeting a new person
or greeting an old friend, an associate, or even an antagonist.
The hands come together, and the subtext of their union tells us
a great deal about the person we are dealing with.
A limp handshake always sends a subtext of disinterest. The
handshake that offers only the front half of the fingers says, "I
don't want to become too involved with you." Particular to men
is the bone-cracking "macho" shake, which sends out a subtext
of aggressiveness and an eagerness to compete.
Women in the corporate world have their own concern with
the handshake. It is only in recent years that they have be-
gun to shake hands. The necessity to do so is undeniable, but a
cultural reluctance still lingers on. Women who want to ap-
pear strong and competent, but not too masculine, have to re-
learn the entire technique of shaking hands. The old-fashioned
woman's shake gave only half the hand, the fingers, and was
diffident. Unfortunately, it sent out a weak and uncertain sub-
text.
The proper female handshake for today is one in which the
entire hand is given to the shaker, and the shaker's hand is grasped
in a firm but not hard shake. The hand is then released, but not
too promptly. The subtext is competence and control.
Too prompt a release sends a message of not wishing to get
involved. Between two men, holding the hand for a longer time,
four or five seconds, sends a subtext of I like you. Between a
woman and a man, too long a period of holding the shake signals
a subtext of personal, even sexual, interest.
So, the handshaker, man or woman, must learn to follow a
middle course—not too hard, not too flabby, not too long, not
too short.

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 SUBTEXT

THE TOUCH THAT SELLS

A fascinating study gives us a clue to how the subtext of trust
works. In a large library, a group of sociology students set up an
experiment. They had a librarian touch the first hundred readers
as they checked out books. The touch was a light one, a brush
of the librarian's hand against the borrower's. Sometimes it was
barely noticed.
With the next hundred readers, the librarian was told to avoid
touching them, to make no physical contact. Otherwise the proce-
dure was the same. The librarian gave the exact same service to
both groups.
Researchers stationed outside the library approached each reader
as he or she left and explained that they were conducting a study
of library service, and asked each reader to answer a few questions
about the library. Buried among the questions was one that asked
how willing and helpful the librarian had been. Among those
who had been touched, the great majority described the librarian
as helpful and considerate. The readers who had not been touched
had neither positive nor negative feelings about the librarian.
This is not an isolated finding. Another telling clue to the impor-
tance of touch came from some informal reporting by the owner
of a car dealership. He noticed that one of his salespeople had
an unusually high record of sales. The owner watched him in
action but could find nothing radically different in his approach.
It was very much like the other salespeople's except that at one
point in his pitch he touched the customer. The owner, by instruct-
ing the rest of the sales force to copy this technique, was able to
improve sales significantly. The subtext the salesperson gave out
with his touch was one of caring. The skin is our largest sense
organ, and we respond emotionally when it is touched.

50
 TOUCHY SITUATIONS

But as potent as touch is in selling, it also carries an innate

danger. The wrong kind of touch or touching someone at the wrong
time can destroy trust. With any touch that lingers too long, is
heavy-handed, or seems inappropriate, the immediate question
is "What did that mean?"
The successful salesperson's touch was to the upper arm or
on the upper back, but it was brief, and, most important, it
came at the right moment, just as the customer was half-
convinced. A touch too soon, or too heavy, or in the wrong place
can be devastating.

THE EXPECTED AND THE

UNEXPECTED TOUCH
In his book The Hidden Dimension, anthropologist Dr. Edward T.
Hall says that the ability to respond to touch is one of the
basic criteria of life. Dr. Hall believes that one of the reasons
that many Americans favor small, foreign cars is the sense the
cars give of being in touch with the road.
One interpretation of touch depends on a number of different
factors; one is love. We allow our loved ones to touch us; in
fact, we welcome their touch because the subtext is affection.
Children deprived of touch cannot develop properly, cannot learn
to respond to love and affection. The closer we feel to someone,
the more readily we allow that person's touch, and the warmer
the subtext of that touch. This is an expected subtext. We expect
love and affection from our close friends and family, and because
we expect it the subtext is comforting but not too intense.
The touch of a stranger, however, since it is unexpected, may
send a different subtext. The librarian and the salesperson men-
tioned earlier sent a strong, subtextual message: "Even though I

51
 SUBTEXT

don't know you, I like you." Part of those subtexts was the fleeting
quality of both touches. Touching needn't be intrusive to be mean-
ingful. In fact, had the salesperson touched the customer at the
wrong moment, the entire deal could have been blown. In any
business situation, touch can play an important part, either positive
or negative. You must know when to touch and how to touch.

THE RULES OF THE GAME

A point to remember is that there is a strong sexual implication
behind touching. While the touch of a salesperson can project a
subtext of trust, in a different situation it may project harassment
and sexual intrusion. A brief touch of the hand on a shoulder,
or even an arm casually placed around a shoulder is acceptable
in business, provided it is man-to-man. If a man touches a woman,
the touch must be lighter, briefer, and less intrusive than an
arm around the shoulder. There is the ever-present sexual subtext
in any relationship between men and women. This subtext can
be devastating—or useful, depending on many factors.
There is a hierarchy to touching. While a man touching a woman
must do it briefly and lightly, a woman touching a man can hold
the touch longer. It can be heavier, but the woman, too, must
be aware of the sexual subtext.
The right to touch someone in our society is largely determined
by status. Someone of higher status may touch someone of lower
status. The president may touch the CEO, the CEO may touch
the lower executive, the executives may touch the workers. The
secretary may not touch the executive—unless they have worked
together for a long time and there is an easy companionship between
them.

52
 TOUCHY SITUATIONS

A doctor may place an arm around the patient's shoulder as

he breaks the bad or good news, but the patient usually does not
touch the doctor. A lawyer may touch a client, but it is difficult
for a client to touch a lawyer.
It all boils down to status. People who are richer, older, or
higher on the corporate ladder may acceptably touch those who
are poorer, younger, or subordinate. Children are reluctant to
touch adults they don't know, but adults may touch children.
Adults must be careful, however, not to assume an inappropriate
familiarity with children they don't know. Respect children's needs
for personal space.
Equals may touch each other. Some years ago, during the Camp
David peace talks between Egypt and Israel with President Carter
mediating, Anwar Sadat frequently put his hand on Carter's knee.
The subtext of the gesture was warm friendship, but there was
also a subtler subtext, an announcement to the world that Sadat
was Carter's equal.
This brings up the question of where to touch. To Sadat, touching
the knee was culturally appropriate. In the United States, a forearm
can be touched with impunity, but a knee or a thigh is a different
story. Sometimes a woman, touching a man's thigh as they sit
talking, can send a subtext of concern. At other times it can
become a sexual advance. A man touching a woman's thigh in
the same situation almost always sends a sexual subtext.

THE ULTIMATE TOUCH

In spite of the care we must take in touching, we are, in many
ways, a society starved for the subtext that touching sends. The
love-ins and the awareness and encounter sessions of the sixties

53
 SUBTEXT

awakened a touch-starved population to the importance of touch.

But the pendulum swung back in the eighties, and now in the
closing years of the century we miss that easy touching. We run
the risk of becoming touch starved again, and the subtext of touch
becomes even more important in any relationship.
People who experience massage for the first time often overreact.
They attribute much more meaning to it than it actually has. But
still, it is, in a way, the ultimate touch. As beneficial as it may
be to the muscles, it is even more so to the mind. We prosper
from our psychological reaction to the massager's hands.
I witnessed how moving touch can be when I was teaching at
the New School for Social Research in New York City. An older
student, a parole officer in the New York City Correction System,
described the incident.
"One of my parolees had been convicted of molesting a child.
It was about the fifth time we met. We got together at a coffee
shop, and I was satisfied that he was keeping his nose clean.
Then, as we left, I put my arm around his shoulder.
"To my surprise and embarrassment, he broke down and began
to cry. When he had pulled himself together, he told me that
this was the first time since he had been convicted that anyone
had touched him. It opened the floodgates!"
Sometimes touch can open the floodgates, as it did in this case,
and at other times it can break down resistance. A story told to
me by a young Chicago lawyer bears this out. She had a young
woman for a client, a woman who had been accused of shoplifting.
Getting this client to give any information about the incident was
very difficult. Guilt, shame, and fear combined to keep her silent.
"I was convinced that if she could tell me her entire story, I
could help her. Obviously she was withholding important informa-
tion because she wasn't sure of me.

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"A partner of mine who had come into the library where we
were talking drew me aside and said, 'I think I know what your
problem is. You're talking to her from three feet away, across
the table. Look, take a chair on her side of the table and for
God's sake, relax. You're too uptight!'
"I did what he suggested, and there was still no change in my
client. Then, at one point, I was so intent on what I was saying
that I leaned forward and put my hand on hers. Well! What a
difference! She looked up at me for the first time and met my
eyes. Then she began talking, and it was just what I needed to
hear."

THE CULTURAL CONNECTION

Whatever subtext touching can induce, we must remember that
there is a cultural connection to the practice of touch. Some cultures
favor it; others seem to avoid touching as much as possible. The
English and Germans are considered poor touchers, while the
Spanish, Italians, Israelis, and Arabs have always seemed to savor
touching. There are cultures in which touching is a very important
part of communication. For example, a great deal of touching
goes on during any conversation in the Middle East.
This culturally based reluctance or desire to touch can change
as the society evolves. Italian men used to walk through the streets
holding hands, but just a few years ago Roger Youman, an editor
at TV Guide, visited Italy and in an article in The New York
Times Magazine commented that you don't see men holding hands
in Italy anymore.
Children still do. Italian women hold hands, link arms, or walk
with arms around each other. But "Italian men rarely do so, very

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 SUBTEXT

rarely!" Youman noted. "Something has been lost, something Italian

men had that was worth saving, the ability and the freedom to
express an emotional bond in unself-conscious and sexually neutral
terms."
The reason, he suggests, is the increased visibility of homosexual
men and the amplified homophobic attitudes of "straight" men.
This may be true, and yes, I agree with Youman that something
has been lost—the subtext of enormous comfort and caring in
hand holding.
In the United States our culture forbids hand holding between
men. Men are reluctant to touch one another, and for that reason,
when they do, it is all the more intense and effective. When
men are deeply troubled or in great pain, touching, holding a
hand, or embracing someone can work wonders.

READING IT OUT
We all start life with a tremendous need for touch and its subtext.
Babies need the touch of their mother, the feel of the nipple as
they nurse, the touch of anything they can bring to their mouths.
This need for touch in our society fades a bit at the age of
five or six, but it returns at puberty, a time when its subtext is
sexually dangerous. Because of this "danger," society teaches
pubescent girls that touch is not allowed when it comes from the
other sex, but society permits them to hold hands with each other,
to walk with their arms around each other and engage in same-
sex touching. The wrestling of teenage boys and the contact sports
they delight in take care of some of their need for touch.
Once we become adults, there is still a need to touch, although
in this country it doesn't seem obvious. But the need and its

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 TOUCHY SITUATIONS

practice are there. Dr. Erving Goffman, a sociologist, points this

out in his book Relations in Public Places. "The theory that Ameri-
can middle class people don't touch each other when they talk is
nonsense. People are handling each other all the time, but we
read it out. You've got to keep your eyes open to see it."
We "read it out" because it occurs in very natural episodes.
Someone squeezes past someone else in a narrow passage and
takes that person's arm to get by without body contact. In conversa-
tion, one person may touch another to stop a sentence or to allow
a point to be made. People touch their friends and family constantly,
but lightly, and they "read out" the touch because it is so fleeting
as to be subliminal.
It is intriguing that even these light touches can supply a subtext
of caring and concern. And it is even more so with a stronger,
longer touch—always provided the touch is appropriate in place
and time.

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 BODY LANGUAGE:
THE EYES, THE HEAD,
AND THE HANDS
4
THE MAN WHO LISTENED
Some years ago I worked as a medical journalist for a large publica-
tion. The best part of the job was our editor-in-chief, a small,
feisty man who somehow evoked a stubborn loyalty in everyone
who worked for him.
At one point he had to deliver a talk to a group of students,

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 BODY LANGUAGE: EYES, HEAD, AND HANDS

and he asked me to videotape it for him. "I want to show my

wife and kids. They'll get a kick out of it."
I taped his talk, and I was amazed at the way he charmed his
audience of would-be medical writers. What was there about this
insignificant-looking guy that captivated everyone? Trying to dis-
cover a pattern in his approach, I ran the tape through a few
times, then played it at fast forward. Suddenly I noticed something
I had missed. From the minute he mounted the podium, his head
went from side to side like the tail of a friendly dog. Watching
closely, I noticed that he constantly maintained eye contact with
everyone in the audience, never favoring just one side, his eyes
sweeping that group of students like the beam of a lighthouse.
Eye contact, I realized, was the secret of his charm. Whether
he talked to one person, to a dozen, or to a roomful, he managed
to make eye contact, and though he broke it, he returned to it.
Conversely, when you talked to him, eye contact let you know
he was listening.
Years later, when I had to lecture myself, I tried to copy that
same technique, sweeping the room with my eyes to make contact
with everyone I could. One time, when I was asked to talk to a
group of businessmen at Xerox, I broke my glasses the day before
the speech. I went to an optometrist whose sign promised GLASSES
IN ONE HOUR. He took my broken glasses and shook his head.
"These are bifocals. Reading glasses I can give you in an hour,
or distance glasses, but not bifocals. That'll take a week!"
What a dilemma. With reading glasses I could see my notes,
but not the eyes of the audience. With distance glasses I couldn't
see my notes, but I could see the eyes of the audience. Which
to choose? In the end I opted for the distance glasses. I could
always memorize the notes, but to avoid eye contact during the

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speech would be deadly. I'd send out a subtext of coldness and

withdrawal.

THE TWO-AND-A-HALF-BILLION-
DOLLAR VERDICT
Of all the elements we use to communicate with other people,
eye contact is the most important—and the most human. Animals
are disturbed by eye contact. To them, it carries a subtext of
threat. Humans are pleased with it. To them the subtexts are
attention and interest.
The importance of the subtext sent by eye contact was evident
in a lawsuit that took place between two oil companies a while
back. Pennzoil sued Texaco, claiming that Texaco had improperly
interfered with a deal it had with Getty Oil. Pennzoil won a damage
award of over two and a half billion dollars plus interest, the
largest in the history of the United States.
During the trial, the Texaco lawyers thought Pennzoil's counsel
were playing up to the jury by instructing their witnesses always
to make eye contact with the jurors and to joke with them.
In an attempt to paint a contrast, Texaco counsel instructed
their witnesses to be serious and absolutely avoid looking at the
jurors. The case went against Texaco, and in conversations after
the verdict, the jurors said, "Those Texaco witnesses never looked
at us once. They were arrogant and indifferent. How could we
believe them?"
Conventional legal wisdom says Texaco counsel were right in
"not putting on a show for the jury." But their witnesses were so
concerned with avoiding eye contact that they sent out a subtext
of insincerity, the very thing the lawyers were trying to avoid!

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If anyone were to doubt the strength of the subtext behind eye

contact, a statement from an Israeli Army officer should put that
doubt to rest. Lieutenant Colonel Ysrael of the occupied West
Bank told The New York Times that on most days he and his
men face a battle of eyes, Israeli eyes against Palestinian eyes,
looks meant to kill against glances meant to intimidate, darting
glances against blank stares, eyes begging for a little friendship
meeting eyes round with fear. It is what the soldiers call "the
war of the eyes."
The most piercing and chilling looks come from the Palestinian
teenagers, according to Colonel Ysrael. "Even if you give them
a daring, intimidating look, they stare right back at you with
self-confidence. Their parents are different. You feel that you
can negotiate with their eyes. The eyes say you can even shake
my hand."
The most interesting looks come from the Arab girls, according
to another soldier, Lieutenant Eldad, a twenty-three-year-old.
"They are very interested. They tease you, but they are embar-
rassed."
What a world of emotions expressed only with the eyes!

THE RULES OF THE GAME

There are definite rules for eye contact. There is what one sociologist
has called "the moral looking time," the length of time you can
hold eye contact with a stranger without sending a particular mes-
sage or offending or disturbing that person. Making eye contact
for too long a period can be disconcerting, even threatening. The
subtext of caring and interest becomes distorted.
However, failing to make eye contact sends the disturbing subtext

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"I do not meet your eye because to me you are not there, you
are a nonperson, insignificant."
Understanding this, we can realize that an important subtext
of eye contact is recognition. If you encounter a panhandler in
the street, refusing to meet his eyes says, "I do not recognize
your existence." If you do make eye contact, you leave yourself
vulnerable to the panhandler's approach. This is so ingrained a
reaction that I have seen people avoiding eye contact with a blind
beggar!
Refusing to make eye contact can also send a subtext of arrogance
and contempt. It says, "I am better than you," and we reserve it
not only for panhandlers but also for servants and employees in
certain circumstances. The boss will frequently avoid eye contact
with one of his workers, a foolish move because of the insulting
message sent out.
The "moral looking time" is different in different places. In
an elevator, it hardly exists. If you make eye contact with a stranger,
you break it at once, you look ahead, up at the floor numbers or
down at the floor—anywhere but in another's eyes. In a room,
the moral looking time is longer. You can make eye contact and
hold it for two or three seconds, but then, for comfort, you must
break it. Extended eye contact between the sexes or between
two women usually means "I am interested in you." Between two
men who do not know each other, the longer eye contact usually
has a threatening subtext.
In a large room like a boardroom or a lecture hall, the speaker
can make eye contact with people in the audience and hold it as
long as he or she wishes. But on the street, the "moral looking
time" is very short. Any glance longer than a brief, sweeping
one becomes a sign of recognition with the subtext "Do I know
you?" Held too long, it sends a subtext of rudeness. Combined

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with a brief smile and a nod, however, the rudeness disappears.

In many such encounters there is a moment of embarrassment
when you realize that eye contact has been too long because one
or the other has allowed it. The smile or nod or even a quick
hello eases the situation.
I remember attending a convention in Chicago and wandering
about the convention hall examining the exhibits. At one point I
noticed an exceptionally well dressed middle-aged man with strik-
ing white hair and a very deep tan. He looked every inch the
top executive, and forgetting myself I stared at him.
He caught my eye and hesitated momentarily as I smiled. Then,
rather than break eye contact, he smiled back at me and, as we
approached each other, he put out his hand. We shook hands,
and he asked how I was, how the job was going, and a few other
generalized questions. Then, with a smile, said, "Let's get together
for lunch soon" and walked off. My prolonged staring and eye
contact combined with my smile had sent a subtext of "I know
you." Rather than risk offending a potentially useful contact, he
had pretended recognition.
Of course, these are the rules for eye contact between strangers.
Between friends or acquaintances eye contact can be prolonged
within an appropriate comfort level. Held for too long, eye contact
transmits uneasiness. Eye contact in a business setting signals
trust and sincerity, as long as it is not prolonged. The proper
method is to break eye contact frequently as you talk or listen.
The best technique is to look down to the side, and then back.
Remember, though, that the rules of eye contact vary from
culture to culture. In our culture, prolonged eye contact is too
disturbing, just as a refusal to make eye contact arouses suspicion.
In other cultures, particularly many Latin American ones, eye
contact is linked to status. Workers keep their eyes averted when

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they are talking to the boss. In the States, workers can look the
boss in the eye unflinchingly.
Some societies favor prolonged eye contact and are uneasy when
it is broken too soon. I once had some dealings with a young
Liberian businessman who worked for Firestone. He was very
angry with an executive in my company who was trying to firm
up a deal with him. "I don't trust that man!" he told me.
"He's very honest and sincere," I protested.
The Liberian shook his head. "He doesn't keep looking me in
the eye."
I began to see the light. "In this country, we feel it's rude to
keep staring into someone's eyes," I tried to explain.
He brushed my explanation aside. "In my country you look a
person straight in the eye as long as you talk to him. Anything
else is dishonest!"
I don't think I ever convinced him that the executive was an
honest man, and by the end of our talk he was beginning to
doubt me. Such was the power of his own cultural upbringing.

STONEWALLING IT
When I was teaching nonverbal communication, a young man in
one of my classes came to me after class and said, "I've got a
real problem in communication. Maybe you can help me."
I asked what the problem was, and he said, "It's at work. I'll
talk to a customer, and I know I'm saying everything right, but
after a while it's as if a stone wall comes up between us. He'll
just turn off.
"And it's not only work. I'm single, and I hang out at the bars
pretty often. I know what you've said about eye contact, and I

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can look over the women in the bar and realize that the ones
who let me make eye contact for longer than the 'moral looking
time' are the ones who are interested in meeting me. But after
talking to them for a few minutes, that same thing happens—the
feeling of butting against a stone wall!"
Talking to him, it became obvious what that "stone wall" was.
For some reason he had never learned one of the decisive subtextual
signals, the head nod. He would talk and listen without ever
moving his head.
The head nod is tremendously important in communication. I
tell you something, and you nod as I say it. That nod sends a
subtext of "Yes, I understand." You talk back to me, and I nod
again, sending the "Yes, I understand" signal along with "I agree."
These gestures, along with the negative head shake, usually
accompany all conversations and are vital to communication. The
head nod, in fact, is so strong that some salespeople can use it
to overcome a customer's resistance, particularly if the accompany-
ing sales pitch is correct. The nodding elicits a positive response
in the listener. It is effective in sales, in the boardroom, and in
any ongoing discussion or negotiation.
Not using that head nod was, in my student's words, putting
up a "stone wall." Once he understood this and began to put
nodding to good use, the wall came tumbling down. Of course,
using the head nod properly is very important. A senseless bobbing
of the head sends a senseless subtext. The nod should be used
when you agree with the other person, or when you want agreement
with a point you are making, or when you want to show that yes,
you understand.
In public speaking or in addressing a small group, the head
nods or absence of nods will tell you whether or not you are
reaching your audience. A clever speaker can gauge the audience's

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reaction from their nods or lack of nods and can easily switch to
a subject the audience may relate to more.

BODY LANGUAGE BLINDNESS

The inability to learn the body language that sends out definite
subtexts is not unusual, but it can be very destructive. In adults
it can lead to an inability to relate to others, and in the job
world it can be downright disastrous.
Studies have shown that this type of body language blindness
often starts in childhood. Ten percent of all children have problems
with sending and reading subtexts. Dr. Stephen Nowicki, a psychol-
ogist at Emory University in Atlanta, says that most emotional
subtexts between people are communicated nonverbally, through
body language.
The inability to read or send such messages properly is a major
social handicap. "Because they are unaware of the messages they
are sending or misinterpret how others are feeling," Dr. Nowicki
says, "unpopular children may not even realize that they are ini-
tiating many of the negative reactions they receive from their
peers."
These children feel that they have no control over the way
other people treat them, and eventually they can become emotion-
ally disturbed, anxious, depressed, or angry. What is learned in
childhood is carried into adult life. In business they continue to
misinterpret other people's subtexts and, in turn, send out incorrect
subtexts of their own.
This is the bad news. The good news is that once they do
learn to interpret subtexts of others correctly and to send the
messages they want, their defeatism disappears. In other words,

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learning the facts about subtext, nodding, eye contact, gesture,

and personal space can help them relate to other people in their
private life and in the workplace.
Eye contact and head nodding are two important elements in
subtextual communication. Gestures are a third. The wrong gesture
can confuse and annoy. At a boardroom meeting once, for example,
the CEO of the company gave some good advice about dealing
with the representatives of another company. "I want to finesse
them on this deal, and I think we ought to use a form of quiet
diplomacy."
But even as he said it, he pounded the table in front of him
with his fist. The subtext of the gesture didn't match the text of
his message, and we all left the room confused about what he
meant. His words were placating, but the table pounding was
aggressive. What did he want us to do?
This same CEO, shortly before the company went bankrupt,
assured his employees that their jobs were safe, and that the
company was on a firm foundation. As he talked, however, his
left hand was clenched so tightly that the knuckles showed white.
His employees heard his words, but they also understood the
subtext of tension that his clenched fist conveyed, and the next
day they all began to get their resumes together.

AUTOMATIC GESTURES
The gestures we make are sometimes deliberate, but more often
they are made on an unconscious level. We are not aware of
what we are doing. If we hesitate in our speech or grasp for a
word, our gestures tend to become more eloquent, as if the gestures
themselves are a substitute for lost words.

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Ask someone to repeat something, and he or she will often

add gestures that weren't there before. It's as if the gestures help
you to understand—and they do. When you want someone to
like you or believe what you are saying, you will tend to use
more gestures, realizing, on an unconscious level, that the gestures
clarify and convince.
The tight fist the CEO used under pressure was an unconscious
gesture that gave away the truth. It was made without thinking,
and its subtext contradicted the words he used. The same sort of
unconscious gesture is the nose rub. A speaker is about to lie or
make an outrageous statement, and the finger automatically strokes
the nose.
These automatic gestures, just because they are made without
thinking, tend to send a more honest subtext than our words.
Watch a politician make campaign promises he cannot fulfill and
you will usually see that unbidden nose rub. Watch an executive
make predictions he knows are wrong, and the same nose rub
occurs—unless, of course, the politician and the executive know
about these gestures and restrain them.
Different subtexts can be sent by the same gesture, depending
on whether a man or woman uses it. There are basic differences
between men and women in regard to emotions and mental outlook.
This doesn't mean that men are less articulate or women more
emotional, nor are attributes such as aggression, intuition, gentle-
ness, or pragmatism limited to just one sex. However, many people
believe these attributes are sex-linked, and this belief affects the
way they perceive the subtexts of men and women.
A woman may be brought up to believe that extravagant gestures
are not feminine, and therefore it would be wrong for her to use
them in a business setting. A man may be taught that it isn't

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manly to show emotion, and this can affect the subtext of his
gestures. Still, we are reasoning creatures, and we can change
our habits.
While some gestures are more prevalent among members of
one sex or another (a man straightening his tie, a woman pushing
back her hair), none is absolutely linked to one sex. And even
though many are automatic gestures, they can still be brought
into the conscious realm and made in a calculated way.
Learning to use gestures deliberately and understand their sub-
texts can become a powerful tool to project honesty and truth. It
is a clever form of manipulation, but it must be done with subtlety.

GESTURES AND THEIR MEANING

Here is a brief summary of some of the more important gestures
we use and the subtexts they send.
An open-palmed gesture with the hand moving forward at chest
height, fingers up and palm out, sends a forceful subtext of serious-
ness and importance.
Both hands open at chest level and spread sideways, palms
up, sends a subtext of helplessness, a plea to be understood.
One hand raised above the head emphasizes a point; two hands
raised above the head signal triumph.
An index finger to the ear or rubbing the eye signals rejection.
A hand or fingers in front of the mouth betrays a reluctance to
talk, a holding back, telling only half the story.
A placating subtext is sent with the palm up, hand out—if it
is used by a man. The same gesture used by a woman has a
courting or flirting subtext.

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Sitting back and listening to someone while you steeple your

fingers sends out a subtext of confidence. Steepling is holding
the hands together at chest height with the fingers touching and
pointing upward. The higher the hands are held, the stronger
the subtext of confidence, but they should not go above the level
of the chin.
Wagging a forefinger back and forth is a classic negative sign
and sends a subtext of "You are wrong."
Pointing sends an aggressive subtext, and using an object to
point with, a pen or a cigar, extends the threatening finger and
makes the subtext more intrusive, more aggressive.
Another aggressive subtext is sent when you stand with your
hands on your hips, your thumbs back. Here the subtext is confi-
dence and toughness. In speech making, a subtext of confidence
and logic is sent by counting things off on your fingers. It can
make a presentation more forceful.
Rubbing the hands briefly (not wringing them) suggests confi-
dence in what you are saying. Hands clasped behind the back
send a subtext of "I am in charge here."
You can send a subtext of confidence and pleasure in someone
else's presentation by leaning back in a chair with your fingers
laced behind your head.

THE NEGATIVE SIDE

These are positive signals you can learn to help yourself or to
interpret the subtexts of others. However, you should also under-
stand the negative signals that send out a loser subtext. It is
important to avoid them yourself and understand them in others.

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The meaning of these gestures comes from research with videotapes

taken during psychological therapy sessions. Gestures were
matched against the patients' statements. As an example, a woman
covered her eyes as she told of an incident she was ashamed of.
The subtext behind covering the eyes became clear.
Chewing a pencil or other objects signals nervousness and uncer-
tainty. Putting a hand over the mouth sends a subtext of embarrass-
ment, of hiding something, or of a reluctance to speak.
Clenching or wringing the hands signals nervousness or anger.
Crossing the arms over the chest sends a subtext of "I don't agree
with you."
This last gesture has to be interpreted carefully. Someone may
sit with crossed arms because it is a comfortable position. To
interpret it as resistance, you must look for tightness and tension
in the rest of the body. Some time ago Dr. Benjamin Spock spoke
to a group of police officers. Dr. Spock and the police thought
differently about most matters. A picture taken from the podium
showed almost all the policemen sitting with crossed arms. There
was no doubt about the subtext they sent out!

THE CULTURAL CONNECTION

I've mentioned that the rules for eye contact differ from society
to society, but gestures are even more closely linked to culture.
This linkage is so strong that a person talented in reading subtexts
can usually guess what country someone is from by observing
the way that person uses his or her hands.
Certain general rules apply. People from the northern countries
of the Western world tend to use fewer gestures than people from

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the south. Scandinavians, Germans, Swiss, and English use few

hand gestures. To southerners they often seem stiff and im-
mobile. The subtext is one of standoffishness, a desire not to be
involved.
In southern countries, such as France, Spain, Italy, and Greece,
gestures are more open, effusive, and expressive. The subtexts
are vigor and emotional involvement. Israel, Arab nations, and
most Central and South American countries are also rich in hand
gestures.
In the United States, the traditional melting pot, it becomes
more difficult to identify ethnic types from their gestures. The
rules of the old countries barely hold, and very gradually a mixture
of gesture and expression that can be labeled "Made in the United
States" is born.
Dr. David Efron, a researcher in gestures, analyzed a number
of gestural styles and related them to different cultures. Jews, he
found, tend to keep their hands close to the body when they
gesticulate. Their movements are choppy and full of nervous energy,
usually one handed. Italians, on the other hand, use expansive
gestures, sweeping ones, two handed and symmetrical.
However, as Jews and Italians are assimilated into American
culture, their gestures change. Second- and third-generation Ameri-
cans take on the mannerisms of the culture they live in, that of
the United States—another proof that gestures are not instinctive
but are linked to culture.
The French use hand movements sparingly, but precisely and
elegantly. The Germans, when they use hand movements, use
them to reinforce statements about beliefs.
Women and men in business must be aware of these culturally
linked gestures and their subtexts. It is difficult and sometimes
awkward to try to change your gestures, but videotapes are useful

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in deciding whether to eliminate or tone down some of them.

Other gestures may be eloquent and effective, and you may want
to expand them.

WHAT SHOULD I DO WITH MY HANDS?

Gestures are made with the hands, and in any situation—a talk
to business associates, a one-to-one encounter, or a boardroom
discussion—you must be careful about which ones you use. I
once saw a junior executive prepare a brilliant presentation for
the board and then blow it all by delivering it with his hands in
his pockets. Even worse than this are people who habitually jingle
change or keys in their pockets as they talk. This is a gesture
that can be interpreted as sexually provocative when men do it.
Speakers can also spoil their presentations by thrusting both
hands into their jacket pockets while talking or by holding both
hands clasped in front of them, a gesture whose subtext is an
appeal—hardly fitting for someone making a forceful presentation.
The reason for these practices is the old stage problem that
amateur actors face: What should I do with my hands? When
you are speaking to a group, your hands can seem enormous and
clumsy. It's a sign of an accomplished speaker when the hand
movements are natural. In a talented speaker, they are not only
natural but eloquent as well, adding to the delivery.
How can you learn to use your hands as an asset? There are
two acceptable methods. One is practicing in front of a full-length
mirror. Watch what you are doing and become aware of your
gestures, of what they say and what they do not say. Understand
the subtext of their movement.
The problem with this method is that you only see yourself

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with biased eyes—your own—and you may not pick up little de-
fects. A better method is to enlist an audience of your friends
and colleagues to evaluate your performance. The best way to
handle this is to make a videotape of yourself in a mock presentation
or speech and play it back for your friends. Let them point out
your weaknesses, then play it over and over until you yourself
see these weaknesses and understand them. A second tape could
be made to eliminate the trouble spots. For some, two tapes will
do it. For others, half a dozen or more may be needed.
In a recent seminar on gesture and subtext, I taped an executive
in a mock presentation to his board of directors. He was a man
who had been in business for many years, yet watching himself
was a startling and revealing experience. "My God!" He shook
his head in shock. "I wring my hands when I talk. I never realized
I do that. What an asinine thing to do!" It took him only one
tape to change.
While it's important to learn the proper hand gestures, it's equally
important to make sure that the gestures are natural and not artificial
or used to excess. Excessive or random gestures diminish the
strength of your delivery. Gestures must accentuate and confirm
your words, not distract from or contradict them. Watch the gestures
of the person you are talking to or the audience you are addressing
and try to understand what their hands are telling you.

THE RITUALS OF NERVOUSNESS

It is not only the hands that can send out different subtexts but
also what the hands hold. Tapping a pencil or fiddling with a
bracelet or earring can send a subtext of nervousness, uncertainty,
uneasiness, or tension.

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Stroking the arm of a chair, fingering a glass or a pen or even

absently stroking part of your body, an arm or a leg, sends a
subtext of loneliness, a need for comfort.
But a controlled use of objects can be of value. It can discharge
nervous energy in a positive fashion. The key to this is that the
object used must be an appropriate one. A pen or pencil with a
pad of paper is particularly appropriate in a boardroom. The use
of objects like these signals that you are making notes and are
abreast of things.
These objects can be involved in elaborate rituals to help absorb
nervousness. Aligning the pad and pencil, tapping the pencil once
or twice against the teeth (thoughtfulness), removing your eyeglasses
and replacing them, even using them to point—all these little
rituals have their use. But it is best to rehearse and limit these
movements so that they do not become nervous mannerisms them-
selves.
One woman executive makes a routine of removing her glasses
when someone makes a statement she disagrees with, tapping
her teeth with the temple, frowning, and replacing her glasses.
The subtext: "I don't really believe what you've said."
Another CEO will stand up after hearing a statement he doesn't
like, pause dramatically while taking up his pencil and pad, make
a note, then turn to face the person with whom he disagrees.
This sends an intimidating and unnerving subtext.

SYMBOLIC GESTURES
Symbolic gestures can also carry subtexts. In Europe, during the
recent great changes in the communist countries, a constant gesture

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repeated by thousands in crowds was the V for victory sign. The

subtext of that gesture was a damning indictment of the way the
leaders had governed.
In the United States, the middle finger pointed upward is a
sign of great insult. News stories keep surfacing of men shooting
at someone who has given them the "finger." Jackie Mason, the
comic, was blacklisted by the Ed Sullivan show many years ago
for allegedly making this gesture which Sullivan thought was di-
rected at him.
Symbolic gestures, ones you make deliberately because they
represent a known subtext, are extremely important. A study involv-
ing twenty-five different countries and twelve thousand people
examined twenty symbolic gestures. They found that few gestures
could be limited to one country only, although Italy seemed to
have the greatest number of symbolic gestures.
Many of these have come to the United States and are used
here, particularly in Italian-American environments. Eight of the
most significant ones are listed on the facing page.
The importance of knowing and understanding these gestures
is apparent when you realize that in Europe, even today, certain
gestures can bring police prosecution. In Germany, drivers making
"the temple screw" at other drivers have been arrested and prose-
cuted! In England, the V for victory sign, if made with the palm
facing out, is a dire insult.
These symbolic gestures are very much linked to particular
cultures. For example, in Argentina, suicide is symbolized by
an extended forefinger to the temple, mimicking a gun. In Japan
it is an imaginary hara-kiri, a sword slice up the belly.
In a foreign country, you can run into trouble if you use the
wrong hand sign. Dr. Robert Saitz and Edward Cervenka, in their

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GESTURE HOW IT IS DONE THE SUBTEXT

Kissing the Pursing the fingers of the right Praise or

Fingertips hand. Raising them to the lips salutation
and kissing them as the hand
is flicked away.

The Hand The fingers and thumb of one A query

Purse hand are straightened, brought
together and pointed upward,
palm toward the body.

The Cheek Putting the forefinger into the Good

Screw center of the cheek and rotating
it.

The Temple Pressing the forefinger against Crazy

Screw the temple and rotating it.

The Eyelid The forefinger pulls down the I see what's going
Pull lower lid of the eye on, or watch out

The Ring Thumb and forefinger make a Okay

circle as the hand is held up,
palm out.

The Ear Tug The earlobe is tugged by the A warning, or you

fingers of one hand are effeminate

The Nose Tap The forefinger is placed along- Be alert

side the nose

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Handbook of Gestures, cite an example that occurred in Colombia.

There, the hand held out, palm down, is used to indicate the
height of animals, never of humans. A lecturer from the States
used this gesture to indicate the size of preschool children. This
inadvertent misuse of a symbolic gesture broke up the class and
made him an object of laughter. This is why anyone dealing with
a foreign culture, at home or abroad, should know not only the
culture's language but also its symbolic gestures and their subtexts.

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GESTURES,
POSTURE, AND
5
SPACE

THE POSTURE OF YOUTH

Gestures alone send a subtext, but they are far from the only
signals a person sends out. Only movement combined with gestures
gets to the whole truth. The entire body shapes the subtext even
as our vocal cords shape our words. An executive entering a board -
room sends an immediate message to the people gathered there.

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Posture determines the subtext; the way he or she walks, sits, or

moves gives the other clues. ,
An upright body sends a subtext of competence, pride, and
assurance. Slumped over, the shoulders slack, the subtext is vulner-
ability, which, in most people's minds, is linked to uncertainty
and uneasiness.
In one of my jobs, I worked with a senior executive who was
in her seventies, successfully resisting retirement. When I went
with her to a business meeting, I had to remind myself that she
was not a young woman.
There were two subtextual reasons for the youthful impression
she gave. She wore clothes that helped conceal her age—a long-
sleeved dress with a high neck—and she fought against gray hair
with a clever coloring job. She dressed in the best of taste, stylish
and chic.
The real deception, however, lay in her posture. She moved
like a young woman. She rose and sat effortlessly with none of
the groaning or creaking of age. She sat erect and transmitted a
regal quality with her back and shoulders—and, best of all, her
voice was easy and youthful.
It was a triumph of body language, image projection, and pos-
ture over age. There is a lesson here for aging executives who
want to send out a subtext of youth and vigor. Dyeing the hair to
keep its natural color and plastic surgery to disguise jowls and
wattles all help, but in both men and women the key to appearing
youthful is posture and voice. Speaking firmly without hesita-
tion sends a forceful message. Moving easily, not cautiously,
standing and sitting upright, and getting up and sitting down with
ease all contribute to a younger subtext, a subtext of vigor and
strength.

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READING PEOPLE'S POSTURE

Women send revealing subtexts about themselves not only by the
way they sit, stand, and walk, but also by the way they carry
their breasts. With shoulders forward and breasts pulled in and
minimized, the subtext is "I am ashamed of my body." It is impossi-
ble to signal confidence and certainty with this posture.
With men, the abdomen and belly are the vulnerable areas.
When a man tightens his belly and lets his abdominal muscles
pull his stomach taut, the message sent is "I am aware of you. I
want to make an impact on you." The subtext: strength.
The person who leans back in his chair as he listens to someone
else is pulling away from involvement. Leaning forward signals
intensity and interest.
All these statements are generally true, but they are generaliza-
tions. Not everyone uses the same posture to send the same subtext.
There are cultural and regional differences in posture. In her
book Male and Female, anthropologist Margaret Mead noted that
all men do not cross their legs in the same way, nor do they
move and sit in similar postures. The behavior of each American,
she noted, is an imperfectly realized version of the behavior of
others. The postures of Americans are the result of the melting
pot of our culture.
People who like each other or agree with each other tend to
mirror each other's posture. In a business meeting, when people
share a point of view, they tend to share a posture. When one
person in a group changes position, the other group members
will usually shift position to match. If one member of the group
disagrees with the others, his or her posture will disagree as well.
In a discussion in any group or gathering, whether it's a board-

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room meeting or a negotiating session, the leader will often adopt

a posture that the others, as they agree, will copy. Anyone holding
out will invariably adopt a different posture until he or she is
convinced.
One CEO told me that in a negotiating session he will often
mimic the posture of the leader of the opposition and in a sense
"feel out" the other's subtext. "It gives me some insight into their
problems. I find that I get a better idea of whatever my opponent
feels. It also helps create rapport. In a way, they feel I'm on
their side."
Here are some clues to reading the subtexts of others by their
posture:

• A modified military posture can signify formality.

• Facing someone directly with the eyes, face, shoulders, and
upper body sends a subtext of rapt attention.
• Turning the body away as one talks, facing sideways and
avoiding eye contact, sends a subtext of reluctance, of "I
don't want to be involved." It's a subtle snub.
• Walking erect sends a subtext of certainty—"I'm in charge
here."

The strong subtext behind posture was made clear in the famous
trial of the Chicago Seven in the 1960s. Defense attorney William
Kunstler objected to Judge Julius Hoffman's posture. During the
prosecutor's summation, the judge leaned forward, which sent
out a subtext of attention and interest. When the defense made
its summation, he leaned back in his chair, in such a relaxed
manner that he seemed half-asleep.
Kunstler pointed out that these postures and their subtexts clearly
were attempts to influence the jury. The objection was overruled,

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but it nevertheless made the jury and the press covering the trial
aware of what Kunstler felt was the judge's prejudiced attitude.
Social subtexts are often reflected quite simply in posture. If,
in talking to someone, you lean forward, the unspoken subtext is
"I like you." If you lean back while sitting, or turn slightly away
while standing, the subtext is "I don't like you." Are you threatened
by the other person? You will tend to sit up straight, almost as
if you were on the defensive, ready to jump into action.
There are differences in the social subtexts sent by the sexes.
A man will sit up, on the alert, if he feels threatened by another
man, but he will not do this with a woman. Instead, he is likely
to lounge back. However, it is rare for a woman to sit at attention
if she feels threatened. She is more likely to move away from
the threat, to move back. As more and more women are integrated
into the world of business, however, these signals tend to change.
Women are beginning to use the same signals as men in jockeying
for power and position.

ATTENTION, AGGRESSION,
AND DEFENSE
Traditionally, someone who sits with arms and legs in an open
posture sends a subtext of being receptive to new ideas and sugges-
tions. Closed arms and legs indicate disagreement (though a woman
wearing a skirt will of course choose to close her legs regardless
of her attitude). How the head is held, a smile or the lack of a
smile, the slant of the shoulders, all amplify the subtext.
Watch the posture of people at office gatherings or meetings.
Those outside the action hold different postures from those involved
with what is going on. Outsiders stand with their weight on one
foot rather than both. Someone more closely involved stands with

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the weight on both feet leaning forward and with head held forward
Leaning away from a situation signals disinterest, noninvolvement
distaste.
As with the subtexts for liking and disliking, the subtext for
paying attention depends on posture. The degree to which you
face the person you are talking to indicates the amount of attention
you are paying to that person. Face someone squarely with your
upper body, increase eye contact, and lean toward that person
and the subtext is "I am paying attention to you."
Stand with the body turned away and only occasionally turn
your head to face the other, and the message is "I am paying
only a minimal amount of attention." Turn away altogether and
you terminate the conversation. There is an insulting subtext in
this posture if it is done while the other person is talking.
If more than two people, standing or sitting one on either side,
are talking to you, it's difficult to pay attention to both. This
dilemma is usually solved by turning one part of the body to one
person and the rest to the other. You might incline your head to
the one on the right while the rest of your body faces left. From
time to time, alternate positions. The subtext is obviously "I am
interested in what both of you are saying."
Then status comes into play. The higher the status of the person
you are talking to, the more inclined you are to face him or her.
While the face-to-face confrontation sends a subtext of attention,
it is also a necessary posture for dominance. Facing that person,
standing and moving toward him or her, combined with an aggres-
sive stare, sends a clear subtext of dominance.
An executive can assume a loose and relaxed position during
discussions, but when a forceful statement is needed, a shift to
an aggressive posture emphasizes the statement.

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How do you send a subtext of aggression? With a grim face,

clenched fists, a slight crouch if standing, the body angled forward,
eye contact held as long as possible.
A defensive tension shows itself in tightly folded arms, a straight
back, head half turned away, and the avoidance of eye contact.

THE MESSAGE IN THE WALK

Posture, of course, includes walking. The stride and pace of an
executive as he or she enters a boardroom can radiate a dozen
different subtexts ranging from confidence to ineptitude. Generally,
people who walk rapidly and swing their arms freely send a subtext
of being goal oriented. People who scuff along, head down, signal
dejection. Those who walk with their hands on their hips, a male
posture adopted by Winston Churchill in the Second World War,
send a subtext of "I want to get where I'm going in the shortest
possible time."
The preoccupied walk, slow paced, head lowered, hands clasped
behind, is private, thoughtful: "I'm considering all sides of the
question." The "Benito Mussolini" walk, a man's walk, consists
of chin raised arrogantly, arms swinging, legs stiff in a sort of
strut: "I am an important person!"
The "model's" walk, a woman's walk, is almost a glide. The
body sways, but remains erect. The subtext is sultry and provocative
and totally unsuited for business!
In 1985, an article in The New York Times described Ronald
Reagan's posture during a discussion with a reporter. Reagan
has been generally held to be a master at using posture to get a
subtext across. The article reads like a summary of many of the
Points I've made on posture:

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"For much of the time Mr. Reagan settled back comfortably

. . . as he warmed to the give and take, his responses came
punctuated with a little shake of the head, a smile, a sign of
emphasis here and there or a hand reached out to gesture." When
the issue of Star Wars came up, "his body language changed
He became totally engaged. He leaned his body into the discussion
moving forward in his chair." When the talk turned to Soviet
violations, "he put . . . his back straight against the chair."
Take some lessons from a master!

SPACE: THE FINAL FRONTIER

We rarely think of space when we think of body language and
the subtext it conveys, but manipulation of space can be an impor-
tant business tool. Take the case of Mark, a canny CEO trying
to engineer a takeover of a rival company.
The other company was headed by Harper, who thought he
knew a lot about the subtext of power. He decided to show Mark
who was the boss from the very beginning. To demonstrate his
independence and importance, Harper told his staff to arrive at
the meeting fifteen minutes after it was scheduled to start.
"Time is a powerful weapon," he told his assistant. "Being
fifteen minutes late will keep them guessing. It'll make Mark
anxious, and I'll be able to exploit that anxiety and throw him
off target from the very start."
It was a clever ploy, but Mark was sharper. He arrived at the
meeting room a few minutes early, surveyed the situation, and
took in the battlefield—a long, oval conference table. Like any
good commander, Mark took advantage of the absence of his enemy
to place himself in the most strategic seat at the end of the table

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facing the door. He knew that this would remain the dominant
position only if he could prevent Harper from taking the seat at
the other end of the table. So he placed Jane, his executive VP,
at the other end of the table and flanked her with two of his
staff- He then placed two more of his associates on either side of
his chair.
By time Harper arrived, his late ploy, often effective, had back-
fired because of Mark's territorial triumph. Mark earned another
victory when he stood up and held his hand out as Harper entered,
forcing his rival to walk all the way around the table in order to
shake his hand.
Confused by the turn of events, Harper was flustered and quickly
took one of the only seats open to him, a subordinate one. Had
he been a wiser man, he would have simply asked Jane to move
and then sat in her power place, making it a more equal battle.
By not doing this, he lost control of the situation. Mark became
the one projecting the subtext of power and took full advantage
of it in dealing with his adversary.
In this case, the subtext of power and status came from a clever
use of the space around the conference table. The legendary King
Arthur was well aware of this technique, when Merlin advised
him to use a round table for his knights. In that way no one
would have higher status than anyone else.
Unfortunately, this doesn't work when one person, such as a
king, has a great deal of status from the start. No matter what
the shape of the table, the people seated next to the king have
the highest status, and status declines as one is seated farther
from the king.
In a boardroom or conference room the person with the highest
status will usually choose one end of an oblong or oval table.
The exception is the person of very high status, the CEO or chairman

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of the board who is aware of the cachet such a position gives

and wants to appear approachable. In that case, he or she will
often take a center position at the side of the table. However,
this democratic move is usually defeated by the others who range
themselves alongside the leader in decreasing order of importance,
much as the knights did around King Arthur.

OFFICE SPACE
A knowledge of the byplay of seating arrangements is important
in office politics. How does the boss sit in relation to a client?
Should you use a desk or a couch or two chairs at a coffee table?
A desk can serve as a protective device to keep the client at
a distance and assert just who is in charge here. This is the
boss's territory, and the client is here on sufferance. It's best to
use this "protective" desk to sit behind if you want to send a
subtext of formality with no levity, no equality.
If you wish to reduce the formality, the client's chair should
be placed at the side of the desk, with only the corner between
the two of you. This is a more comfortable arrangement, and it
cuts the interacting space down to an intimate distance.
You can be even more informal by getting away from the desk
altogether. For just this reason, many business offices have a
couch, a low coffee table, and visitors' chairs. Discussing business
in this setting sends a subtext of equality.
If both people choose the couch to sit on, the positioning of
their bodies, whether they incline toward each other or away,
sends clues about their relationship. One arm along the back of
the couch, the body inclined toward the other, sends a subtext
of involvement and interest. Inclining the body away from the

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other, using the arm between almost as a guard, indicates disbelief,

a desire to resist.
The use of space to send subtexts works on many levels outside
of the office. At a business lunch, there is usually an unspoken
division of territory when two people sit down on opposite sides
of a small table. An invisible line drawn midway between the
two splits the table into two fields, one for each diner. If one
diner begins to move his or her plate, utensils, and glass into
the other's space, it becomes an aggressive act. The aggression
may not be perceived consciously, but there is a psychological
reaction, an invasion of privacy. People react to this perceived
invasion in various ways, depending on how friendly they are
and how introverted or extroverted the reacting person is.
However, when both diners see the space between them as
appropriate, communication improves in depth and clarity. This
is based upon the need of all people for space that is particularly
theirs. At home we think: "It's my kitchen." "It's my den." "It's
my room."
The need for private territory extends to all walks of life. In
business we are often judged by the size and condition of our
office. The larger the office, the stronger the subtext of importance.
A window increases the importance. A corner office with two win-
dows is most desirable. Office furniture sends a message of worth.
A desk and two chairs are at the bottom of the scale. A desk,
chairs, couch, coffee table, and a bar are at the top.

MANIPULATING SPACE
We carry this same need for space around with us. When we
talk to someone, we, in the States, prefer a distance of two feet

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between talkers. We feel comfortable at that distance. In other

countries people want to be close enough to "feel the other's breath."
When we walk into a theater without reserved seats we try to
manage a seat with no one on either side. The same is true in a
bus or subway. Unless all the seats are filled, we resist sitting
next to someone, and we resent someone sitting next to us.
This is how we react to space on a two-dimensional level, but
we also react to it in three dimensions. Height gives dominance.
Height sends a slight subtext of intimidation. A friend of mine,
a salesman, is six feet four inches tall. "When I talk to a potential
customer," he told me, "I always manage to minimize my height.
I either sit on the edge of a desk if we are both standing, or I
try to seat myself so that I'll be lower. Sometimes I have to slump
a bit to do it. The point is, I don't want the customer to think
I'm pressuring him, dominating him."
Of course, there are times when my friend takes advantage of
his height in order to loom over someone when intimidation is a
useful tool! This use of height is similar to an invasion of space.
Some people deliberately use spatial invasion to send a particular
subtext. A manual on criminal interrogation and confession, for
instance, directs interrogating officers to sit close to the subject
without a table or desk between them, since the table or desk
can give the subject a sense of safety and relief. It is a protection
of sorts, and doing away with it leaves the subject more vulnerable.
The police officer is also directed, once interrogation begins,
to move the chair in closer, doing it subtly until one of the officer's
knees is between the subject's. This intense spatial invasion can
be so upsetting that the subject will often break down and tell
the police just what they want to know.
I have seen job interviewers use a less intense variation of
this same technique; moving in to violate the applicant's space

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often knocks down the artificial defenses put up to persuade the

interviewer. It is not a very kind technique!
In considering how each of us uses space, we should be aware
that the way people react to invasions of their personal space
depends on their perception of that space. Some people have
pathologically distorted ideas about their own zones of privacy.
Dr. Augustus F. Kinzel, a social scientist, studied prisoners and
concluded that some are violence prone because their normal zone
of privacy, which should be about four feet, had expanded to six
feet or more. When someone got what they perceived as "too
close," they reacted with panic and then violence.
There are times when even "normal" people seem to have needs
for extended space; driving an automobile is such a time. You
can make a driver extremely nervous by tailgating. It is as if the
zone of privacy surrounding the driver extends to surround the
automobile as well, reaching out a couple of car lengths in front
and back. When someone is cut off by a car moving into his or
her zone, there is a sudden spurt of anger. Many drivers react
by racing to cut the other driver off in turn. It's like the violent
prisoner's reaction to what he perceives as crowding.
Another variation in personal spatial needs is linked to personal-
ity. A psychiatrist, Dr. William E. Peipold, tested people to dis-
cover if they had introverted or extroverted personalities. He then
measured the distance they placed themselves from an interviewer.
He concluded that introverts sat farther away from people than
extroverts. People who were praised moved closer and people
under stress moved away. The more comfortable a person is with
another, the closer the distance between them.
A subtle job interviewer can read a number of different subtexts
from the movements of the applicants during an interview.

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6
The subtext sent out by your inner
feelings is often a key element in the way you relate to other
people. Different personality traits send out very distinct subtextual
messages. Three internal characteristics in particular that make
an impact on others are risk taking, flexibility, and empathy.

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SUBTEXT OF RISK
The subtext that you send out when you take a risk, when you
chance something, is one of confidence and aggressiveness. The
very act of going out on a limb says to people that you are a
person of action.
A group of us were sitting on the deck of my friend Steve's
house one evening watching the sun set over the Pacific. Steve,
who had been tossing pennies into the bubbling hot tub claiming
it acted as a wishing well, said, "I saw a job I could apply for
the other day. Selling fax machines. It said absolutely no experience
needed. They have their own list of customers."
I smiled. Steve was a compulsively successful Hollywood writer
who had once confessed to me that he had more money than he
knew what to do with. "So you're job hunting," I said.
"Well, I read the want ads. There was one for a retired couple
to look after an estate out in the valley, but my wife says I'm not
retired yet." He tossed another coin into the hot tub. "You know,
I never had a real job. I started writing and selling right after
the Korean war, and I was making a hundred a week before
I was twenty. Whenever we got together, my dad used to ask
me when I was going to get a real job. He'd come up with
some position he'd heard about that paid forty or fifty dollars a
week, but as he pointed out, it was real work." He hesitated,
then in a serious voice added, "I guess what I want to find out
is whether I could really hold down a job. It would be a risk to
try it."
We were silent for a while, then Larry, an executive in a large
industrial corporation, cleared his throat. "I think the risk is in
changing jobs. I used to be a hospital administrator, and while I

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was good at it, I felt limited. I thought I was in a dead end.

But, you know, I had no experience outside of hospital administra-
tion. My first job was doing their PR work, and I worked my
way up the hospital hierarchy. The trouble was, I wanted something
else, a position with more responsibility and more power, and I
knew I couldn't get it there."
"What did you do?" someone asked.
"I picked the biggest corporation in my area, walked into the
president's office, and asked for a job as his assistant. I knew I
was taking a risk, but I also knew that if it paid off it would be
worth it."
"What happened?"
"He talked to me for a while, then, with a rather cold look,
said, 'You know, this job requires a tremendous amount of experi-
ence in corporate management plus an MBA.'
"Well, I think I was pretty cool myself when I answered, 'I
haven't got an MBA.' But you know, an hour later I had that
job!"
We were all silent for a moment, then Steve said, "I appreciate
the drama of the situation, but why did he hire you?"
"Self-confidence," Larry answered. "Aggressive self-confidence.
I told him I could do the job, and do it better than any other
applicant, and I convinced him because I had convinced myself.
It was a management job, and I was a great manager. My record
at the hospital showed that. I was willing to take a risk because
we both agreed that if I didn't work out in one month I'd be
out, but I really felt it was worth the risk." He was silent for a
moment, then he looked at Steve. "Do you honestly feel the risk
of trying to work at a job at your age, of testing yourself, is really
worth it?"

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NOTHING VENTURED, NOTHING GAINED

Steve never took that particular risk. It was just a fantasy with
him. There was no economic force driving him, nor was there
the same thing that pushed Larry—the spirit of adventure, the
need for wider opportunities, a chance at power.
But some weeks ago I read in Variety that Steve had indeed
taken a risk, a long shot, motivated by the same spirit of adventure
that moved Larry. Instead of selling his latest screenplay, he had
decided to produce and direct the film himself. The point of it
all, according to the article, was that now Steve would have complete
control over his story. He had the power, and along with it the
responsibility of the production—and the risk of failure.
All of us, no matter what level we operate on, must learn that
we cannot gain power in a business unless we are willing to chance
something, and to be responsible for our own risks.
Before you take a risk, you must know what the consequences
are. Before Larry gave up his job as hospital administrator, he
had to know just what would happen if he failed. Not all risks
succeed. Although Larry did well, in a sink-or-swim situation he
could have sunk. He could have found himself with a job he
couldn't manage, and, after a month, without either job. He knew
the risk, but still, he had this to say:
"You just can't go around taking risks like I did. You have to
be responsible for your actions."
"But how did you manage it?"
"I think the head of the corporation sensed something in me,
that told him I was aggressive enough to succeed. I think it was
my willingness to take a risk. I knew exactly what I was doing
and what the odds were. It worked for me."

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Larry was aggressive enough to take that risk, and in taking

0
it, he let his new boss see his subtext of determination.

YOUR INNER RISK FACTOR

For some of us, risk taking simply means adding up all the advan-
tages and disadvantages, and then making the choice between
them. But many of us cannot make that choice. We are just not
strong enough to take the risk. Do you want to project that confident
image of a risk taker? How do you determine your own inner
risk factor?
You can do it through an evaluation of your own life and the
number of times you gambled on important issues. Another help
in determining it is a simple test. I have prepared ten questions,
each with three possible answers. The only thing required is that
you answer each question with absolute honesty.
Put aside all concerns about right and wrong, all questions of
morality. You may feel that one answer is the right one, but the
point is, be honest about what you would do, not what you think
is right to do. No one is judging your answers except yourself.
Think about your answers. Do they project a successful subtext?

One-Armed Bandits

You attend a convention in Nevada, and you must pass a bank

of slot machines each day on your way to the meeting hall.

(A) You put all your quarters in each time you go past.
(B) You set aside an allotted amount to play with and stick to
that amount.
(C) You ignore the machines. You're here for the convention.

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Daring New Clothes

You're a man, and you like the way a bright orange tie looks
with your suit, or, if you are a woman, you have just bought a
rather extravagant blouse.
(A) You decide to wear it to work.
(B) You won't wear it to work, but you will wear it socially.
(C) You return it the next day and wonder what silly impulse
made you buy it in the first place.

The Nasty Supervisor

You're working on a job, and your new supervisor is obnoxious.

(A) You tell him off.
(B) You treat him coolly.
(C) You pretend there's nothing wrong.

The Pickup

On a business trip, you meet a stranger on a plane and he/she is

attractive, but you know nothing about him/her. She/he suggests
that you meet for dinner that night.
(A) Sure. It might be fun.
(B) You suggest a foursome with another couple you know.
(C) Regretfully, you decline.

Relocating

The company you work for is relocating to a new area you know
nothing about. They offer you better pay to relocate.
(A) You take it. It could be a good place to live, and the salary
is worth it.

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(B) You spend every minute down to the wire trying to guess
what is right, to go or stay. Eventually you go because
who knows if another job is available here?
(C) You decide not to go because you're too attached to the
house and town you live in.

The Unknown Candidate

You're with a group of business associates discussing politics,

and they mention a candidate whose name is unfamiliar.
(A) You ask who the candidate is.
(B) You join in carefully, hoping your ignorance won't be de-
tected.
(C) You keep your mouth shut until the subject changes.

The Fabulous Vacation

Your vacation is coming up and a fellow worker tells you of a
fabulous place she's gone to and urges you, if you want to go, to
make a reservation at once. They're almost full up.
(A) You take her advice and make the reservation.
(B) Before you decide, you ask for more details and the names
of other people who liked it.
(C) You settle for a place you know.

The Wrong Order

Your boss gives you an order you know is wrong.

(A) You question the order and tell him why.
(B) You do as he tells you, but feel uneasy all day. What if
things go wrong and he blames you?

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(C) You follow orders, but look for some way of covering up
repercussions.

The Job Offer

You are doing a good job in your present position, but although
the pay is right, you don't seem to be getting ahead. Another job
offer comes up at the same salary, but with better chances of
advancement.
(A) You take it at once. You really have nothing to lose.
(B) You do as much investigating of the other company as possible
including talking to some of the people working there before
you make a decision.
(C) You hang on to the job you have. At least you know the
ropes here, and the situation can always change.

The Takeover

You run a small company with a very good potential. A multinational

company makes a takeover offer that will leave you well provided for.
(A) You fight the offer. There's no telling how well your own
company can do if you play your cards right.
(B) You resist for a while, but in the end the security of the
settlement offered by the other company wins out and you
capitulate.
(C) You agree to the takeover. After all, it will leave you secure
for life.

SCORING
You should give yourself ten points for every (A) answer, eight
for all the (B)'s and six for the (C)'s. If you get a score of 80 to

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100, you are considered quite a gambler. Between 70 and 80

indicates someone who will take a sensible amount of risk, and
a score of 60 to 70 indicates that you are not much of a risk
taker.
The point to remember is that taking a risk is closely allied to
your own potential for aggression, and thereby the subtext of aggres-
siveness that you send out to other people.

LEARNING TO RISK
What happens if you've tested yourself and you score a slim 60?
You're obviously a person who doesn't gamble and who sends
out an indecisive subtext. How do you change all that?
There are many reasons people fear risking, and the most common
one is the fear of failure or of the humiliation of being rebuffed.
People who honestly score 100 on the risking test have none of
these fears. Perhaps they are unrealistic. One successful business-
person, the head of a large advertising firm, came up with a
score over 90.
"I've usually gone for the long shots," he told me. "If I fail,
so what? Am I any worse off than before? Failure is a part of the
game. If you're afraid to fail, then you're afraid to try, and you're
lost. You must understand that most failures don't mean that much.
You can pick yourself up, dust yourself off, and start over again.
"The worst thing about being afraid to risk is that you give off
an odor of fear, of uncertainty. Other people sense the person
who can't take a risk. As for taking a chance, for every success
I've had, I've also had half a dozen flops, but in the long run
I've gotten ahead."
"All well and good," the timid starter says. "He can afford to

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talk big. He scored over 90. But I just can't summon up the
courage to take the kind of chance that might change my life.
What can I do?"
What we can all do if we're afraid of risking is to start small.
Most people learn the art of risking as children. If they succeed
in their first risks, they go on to bigger and better ones. If they
don't succeed, if they're knocked down again and again, they
grow fearful of trying and end up as timid starters.

EASY RISKS
If you are a timid starter, you have to make up for all those
early failures. You can do it by starting with an easy risk, a
meaningless risk. Use the telephone to avoid any face-to-face
confrontation and the possibility of being overawed by someone
else's manipulative subtext.
Try bucking the bureaucracy. For example, call the phone com-
pany about a mischarged call, or the utility company, or even a
credit card outfit. Let yourself get angry, and if you wish, hang
up on them. You'll feel a little tickle of power.
What have you accomplished? Well, for one thing you've gotten
your feelings out. You've expressed a subtext of hostility or anger
and you've survived. That's something!

FACE-TO-FACE RISKS
Now you're prepared for a face-to-face confrontation. Try it with
a stranger in a situation that isn't important. Risk an argument
with a shopkeeper or a waiter in a restaurant. Demand a better

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table, or send back a dish that isn't done properly. This takes a
surprising amount of courage. Argue with a supermarket clerk
about the price of an item, or get into a cab and tell the driver
the exact route to take to get you where you're going—your way,
not his or hers.
You may win out in some of these arguments, though sometimes
it seems that it's a rare person who can win over a cab driver or
a waiter. But the point of these trials is not to win, rather to
experience the risk, to experience failure as well as success, to
learn that risking and losing are not the end of the world. Taking
risks will also strengthen the subtext that you send out.
The following risks are divided into classes A, B, and C, with
C the easiest.

CLASS-C RISKS
Once you're comfortable with these warm-up exercises in asserting
your own will, once your subtext is perceived in a positive way,
you're ready to move on to some serious risking. In effect, you've
tested your wings and found that you can fly.
Just as victory may have been less satisfactory than you thought
it would be, failure may not be as devastating as you expected
either. If you've survived the warm-up, then you're ready for some
Class-C risks.
(1) Tell somebody off, whether it's a coworker, your lover or
mate, your neighbor, sister or brother, parent, or even your child.
The person you tell off shouldn't be someone above you, but an
equal.
(2) Insist that your husband, wife, or lover do something you

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want, something he or she is not eager to do—perhaps buying

something or going somewhere, seeing a certain movie or television
program. The point is, it must be something you want.
(3) Ask your boss or supervisor for the day off for personal
matters. Don't give an excuse. Say you simply want the day off.
(4) If you are single, accept a blind date.
In all these, failure is as important as success because part of
taking risks is understanding that the world doesn't end, the sky
doesn't fall in, you can still show your face when someone says
no. On the other hand, you can experience that little surge of
accomplishment when it all works out.

CLASS-B RISKS
If you've survived the Class-C risks, you're ready to try your luck
with the Class-B series. Again, don't move from one series to
the next until you're comfortable with the previous one.
(1) If you are single, go to a singles' bar and talk to at least
five strangers. If singles' bars turn you off, try talking to strangers
at a museum or a movie.
(2) Ask your boss for a raise.
(3) Ask your supervisor for more responsibility and explain
why you can handle it.
(4) Take a part of your savings and invest it.

CLASS-A RISKS
If you've managed to get through Class-B risking intact, see if
you can think up five other risks on the same level, and try them

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out. If you can do this in a comfortable way, then you are ready
for Class A. These are higher risks and should not be taken lightly
You must be sure you want them and are ready for their danger
as well as their rewards.
Of course, no one takes all of them, but at least one is necessary
to demonstrate the two fundamental rules about risking. You cannot
get ahead in life without taking risks, and you can survive the
failure of any risk.
(1) Change your job if you don't like what you are doing. This
risk is linked to age. In your twenties it is almost a Class-B
risk. In your thirties it is more serious, and in your forties it is a
full-fledged Class A. There are people who have changed jobs
successfully in their fifties and sixties, but it is a much harder
step and the risk is far greater then.
(2) Buy a house or an apartment. Many people feel this risk is
so great that they defer it all their lives. If you have sound reasons
for not buying your home, try moving, changing to a better neighbor-
hood. (Note: There must be sound reasons and some advantage
involved. Take a risk because in some way it will help your condi-
tion, not just for risk's sake.)
(3) If you have never worked, go out and get a job.
(4) If you've always wanted to be your own boss, give up your
job and go into business for yourself. On a business level this is
one of the greatest risks of all and one you should never take
without knowing all the consequences, as well as advantages.
(5) Just as starting your own business is the greatest risk on a
business level, getting married may be the greatest risk on a
personal level—although many people argue that staying single
is a greater risk. If you have been contemplating marriage, go
ahead and take the plunge.
These are suggestions for Class-A risks. By now you should

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understand just what such a risk is and you can devise your own
in line with your life-style and needs.

AN ABILITY FOR FLEXIBILITY

Flexibility in a person projects an image of being accommodating.
It indicates someone who is willing to make things work in a
way that is not threatening to others. A flexible person's subtext
says "I'll work with you."
One of the people I talked to in gathering material for this
book was a self-made millionaire. He had built a small grocery
store in Chicago into a huge, multinational chain of supermarkets.
When I asked for one "key" to the secret of his success, he
laughed. "It's not as simple as that. Maybe hard work, determina-
tion . . . " He shook his head. "No, actually, if I had to pin it down
to one thing I'd say it was because I was never afraid to change
horses in midstream."
At my blank look, he explained himself. "If I started something,
a store in what I soon realized was a bad location, and I saw
that it wasn't working out, I'd give it up right away and find
some other location. And it wasn't only location. That's just an
example. When anything didn't work out, I wouldn't hold on.
I'd take a close, hard look to see if it was as good as I thought,
and if it wasn't, I'd give up on it and try something else. You
have to know when to persist, but you also have to know when
to quit."
"Did that apply to people, too?" I asked.
He shrugged. "Maybe I was ruthless, but I think I was just
realistic. If employees didn't work out, I dropped them. I never
let myself be locked into anything, nor was I too rigid. You know,
if I had to sum up my success in one word, I'd say flexibility."

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Many of us have the wrong idea about flexibility. We think of

it as a weakness, a form of vacillation, an inability to make a
firm decision. We see a flexible person as someone willing to
take second best, who sends out a subtext of uncertainty.
But we should look at flexibility from another point of view: If
you are a flexible person, you don't limit yourself. You understand
the importance of switching your goals if your original goal is
impossible to reach, or if the difficulty in reaching it is not worth
the end result. If one approach doesn't work out, the flexible
person doesn't persist in it. You cut your losses and move to a
more logical and workable solution.
Flexibility requires a particular kind of philosophy. The flexible
person is continually reevaluating goals. You question yourself
about the importance of those goals, and above all you are able
to fight the cliches of our culture. Boiled down, it becomes a
matter of testing reality at every step.
Will this approach cause us to give up the vaunted American
Dream? We've been taught that if we set our sights on something
and go after it, we will succeed. All it takes is hard work and
determination, and someday we can be president, if not of the
nation, then of General Motors.
Must you give up this dream if you adopt a flexible approach?
Perhaps, but you must realize that it might only be a dream.
Understand the odds against it. Set goals, but realize how realistic
those goals are.

TESTING YOUR FLEXIBILITY

One important aspect of flexibility is the recognition of alternative
solutions. If your job demands that you get from New York to

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Washington, D.C., and the airport is snowed in, you try for a
ticket on the Metroliner. If that isn't running, you try the bus
station, or you rent a car. Before giving up on your ultimate goal,
you search for every possible way of realizing that goal.
The first step toward any goal is understanding the reality of
that goal. Can you reach it?
The second step is to test your motivation. How much do you
want to get there? Enough to warrant the attempt?
If both answers are yes, then you take the third step and examine
all the different routes to the goal.
Here are three problems that can help you to decide how flexible
you are, or how rigid. Each concerns someone boxed into an
apparent dead end—yet each problem can be solved by a flexible
approach. Consider each, and list all the possible solutions that
occur to you.
If you see no way out, be careful! You are much too rigid and
so you are sending a rigid, uncooperative subtext to the world
around you.
If you can find two or three solutions, you are extremely flexible
and headed for better things not only in the workplace but in
your private life as well.
If you can find only one solution, you are still able to cope.
The faster you find a solution, the more flexible you are.

The Hotshot Salesman

Dan is executive vice president in charge of sales at International

Data Systems. Lou is one of IDS's top salespeople, and he has
just approached Dan for a sizable raise.
Dan feels Lou deserves a raise. His record has been terrific,
but Dan has laid down some rigid rules linking raises to seniority.

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He knows a company must be consistent, and Lou hasn't nearly

enough seniority for the money he wants. But he also knows that
Lou is top-notch, and any number of competing firms are ready
to hire him away. What should he do?

The DINKS

Tim and Nancy are your quintessential DINKS (Double Income,

No Kids). They both have good jobs located within short commuting
distance of their new house, purchased recently with great delight
after years of saving for a down payment.
Now Nancy has been offered a very good job in the field she
has wanted to enter, but the job is located just too far away to
make commuting viable. Should she take the job?

The Tough CEO

Tiffany has just been offered a promotion to executive assistant

for the CEO of her division. The salary is much better, but Tiffany
has managed very well on what she gets working for her present
boss whom she likes tremendously.
The CEO is a tough man to work for and demands a great
deal more overtime than Tiffany is willing to put in. However,
turning down the promotion will be bad for her future at the com-
pany. What's the best choice for her?

A SUBTEXT OF CONFIDENCE
Each of these short scenarios seems like a dead end, but there
are "outs" that depend on a flexible mode of thinking. The flexible

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person is a creative coper, one sensible enough to recognize a

dead end and search for a workable alternative. The flexible person
can shift gears and change approach when things aren't working
out. Best of all, the flexible person sends out a subtext of confidence.
He or she says, "I believe that I can make things work, even if
I have to choose another way to do it."
The flexible person is the one people usually turn to when a
problem arises. If you are like that, you are constantly aware of
reality, and this awareness will teach you how much you can
achieve in any deadlocked situation. You not only know when to
stop trying, but also when to keep trying when there is a realistic
chance of success.
A deeper recognition of flexibility as a way to project a positive
subtextual image will allow you to use it to influence other people.
Parents using a little flexibility can move children in almost any
direction. Teachers can influence pupils, and supervisors can influ-
ence the people under them.
The key to it all is to abolish rigidity. At crucial intervals,
reexamine your motives, goals, and procedures. Each time, recog-
nize whether you are locked into the wrong path or committed to
the right one.

EMPATHY AND THE METHOD

The third inner trait that sends out a positive image to others is
the ability to participate in another's feelings: empathy. Empathy
evokes a subtext of concern and interest in other people. It wins
confidence!
"You don't understand what I've been through," the salesman
tells his manager, almost frantically. "You don't know what it's
like out there on the street!"

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"I've got problems you can't begin to comprehend," the frustrated

executive tells the union representative.
"You've got problems? You try a stint on the line, and you'll
learn what problems really are!" the union rep shoots back.
"I can't do it," the receptionist tells the lawyer who has just
brought out a pile of briefs for filing. "You don't understand the
mess I have out here."
"You don't understand." "You don't know what it's like." "You
can't begin to comprehend!" The obvious messages behind all
these statements are frustration, anger, complaint. The not-so-
obvious subtext is the speaker's perception of a lack of empathy
in the person he or she is dealing with.
Simply stated, empathy is the ability to understand someone
else's feelings and problems. Empathy is a means for projecting
a very necessary subtext of understanding, sensitivity, and concern.
Is empathy something we either have or don't have? Can we
learn it? If we have some degree of empathy, is there any way to
increase it?
Some of us seem to be born with a natural sense of empathy.
We constantly hear of children who empathize with a parent's
grief, who understand each other's hurts and pains. Little Johnny
will cry when his friend Max hurts his finger. Sara will burst
into tears when Emma's doll is broken. In fact, many studies
conclude that all children have a natural sense of empathy, which
decreases by some degree as they grow up.
But even in those of us in whom empathy seems lost, a residue
remains, and it is possible to develop that latent empathy and
discover how to use it as a coping tool.
The "Method" school of acting gives us a clue to how this can
be done. The Method is, essentially, based on the learning and
development of empathy. To play a part, the actor must learn

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more than lines and how to deliver them. He or she is taught to

understand the motivation behind the character. In a broader sense,
the actor is taught to empathize, not with a real person, but with
the character in the play or film. Is the character logical in what
he or she is doing, in the speeches being delivered, in his or
her action? What makes the character say and do these things?
When the Method works and empathy with the character takes
over, the actor empathizes completely with the character for the
duration of the play or film, often to the point where there is
difficulty getting out of the part afterward. The Method is a rather
difficult approach to acting, but, if done properly, it can be very
effective and moving. Dustin Hoffman is an actor devoted to this
method, and often he lives the life of the character he portrays
before doing the role. His parts become tremendously convincing
because his subtext sensed by the audience is that of the character,
not of Hoffman.
Tim Pigott-Smith, the gifted actor who portrayed villainous po-
liceman Ronald Merrick in the British television production of
"The Jewel in the Crown," explained in a. New York Times interview
how he was able to empathize with Merrick:
"I sat in front of a mirror with my jaw thrust out so that the
lips went down and forced themselves into a sneer. By the end I
could switch this look on, and as an actor, if you can throw the
physical switch, the mental process of the character will follow,"
and the correct subtext will be projected.

SELF-EMPATHY
Sometimes the ability to empathize with yourself, in terms of what
you felt during some previous experience, will send a helpful

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subtext to your inner self. In a sense, you will be using the Method
to convince yourself of something. A successful trial lawyer I
talked to summed this up very succinctly:
"When I was in college, I was on the debating team. I remember
one debate where I had a fantastic edge over my opponent. I
knew all the facts. I knew how to present them in logical and
impressive order, and halfway through the debate it became appar-
ent that my opponent was not really as well prepared as I was. I
was filled with a quiet sense of confidence. I knew I couldn't
lose, and I didn't.
"Now, when I'm making my final plea to the jury, I remember
that moment, recall it vividly, and I can dredge up that same air
of confidence, of certainty in my conviction. It works. Believe
me. The subtext of my delivery becomes very impressive and
convincing!"
Lawyers often rely heavily on empathy. They want a jury to
empathize with them and with their client. It is a well-known
fact that, taking the same words from a transcript, two different
lawyers can ask the same questions or deliver the same speech
and yet send very different subtexts to the jury.
Another very successful lawyer told me, "My secret is empathy.
Not only do I try to get the jury to empathize with me and
my client, but I also empathize with them. I put myself in their
place, and by doing that I understand how they will react to me.
That's why I try to get as much information about the jury mem-
bers as I can during the initial interviews. I want to see if they'll
empathize with my client, sure, but it's also so I can empathize
with them." In other words, she knows what subtext to send
out.
I once had an opportunity to talk to Lily Tomlin after she had

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done a bit from her very popular routine portraying a mildly sadistic
telephone operator. I asked her how she managed to send out
such a perfect subtext of her character. "Even the twisting of
your foot when you needle a customer is the perfect gesture of a
satisfied sadist," I remarked. "The vague caressing of your breast
sends a subtext of sadness and loneliness that adds to the depth
of the character. How do you do it?"
Tomlin hesitated, frowning. Then, with a little smile, she shook
her head. "I honestly don't know. I never realized that caressing
myself signified loneliness until you mentioned it, but it does, of
course. What I do," she said carefully, "is become the woman. I
get into her, feel the way she feels, think the way she thinks,
and then everything flows from that. I do what she would do, not
what I, as an actress, think is right."

TRADING PLACES
Based on the ideas behind the Method, role reversal is one of
the best techniques for learning to empathize with someone else.
I had an experience with this some time ago when I worked for
a small drug company based in New York.
After five years of flawless work, the secretary to the head of
sales told her boss that she was quitting. I was in Tom's office
when Linda dropped this bombshell, and Tom shook his head in
bewilderment. "You can't do this to me!" He turned to me. "She's
the best girl I ever had!" Then he said to Linda, "This place
will go to pot without you. If it's a raise . . . "
Linda shook her head. "Money has nothing to do with it.
It's . . . Well, it's your attitude."

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"My attitude?" Tom was genuinely confused. "What have I

done?" He looked at me. "Have I done anything wrong?"
Linda elaborated. "Like calling me the best girl you ever had:
I'm not! I'm almost forty and I have three kids. I'm not a girl!
You just don't see me. I'm not a person to you. I'm a piece of
furniture until you want something, then you treat me as if I
were fifteen years old!"
Turning to me, Tom said helplessly, "What am I going to do?
I can't get along without her."
I looked at both of them. "I tell you what I think you should
do. I think you should try a game of role reversal for a couple of
days." When they both looked puzzled, I explained. "Not work.
Tom, you sure couldn't do Linda's work even if she could do
yours, but why don't you try reversing the way you treat each
other?"
Grasping at straws, Tom agreed at once. Linda was dubious at
first, but caught on quickly. As the days passed, she called her
boss by his first name, praised him to her associates—"That boy
is a good worker"—ordered him about as casually as he had ordered
her, and accepted the coffee he brought her without bothering to
thank him.
In turn, Tom went all out. He called her Mrs. Bloom, asked
her if she'd please do this or that, and in general, treated her as
an assistant treats a boss.
"It opened both our eyes," Linda told me a week later as we
rode down in the elevator. "I'm staying on now, and I can see
how a boss can sometimes forget about an assistant's humanity.
As long as Tom remembers that I need respect, too, I think things
will work out."
"I think the little game you suggested helped me become sensitive
to Linda as a human being," Tom told me over lunch. "It wasn't

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easy for me because I was giving up my dominant role, but it

made me realize how arrogant I had been!"

DOING WHAT COMES NATURALLY

Many people don't need to practice role reversal to feel empathy
for someone and project a subtext of concern. Feeling empathy
comes naturally to them, and it helps in their dealings with family,
friends, and lovers, as well as on the job. The saleswoman with
a strong sense of empathy understands her clients. She senses
when the moment is right for a hard sell, or when to hold back
or try a soft sell, because she feels so much of what the client
feels. Often she knows what the client feels without realizing that
she does. She's a natural.
The labor mediator who is most successful is the one who feels
empathy for both sides. He can put himself in the workers' shoes
or the boss's because he senses how both feel. He appreciates
their gripes and knows their weaknesses and strengths.
The father who is empathetic to his son can overcome the genera-
tion gap. He realizes how important it is for the boy to look like
the other kids, to wear the same hairstyles and clothes. He under-
stands how much his son needs to resist him and do things on
his own because he can feel the way his son feels.
The same is true for mothers and their children—and may occur
more frequently since women tend to have more empathy than
men. Perhaps it is part of mothering, or perhaps the culture has
more acceptance for the woman who is sensitive and receptive.
By contrast, men are taught to be cool, to stand on their own
two feet, and not be too sympathetic. Toughness is equated with
Manliness.

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BREAKING THE BARRIERS

Among the things empathy can do is tear down the barriers between
ages, races, classes, and religions. Jack, who taught English in
a rough, urban area, found that his own education, mannerisms
speech, and color were all barriers between him and his students
"When I first began teaching," he said, "it was like a nightmare.
I wasn't used to kids like these. Oh, I had been warned, but the
reality was way beyond my expectations. I came from a caring,
middle-class family, and the kids knew it and disliked me for it.
Maybe disliked is too gentle a word. They didn't trust me, and
every day I'd find myself talking to a sea of closed, cold faces
and eyes that said, prove yourself !
"I knew I couldn't make it, and I just wanted to get through
that term and transfer or quit. Then, in an afternoon, it all changed.
The principal suspected one boy, Darryl, of marking the blackboard
with graffiti, but he couldn't prove it. I came into class one day
and caught Darryl red-handed spraying the board.
"I took the can away, and we were both standing there in front
of the class while I searched for something devastating and nasty
to say. I really felt hateful. Then the door opened, and the principal
walked in.
"He took in the situation and said, 'I see we have a little
problem.' At that moment, I don't know why, everything shifted
focus for me. Suddenly I knew what Darryl felt, the defiance,
not maliciousness, that had gone into his graffiti. I felt empathy.
"I acted instinctively. I put my arm around Darryl's shoulders
and smiled at the principal. 'Darryl's helping me to clean the
board. I sprayed it so the class could see how hard it is to get
paint off. It's a good object lesson, don't you think?'
"The principal was suspicious, but there was nothing he could

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do. Later he bawled me out for encouraging vandalism with my

'demonstration,' but the amazing thing was what happened to me,
to Darryl and the rest of the class. The barrier was down. We
all understood each other, and I was on their side against unreason-
ing authority.
"The rest of the term was different—not great, but better. Darryl
became my protector, and I was able to teach him and the rest
of the class. There are still problems, and I guess there always
will be, but now I empathize with the kids and they understand
that I'm caring and concerned. I'm not transferring. I got through
to them."

THE REVERSE LIST

The barriers this teacher faced were economic, cultural, and racial.
Sometimes the barriers are religious or sexual. Such barriers often
lead to a subtext that says "I don't understand you." Neither
side knows what the other feels, and the subtext projected is one
of suspicion and fear.
Sometimes the barrier can be overcome in very simple ways.
For instance, an impartial third party might point out objective
reality. I have a friend who volunteers his services as a mediator
in family and business disputes, and he says that often he does
nothing more than referee. The two parties state their problems
and what they want, and that's enough to change the subtexts
and work out a solution.
Another good method is making a reverse list. It's an offshoot
of role reversal, and it can be very effective when a problem
arises.
Sal and Norman used it when they ran into a problem in their

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small business. They were equal partners, but Sal ran the shop
and Norman the office. The problems in each place were different
just as the work was different, and from the very beginning neither
one could understand the other's problems.
"The trouble is," Norman told Sal, "you don't understand that
I can't always order the best equipment, and I can't always give
credit to a guy when you promise it."
"Maybe so, but you don't realize it's no picnic running a shop.
You promise things too, things I can't deliver."
"You don't understand." "You don't realize." These two expres-
sions are clues to a lack of empathy. A friend who understood
this and knew that Sal and Norman had to work together rather
than at cross-purposes suggested that each sit down and try to
make a list of all the complaints the other had!
Sal did his best to list Norman's grievances, as Norman felt
them, and Norman tried to list Sal's complaints. "It made me
think," Norman said. "I dug up more reasons than Sal could
about how I was bollixing things up!"
"Me too." Sal laughed. "All of a sudden I was finding fault
with myself."
It was a beginning, a first step toward empathy, and it worked
for them. They were able to understand a little more about each
other, enough to break through their problems and cope with them.

A WARNING
While empathy can be a great help in handling other people, too
much of it can also be a hazard. I have a friend who started out
as a brilliant young neurosurgeon, but after ten years of work in
the field, he changed his specialty and started over in hand surgery-

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 I N S I D E OUT

When I asked why he had given up such a promising career,

he shrugged. "Promising? Sure. I was good, and I knew it, but I
was burned out."
"At your age?"
"That's right. I identified with every patient. I became involved
with each one. I was too empathic, too sympathetic, too concerned
with their lives. I got to know them, to understand them and feel
for them, and if something went wrong I was devastated."
He shook his head. "I just couldn't stand it. No matter how
exciting the challenge and work, I had to get out. Look, you
don't get that involved with a patient when you're doing hand
surgery."
In his case too much empathy, too much sensitivity, had de-
stroyed his ability to send out an authoritative, confident subtext.
He couldn't cut back on his empathy, so he changed his work.

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 TRUTH AND
CONSEQUENCES
7
TO CATCH A LIAR
Tom O'Brian, the chairman and chief executive of the Tremont
Savings and Loan Association, had been listening to Jim Nelson,
a government representative, for a half hour as Nelson laid out
the case against Tremont. At the end of the hard-hitting critique,
O'Brian looked Nelson square in the eye and said, "You're right,
of course. I tell you what. I intend to resign at the end of this

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year, and meanwhile I'll do everything I can to untangle the

mess-
Later, reporting to his supervisor, Nelson said, "I don't think
we should give them the time they asked for. I think we should
move in right now. I really think Tremont's investment policies
are pure gambles!"
His supervisor frowned. "You think he was lying to you?"
"Absolutely." Nelson hesitated. "Though, to tell you the truth,
I don't know why. I can't put my finger on anything he said. He
looked me straight in the eye, b u t . . . " He shook his head. "Maybe
I'm wrong. Maybe you should meet with him."
"Me? If you thought he was hiding something, why should I
feel any different?"
"I don't know. It was just a gut feeling, but I don't trust him!"
There is no sure way to catch a liar. No single facial expression,
no gesture, no element of body language sends out the subtext
"I am lying."
If this is so, why was Jim so certain the other man was lying?
That "gut feeling" he had was more than intuition. It was a combina-
tion of tiny clues to O'Brian's emotions. While there are no definite
expressions or gestures that spell out a lie, there are many physical
reactions that spell out our emotions. Here are some of them:
blushing, sweating, growing pale, or muscle tension.

THE LIE DETECTOR

In our society we like to depend on machines, and to catch a
liar, business and the government have turned to the polygraph.
We think of the polygraph as a lie detector, a mechanical apparatus
somehow senses when a person is lying. Many businesses

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depend heavily on the polygraph to keep from hiring the wrong

kind of employees.
The great majority of polygraph tests, about 300,000 a year
are given by businesses as part of pre-employment screening to
control internal crime and to recommend promotions. In thirty-
one states, it is legal to require employees to take a polygraph
test. In only eighteen states is it illegal, and even in those states
employers can usually find a way around the law. An Office of
Technology Assessment report states that to get around the law,
employers may tell a worker they suspect him or her of theft,
but if innocence can be demonstrated in a polygraph test, the
employer will not discharge the employee.
Banks and drugstores, convenience stores, groceries, and fast-
food outlets rely heavily on polygraph testing for pre-employment
screening. The Justice Department, the FBI, and most police de-
partments use the polygraph after investigators have narrowed down
a list of suspects. Many government agencies count on the polygraph
for lie detection.
The sad part of all this is that the polygraph is not a lie detector.
All it can do is detect changes in our autonomic nervous system:
changes in heart rate, blood pressure, skin conductivity, tempera-
ture, breathing, sweating, flushing, and blanching—all physical
responses that have been linked to emotional arousal.
The theory behind the polygraph is that when we tell a lie, we
show a certain amount of emotional arousal. This arousal can be
charted by the machine, and the operator can pinpoint which
questions caused it—and thus, theoretically, which of the subject's
responses are lies.
Unfortunately, there are many problems associated with this
technique. The greatest one is that most people can be emotionally
aroused by things besides lying. If the question asked by the

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polygraph operator hits an emotional response, the machine will

register it. The emotional response, however, may have nothing
to do with lying.
Take the example of a teller being questioned because his or
her drawer shows a shortage of five hundred dollars. The operator
will start by asking innocuous questions. "Do you live in town?"
"Are you married?" "Is this Monday?" And then the casual question
is inserted: "Did you embezzle the five hundred dollars?" If the
polygraph records emotional arousal at this point, the teller's "No!"
can be considered a lie. The obvious flaw is that in all probability
any reference to the money will cause an emotional reaction.
The other flaw in polygraph testing comes when the person
being questioned is an accomplished liar who has learned to control
his or her emotional response—and many people can do that.
Another problem is the liar who believes the lie. No amount of
testing will shake him or her, because in that person's mind it is
not a lie.

THE LYING NURSES

If there are no specific facial or body subtexts to lying, how
are we to tell a lie from the truth? Can we? Well, not always,
but sometimes we can. There are times when we are absolutely
certain that someone is lying, and those are times when the lie
is tied to a strong emotion. In a sense, we act as the polygraph
does. We link the sudden emotion to the statement, and our inner
self cries out "A lie!"
The face is a reliable index to many basic emotions. Dr. Paul
Ekman, a professor of psychology at the University of California
in San Francisco, conducted a study to find out if the face can
give clues to when someone is lying.

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He had female student nurses watch various films. Some of

the films were pleasant, while others were horrifying medical films
in which a burn victim suffered in agony. The nurses were then
asked to describe a disturbing film to an interviewer, but to do
so dishonestly, to lie about it and say it was enjoyable. They
were also asked to describe an innocuous film as distressing.
The purpose of the experiment was to discover whether the
interviewer could read anything in the nurses' expressions that
would be a clue to lying. Hidden videotape cameras documented
the interviews. Nurses were chosen because they were highly moti-
vated to learn how to avoid reacting to body mutilation.
Some nurses were good at lying, some lied imperfectly, and
some couldn't lie at all. The poor liars showed fewer of the gestures
that usually accompany speech—pointing, drawing pictures in
the air, indicating direction and size. Instead they licked their
lips, rubbed their eyes, and made nervous motions.
Good liars could fake innocence, anger, or joy, but they still
didn't know just when to make these emotions appear on their
faces or how long to keep them there and when to let them go.
Distress, worry, or grief often troubled the lying nurses, and
these emotions could be detected by the lifting of just the inner
part of the eyebrows. The result is a pair of slanting eyebrows
raised at the center, a sort of inverted V. The upper eyelids were
also pulled up. This combination of movements can only be sup-
pressed voluntarily by one in ten people. In most cases it occurs
in spite of efforts to conceal the emotions.

THE TELLTALE SMILE

A clue to lying can come from the way emotions leak through
expressions or gestures. The simplest facial expression is a smile,

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and this is the one most researchers have zeroed in on. But the
smile is disappointing because people smile as often when they
lie as when they tell the truth.
There are, however, dozens of different kinds of smiles. Dr.
Ekman has measured, catalogued, and studied the different types
of smiles and has concluded that they are probably the most under-
rated facial expressions, and that they are far more complicated
than people realize.
People smile when they are pleased, happy, content, amused,
enjoying life; but they also smile when they are miserable or
sad. There are false smiles used like masks that send a subtext
that the wearer isn't being entirely truthful.
Dr. Ekman lists eighteen smiles that are not deceptive. These
are smiles that are really felt by the smiler. What distinguishes
a felt smile from an artificial one is the fact that in the felt smile
no other muscles in the lower part of the face are involved. In
the upper face, the action that accompanies a felt smile is the
tightening of the muscles that circle the eye. This smile lasts
longer than a false smile and is more intense when the emotion
that causes it is extreme.
We may not consciously be aware of these subtle changes,
but they send out a subtext on an unconscious level. Literature
is filled with references to false smiles: "He smiled with his lips
but not his eyes," or "The smile never reached her eyes." Writers
have used these expressions to the point of cliche to distin-
guish a genuine smile from a false one. This lack of involve-
ment of the muscles around the eye, Dr. Ekman stresses, "is
a subtle cue, but a crucial one for distinguishing felt from false
smiles."
Consider now a few smiles that are felt, but do not transmit
Positive emotions. Sometimes we smile when we are afraid. In

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the fear smile, the lips are stretched to form a rectangular shape
Muscles that pull the lips horizontally in fear will sometimes lift
the corners of the mouth in the mockery of a smile, what we call
a grimace. In this smile, the eyebrows are raised and pulled together
and the eyes are widened.
Another negative but felt smile is one that shows contempt.
The corners of the lips are tightened, and usually one side is
lifted slightly while the eyebrows are slightly raised. In the smile
of someone who is miserable, the lower lip is pushed up by the
chin muscle and the corners of the mouth are pulled down. The
brows are lowered.
These are a few of the real or felt smiles we use. A false
smile, on the other hand, is often used as a mask to hide what
one is really feeling. In this smile, the person tends to press the
lips together, tighten the corners, and push up the lower lip.
A false smile, according to Dr. Ekman, is often asymmetrical
(although some normal smiles are lopsided, too). Only one side
of the mouth is involved, and it isn't accompanied by any movement
of the muscles around the eyes. Another crucial cue is timing.
False smiles may end abruptly or decrease in steps, but in either
case the timing is inappropriate.
To sum up the facts about false smiles:

• In pretending fear or sadness, there is no accompanying fore-

head expression.
• In pretending happiness, the eye muscles are not in-
volved.
• To discover pretense in any emotion, look for asymmetrical
expressions, too abrupt an onset of the smile, and an inappro-
priate length of time for the smile.

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 TRUTH AND CONSEQUENCES

MICROEXPRESSIONS
Perhaps the most tantalizing way in which real subtexts are leaked
out through facial expressions is those fleeting images that psycholo-
gists call microexpressions. They are so fleeting, in fact, that in
ordinary talk they are missed entirely. However, they do have a
subliminal impact. I remember an incident that occurred while
shooting a movie for a drug company. We had set up a camera
behind a one-way mirror to film in the doctor's office. The drug
in question was a tranquilizer, and we did a series of shots, over
a period of a month, while the doctor interviewed patients before
and after taking the tranquilizer.
The patients, of course, were told of the filmed interviews,
and most of them readily gave us permission to use them. In one
interview, a young man, after a week on the drug, told the doctor
that he was doing very well, very well indeed.
"I don't believe him for a minute," the cameraman whispered
to me, and he was right. Two days later the young man was
back in the doctor's office, sobbing hysterically.
"I never suspected it," the doctor told us miserably. "He seemed
so cheerful, so convinced his troubles were behind him. You
guys saw the interview. What did you think?"
We assured him that we, too, were convinced by his patient,
but I remembered the cameraman's disbelief. What had he seen
in the patient's manner or heard in his voice?
When alone, I replayed the film of the interview. Watching
the young man instead of the doctor, I, too, felt uneasy. But
why? On a hunch, I ran the film in slow motion, and then I
caught it. Three times, in the course of the interview, while the
patient assured the doctor that he was all right, his face dissolved

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into a heartbreaking expression of sadness—an expression so

ing, so brief, that at normal speed it went unnoticed.
This microexpression gave the lie to all his words. The camera-
man at the time of the interview had noticed it subliminally without
understanding what he saw. The doctor, concentrating on the pa-
tient's chart, had missed it completely.
When I told a friend, a psychoanalyst, about this, she nodded.
"Yes, it impressed you subliminally, but with practice and training
you can learn to see those expressions. I've learned because in
my practice they are giveaways. In fact, it's one good reason, I
believe, for facing a patient during a psychoanalytic session."
Dr. Ekman suggests that one way of training the eye to observe
microexpressions and read their subtexts is to have someone flash
a photograph of a facial expression as fast as he or she can in
front of your eyes. Try to guess what emotion was shown in the
picture, then study the picture to confirm your guess. Then try
another picture. To become proficient, repeat the exercise with
at least a hundred pictures.
Not only sadness leaks through in these microexpressions, but
also glee or triumph or cunning—any one of a dozen emotions
can be revealed. Matched against the statements being made,
they are an intriguing way to catch a lie.
One interesting point about these microexpressions that "leak
out" when we are talking is that many of them are not easy to
control or fake. They involve certain muscle movements that very
few people can make intentionally. But they do make them uncon-
sciously.
As an example, Dr. Ekman says only 10 percent of the people
he tested could deliberately pull the corners of their lips down
without moving their chin muscles. Yet those he tested, when
they felt sadness, sorrow, or grief, did do it!

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THE SECRET IN THE EYES

In a New York City department store, a young Hispanic girl
was fired because the manager suspected her of pilfering. "She
wouldn't meet my eyes when I questioned her," he told a union
representative who came to her defense. "I knew she was lying."
The representative, himself Hispanic, shook his head. "What
you don't understand," he explained, "is that a well-bred Hispanic
girl will not make eye contact with a man who is not a relative.
It's just considered too bold. If she's well brought up, she'll look
away or drop her eyes."
An error was averted thanks to the representative's good sense,
but most people believe the eyes can betray the truth. How many
parents have told their children, "Look me in the eye and I'll
know if you're lying?" Unfortunately for lie catchers, the eye test
is not foolproof. We avert our eyes and refuse to make eye contact
for a number of reasons. Social propriety, as in the above example,
is one. We may look down with sadness, down or away with
shame, and away with disgust.
A liar, however, if at all accomplished, will meet the eyes of
the person he or she is talking to with a clear-eyed, steady gaze.
As a child, I learned quickly that in order to lie proficiently to
adults all I had to do was stare them in the eye. My clear, innocent
gaze assured them that I was telling the truth, no matter how big
my lie was.
It is, indeed, very easy to control the direction of your gaze.
It is harder to control blinking. You can blink voluntarily, but it
is also an involuntary act when you are emotionally aroused. Here
is a physiological clue you can pick up just as the polygraph
picks up excitation. However, it is still only a clue to emotional
arousal, not necessarily to lying.

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There is still another clue that can give away excitement or

joy: the dilation or constriction of the pupil of the eye. This is
something beyond our conscious control. It is often very difficult
to tell if another person's pupil is large or small unless he or she
has blue or gray eyes, but on a subconscious level we are aware
of eye pupil changes, and we respond to those changes.
Dr. Ekhard Hess, a psychologist, has spent a great deal of
time studying involuntary changes in pupil size, and he has devel-
oped a field of study he calls pupillometry. Dr. Hess noticed a
correlation between people's pupil size and their emotional re-
sponse. He found a wide range of responses. When we are emotion-
ally aroused, our pupils widen. When we are displeased, they
close. It is a subtle reaction, yet the subtext of the pupil size is
understood subliminally. It is another clue when matched against
the spoken word.
A final clue to emotion found in the eye is the presence of
tears. Tears are usually a clear indication of emotional excitement,
although some people can cry on demand. Tears are not always
a sign of sadness. They can send a subtext of anger, relief, distress,
and even enjoyment.

TRUE OR FALSE
What becomes very clear is that we can only detect a lie by
noting the signs of any emotional disturbance the lie causes. These
are usually due to changes in the autonomic nervous system. This
part of our nervous system also controls our blood vessels. When
our blood vessels expand, we blush; when they contract, we grow
pale. Neither of these acts is controlled consciously. They happen
without our willing them or even wanting them to occur. Someone
who blushes may be embarrassed, or ashamed. Someone who grows

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pale may be frightened or angry. In either case the reaction could

he because the person is telling a lie.
Sweating is another physiological process controlled by the ner-
vous system, and while it is often a reaction to excessive heat or
exertion, it can also occur when someone is put under emotional
pressure.
Other facial expressions may help in detecting a lie. The most
common is an "unmatched" face. In this, the same expression
appears on both sides of the face, but it is stronger on one side.
These unmatched expressions, according to scientists, are clues
to the fact that the feeling expressed is fake.
Crooked or asymmetrical expressions, however, are still not a
definite clue to lying. Like other clues, asymmetry is only one
element in the arsenal needed to judge a possible liar.
Another element in catching a liar is time. How long does an
expression last and how long does it take to appear and disappear?
According to Dr. Ekman's studies, expressions that last a long
time, between five and ten seconds, are probably false and the
subtext they send out is not to be trusted. An expression of true
feeling is much shorter. Genuine emotions only remain on the
face for a few seconds. For instance, to be genuine, an expression
of surprise must last less than a second. It must be a fleeting
thing.
Everyone, Dr. Ekman insists, is able to produce some kind of
false emotion, but a liar has trouble with timing. If an expression
of anger comes after angry words, it is probably false. Usually a
show of genuine anger comes at the start of angry words or even
a few seconds before.
The same is true of body language symbols of anger. If an
employer bangs a fist on the table to show anger and then vents
that anger in words after the fist banging, it is probably false

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anger. There should also be a synchronization between the facial

and the body expression of anger. If they don't match, then you
know something is wrong.

THE METHOD AND THE MASK

Although perceiving these elements can help you detect a lie,
no clue to deceit in face, voice, words, or body language is foolproof.
The people who can lie the best and get away with it often use a
technique similar to the Stanislavsky school of acting. They find
a situation within their own past experience, either of joy, sadness,
honesty, or anything else that matches the lie, and they bring it
up to the present so it colors how they feel, and that feeling
goes into the lie.
Using that technique, they have found the emotional material
to match the lie, and there is less chance that any true feelings
will show. In one sense they believe the lie—or at least the feelings
that should accompany the lie. In a sense, they are similar to
pathological liars, who believe their own lies.
For the liar who cannot use the Stanislavsky method and can't
believe the lie, the best way to make sure the truth is hidden is
to use some sort of mask. The best mask is a false emotion, and
the expression used most often is a smile.
I once worked for a CEO who was going through some serious
medical problems at the same time the company was in the midst
of important negotiations. The CEO realized that he didn't dare
show his physical weakness or that he was in a great deal of
pain. As a mask to cover up his real feelings, he smiled constantly.
Although there were clues that his smile was false, they weren't
picked up by the other negotiators, and he successfully weathered
his physical problems without anyone knowing about them.

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The best liar sticks close to the truth. He or she never makes
up elaborate scenarios. Instead, the liar tells as much of the truth
as possible, and then throws in the smallest lie to make the point.
Another technique liars use is to make the truth sound so outra-
geous that the listener shrugs it off as a lie. An executive seen
at lunch with the head of a rival firm was confronted by his boss:
"Was she trying to recruit you?"
It was a recruitment lunch, but instead of protesting, the execu-
tive laughed. "Sure, and she offered me three million a year and
a three-month vacation." An obviously nonsensical lie, but it served
to cut off any further questioning.

GESTURES AND MANIPULATORS

Certain gestures go along with speech. Hands are used to shape
a sentence, to draw a picture in space, to strengthen or to deny
what we say. Some cultures, as was noted earlier, use more hand
gestures than others; some are very limited in gestures.
An important clue to lying is the rate at which gestures are
made. We increase the number of gestures we make when someone
doesn't understand us, or when we are angry, upset, or excited.
We use fewer gestures when we are uncertain about what we are
saying, or when we are repeating a talk for the third or fourth
time.
Gestures also decrease when we are cautious about what we
are saying.
We may be cautious when what we are saying is important,
when we want to make a good first impression, or in many other
situations, including lying. If we are not practiced liars, if our
lie is not rehearsed, or if the lie summons up strong emotions,

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our gestures will decrease. However, the person hoping to catch

a lie must first know how the suspected liar uses gestures and
whether or not he or she is uncertain about other things besides
the possible lie.
Dr. Ekman mentions still other possible giveaways in lie detec-
tion. There are moments in which a hand grooms, massages, picks,
scratches, or in some way manipulates some part of the body.
He calls these motions manipulators. They may last only a short
time, or they may go on for many minutes. In some people the
hair is smoothed, the ear is picked, or the body is scratched.
Sometimes the lie evidences itself as hair twisting, foot tapping,
finger rubbing, or any kind of nervous fidgeting.
These restless movements are usually made when someone is
ill at ease—or lying. There is some question about this because
when the stakes are high, when the lie is important, the manipula-
tions may, in fact, decrease. This happens because the liar realizes
that nervous fidgeting is considered a giveaway of deception. But
in everyday lies, manipulators tend to increase, and the subtext
sent out is "this person is lying."
In sum, there are no definite signs, signals, facial expressions,
or gestures that will absolutely expose a liar. But there are many
little clues to emotional excitement, which is often, though not
always, linked to lying.
Schopenhauer gave this advice about catching a liar: "If you
have reason to suspect that a person is telling you a lie, look as
though you believe every word he said. This will give him courage
to go on; he will become more vehement in his assertions and in
the end betray himself."

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POWER
8
THE MAN WHO MISUNDERSTOOD POWER
"This job," my friend Pete told me, "is one I really want, and
by God I'm going to get it. I'm really primed for success at tomorrow's
interview!"
The job was right up Pete's alley, working with a Computer-
Aided Design and Drafting (CADD) program. He knew computers
and was just one year away from his engineering degree.

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"I've done my homework," Pete assured me.

I assumed he had taken a refresher course in CADD, but no
as he explained it, "The job interview these days is a duel for
power. I've studied up on it. I've read Power Through Clothes
Looking Out for Yourself, Go for Success. I've read all the books
and I'll knock them dead tomorrow!"
I ran into Pete a week later, and I asked, "Did you get the
job?"
Pete sighed deeply. "I don't know. I went to so much trouble—
I wore a perfectly tailored suit, single breasted with a vest, charcoal
gray, and a white shirt. White's always good, the books say. I
wanted to appear conservative, send a message of dignity, strength."
"I get it. You dressed for success."
"Exactly. Even wore a maroon tie."
"Looking like that," I said carefully, "how could you miss?"
He looked at me bleakly. "I walked into the boss's office for
the interview, and what do you think he was wearing?"
I nodded. "Of course. The same outfit? Or was he dressed for
more power?"
"No way! He was wearing running shoes and jeans and a T-
shirt! And he was swinging a golf club. Kept fiddling with it all
during the interview."
I shook my head. "Really?"
"I took the position of power when we sat down," Pete said
wistfully.
"What's that?"
"A firm seat, erect and quiet. Fidgeting betrays an inner weak-
ness, so I sat stiff, my eyes fixed on his. Firm eye contact, you
know. It's always supposed to work."
"Did it?"

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 ASPECTS OF POWER

Pete shrugged. "He kept fidgeting with that golf club. He just
ignored my clothes. What a disappointment."
"What now, Pete?"
"Well . . . " He chewed his lip. "I just picked up this book
on power through intimidation. Next time I might try a navy blue
suit and a yellow tie . . . "
Poor Pete. He had a simple problem. He didn't really understand
what power is. He assumed that the subtext of power was power
itself. He had read that powerful men dress in a certain way,
and he made the false assumption that dressing that way would
give him power.
Power, however, is a more subtle thing than the way you dress,
the way you move or sit. Pete was thrown off course when he
ran up against one of those rare men who are uninterested in the
trappings of power that Pete expected.
The boss who interviewed him had enough power to disregard
all outward appearances. He could dress as he pleased, act as
he pleased, fidget when he wanted to. There was no way Pete
could play any power games with a man like that.
The only power Pete had was his knowledge of CADD. This
"power" eventually got him an excellent job. He had left his
resume with the boss's secretary, and she sent it on to personnel.
There his strength was recognized, and he was called back for
another interview.
"Forget what you read about power," I advised him. "Just be
straightforward and don't play games."
"Are you sure I shouldn't try a navy blue suit and a yellow
tie?"
"Do you want the job, Pete?"
"You know I do."

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"Are you good at CADD?"

"Tops."
"Okay, here's some good advice. Sell all those books on power
and buy some clothes bags and mothballs."
He looked bewildered. "Why?"
"To store away your power clothes. Dress the way you feel
most comfortable, in good taste of course. The guy who interviews
you has more power than you. Concentrate on one thing. Your
skill at CADD."
"You think that'll work?"
"It'll work better than your other attempt." And I was right.
Pete got the job and is happy doing the work he knows best.

THE OLD GAME PLAYER

The word power is thrown around pretty loosely, and many of us,
like Pete, confuse power with its subtexts. Webster does define
power as "a possession of control, authority, or influence over
others." But the second definition is "ability to get or produce
an effect."
It is this definition, the ability to act, that real power is all
about. Pete's power lies in his ability at CADD. It was a talent
that gave him a unique strength. But the kind of power that Pete
had read about in many of the "how to" books was the power
that concerns itself with influence, control, or sway.
Baron John Acton, who lived during the second half of the
nineteenth century, explained the trouble with this first definition
of power when he wrote, "Power tends to corrupt, and absolute
power corrupts absolutely." Often, in the business world, this
corrupting tendency of power takes the form of obnoxious game
playing.

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I worked for a boss in a small company who was fond of these

power games. We called one of his favorite games "blotting out
the light-" He would come up to a worker's desk and just stand
there. As one young woman put it, "He blotted out the light. He
loomed over me like some enormous bird of prey, not saying
anything, just looking. If I was on the phone, no matter with
whom, I'd have to mutter 'I'll call you back,' and hang up to
give him my full attention."
He had another favorite game which Bill, one of the salesmen,
labeled "nobody's home on the telephone." As Bill explained it:
"He'd call me when he knew I was out to lunch, and he'd leave
a message with my secretary. When I tried to call him back,
he'd always be in conference.
"I'd leave word that I had called, and sure enough he'd get
back when he knew I was away from my desk. He must have
clocked every move I made. I'd return the call, and he was 'unavail-
able' just then.
"This would go on for days, it seemed, and if I met him in
the hall and tried to ask what he wanted or set up a date, he'd
hurry past in annoyance. 'Why don't you give me a call, Bill.' It
wore me down!"
Bill, however, didn't take the game playing for long. He was
a good salesman, and that gave him some power. He looked around
quietly and found a better job. "I did that while I was still working
for the old game player," he told me. "The next time I called
him back, and he was 'not available,' I told his secretary, 'Well,
he knows where to find me!' "
I laughed, envisioning the boss's face when he heard that. "What
did he do?"
Bill shrugged. "Funny thing. He must have realized I didn't
care. He did an about-face and became very respectful. I realized

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then that he needed me, and if I wanted to, I could make some
headway."
"Did you?"
"No." Bill shook his head. "I don't like to play those games.
I gave him notice and I started the new job the next week."

OF TIME AND THE TELEPHONE

Bill was lucky he had the power to go out and find another job.
Many people don't, and have to learn how to cope with the power
players—to fight back or submit. There are any number of power
plays going on in the workplace. One common ploy is to manipulate
time. How you deal with time can send out a strong subtext.
In the United States, a wait of five minutes to see someone on
business when you have an appointment is considered normal. If
someone keeps a client waiting beyond ten minutes, the subtext
is clear—"My time is valuable."
Fifteen minutes, and the subtext is "I am more important than
you." Twenty minutes and the subtext becomes "I am contemptuous
of you!" A half hour and it is "You are an annoyance. I am
seeing you only because I must." Thirty to forty minutes is an
unusual length of time to keep anyone waiting. It carries a plain
and not-so-nice subtext—"I think very little of you. Your time is
unimportant."
On the other hand, when someone comes out as soon as a
client is announced and ushers the client into the office, the subtext
is "You are a very important person. Your time is more valuable
than mine or just as valuable."
These times and their relationship to subtext are a part of our
culture. In a Latin culture, by contrast, one may be kept waiting

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forty-five minutes without its seeming excessive. In some parts

of the Middle East, appointments made beyond a week ahead
tend to slip into a hazy future and are often forgotten. If you
show up for an appointment that is not kept, the other party may
not understand your annoyance or the subtext you derive from
being stood up. When North American businessmen do business
in different cultures, they must understand these cultures' different
concepts of time and realize how their subtexts differ from ours.
Understanding the subtexts of time and waiting allows you to
manipulate and insult the other person without saying an insulting
word. It also allows you to show respect. In our society, the amount
of time you keep someone waiting is directly proportional to your
perception of that person's status.
Another subtle subtext of power comes through on the telephone.
How long does it take you to return a phone call? Do you return
the call at all? The telephone can be used in subtle and not so
subtle power ploys. When you meet with a client and the meeting
is interrupted by frequent phone calls, the subtext can be "I'm
an important person." It's a dangerous ploy because it can easily
end up annoying the client.
I once worked with a man who would call a colleague into his
office for a meeting and always manage to be on the phone when
the other arrived. He would wave the colleague to a seat, smile
apologetically, and then keep nodding to the phone for another
five minutes. His colleague would get the subtext: "I'm such a
busy guy, I haven't a moment to myself."
While these games are usually played by people jockeying for
position in the business world, there are many people in power
who do not abuse their strength, who treat their subordinates de-
cently, and who don't allow themselves to be drawn into power
games.

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What is it that differentiates people who seem able to handle

power and don't have to rely on artificial subtexts from those
who can't handle it and must constantly bolster their images?
One possible answer may come out of an ongoing study being
conducted by a team of young sociologists at a major university.
"We've been studying people who are unable to handle power
comfortably," the senior researcher told me. "We do personality
profiles on them, and match the results against the profiles of
other people who have no trouble with power."
"What have you found out?" I asked.
"It's too early for any firm results, but preliminary results seem
to show that people who handle power wisely are more secure in
their personalities, better able to cope with life in general."
"I think I could have figured that out from observation alone,"
I said.
"Sure you could, but we want scientific validation."
Even if his research assures him that secure people are better
equipped to handle power, it will not lessen power's attraction to
the insecure.

YOUR POWER PROFILE

There is nothing wrong with wanting power. Some people have a
need for it, and are able to handle it. If you want power and you
need it, how do you go about getting it?
The question of whether you go for power in any situation is a
deeply personal one, and the answer must be based on your individ-
ual power motivation, your own power profile.
There are guidelines that can help you to determine your power
profile. They can help you to discover what direction to take in

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terms of power: Will you be content to be a follower? Should

you strive to become a leader? Or should you stay independent
and neutral?
Here is a test that can aid you in understanding your own
relationship to power covering four elements. Try to answer the
questions by putting yourself in each situation and as honestly
as possible decide how you would react.

INTERIOR OR EXTERIOR
People who are uncomfortable with power tend to be interior people.
Usually they are creative, no matter what their field, and often
they are self-sufficient, able to spend time alone.
Exterior people are more practical. They are very comfortable
with other people, and like to manage other people. They
can also handle power well, are comfortable with it, and usually
desire it.
The first step in discovering your power profile is to find out
whether you are an interior or exterior person. Answering the
following questions will give you some insight into your own person-
ality, whether you should go after power or whether you'd be ill
advised to try. Read each situation and the three possible solutions,
then pick the answer with which you feel most at ease.

Love and Marriage

It's that time of life. You have a good job and some direction
to your life. The singles scene is out. Time to settle down.
What kind of a mate do you want?

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(A) He or she has to be perfect: good-looking, talented, interest-

ing, with excellent taste and background. Someone who'll
turn you on—and on!
(B) Good-looking? Sure, and at least as smart as you, but, above
all, someone you can get along with.
(C) Looks? Character? Okay, but first, someone who can help
you out, an asset. Good earning power doesn't hurt. It's as
easy to fall in love with a rich person as a poor one, but it
has to be someone you'll be proud to walk down the street
with, someone with class, someone everyone will envy.

Where to Live

You've been shown a number of apartments. The latest is large,

roomy, with high ceilings, and a working fireplace. However,
the windows are old and warped, the plumbing is poor, and
the kitchen inefficient. The carpeting needs replacing, but the
rent is low and the neighborhood is very good.

(A) You take the apartment without much hesitation. The view
alone is worth the money, and the high ceilings lend it
grandeur. The real clincher is the fireplace.
(B) Sure, the view, the fireplace, and the high ceilings are great,
but let's consider the expense—the floor, the plumbing,
and the kitchen. What will it take to get it in order? You
want to consider the pros and cons before you rush into
signing a lease.
(C) It's a good buy in terms of what has to be done balanced
against the low rent. You take it. The neighborhood is good
and will impress people. The apartment is good for your
image, and once it's in shape it will have a classy look.

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The Vacation

You and your mate have finally gotten enough cash together
for that long-anticipated vacation. The question is, where
to go?

(A) You decide on the Club Internationale and their trip to

Marrakech and some nearby exotic islands. True, most club
members don't speak English, and it's very "pricey," but
Marrakech does sound romantic, and those far-off
places . . . !
(B) You settle for an island in the West Indies. It's accessible,
and the price is right. It has great beaches and few people.
(C) It costs more than you wanted to pay, but you make reserva-
tions at the famous White Springs Hotel. All amenities are
included—including recreational facilities—so it's a practi-
cal place to rest and play. Besides it's "in" this year, and
you know some very important people who'll be there.

The Kids

You and your spouse are hitting the thirty mark, and the biologi-
cal time clock is ticking away. You've spent an evening with
some close friends and their new baby, and you come home
thoughtful. You decide to talk about passing on your own wonder-
ful genes.

(A) You want a houseful of darling children—or at least five,

or else you're very firm about zero population growth, and
maybe you should have no kids at all.

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(B) Sure, babies are major miracles, and you'll plan for them
now. At least two, spaced two years apart.
(C) Well, your friend's baby was a doll, but you don't want to
rush into anything. Consider your income and what having
a baby will mean to someone in your position.

SCORING
In these few examples, (A) is the approach an interior person is
most likely to take. If you tend to go this route, your own emotional
reactions are most important to you. Power is something you can
do without quite easily.
If most of your answers fall into the (C) category, then you are
an exterior person, practical, calculating, and well organized. You
probably enjoy power and can handle it.
If, like most people, you fall into the (B) category, then you
can go either way, acting as an interior or exterior person depending
on the situation. If power comes your way, you can handle it,
but the chances are you won't go looking for it.

YOUR DOMINANCE QUOTIENT

Discovering whether you are interior or exterior in personality is
only the first step to understanding your own ability to handle
power. There are other traits to consider. What is your "dominance
quotient," your DQ? What do you know about your need to dominate
others? Obviously, if you want to dominate a situation, you also
want power. If you don't care about dominance, you usually don't
hanker after power. Again, here are different situations with three

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different types of reactions. Choose the one you'd be most likely

to follow.

The Conversation

A group of friends are in the living room talking aimlessly,

but still covering some fascinating subjects. You're all relaxed
and comfortable.

(A) You listen more often than you talk, and you're sure you're
getting a good deal out of the evening. A lot of heavy stuff
you were uncertain about now seems clearer. You're really
enjoying yourself.
(B) You listen to what the others are saying, but you don't
hesitate to put your own views forward. You certainly give
as much as you get. You come away feeling you've learned
a lot, but you've also opened a few other minds to the truth.
(C) You talk much more than you listen because you have some
important things to say about all these matters, and you
know the rest will want to hear your side. In fact, you
often have to interrupt some irrelevant talk to get your own
point across, but it's worth it.

Chow Time

The movie was great, and now the group of you are trying to
decide where to go for a good meal.

(A) You listen to all the recommendations, hoping someone will

come up with a good suggestion.

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(B) You listen to everyone, including the nut who wants to drive
twelve miles to this "great diner." Then you suggest that
little Italian place that makes its own pasta. In the end
you go along with the one that sounds best.
(C) Never mind those places. You know this terrific charcoal
broil spot where the burgers are out of this world. You
insist everyone go there because you know they'll love it.

On the Job

Things haven't been going well in your department through no

one's fault, and now one of the executives has come up with a
wild idea that could really save the day—if it works.

(A) The idea does look good on paper, but if you try it out
and it fails, you'll all be up the creek without a paddle.
Why take the chance?
(B) It seems like a good plan, and you think it will probably
work, but why should you be the fall guy? Put it to a vote
and see what everyone thinks. You'll go along with their
suggestions.
(C) It's a good plan, and you know it will work. Why not get
the credit? You speak up for the plan very strongly and
swing the rest to your viewpoint.

SCORING
The scoring here is similar to the interior/exterior test. If you
tend to follow the (A) mode, you're the least dominant and probably

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uncomfortable with power. The (C) type of person is the most

dominant, has the highest DQ, and will go after power whenever
possible.
The great majority falls into (B). They accept power, but won't
go after it. They resist dominance by others, but rarely try to be
dominant themselves.

AGGRESSION
Aggression is the third element that determines how comfortable
you will be with power. This series of questions should help you
to understand your degree of aggression.

The Movie Line

It's supposed to be a great flick, and you've been waiting for

weeks for it to come to town. You're on line to get your ticket,
and what a line! Clear around the block. Then, when you turn
to see just how long the line is, some joker cuts in ahead of
you!

(A) You're really ticked off, but you're close enough to the front
of the line to get a seat, and why make a fuss? It will just
create an uncomfortable situation. Better forget it.
(B) Sure, there are plenty of seats and it probably doesn't make
any difference, but why should the jerk get away with it?
You don't say anything to him directly, but in a voice that
carries you tell the person behind you that bucking the
line is a pretty cheap trick, and most civilized people wouldn't
do it.

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(C) That's some maneuver, you think, and you tap him on the
shoulder and say, "Look, I was here first. If you want to
buck the line, get in behind me if they'll let you. No way
are you cutting me off!"

The Waiter with the Water

You're in a restaurant, and after the waiter takes your order

you ask him for a glass of water. He starts serving the meal
without getting it, and you ask again. Again he forgets it, and
his attitude is very unpleasant. Finally, and gracelessly, he
brings the water, but you've quite lost your thirst for it.

(A) You're really burned up by all of this, but who wants to

make a scene? You leave a very small tip to show how
you feel.
(B) You don't wait for the meal to be served. Once you understand
that this waiter is unpleasant and giving you minimal service,
you get up and walk out of the restaurant.
(C) You tell the waiter off in no uncertain terms and demand
to see the maitre d' or the manager, explain the situation,
and ask for an apology and another waiter.

The New Neighbors

The empty house next door has finally been sold, and a new
family has moved in. They appear to be about your age.
(A) You wait for some natural situation to occur, a situation
that will allow you to meet them casually.

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(B) You set up a small neighborhood party, and invite the new
people with the other neighbors. Afterwards you can all
compare notes and see if they're your kind of people.
(C) Once the moving van has gone, and the curtains are up,
you walk over with a bottle of wine and introduce yourself
and welcome them to the neighborhood.

SCORING
By now you know the principle involved. (C) is a sign of a high
degree of aggression. If you feel most comfortable with the (A)
solutions, you can be reasonably sure power is not for you. The
great number of people fit into the middle, (B). They have an
aggressive approach, but it does not dominate their lives. They
can handle power, but they don't need it or go after it.

LEADING THE REST

Finally, the fourth quality of power is leadership. People with a
drive toward power are happiest leading the flock. However, a
personal distaste for leadership doesn't mean knuckling under to
the power of others.

The CEO

You are an executive in a large company, and you have just

come from a meeting with the CEO. She's outlined goals for
the coming year, and as you listen you realize the terrific strain

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she's under to meet those goals. Alone in your office, you recap
the meeting.

(A) This woman has a really tough job, and she's welcome to
it! Who needs that kind of pressure? You're happy working
on your own level.
(B) There's no doubt the CEO works too hard. Is it all that
good for the company? She should relax and let the staff
take over some of the pressure.
(C) That's one tough worker, and I feel for her. Someday I'll
reach her position and have to go through the same routine.
There must be some techniques I could learn now to make
things easier for me when that time comes.

The Method

Someone who works under you has come up with a promising

but untried method for doing one of the crucial jobs. She sends
you a memo about it.

(A) You don't really know whether or not the method will work,
so you thank her for the idea and shelve her memo.
(B) The method is interesting, but why take a chance with some-
thing new when what you're doing works? Still, if it's
promising, others should examine it. You pass it on to the
higher-ups.
(C) The method, you realize, may help your department, and
also help you. You decide to look into it and perhaps imple-
ment it.

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The Order

You're working in a large company, and an executive above

you gives an order that bothers you. What do you do?

(A) The very fact that the executive is above you indicates that
the order is correct, and you carry it out.
(B) You talk over the order with the executive, discuss the
pros and cons, and finally agree to carry it out.
(C) You're not at all sure this is the best way to handle the
situation. You tell this to the executive. "Now this is the
way I would do it . . ."

SCORING
Like the other tests, the (C) reaction is the one that indicates
the highest power potential. If it's the way you think you would
act, then the indication is that you have good leadership qualities.
You're willing to take chances, and you know how to handle people
and how to react when you are in charge. The (A) reaction is an
indication that you wouldn't be comfortable as a leader. If you
fall into the (B) category, you can either take leadership or leave
it alone.
The important thing about all these tests and the categories
they indicate is that men and women don't come in standard black-
and-white models. They are available in all shades of gray. They
can have a small drive toward power, a moderate drive, no drive
at all, or an overwhelming drive—and they are all prone to change.
Sometimes a taste of power shoots one from the (A) to (C) category
and to an abuse of it; or someone who has thrived on power may

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suddenly see it all as an illusion without inner rewards, and may

turn from it.

BECOMING A LEADER
It is all well and good to realize that your PQ is high and that
you have the potential to be a leader and handle power, but what
good does that do you if the opportunity to lead never arises? Is
power situational? Does it depend on being in the right place at
the right time, or are there some people who can rise above their
situation to become powerful—people who will create their own
opportunities?
Take a person who scores high in handling power, but works
in a subordinate position. If the right circumstances present them-
selves, she could be a leader, but failing that, is she forever
doomed to the subordinate role she holds?
Dr. G. A. Talland reported in the Journal of Abnormal Social
Psychology that he studied men and women in psychotherapy
groups. Did those who exerted power and eventually became leaders
do so by sensing the opinion of the group and going along with
that opinion? Or were their own ideas close to the ideas of the
group?
Neither of these two factors was at work, according to Dr. Talland.
Careful observation of group dynamics convinced him that the
successful leaders were able to gradually change the group's ideas
to fit their own. It was less a case of taking advantage of a situation
to become a leader than of changing the situation to fit their
need for leadership. They were strongly motivated in terms of
power, and although the groups they entered had established leaders

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of their own, they were still able to take power away from the
others and become the new leaders.

TOMMY'S TAKEOVER
This ability to change situations to fit one's need for leadership
is something we are either born with or learn very early in life.
Take Tommy, a four-year-old who was enrolled in a play group
by his working mother. Tommy very quickly became the leader
of the group, but then his family moved and a year later, at five,
Tommy was put in another play group in mid-session.
For a while Tommy was low man on his new group's totem
pole, but instead of accepting this, Tommy studied the situation
carefully. By playing with the other children, he learned the sched-
ule of activities; then he gradually began to give orders, to tell
the other children what to do—and they obeyed him.
A born leader? A powerful personality? Maybe, but what Tommy
actually did was to order the other children to do what they were
already doing or what they were going to do next anyway! The
chances of their disobeying his orders were slim.
Once he established his right to give these orders and be obeyed,
he began to make slight changes in the established routine, to
insist that everyone should use red crayons to color a woman's
dress and blue crayons for a man's suit, or he would hurry things
up: "We have to finish all our work by two o'clock!"
The changes were always simple, things no one cared much
about, and gradually Tommy's way was adopted.
Once he had come this far, Tommy took a final step. He an-
nounced that he owned certain things in the play group, all the

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crayon sets, the scissors, the paste pots. But he never monopolized
his ownership. He graciously gave each object back to the boy
or girl who had had it before Tommy announced his possession.
He never took physical possession of any of these things, and
everyone who used them continued to use them. But very subtly,
the right to use them came to be Tommy's disposition.
By the end of the term Tommy was the undisputed leader of
the group. He had managed successfully to take power into his
own hands. He made the decisions for the group and gave the
orders, real orders now and not simple confirmations of what every-
one was doing. Tommy had risen above the situation. He had
created his own situation to take over power.
The way adults assume and keep power is often similar to the
technique Tommy used. Within an organization, adults with the
equivalent of Tommy's power drive manipulate their own position
and the opinions of others to get control. Workers in subordinate
positions who desire power, for example, could either change jobs
or find some way in which their strengths could be better used
in their current job.
If people are subtle and clever in their manipulations, and if
we like them, they send out a subtext of charisma. We are glad
to go along with their drive for power. If we don't like them, or
if their methods are blatant, the subtext they send out is one of
cunning or unscrupulousness. Still, in the end, if we strip away
both subtexts, their methods seem to be the same.

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INTERVIEW
9
YOU'VE GOT SOMETHING THEY WANT
We've explored some of the basic ways in which subtext is projected
and how you can interpret its meaning. Now let's explore how
you can use this awareness—and some simple techniques—to
keep you a step ahead on your chosen career path.
One situation in which subtext may be vitally important—for
both interviewer and interviewee—is the job interview. My first

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job interview came after I had been married for ten years, had
three children, and owned a house in the suburbs. I had been a
free-lance writer all that time, but there was nothing reliable about
my income, and our third child precipitated the need for a steady
wage.
"The problem is," my wife said, looking critically at the only
suit I owned, which I always wore for weddings and funerals, "I
don't think that's the right thing to wear. What do you wear to a
job interview?"
What do I wear? What do I say? Can I tell them I've been
free-lancing for ten years? Won't wanting a job now mean I'm a
failure? Will they want to hire a failure? And what about a resume?
They had asked me to bring one, but what exactly was a resume?
All I had to show for the last ten years was a collection of books
and articles!
My wife calmed me down, decided I should borrow a gray suit
from my brother, and told me as I left, "Just remember. They
want to hire you. Maybe hundreds of people answered that ad,
but you're the one they chose to interview. You've got something
they want. Go in with that attitude in mind, and remember, if
you don't get the job it's still not the end of the world."
"You've got something they want!" That piece of advice stayed
with me throughout the interview, and it allowed me to send out
a subtext of relaxed control and confidence. I got the job over a
half dozen applicants, and a year later, the man who interviewed
me confided that my experience was less than anyone else who
applied. "But you could write. We had some of your books and
articles, and you seemed so comfortable and at ease during the
interview that you impressed me. I thought, this guy doesn't really
need the job, but he's very together. That's one reason we hired
you."

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for me it was a triumph of pretense. I did need the job. I was

nervous and anxious and uncertain, but I used the two-hour trip
down to Philadelphia, where the interview was, to "psych" myself
up with my wife's words, "You've got something they want." It
was also my first introduction to the fact that you could send out
a subtext completely at variance with what you really felt!

THE RESUME AND ITS SUBTEXT

Every job applicant who makes it to an interview has something
the employer wants, a skill that can be useful, or else he or she
would never have gotten as far as the interview. The resume elimi-
nates those who are not needed or useful to the firm. Your resume,
therefore, is probably your most persuasive element in your job
hunt. Know your resume intimately, and you'll be able to discuss
anything on it.
The first step in any job application, therefore, is the resume,
and the resume itself sends out a subtext. Make sure the subtext
is exactly right for the position you want. For that matter, any
company you want to work for will have a subtext of its own.
Before you go after a job, before you even send out your resume,
and long before the actual interview takes place, bone up on the
company. Learn everything you can about it.
There are many ways to do this. Send for their annual report.
For a more honest view, if the company is large enough, ask a
stockbroker to get you a brokerage house report. Get to the public
library and look the firm up in the F & S Index of Corporations
and Industries or The Business Periodical Index. Know something
about the executives you are likely to meet. Browse through Stan-
dard and Poor's Register: Directors and Executives or Who's Who
in Finance and Industry.

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There are many other sources: trade journals, magazines, com-

pany employees, news releases. Any of these may supply you
with facts you need to know. The point is, know as much as you
can about the company before you walk into the interview, and
you'll be able to match your strengths to the job.
All this knowledge can help you to slant your resume to present
a subtext that will appeal to that particular company. While it is
obvious that you can't change what you've done, or lie about it,
you can, by emphasizing certain aspects of your experience, match
the needs of the company.
My own job interview was with a drug company, and although
I had never worked for a drug company, I achieved a subtext of
medical know-how by emphasizing that I had been a premedical
student, had run a medical laboratory in the army, and had written
articles about medicine and the biography of a doctor. The company
that interviewed me wanted a medical writer, so I also emphasized
my writing experience.

WHAT TO WEAR
So you start with your resume, and it's successful enough to earn
you an interview. The next problem is what to wear and what
your personal grooming should be. Remember that you will send
out some sort of subtext the moment you enter the room. Bear in
mind that no matter how "laid back" a company may be in terms
of its dress code, none of it applies to the interview.
A personnel assistant for a Texas firm that operates petroleum
pipelines assured me, "Even if you're going to wear them on the
job, we don't like to see jeans in an interview!"

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Press conservatively if there is the slightest doubt. For women,

dresses are suitable, but the safest clothes are tailored blouses,
skirts, and jackets. Suits can be fine, also. Don't wear pants.
They are just not appropriate at an interview. Once you're hired,
pants can be worn if other people on your level or higher wear
them.
Avoid bright colors and extremes. No matter what the current
style is, a miniskirt is ill advised and so are off-the-shoulder
blouses or anything too low-cut. Again, what you might wear on
the job is not what you should wear to the interview. Try for
muted colors and conservative styling.
Makeup, too, should be muted. Blushers should be played down
as much as possible. If lipstick is used, go for a pale shade.
Avoid too much eyeliner and mascara, and keep your fingernails
short with clear or pale-colored polish.
Jewelry should be minimal, not more than one ring, and a
wristwatch is preferable to a bracelet. If worn, earrings should
be simple. A necklace should be as plain as possible. You want
to project a subtext that says "I am not frivolous. I am a serious
worker, capable and sensible."
For men, the old standby of a gray or dark blue suit is best,
with dark gray preferable. Avoid black suits at the interview.
You should have some idea of your own coloring and what colors
are best for you. If you're bewildered about this, as many men
are, there are color consultants available, and for a fee you can
learn some worthwhile facts about how to dress.
For the interview, shirts should be white and ties pin-dot, rep
stripes, or refined foulard designs, the colors muted. Suspenders,
if worn, should match the tie in color and, preferably, be completely
covered by the jacket.

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Men should avoid jewelry. A wedding ring is acceptable, as is

a wristwatch. Nothing more. If you wear an earring, take it out
for the interview! Shoes should be simple and well polished, socks
over the calf and not drooping. Hair should be neat and beard
and moustache trimmed.
Beards are pretty well accepted by now, their subtext likely to
be serious, even scholarly. Again, it's important to match the
subtext your appearance sends out against the job you're after.
Even today, there are some firms that frown on beards. A little
research should tell you if this is the case.
It hardly seems necessary to stress personal grooming, except
that a surprising number of men are not aware of the need for it.
Fingernails should be short and clean, hands clean. Remember
all those schoolboy lectures about cleanliness and grooming!

THREE ELEMENTS AND THEIR SUBTEXTS

The first impression you make is extremely important. It is possible
for someone to like you at "first glance," and interviewers are
attracted to people who are well groomed. Aside from your clothes,
there are three elements that contribute to the subtext you send
out and the first impression you make: the way you look at the
interviewer, the way you shake the interviewer's hand, and the
way you carry yourself.
Starting with the last one, just walking into the office sends
out a quick subtext. Do you stand erect or do you slouch? Do
you come forward hesitantly or walk forward purposefully? Your
walk can reveal a great deal about you. A slouched posture sends
a very definite subtext of depression, of carrying a great weight

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on your shoulders. An erect carriage sends a subtext of control,

a take-charge element.
Eye contact: This has been discussed in previous chapters,
but it bears repeating. Look your interviewer in the eye at the
very beginning, and maintain eye contact throughout the interview.
This does not mean a steady, unbroken, and unnerving stare.
Break eye contact frequently, but do come back to it. This is
the way to send out an honest and forthright subtext.
As for the handshake, it should be full and firm. By full, I
mean giving the entire hand in a shake, not just the fingers.
There is nothing as off-putting as a limp shake. Its subtext is "I
don't want to become involved with you." This is no message for
a job interview!
A man's handshake should be firm without being bone crushing
and macho. The point of a handshake is contact, not a battle of
wills. The macho handshake sends a subtext of an aggressive
desire to compete, and is absolutely out of place in a job interview!
Women sometimes have difficulty with the handshake—under-
standable since the shake involves body contact, and so much
subtext can be transmitted by it. A man holding a woman's hand
for too long sends a subtext of intimacy, usually a disturbing
one. Occasionally, the handshake is not offered to a woman appli-
cant, a sign that the interviewer is confused about the subtext of
the shake. Since having your hand extended with no response
from the other person gives you a feeling of humiliation, however
slight, let the interviewer initiate the handshake.
A woman's handshake should be full, firm, and brief. Inevitably,
in a job interview, you will run up against an interviewer who
violates all the rules of shaking hands, perhaps giving only the
fingers in a limp fashion or giving too hearty and heavy a shake.

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This can be an advantage to the applicant because it usually

indicates that the interviewer is new at the game.

THE BEGINNING OF THE INTERVIEW

The second stage of the interview is how you sit and the subtext
sent out by your posture—and you do sit for the interview. Standing
and looming over an interviewer's desk is foolish and threatening.
The interviewer should always be in charge, or at least think
that he or she is.
Stanly Hyman, a career counselor, coaches job applicants in
what he calls nonverbal, physical mannerisms that he claims can
send a subtext of assertiveness and control in the first few minutes
of an interview.
He advises that you place your chair at a forty-five-degree angle
to the interviewer's desk so that you are almost sitting sideways
to it. When you sit down, cross your legs toward the interviewer
to indicate strength, and open your jacket to show you're secure.
Pull down your jacket collar so that it's tight up against your
shirt to keep your suit from looking ill fitting.
Place your elbow on the chair arm nearest the desk, and lean
a bit on it, Hyman says. Never put your hands together. That
means you're trying to control yourself. If the interviewer tilts
backward, you back off, too—otherwise you'll scare him (or her).
Now you can proceed comfortably with the interview.
There is some value in this advice, but the applicant should
not be that concerned with all the small details of maneuvers
that Hyman advises. Sit up straight, of course, but be relaxed.
Don't hold your hands together—it's a little-boy or -girl posture—
and in most situations, lean into the interview. Leaning back is

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a bit too relaxed a posture. It sends a subtext of "I don't want to

get involved."
Avoid nervous gestures, playing with a pen or pencil or any
other object, tapping the feet, drumming the fingers. A certain
amount of nervous tension is inevitable and even beneficial. It
will keep you on your toes, alert and wary, but don't express
yourself in nervous, repetitive gestures.

THE RUG AND JUG RULE

A member of the Los Angeles Management Counselors Association
suggests that before you reach the office where the interview takes
place, you should study the subtext of the company that is interview-
ing you. You can pick up clues from the surroundings as to what
sort of firm it is. If the company is in the country or suburbs,
notice the condition of the building. Are there weeds growing in
front of it? Are the grounds well kept? Are the buildings properly
maintained? In the city, see what sort of building the offices are
in. Are you treated indifferently by the receptionist, or does he
or she act as if you were expected?
What sort of attitude is there among the employees? While
you are waiting, see if the receptionist feels free to chat with
you as well as with other employees. A general rule of thumb is
that if the subtext of the buildings, offices, housekeeping, and
employees is good, the odds are that business is good, too.
The president of a well-known career-planning agency suggests
that "the job level of the manager who interviews you may be
indicated by whether he or she has a rug on the floor and a
water jug on the desk. Most big corporations have a rug-and-jug
rule. If that person has to make do with vinyl and goes to the

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drinking fountain, it's an indication of how prestigious your own

job will be!"
Of course there may not be an actual rug on the floor or a
water jug on the desk, but the principle applies: How well furnished
is the interviewer's office?
The interview itself is, to be sure, more important than all the
physical elements of body language and image projection that
surround it. I asked the head of personnel at a large company
what was the bottom line on advice to a job candidate at an
interview. "Two words. Keep cool," was the response. "What
applicants forget, because they're so involved with how they should
look and act, is that the interviewer is a person, too, and, like
you, under pressure. Interviewers don't like to waste time.
"The very fact that you have an appointment is a sign that the
interviewer thinks you can do the job. The interview gives the
interviewer a chance to explore the things that don't go into a
resume, the personal characteristics and the subtext beneath the
surface.
"What you must remember is that an interview goes both ways.
It gives you an opportunity to find out something about the company,
something that won't be available anywhere else."

THREE TYPES OF QUESTIONS

Another personnel director suggests that in any interview there
are three types of questions. Listed below are the types and samples
of some of these questions.
Opportunity questions:

• What do you see yourself doing five years from now?

• Tell me about yourself.

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• What personal accomplishments have given you the most satis-

faction?

Questions like those above give you the opportunity to take charge
of the interview.
Threatening questions:

• Do you feel you can handle this job?

• Why did you leave your last job?
• What makes you think you can handle this job without direct
experience?

You can handle threatening questions by assertive, moderate-risk

answers. Express your competence, but try not to antagonize the
interviewer.
Neutral questions:

• Who was your last employer?

• Have you had much experience with this work?

These pose no threat and give you a chance to expand on your

background.
Another personnel director says the best way to handle an inter-
view is to walk a middle line. "Follow the lead that's given to
you by the interviewer, but watch for a chance to take control of
the interview. Be sure your questions get to the point. Don't ramble
when you answer questions. Ask about the business and its needs,
but stay away from pension plans and retirement benefits. These
will be laid out by the interviewer if he's doing his job properly."
Shifting the focus of the interview so that you are the one asking
questions is a good idea. For one thing, it puts the interviewer

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at ease. Most interviewers are bound to be a bit nervous even if

they have been in personnel work for a long time. A good opening
question is "What kind of person are you looking for?" This buy
you time to relax and gives you some insight into the company
I asked just this question in my first job interview. The answer
was a surprise. The interviewer leaned back and, looking up at
the ceiling, said, "We're looking for someone a little far out
someone who can write but hasn't been in the medical field before
We want fresh ideas."
That reply threw me for a moment, but luckily I rallied and
took the chance to explain my own credentials as a free-lance
writer, as well as to talk about some projects I had worked on
but had left out of my resume as too unusual. I had been nervous
about those projects until that moment. Now I realized why they
were interviewing me, a person with no real experience in the
field, and I relaxed. No need for pretense any longer!
When you do answer questions, stress your strong points in
relation to the job, not your weaknesses. Watch the interviewer
and understand his or her subtext. This will clue you in on when
to expand on a point and when to cut it short. Watch for lack of
interest or genuine interest.
An excellent tool that will give you a clue to the subtext of
the interviewer is the head nod. A nodding interviewer means an
agreeable one, one who understands you. The head nod is also a
clue to expand on what you're saying because you're on the right
track.
As a candidate, you have to persuade the interviewer that your
abilities mesh with the company's needs. You must sell yourself
without sounding as though you're boasting. It may be that you
are looking for a better opportunity and are changing jobs of your
own accord, but if you were fired and you try to suggest that you

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were terrific at your last job, the obvious question is "Why were
you fired?"
Being fired isn't an obstacle to being hired. Joe Redmond,
Pepsico's personnel administrative manager, points out that "people
are often fired because the company is cutting back, or there's a
personality conflict."
As a precaution against the problem of having been fired, job
applicants should try to reach an agreement with the boss who
fires them not to send a bad reference. The reverse is also true.
Never bad-mouth a former employer. It raises the interviewer's
suspicions that you may talk the same way about anyone who
hires you.
When it comes to salary, Dudley Darling, a New York executive
recruiter, says, "I'd advise the candidate to go for the highest
realistic figure. Ask for a 15 to 20 percent raise over your last
job, and let the interviewer either meet it or make a counteroffer.
If the rest of the interview went well, the chances are the interviewer
will meet it."

HANDLING TRICKY QUESTIONS

There are many questions asked in an interview that are designed
to trick you or to put you on the defensive. Here are some samples
and some suggestions about handling them.

What do you know about our company? If you've done your home-
work, you can come up with some discussion of products produced,
company size and income, company reputation, and its image.
Whether or not the question comes up, be prepared to answer it.
You want to send out a knowledgeable subtext. Whatever you

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do, don't try the "I don't know much, but I'd like to learn" approach
It won't get you brownie points. Dig into your research beforehand
and if that fails try to find someone who works for the company
who'll talk to you about it.

Why do you want to leave your present job? This presumes that
you are still working when you are interviewed. The best answer
is that there was no place you could go in the company. Upward
mobility is limited, or the work isn't challenging. Perhaps you
want a more dynamic company. Another answer might be your
salary isn't good enough, and you're after more demanding work
with better opportunities.
A good answer here could be that you are after a line job
instead of a staff job. Line is sales, marketing, production. Every-
thing else is staff. Line jobs affect profits directly; staff jobs contrib-
ute to profits indirectly. They are company overhead and are usually
the first area where layoffs occur.

Why did you leave your last job? This question is almost a must
for interviews. If possible, try to give a group answer. Some exam-
ples: "Our entire division was let go." "After the buyout our territory
was cut." "The major suppliers left town."
Defend yourself without being too defensive. A good answer is
"I planned for the time to look for a new position and I've put
away enough to tide me over."
If you were fired, unless it was for insubordination, nonperfor-
mance, or embezzlement, it's not something to be ashamed of,
nor is it something that will be held against you. Most people
get fired because of a clash in personalities, new management
who bring their own people with them, or a cutback that eliminates
their job. Whatever the reason, don't be negative about your last

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boss or company. Try to find an explanation that takes the blame

away from you. A few examples: "I went as far as I could go,
and there was nothing else open." "My job has been eliminated,
and no one is filling it." "They discovered that I was looking
outside, and they asked me to leave." The trick is to turn a
negative subtext into a positive one.
An important point in answering this question is to know what
your references have said about you. One good way to check
this out is to have a friend call up your old company, say you
are applying for a job, and ask for references. If there are negative
elements in your references, try to talk them over with your ex-
boss and see if they can be softened. But the best thing to do is
to give, as references, people you know will speak well of you.

Your resume is good, but aren't you overqualified for this job?
Don't deny it. You can use this gambit to really sell yourself.
Explain that your overqualifications are your employer's good luck.
You can do this in a number of ways. One is to show the similarities
between your last job and this one, or how your past experience,
even if it's from a different field, can be of great value in this
job. A point here: every industry has its own lingo. Know the
terminology of the business and use it.

What didn't you like about your last job? Give an honest answer
to this one, but in a positive sense. Once again, do not speak
negatively about your last employer. The subtext you want to send
out is that you had more to give to your company than they cared
to use. One ploy is that at your last job, seniority meant more
than hard work in terms of promotion. You like to work hard.
Another possible answer is that meeting deadlines and schedules
is important to you, and you don't think the last job used your

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strengths, or promotions were too slow and weren't based on perfor-

mance. Try to answer any question in an interview with a response
that sends out a positive subtext, but do it subtly!

What are your strong points? Know at least seven, and try to
relate each to the job you are after. The subtext you want to
send is: "I am organized, goal oriented, persevering, not rigid
and able to manage and motivate a staff. I work well by myself
or as a team member. Before the interview, prepare a list of
your strengths. Don't be taken by surprise.

What are your weak points? All of us have them, but in a job
interview, while you should be honest about some minor ones,
there is no need to give away the store. The point here is to try
to make a weakness a plus without being obvious. Send out conflict-
ing subtexts with the positive one the stronger. Here are a few
examples: "I'm impatient. By that I mean I'm very result oriented."
"I tend to get in and work with my subordinates. It may not be
great management, but I like important work done on time." "I
hate to do detail work, but I do it thoroughly." You get the point?

FROM THE OTHER SIDE OF THE DESK:

WHAT THE INTERVIEWER SHOULD KNOW
As difficult as it may be to be interviewed, it is often more difficult
to be the interviewer. You would hesitate to make a major purchase
for your company on the basis of one or two meetings with a
salesperson, but you are asked to hire an employee after only
one or two interviews.
Where the job interview is held is an important part of the

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pocess. As the interviewer, you want a subtext that will establish

rapport and encourage the applicant to be relaxed and to talk
easily- The best place for an interview is a private office; how-
ever, try to use an office that will give you, the interviewer, a
subtext of prestige. Remember that you represent the company.
If necessary, borrow another office for the interview, one that is
upscale.
Dress to display a professional and courteous subtext. Remember
that the subtext is not only yours but the company's as well. If
the applicant is a man, he will assuredly wear a jacket and tie.
If you are a man, wear one too. If you are a woman, dress as
the applicant would, neatly and conservatively.
Avoid any distractions during the interview. Arrange to have
no phone calls or knocks on the door. Begin by identifying yourself
by name and title, then try to put the applicant at ease. Start
the talk with something unrelated to the job. Does the applicant
have a hobby? Discuss it, or let him or her explain it to you.
However, remember that in the interview the applicant should
do the bulk of the talking. Instead of telling the applicant what
type of person you are looking for, or trying to sell the company
and the job, steer the conversation so that the applicant reveals
strengths and weaknesses.
A dangerous point about selling the job is that as the interviewer,
you may reveal just what you are looking for in a candidate, and
later in the interview, a clever applicant can feed this back to
you.
Encourage the applicant to talk openly by sending out a subtext
of interest and sympathy. This can be accomplished easily by
judicious head nodding at the right moment, or by brief comments:
"Uh-huh," or "I can understand that." Or by a smile.
Encourage the candidate to be open by sending out a subtext

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of openness. Don't fold your arms. Lean into the interview and
try for frequent eye contact.
Active listening is a useful tool. It consists of occasionally restat-
ing or rephrasing what the other person has said. The subtext
sent out is "I understand what you are saying."
Try not to interrupt the applicant even if you disagree. Avoid
jumping in too quickly. Wait for the candidate to finish his or
her train of thought. Try to play down the negative aspects of
the interview. What you want to do is send a subtext of interest
and understanding that will encourage applicants to keep talking
and to reveal as much as they can about themselves. Keep your
own note taking brief.
Don't worry about pauses in the conversation. Silence can be
a useful tool. It can sometimes draw more information as the
applicant, feeling uneasy, elaborates on previous statements. The
object is to draw as much out of the applicant as you can.
There should be a careful structure to the interview. Although
you may want to start by discussing something innocuous, such
as hobbies or travel, avoid personal questions at the very beginning.
The subtext such questions send out may be disturbing, and some-
times illegal! Start your questions with work experience, then educa-
tion, and then you can segue into more conversational matters.
Delaying the personal history like this gives you a better chance
to elicit significant data about the applicant's personal life. If
you pose personal questions at the beginning, the applicant will
tend to resist, or be guarded.
Always end interviews on a positive note. Compliment the appli-
cants on accomplishments and let them know when you will get
back to them about your decision. Remember, above all, that
the subtext you project of yourself and your company is just as
important as the subtext projected by applicants.

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 10
THE MAGIC
BEHIND THE
SALE

WILL IT KEEP ME WARM?

Some people are born salespeople and seem instinctively to know
all the right moves when it comes to selling, but most of us have
to learn the moves. That's not such bad news; almost anyone
can learn the elements of selling—and one of the strongest elements
is subtext.
A sales executive of a large firm told me, "It boils down to

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the subtexts of three things: you [the seller], your company, and
your product. Each has a subtext, and believe me, the subtext
of any one of these three can make or break a sale."
It was another expert, a sales-training specialist for United States
Rubber, who, many years ago, explained just what the subtext
of a product was. "Too many salespeople," he said, "make the
mistake of trying to sell only the product and forget all about the
product's subtext." To show what he meant, he told the story of
a young heating system salesman who called on an elderly woman.
She lived alone in a big house, and she had shown interest in
an oil burner. The salesman was a pro and knew his product.
For a good hour he lectured this woman on boiler capacity and
combustion and all the details of the boiler's construction. He
told her everything, and then, rather smugly, asked if there was
anything else she wanted to know.
She sighed. "Well, yes. Will it keep an old lady warm?"
The point is, the most vital subtext of any product is not how
it is constructed and how intricate it is, not even how long it
will last, but simply whether or not it will work. In this case,
the woman cut right to the heart of the product's subtext: "Will
it keep me warm?"
Actually, the subtext of a product is quite complicated. For
any product, subtext is a two-part thing. One part is how well it
works: in the case of the heating system, "Will it keep me warm?"
The other part is the product's aura. Webster's dictionary defines
an aura as a subtle sensory stimulus, and I have used the word
very deliberately because an aura has a subtext of its own—a
mystical, ethereal subtext.
Every product has an aura about it. Ideally, the aura is related
to how well the product works. In the best case, the aura depends
on performance. However—and it's a big however—the aura can

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be manipulated by clever advertising so that it has very little to

do with the performance of the object being sold.
An example of how advertising attempts to build up an aura
unrelated to the object's performance is the 1989 advertising cam-
paign for the Infiniti car. Rather than show the car and describe its
good points, the ad shows elements of nature that have clear-cut
subtexts: breaking waves, craggy cliffs, sunsets. Then the name
of the car is splashed across the TV screen or magazine page.
Never mind what the car looks like or how it runs. Never mind
its price or any other features. Performance is of minimal concern
here; aura is everything. Or perhaps we should say subtext is
everything, for aura, of course, is simply another name for subtext.
The advertising campaign for the Infiniti is an attempt to establish
the car's aura, or second subtext, from the start.
The auras of prestige cars like the Cadillac, the Rolls-Royce,
the Lincoln Continental, the BMW are so well established that
we don't need the assurance of performance. The aura stands in
for performance, but the aura has been acquired legitimately over
years of performance. With the Infiniti, the advertisement is trying
to cut out all those years of performance and present us with a
full-blown aura for a car we have never heard of.
As another example, take the popular and well-known perfume
Chanel. A recent Chanel advertisement doesn't even bother to
show the perfume bottle. The ad has a group of attractive women
and men gathered around a pool table, all looking vaguely sultry.
Above them is the name Chanel. What does it say about the
object they are selling? Nothing, really, but it speaks volumes
about the aura of Chanel. Ultra-sophisticated people too cool to
smile are playing pool. You, too, can be ultra-sophisticated if
you use Chanel. This is the aura being sold.
A cosmetic ad for Elizabeth Arden shows an exquisite female

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model sitting in a modern chair. Again no mention of product

What are they selling? Is it the aura of the model? Or the aura
of the striking design in the ad?
In this case, it may be the aura of the company that produces
the object. If the company is strong enough to have a well-
established aura, we are conditioned to accept any product it
makes: Elizabeth Arden, Bill Blass, Ralph Lauren. To get down
to more useful things, the names Electrolux, Hoover, and Whirlpool
have each developed an aura whose subtext is dependability and
quality.
Maytag, in an attempt to build up a subtext of reliability, doesn't
bother to tell us how good their machines are. In their ads they
show repairmen who despair because there is no work for them.
Honda attempts the same sales approach in its advertising,
trying to create a subtext equal to the big names. Its ads show
salespeople who are unhappy because the car sells itself. The
trick in all these cases is to send out a subtext of durability and
desirability so that we assume their products are the best.

THE SUBTEXT AND THE SELLER

Even when the product and the manufacturer send out solid subtexts
of dependability, there remains the subtext of the salesperson.
Successful salespeople are those who send out subtexts of honesty,
trust, and sincerity.
One of the best salespeople I knew was in real estate. She
gave the appearance of being naive, a little confused, always
shuffling through her papers to find the right one, and in the
process sending out a subtext of guilelessness. She always managed
to come up with just the paper she needed, because in reality

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she had a mind like a steel trap! But her customers trusted her
completely. They just knew, after ten minutes with her, that she
was incapable of deceit. That subtext of innocence helped her
more than all her considerable knowledge of selling.
If at all possible, try to narrow the subtext of what you're selling
down to one specific detail. This not only makes the sale easier
to deal with, but it also allows you to be more convincing. Very
few people are going to believe all the great things you tell them
about a product, but they can be convinced of one important
thing. If you choose correctly, that one thing will sell the product.

WHEN THE CUSTOMER RESISTS

On the subject of buyer resistance, think carefully before you
even approach the buyer. Okay, so the person might have an
objection. Pause before you respond to it, even if you know the
answer. That pause sends out a subtext to the buyer. It says the
objection is registering in your mind. That's of utmost importance.
It tells the buyer you're not just sounding off a typical sales pitch,
but actually listening to what he or she has to say. It's a classic
way of breaking down stubborn resistance. It not only works in
sales. It can work in your personal life, too. Everyone appreciates
a listener!
The director of sales training for a large West Coast research
institute said that the first step in teaching salespeople to handle
resistance is to get them to relax. "We teach them to lean back
in their chair, not to sit perched expectantly on the edge of it."
At my look of surprise, he explained himself. "The expectant
person sends a subtext of 'I'm going to get you at the first chance
I have.' He's battle-ready. It's the same subtext as that of the

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person who stands stiffly erect with arms folded against the chest
What you must understand when you meet resistance, whether
in a sale or a presentation, in any aspect of selling, from the
front door to the boardroom, is that the average prospect will
seldom buy at the end of the presentation, not until he or she is
completely satisfied on each point of resistance.
"For this reason, the salesperson has to listen when met with
resistance. The subtext sent out must be, 'I'm considering what
you say, and I understand it.' The way to do this is by relaxing,
by using specific body language signals. Wrinkle your forehead.
Frown thoughtfully, nod your head and make eye contact.
"The next step, oddly enough, is to concede. Agree on a broad,
general basis. 'I can appreciate your viewpoint,' or 'I know how
you feel.' This sends out a disarming subtext because just the
opposite, disagreement, is expected. Then, when the prospect is
disarmed, try to turn the objection into an advantage and make
it the best reason to buy now. This, of course, requires a deep
understanding of the product and the customer's needs, but any
good salesperson will have all that before the sale starts."

THE FIRST TEN SECONDS

I talked to many people who work in sales while I was preparing
this chapter, and the greatest point of agreement I found was the
importance of the first ten seconds. All of them urged that salespeo-
ple review their voices, their handshakes, posture, and facial ex-
pressions to make sure that the first impression is a good one.
One sales executive compared the first ten seconds of a sale
to those critical moments when an entertainer walks onto the stage.
He had once been a theatrical director, and he pointed out that
the "entrance" had been the undoing of many excellent entertainers.

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"I had a singer who came to me and said his manager got him
tremendous fees, but threatened to let him go if he didn't manage
to make more of an impression on the audience. He couldn't
figure out what was wrong. I knew it wasn't his voice, so I told
him to go to the end of the room and come on stage as if he
were before an audience.
"Sure enough, as he walked in he sent out the deadliest subtext
possible: an anxious face, no smile, stiff posture—well, we fixed
all that and he did well. But my point is that the same thing
applies in sales. It's those first ten seconds!"
A young woman who had a great deal of experience in selling
on Wall Street, told me about the "three Be's" in her sales approach:
be specific, be definite, and be confident.
She said, "I plan my sales talk to be specific, to focus in on
one specific part of what I'm selling, and I'm definite in my sales
pitch, but above all, I try to project a subtext of confidence. In
my business, confidence in my judgment is the be all and the
end all!"
"How do you do that?"
"By knowledge. I know my product, my stocks and bonds. I
know the market and know the competition. That gives me the
ability to project complete confidence. You know, if you don't
believe in your product, forget about selling. Get some other job."
A good salesperson is convinced herself before she tries to convince
others.
That confidence, according to another top-notch salesman, comes
from three rules:

(1) Pick the product you like to sell.

(2) Don't ever try to sell a product you don't like.
(3) Don't sell for a company you don't like.

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If you violate these rules, your subtext will give you away
quickly!

YOU'RE THE TOP

One aspect of selling is fund-raising. I have a friend who works
for a large charitable organization as a fund-raiser. "One of our
typical ploys," he confided, "is to find someone interested in our
charity and then give him an honorary title and a dinner. You
want subtext? The subtext of that maneuver is obvious. We send
out invitations in his name to a list of his friends, acquaintances,
and business associates. We charge a lot for the dinner, but it's
for a charity, so people come, and in addition to the food we
offer them some speeches and entertainment."
I frowned. "In effect, you're using him and pressuring his
friends."
My friend nodded. "Exactly! You get the point."
"But why would he let you?"
"Why?" My friend shrugged. "For the best reason. Flattery. It
massages his ego, and he goes ahead cheerfully."
I hadn't thought of flattery as a selling device, but as I talked
to other salespeople, I became aware of how essential a part of
sales it could be. "You can please a prospect with a sincere
smile," the head of a sales institute told me. "But it's even better
to flatter prospects by praising their judgment directly, or by asking
for an opinion on some artistic or political matter. The subtext
you send with your question is a flattering one. 'You know more
than I do.' You value their opinion. Of course, the flattery must
be subtle and indirect. In fact, indirect flattery is the best."
I asked how indirect flattery works. "You can use key phrases
to compliment and flatter. For example: 'What is your idea? What

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do you think about this?' People like to be asked for their opinion.
Another gambit is, 'I'd like to get some help from you.' The obvious
subtext behind that is that the prospect is smarter than you. It's
not only flattering, it's disarming. But just be sure, if you use it,
you're on the level."
"I've heard a lot about you," is a very effective way to greet a
new prospect, but be warned, it must be true. Before you use it,
find out enough about the person you're meeting to come back
with an answer in that not-so-rare scenario in which the prospect
says "Yes? What have you heard?"
A former computer systems salesman I talked to had had experi-
ence in direct selling. "I don't do it anymore," he told me with
an edge of regret. "I'm sales manager for the company now, but
I miss those days. A good day of selling gave me a sense of
accomplishment. I got a kick out of it. Flattery? You bet I used
it. It got me through the door.
"I'd open with 'My company wants to get your opinion on this
software.' I'd never use 'I'd like to take a minute to show you
this software.' You see, the first opening asks for advice. It's
hard to resist. The second opening invites rejection. I had a whole
set of questions like that: 'I'd like you to help us pick out a new
direction for next year.' 'Which of these would appeal to most
people?' Those are all flattering openings, and the subtext they
all send is 'I value your opinion.' You're complimenting them,
but you mustn't overdo it. Don't make it too complicated. Don't
tell too much. People won't take even a minute to listen to meaning-
less words.
"Another point about face-to-face selling is that you have to
have different approach sentences in case your first one fails,
and in the meantime, let your prospect say something, even if
it's 'I'm not interested.' When I was selling systems, I'd come

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back with 'I know you're not interested in this particular software.
but I'll bet you are interested in cutting your billing time by
seventy percent!' How can anyone say no to that, and it gives
you the opening you need."
"What about the blunt refusal?" I asked him.
"I used to hate that," he told me, "but a saleswoman I worked
with taught me something about that. She said a straight refusal
makes you feel bad, but it works both ways. It makes the prospect
feel a bit ashamed and you can use that shame. She told me
how, and after that, when I couldn't get in, I'd take one of my
cards and write a message on the back, like, 'I'm sorry I interrupted
you at a bad time. I should have known you'd be busy. I'm very
anxious to tell you about a product that will save you ten thousand
dollars a year, and I'll be back tomorrow at such-and-such an
hour. I hope you can spare me a few minutes then.' You know,
it works. The prospect reads the card, feels a little ashamed about
that blunt refusal, and when you come back he or she is usually
more receptive."

A QUESTION OF ENERGY
"A key quality of selling," this same salesman told me, "is to
put enthusiasm into the product. If you can project a subtext of
enthusiasm, you've come halfway to a sale." He, himself, was a
short, stocky man with a tremendous amount of energy. Giving
me a typical sample sales "pitch," he used visually charged and
exciting words to make the quality of the product come across.
Listening to him, I could almost see the system in action.
Another thing he stressed was the importance of the physical
subtext your approach sends out. "If I shuffled into the office,

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slouched and tired, the customer I was trying to convince would

peg me as just another bored salesman. When I walked in briskly,
my head up, he'd figure I had something important to say. All
through the selling, my energy level was very crucial."
A saleswoman who specialized in cosmetics talked to me about
sales technique. "It's a matter of energy. The customer will sense
that energy and react to it. There's a charge in the air, an excitement.
I do it with my body. I smile and I move smoothly. I use the
energy to project eagerness. My body language talks to the custom-
ers. It says 'This won't be boring!' On another level, it says 'use
this product and you'll be as energetic and lively as I am!' "
I have heard that same word, energy, used by salespeople at
all levels, from door-to-door salespeople to corporate managers.
It's vitally important in boardroom presentations and in business
meetings in general. Trial lawyers claim it can help them manipulate
a jury. Energy is one of the most important factors in making a
sale. I have been to seminars where after hours of hearing all
the different sales techniques and methods the attendees were
flagging physically and mentally. Then, in just a few minutes, I
would see a seminar leader bring them back to enthusiasm by
projecting a subtext of excitement. How? By raising his voice.
By adopting a rabble-rousing tone that would charge the air with
an electric force. In short, by energizing the room.
When you are enthusiastic, in selling as in any occupation,
you excite others. What are the elements that spell out excitement
and energy? The first one is movement, movement of your body,
your hands, your head. Not random, pointless movement, but
controlled movement using all the elements of body language.
Done properly, this body movement can project an air of tension
and emotional appeal.
If you're in a standing position during your presentation, move

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about. Don't maintain one posture. Use your hands dramatically

to gesture, to point, to shape and project your words. Use your
body to open yourself to the prospect. Open arms are effective
Closed arms are deadly. Never fold them in front of you.
An open posture on your part will often elicit an openness
from the other person. It's a sort of mirror effect. The openness
you elicit will extend to the listener's mind, inspiring a readiness
to listen to your pitch.
Use your voice as a selling instrument, not just to project words
but to modulate the timbre and pitch of the sound. Avoid flat,
monotonous speech. Raise and lower your voice according to what
you are saying. A voice is a magnificent instrument, and it can
send out a subtext of excitement as readily as it can a subtext of
despair.
But with all this movement, you must still be sure you know
what you're doing, that you move your hands properly. The hands
are expressive, but they can express the wrong thing. There are
a few don'ts you must be aware of:

• Don't be a nose puller. Yanking and pulling at your nose is

a nervous affliction and looks bad.
• Don't be an ear twister. This is another nervous affliction
that says the wrong thing.
• Don't stroke your chin: still another nervous gesture that can
put off a client.
• Don't scratch. So many people do this without being aware
of it. It's likely to make the client itch!
• Don't bite your nails or pull at the cuticles on your fingers.
Believe it or not, some people do this while selling!
• Don't jingle coins in your pocket as you talk.
• Final don'ts: Don't doodle or toy with things. Picking things

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up and putting them down, unwinding paper clips, twisting

pencils and fidgeting with pens, playing with your ring—these
are all nervous mannerisms that can annoy your client.

IT'S THE SIZZLE THAT SELLS THE STEAK

I have a good friend, Jim, who's long past the half-century mark.
Jim spent most of his life in sales, and then became CEO in
charge of sales for a nationwide organization. He's retired now,
doing consultant work, but he likes to talk about the "good old
days," and most of what he says is very applicable to what concerns
us today.
"I started out working with the president of the Tested Selling
Institute in New York City. That was back in 1942. He knew all
about subtext way back then. His favorite line was 'It's the sizzle
that sells the steak, not the cow!' Though, to tell you the truth, I
think the cow's pretty important."
I asked Jim to explain that. "Well, you never saw a cow walk
through a restaurant enticing the customers to carve themselves
a sirloin. But let a waiter carry a sizzling platter of steak through,
and everyone's mouth waters. Now everything you sell has to have
a sizzle. You find the sizzle in your product and you're halfway
home!
"Once you've got that down," he went on, "you need a touch
of showmanship. You know, what you do is as important as what
you say. The way you move your hands and feet, the way you
touch the product, that's all important. Watch that eyebrow. Lift
it in surprise, and you can lift yourself right out of a sale. You've
got to be sincere. Your smile has to be sincere without becoming
a smirk. You have to send out an impression."

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"A subtext?"
"Exactly. A subtext that says you're pleased by the customer
pleased with your product, glad to have a chance to sell it, confident
about an order."
Once I related the idea of subtext to Jim's "sizzle" I began
going over some of the showmanship techniques he once used in
order to sell.
When he sold insurance, he stressed the subtext of the money
that the policy would provide for leisure and travel. To get that
sizzle across, he'd show his client pictures of distant, exotic
places—Hawaii, Japan, Kenya. When he sold men's suits he'd
tie a string and a weight to a button to show that it wouldn't
come off. This kind of showmanship created strong subtexts in
the client's mind—the sizzle that sold the steak.

GIVING TWO CHOICES

My six-year-old granddaughter was a bit too bright for her mother,
and hoping for some advice, my daughter consulted a psychologist:
"I can't get her to do what I tell her to."
"What you have to do with children that age," the psychologist
advised, "is give them two choices. They'll always take one."
Dubiously, my daughter tried it out one night when the child
wouldn't clean up after playing. "You have two choices. Pick up
your toys or go to your room!"
My granddaughter looked thoughtful, then said, "I don't like
either of those choices. Is there another one?"
Well, she's a bit cagier than most people. A real estate sales-
woman uses the two-choice method very successfully. She told
me about a doubtful client to whom she was showing two condos

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on the thirty-second floor of a New York building. She felt that

she was ready to zero in and clinch the sale. Inside one condo,
she said, "This has a magnificent view of the Hudson, hasn't
it?" The client agreed. When they looked at the other, similar
condo, she said, "Here's another magnificent view. The East Riv-
er." Again the customer agreed. "Which view would you prefer?"
my real estate friend asked. The client looked out the window.
"Oh, the Hudson River, of course." That did it. She was on her
way to a commitment.
In selling, it is a good idea to give the potential buyer a choice
between something and something else, never between something
and nothing. Then, with a leading question, you can get a commit-
ment of sorts, and you'll be ready to sell.
Another technique in selling is not to fight the would-be buyer.
If the buyer disagrees about one point, think about it a moment,
then: "I see your point, but . . . " And then get into the sales
pitch. You send out a subtext of agreement. You are on the buyer's
side, and that tends to temper any hostility.
But in using this technique, be sincere. Understand that there
is probably something valid about the objection. Examine it and
find a way around it, but don't deny it. That sends a subtext of
"I know better than you," and even if you do, you don't want
the buyer to think so. Agree, then explain: "I'm glad you brought
that up," or "Most shrewd buyers ask me that," or "Yes, you're
right. I was going to explain that."

I'M THINKING SERIOUSLY OF BUYING

One final subtext that every good salesperson must learn is the
one that signals when the client is ready to buy. Too often sellers

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let these subtexts escape. You have to be alert in order to grasp

and understand them. My retired salesman friend speaks of his
mentor once again.
"He used to divide these signals into two parts, the spoken
ones and the unspoken ones. Let me give you a few examples of
spoken signals. These are the ones you listen for. When you
hear them, you stop your pitch and ask for the order.
" 'How is that cosmetic made?'
" 'Will that metal tarnish?'
" 'Will the material stand up under everyday wear?'
" 'Can I take these outside and look at them under the light?'
"People ask questions like these when they're thinking out loud
about buying. When you get this type of question, the subtext
says, 'I'm ready to buy.' Don't waste time or spoil the sale by
continuing with your pitch."
The best of these signals relate to money!
"Can I pay monthly instead of weekly?"
"Would I save anything by buying in bulk?"
"Are they all the same price?"
"What kind of a break can you give me in price?"
"How much deposit do you need?"
Don't ever pass by the price question. The subtext is pretty
obvious: "I'm just about ready to buy!"
Other signals are the more subtle ones of body language, my
friend explained. "We knew all about that back in the forties,
though we didn't call it body language until you coined the name.
Mainly, we looked at the customer's eyes. I believe the eyes really
are the mirror of the mind. Mostly, customers try to keep a poker
face and not let you know what they're thinking, how interested
they are. But when their eyes keep looking at the samples or at
the contract on the table, they're interested! Pick it up and talk

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about it, explain it. When the customer asks 'How does this work?'
or 'Where does this come from?' or better yet, 'What I need this
for is • • •' then you're home free!
"I'll tell you some more unspoken or body language signals.
When customers' eyes are half-shut, they're doing some big thinking
about buying. Don't talk too much. They probably aren't listening.
But when they purse their lips, they're very close to buying. Then
you zero in on the things that interest them and repeat them.
Produce your contract. Talk about quantity discounts. That's your
big moment. Grab it!"
Here are some other important nonverbal signs:

• The customer keeps handling the contract.

• He scratches his head thoughtfully.
• She toys with a pen.
• He rubs his chin thoughtfully.
• She leans back in her chair, thinking.
• He calls a friend for advice.
• She bites her lip or furrows her brow.

In all these signals, the subtext is the same: "I'm thinking

seriously of making a deal."

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DANGEROUS
LIAISONS

THE MAN WHO LOVED HIS BOSS

"My trouble really began," Art told me, "when I fell in love
with my boss.
"I was assistant sales rep, and Simone was head of the depart-
ment. I was attracted to her the day she interviewed me. There
was something about her . . . As if she really cared that I wanted
to work there. I know I'm good at my job, but I've never had

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such a positive response at an interview. And then—there were

all kinds of things. Nothing overt, but—well, the vibes were right."
"Vibes?" I asked.
"Well, I know you'd call it subtext, and I guess it was. It was
something I couldn't put my finger on."
"You flirted with each other?"
He hesitated. "Flirting is too strong a word. It was a whole
group of little things like when we discussed sales strategy. There's
nothing romantic in sales strategy, but the way we talked about
it, and only to each other, the words we used . . . I'd be stupid
not to realize that something was going on."
"What about body language?"
"Well, we'd come in close when we talked about a client, as
if we were sharing a secret."
"You mean you shared personal space?"
"Exactly. It was a little strange, at first, but I kind of liked it,
and I found myself responding. We were alone in the office one
night, going over some contracts. Why were we working late?"
He shrugged. "I think it was both our faults. I'd set up a situation
where we just couldn't get all the work done in time for the next
day's board meeting. She went along with my little conspiracy.
And then—it was our first kiss—and our last."
"Why your last?"
"Because I suddenly realized what was going on. Look, she
was five years older, a lot smarter, and on her way up. I was
just getting started in the firm. Sure, I've heard of people sleeping
their way to the top, but I just thought it would be professional
suicide. I didn't want a real commitment at that time. Suppose
she did? I'd be on the spot if our romance went sour for any
reason. I'd be in deep trouble. I did the most sensible thing I
could. I backed off and went job hunting right away!"

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SLEEPING YOUR WAY TO THE TOP

Is Art's story unusual? If he had started an affair with his boss
could he have used it as a boost up the corporate ladder? Or
would it have been a mistake? We've all read the glitzy novels
about people who sleep their way up the corporate ladder. But
what's the real story?
In a recent poll of one thousand working men conducted by a
national magazine, almost half of those thirty-five years or under
felt that a man could indeed sleep his way to the top. Those
over thirty-five were more doubtful, but still one-third of them
felt it could be done; and yet only 6 percent of the men polled
say they have tried it.
To pin it down a little more, 71 percent of the men polled
had worked for a woman, and a quarter of those said they were
sexually attracted to her. A fifth said the boss was attracted to
them.
Art, who was forty and divorced, felt that dating his boss would
lead to "professional suicide." But more than half of the baby
boomers in the poll allowed that they would feel comfortable in
such a situation. The generation gap is in strong evidence here.
What about the woman who tries to use sex and its subtext to
get ahead? Consider the story of Cynthia and Leslie, stock traders
at a brokerage house in Chicago. "We were both hired at the
same time," Cynthia recalled, "and there was always some friendly
competition between us. It came out in the open when a really
good position as vice president in charge of trading opened up.
We had the same seniority, and our work was on an equal level,
but Leslie dressed in a way that I couldn't help admiring, but
would never dare imitate. The signals she sent out were pretty
clear.

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"We knew the position of vice president would go to one of

us, but after the first week I was sure it was Leslie's. She began
an all-out campaign to seduce our boss. At first it was just some
flirting, but then it was a few lunches together, and finally, she
told me smugly, they were going out after work on a real date. I
found out later that it ended in a hotel room.
"Well, I figured that was it—the job was hers. But to my surprise
she came into my office a week later in tears. What was wrong?
The boss had told her she was fired! He just couldn't work with
her after what happened. He'd give her a good reference, but
only if she kept quiet about their affair.
"I felt bad for Leslie, but I was thrilled when the boss told
me that the position was mine. It was the first time I realized my
low-key image might be an advantage."
Cynthia's "low-key image," which she had sometimes wished
she could change, sent out a subtext about her ability to do the
job well. True or not, we often assume quiet, unassuming people
are more efficient than sociable, flashy ones. Although Leslie was
just as good a worker, her extroverted style had a different subtext.
She was "available," and her flirting made that clear. It was easy
enough for her boss to respond, but while he may have felt that
a one-night stand was okay, he wasn't about to let a relationship
complicate his job. Leslie had misread his subtext.

SEXINESS IN THE CORPORATE WORLD

In actuality, it wasn't Leslie's "style" that did her in, although
her style sent out a subtext of availability. It was her assumption
that she could parlay that subtext into a promotion by sleeping
with the boss.

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Helen Gurley Brown, editor of Cosmopolitan magazine, has had

a wealth of experience in the workplace. Although her ideas go
against most viewpoints, they are worth mentioning because of
her success.
Gurley Brown's very strong feeling is that it's altogether good
and proper and advantageous for a woman to send out a subtext
of sexiness in the corporate world. In her book Sex and the Office
she suggests that provocative clothes can be a "secret weapon"
for the businesswoman. Among her recommendations is "boy tailor-
ing" on a woman's "curvy" body. She feels that the contradiction
is arousing. She also advocates revealing dresses and stimulating
perfumes.
But she seems to be alone in her advocacy. Almost every other
authority on working women feels that any subtext of availability
on the job will inevitably backfire.
If an office romance holds danger for a woman, it is equally
dangerous for a man. Unless the relationship is a serious affair
that will end in a real commitment, it leaves him vulnerable to
obvious problems: Other workers will soon be aware of what's
going on and will resent it; his own supervisors will probably
frown on the arrangement; and he cannot expect the same kind
of working relationship with a lover as he could have with someone
less personally involved.

THE END OF THE AFFAIR

Dating the boss, male or female, or dating anyone whose position
is above yours, is only part of the problem. The really tough
part is putting an end to such an affair. The person higher on
the corporate scale usually sees the best solution as getting rid

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of the other partner. The question of blackmail—"Fire me and

I'll spread our affair all around"—is countered by "If you want
decent references, play ball!"
Sometimes it's important to get out of an affair before it starts.
Ending the affair is a difficult problem, and, as Art sensed, such
a quick way to the end of a job that the best possible advice is
don't, under any circumstances, date anyone on a higher level
than you. Good advice, but since we're all human, it is not always
followed.

ROMANCE IN THE OFFICE

Should romance in the office be off-limits altogether? Is there no
place for it? The truth is, many marriages and lasting relationships
have come out of office romances. The logic runs: What better
place is there for a woman to find an eligible man? Or a man an
eligible woman? It is only when the relationship is out of kilter
that danger sets in.
Art, in falling for an older woman higher on the corporate ladder,
stepped onto shaky ground. Leslie, in attempting to seduce a
man in a higher position in order to get ahead, was in that same
danger zone. Leslie's subtext was very obvious, but false. Art's
subtext, less obvious, still had a note of insincerity about it. He
had no intention of going on to a serious commitment, something
his boss was looking for.
On an equal and honest footing, the subtexts can all mesh
easily. "I like you." "I want to know you better." "I might even
be falling in love." There is nothing wrong with those signals.
There is only danger when they interfere with the job or with
relationships on the job.

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"I would ask out a woman I work with," one executive told
me, "but I would do my best to keep it out of the office."
"In my experience," a woman executive told me, "practically
every man in our office either has had an affair or is capable of
having one."
"Most of the women in the office," one secretary told me, "will
date a fellow worker. Sure, some of them marry the men, but
not all!"
In my own office experience, I can count at least seven married
people who started office affairs. Four of them eventually divorced
and were "happier" with their new mates. The other three managed
either to have their partners transferred or reassigned themselves
when the affairs broke off.
In the long run, I still believe that the office should be off-
limits for romance. Letty Cottin Pogrebin, who has had varied
experiences in the workplace, agrees. In her book How to Make
It in a Man's World, she advises workers to nip on-the-job romance
in the bud. "It's likely to imperil the job when the sweet talk
turns serious." She cites office romance as a hazard that lies in
wait for those who mix business with pleasure. Pogrebin advises
self-discipline in office relationships and suggests that people look
to parties, friends of friends, blind dates, clubs, adult education,
or other activities before turning to the office. But she, too, recog-
nizes the driving force of sex and concludes that yes, "you can
have an office romance as long as it doesn't interfere with office
business."
Many companies disagree with this and have even set up rules
against it. Some law firms will actually write an employment contract
that prohibits marriage between employees. The Hewlett-Packard
Company has a policy that specifically discourages nonworking
"relationships" between supervisors and those under them. They

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feel that there would be a potential conflict of interest involved.

However, Robert Mathis, the Kayser Professor of Management
at the University of Nebraska in Omaha, believes that you can't
control Cupid's arrows. "Just as you can't legislate morality, you
can't completely outlaw attraction in the office." Still, he thinks
that companies should have clear policies about dating.
The Gannett Company faces the reality that sex will be an
issue wherever men and women work together. Christine O. Lan-
dauer, the company's director of training and development, re-
marks, "If employees let their personal relationships affect their
objectivity in the office, then we deal with the problem. But we
would consider it unfair to prejudge the professionals we employ
by assuming they couldn't separate their working lives from their
personal lives."

SEXUAL HARASSMENT
Another way in which sexuality complicates life in the workplace
is when harassment becomes a problem. What is office flirting
and how far can it go before it becomes harassment? Let's take
the case of Jane, a dispatcher for a large construction company
in the southeast. Dispatching was a job traditionally held by men,
but Jane, a widow with two children, needed the higher salary
the job paid and passed the company test ahead of the other
candidates. She was a good worker and a cheerful one. "I knew
my job, and I did it," she recalls. "I didn't waste time around
the office coffee machine."
Jane was an attractive woman, and all the other employees
were men. "I don't know when it began to be more than I could
take," Jane said. "At first it was jokes, then off-color remarks as
I went by. If I complained, I was a poor sport. But I didn't feel

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that it was just friendly ribbing, and when I refused to go along

with it, it became a lot more serious.
"Sometimes, they'd deliberately brush against me as they passed
Sometimes it would be a so-called harmless pat on my behind. I
knew the subtext behind all the innuendos and suggestions. It
was out-and-out sexual harassment!
"I finally went to the boss to complain. I hated to, but I couldn't
handle it. He listened, then looked at me as if I were crazy.
'Hey, it's just the guys. What the hell, they don't mean anything
by it. That's just the way the guys are.' "
Jane's experience is not at all unique. In fact, it's a very common
situation. The joking and leering seem to be purely sexual on
the surface, but there is usually a deeper subtext, especially when
a woman is doing a job traditionally viewed as man's work. Then
the subtext is envy and anger, a buried male resentment against
women striving for equality, a resentment that surfaces as sexual
innuendo and is, in reality, sexual harassment.

THE LEGAL ASPECT

Could Jane have taken her case to court? Probably, but it would
have been a hard fight. Only a handful of cases brought by women
complaining of sexual harassment have produced grounds for legal
action. The reason? The courts are often unsympathetic; there is
always fear of reprisals; and the resolution of a case can take
years, prolonging any emotional turmoil and creating a serious
financial drain. Many women are understandably reluctant to be-
come embroiled in such a difficult situation.
But this is changing as women continue to enter the workplace
in increasing numbers. Employers, either realizing the importance

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of women workers and their contribution to business, or aware of

a 1986 Supreme Court decision that an employer is legally responsi-
ble for preventing sexual harassment and providing a harassment-
free environment, are taking the initiative in fighting harassment.
Good Housekeeping points out that in Camden, New Jersey,
the Campbell Soup Company began a program shortly after the
Supreme Court decision to teach its 1,700 workers just what the
court has ruled about sexual harassment and how to handle it.
The company spokesperson explained that "it's in the company's
own interest to prevent problems and quickly solve the ones that
do occur."
Campbell isn't the only company taking action. Among others,
Du Pont, in Wilmington, Delaware, uses half-day seminars to teach
its 100,000 company employees the subtexts of sexual harassment
and what help is available.
Freada Klein, a human-resources consultant from Boston, justi-
fies these training policies. "Companies need to reach out to their
employees to say it's okay to speak up," she says, explaining
that even when there is a policy against harassment, some women
are afraid to come forward.
There are advantages, not only to a company that discour-
ages sexual harassment, but also to its workers. K. C. Wagner, a
Manhattan-based consultant who does corporate training on sexual
harassment, says that problems resolved within the company result
in less damage to workers' careers and emotions.
One important factor is understanding just what sexual harass-
ment is. What are the subtexts that clue you in to when it's happen-
ing? The difficulty is that there are very few objective subtexts.
Sometimes the harassment is obvious, but far more often it exists
in a gray area that boils down to one person's perception versus
another's.

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Good Housekeeping points out that, legally, there are two kinds
of sexual harassment: "Unwelcome verbal or physical conduct of
a sexual nature used as an outright or implied basis of one's
employment or advancement," and "A hostile or intimidating work
environment created by sexual jokes, teasing or comments, or
even the presence of suggestive posters."
Behind the teasing, the suggestions, the posters, there is the
subtext that says "Women do not belong here, or if they do,
they are to be used by men."

THE OTHER SIDE OF THE COIN

It seems, from everything written about sexual harassment, that
it is a one-way street—that women are harassed by men, but
men are never harassed by women. In general, because of the
way our society is set up, this is true. Sexual harassment of men
does occur, but very rarely and only in extreme circumstances.
Kenneth is a young accountant working in a real estate office
in a large city. He handles the computer setup and the accounting
details, and he recently decided against filing a sexual harassment
suit only because he felt it would make him an object of derision.
"I'm the only man in an office of twenty women, and believe
me, it's no bed of roses! I thought, when I first took the job, that
I'd like working with a group of women. But I have to tell you,
they come on to me all the time. It may be teasing, and if I
complain, they pass it off as that. What's wrong with a little
harmless flirtation?
"Well, I'm a married man, and I don't think it's harmless.
They'll come up to my desk, lean over my shoulder, sometimes
even breathe in my ear. They may think they're kidding, but I
get a very raunchy message from them, and I don't like it! It

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goes on all the time, and it upsets me. I can't work to my fullest
capacity. I've complained to the boss, but she just laughs at me.

I know, men have been doing it for years and it's time we got a
taste of it, but I haven't been doing it, and I don't want to take
the blame for all men!"
Eventually, Kenneth solved his problem by quitting and finding
another job.

FIGHTING SEXUAL HARASSMENT

Male or female, what can you do to fight sexual harassment?
First of all, confront the harasser. If it's a man, let him know
he's behaving in an offensive way. If this doesn't work, then the
next step should be to tell him you'll notify your superior or his
superior. It's best to do this in writing. It is also important to
keep a written record of what is going on with dates and times of
harassment and an explanation of just what is happening. You
should keep copies of your records and memos.
If it continues beyond this, you must take the matter to the
company heads, reminding them that the corporation is legally
responsible for keeping a harassment-free atmosphere. If there is
a company complaint procedure, use it.
If all this fails to work, the next step should be to contact
your state department of labor or human resources. You can get
the telephone number of your Equal Employment Opportunity Com-
mission field office by dialing 1-800-USA-EEOC. They will advise
you, and tell you when to file on a federal level.
These steps are often frightening ones to most workers, and,
of course, must be considered carefully before they are taken.
But if the subtext of harassment is strong and doesn't let up, the
employee should take legal action.

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AND THE GLOBAL
12
WORKPLACE

THE AMERICAN BUSINESSMAN AND

THE SAUDI PRINCE
Because today's global marketplace often makes doing business
an international venture, understanding the subtextual language
of other cultures has become a vital job skill. A story is told of
an American businessman sent to Saudi Arabia to negotiate an

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oil deal with one of the four thousand Saudi princes. He was
finally able to arrange an interview to fit into the prince's crowded
schedule. It took place in a large ballroom just before a reception.
Eager to make his point, the American started his pitch.
The prince, interested in the project, moved within six inches
of the American's face. But the American was uncomfortable at
this close encounter, and moved back until there was what he
considered a comfortable four feet between them.
The prince moved into the distance at which he felt com-
fortable, six inches, and the American moved back again, un-
aware of what he was doing. In this way, the two men, in the next
fifteen minutes, covered the entire floor of the ballroom while
they talked, the American moving back, and the prince moving
forward.
The prince, however, became increasingly unhappy. The subtext
he was receiving was clear to him: "I don't want to be close to
you. You offend me. I dislike you." The businessman, too, began
to feel uneasy. Why was this man getting so unpleasantly close,
breathing in his face? He could actually smell the food the prince
had eaten. He even felt a disturbing sexual subtext to this closeness,
and he found himself stumbling, reddening, and looking away.
In the end, the deal fell through. No matter how profitable the
collaboration would have been to both men, the subtext of each
annoyed the other.
The different needs and desires for space in Saudi Arabia and
in the U.S. reflect two different cultures. Almost every culture
has its own rules for handling space, and in each a different
subtext is sent out when space is invaded.
In the United States and in England, people prefer a two-foot
bubble of space around them. When two people talk, the "bubbles"
touch, and there is a four-foot distance. This sends out a comfortable

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subtext. In any social situation, people arrange themselves so

that their zones of privacy are intact.
The poet W. H. Auden, in Prologue: The Birth of Architecture
recognized this and knew what subtext was sent out when the
zones are invaded.

Some thirty inches from my nose

The frontier of my person goes,
And all the unfilled air between,
Is private pagus or demesne.
Stranger, unless with bedroom eyes
I beckon you to fraternize,
Beware of rudely crossing it:
I have no gun, but I can spit.

Private space should only be intruded on by a lover, according

to Auden. Anyone else is suspect. It's no wonder that the American
businessman saw the prince's intrusion into his space disturbing
and sexual. In truth, however, people in the United States also
accept intrusion by close friends and loved ones without perceiving
a sexual subtext.

HOW DIFFERENT CULTURES HANDLE SPACE

The way we handle space has a direct effect on how we perceive
and send out subtexts. In dealing with other cultures, we should
be aware of how each handles space.
Arabs, as the prince in our anecdote indicated, are comfortable
with a space of six inches between them when they talk. The
Arabs like to touch one another. When possible, Arab homes are
large and airy, but the residents cluster together in one small area.

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In public, Arabs have little concept of privacy. An Arab will push

into line and consider this acceptable behavior. When an Arab
wishes to be alone, he will simply withdraw into himself. Ameri-
cans, interacting with Arabs, consider this withdrawal insulting.
In Germany, there is a pressing need for private space. During
World War II, when German prisoners of war held in the Midwest
were housed four to a small hut, they went to great lengths to
find material to build partitions so that each man could have his
own private space. In Germany, private space—screened balconies
and fenced-in gardens—is held sacred.
In German offices and homes, doors are usually kept closed.
In American homes they are usually left open—except in teenagers'
rooms. During adolescence there is often an overwhelming need
for privacy. Americans will shut themselves up in their own rooms
when they want to be alone.
The English internalize their barriers in an attempt to find pri-
vacy. The English attitude arises from a culture that does not
have a great deal of space. Because of this, being close to someone
physically does not mean that two people are friends. Sociologist
Dr. Robert Sommer, in his book Personal Space, quotes an English
host talking to an American visitor. "Forgive us our seemingly
cold indifference. This is a small and crowded island. We exist
only by ignoring each other."
The French, too, are crowded—more so than the Northern Euro-
peans. But in France the crowding evidences itself in a love for
the outdoors, for sidewalk cafes. The home is for the family; the
outdoors is for socializing and business. On a business trip to
France, very little of my work was done at the host's office, and
none at his home. Almost all of it was conducted in restaurants
and cafes where long, elaborate discussions about the food took
place before we got down to business.

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In Japan, where space is also at a premium, people have solved

the problem by putting a different psychological interpretation
on space. Crowding together is considered a sign of a warm and
pleasant intimacy. In certain situations the Japanese actually prefer
crowding.
Handling space is only one of the ways in which cultures differ
subtextually, and only one of the arenas in which a little subtextual
language skill can make a big difference in earning big profits
internationally. In preparing this chapter I spoke to many business-
people who had worked and traveled all over the world. Rather
than trust one person's judgment or observation I insisted on inter-
views from at least five different people for each country before I
settled on the person whose experiences I believe to be most
representative.
Since I was dealing with many variations in subtext, I was
reluctant to see any trait as a national characteristic unless it
was cited a number of times in different situations. Even then,
there are always exceptions to the rule, and what seems to be
prevalent in any country may not apply to everyone.
Almost all the businesspeople asked me not to use their names
or accreditations since they were still doing business in these
countries or acting as consultants to Americans doing business
abroad. I have respected their wishes for anonymity, but I have
told their stories with great exactitude. Here are their experiences.

EXPERIENCING THE SAUNA

John, a citizen of the United States, is a professor of management
at an outstanding university and has had thirty years of business
experience. For the last ten years he has been an international

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consultant. I asked John about his experience doing business in

various European countries and the different subtexts he found
there.
In describing Scandinavia, he noted that the Danes are very
much like the North Americans. "They have a good sense of
humor, but they know when to be serious. As for subtext, what
you say is what they perceive. There are very few subliminal
messages."
By contrast, he pointed out, the Swedes are very aloof. "They
are not about to accept you on your own terms, and it takes a
great deal of time for you to establish a relationship with them.
They don't engage in prolonged conversations. If you ask, 'How's
the weather?' a Swede will answer, 'It's fine.' Nothing beyond
that.
"With the Danes, when you ask about the weather, they'll settle
back and start with, 'What part of Denmark are you interested
in?' and it goes on from there."
I was most intrigued when he talked about the Finns. Finland
is a bilingual country with Finnish and Swedish as its two languages.
Unfortunately, though John could speak Swedish, few Finns were
willing to use it in business meetings. They all spoke Finnish, a
difficult language related to almost no other in Europe. In business
negotiations, John found the Finns very tough, very specific, and
very demanding. The subtexts they sent out to him were "We
are a closed society. We do not trust any outsider."
"I was there on business," John explained, "at Rosennew, the
biggest foundry in Finland, I was trying to get them to make a
line of enamel-on-steel cookware. Most of their products were
castings for heavy farm equipment, but they did have some con-
sumer products, and I knew they could turn out what I wanted.
"The trouble was, I was getting nowhere. We just couldn't negoti-

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ate a price. They wouldn't understand who we were as a company

and they really didn't care to understand. They were more interested
in my understanding who they were.
"While we were talking and getting nowhere, in an attempt to
make small talk, I asked about the sauna, a national phenomenon
in Finland. No other Scandinavian country had it to any degree.
"For the first time in our talks they seemed to come alive,
and they explained that since their country was so bitterly cold,
the sauna was a good place to keep warm and to discuss business.
When I told them I'd never been in one, they tentatively invited
me to have our next meeting there. I realized they weren't sure
how I'd take the invitation. How do you invite an American to
get undressed to come to a business meeting? I began to understand
that a lot of their business is actually conducted in the sauna!
"When I accepted the invitation, they were pleased. We went
into the sauna, stripped to the buff, and they began to discuss
business. There was a lot of joking, and an easy camaraderie
developed. All of them spoke Swedish for my benefit. To my
delight, I got through just what I wanted to. It was a totally different
relationship!"
The subtext, John realized, was obvious: "We don't trust you
until we understand that you won't laugh at our ways or look
down on us as many foreigners do." But there was another, more
subtle, subtext in the sauna meeting: "When you are naked, you
have nothing to hide! You are willing to expose yourself. There
was a sense of equality among us. Dress, position, even aggressive
boardroom moves were forgotten. We were definitely on the same
level."
John found that getting into the sauna established trust. "Once
I realized what was going on," John explained, "I accepted other
elements of their culture. They believe that Americans eat only

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steak and look down on reindeer eaters. They were pleased when
[ ordered reindeer meat as my main course during dinner. They
became more open, and I was more at ease. The barriers between
us dissolved."

BUSINESS IN GERMANY, FRANCE, AND BELGIUM

The Germans, John told me, in many ways do business like the
Finns, in the sense that they are tough, specific, and demanding.
But that, he emphasized, is now. "I first went to Germany to do
business in the early fifties. They were still recuperating from
World War II, and we were the conquerors. We could do no
wrong, and they were eager to shed their guilt and tell us how
sorry they were. The subtext: 'We are out to please you at any
price.' "
However, returning to Germany in the sixties, John found that
things had changed drastically. "In Hamburg I met the same people
I had met twelve years ago. They were prosperous, and the war
was in the past, forgotten. They talked down to us in business
dealings because they were dealing from a position of power.
The subtext was 'We are the top guys!'
"In Germany today, they believe in candor. They no longer
worry about hurting your feelings. If you put out a proposition
that they think is terrible, they'll tell you right out what they
think of it. The subtext is 'We have the power and the strength.
You meet us on our terms.' "
France is quite different, according to John. "It's very regional,
and doing business there requires different strategies, and you
run into different subtexts depending on whether you're up north
or down south, east or west. The closer I got to the Belgian border,
for example, the more provincial I found the people to be. It

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was almost impossible to hold a discussion on a factory level

Why? Because there was no contest. You could win in any negotia-
tion. Their subtext was 'We're uneasy because you're tougher and
more knowledgeable than we are.'
"However, that was in the provinces. As you get closer to Paris
doing business is like doing business in America. The only hurdle
is the language. There's been a lot of talk about the French refusing
to have anything to do with you if you don't speak French. I
never found that to be true. In fact, if you knew the language,
they were tough negotiators, but if you didn't, they would go out
of their way to make you feel at ease and help you. If you spoke
the language, the subtext was 'You are on our level. Let's slug it
out!' If you didn't speak French, the subtext was 'We'll help you
get over the difference between us.' "
John had done some business in Belgium, and he saw the Bel-
gians as "poor Frenchmen," who try to emulate the French, but
never quite succeed. "Their standard of living," he said, "is lower
than that of the French, and they have more trouble with our
language. In French industry, you could always find someone
who spoke English. Not in Belgium. Outside the cities, you had
to rely on interpreters, and there's one big problem with interpreters.
There is no subtext!"
John explained what he meant. "An interpreter never editorial-
izes. He or she simply takes your words and translates them as
literally as possible, and that leaves out all of the nuances—and
all of the subtext."

JAPAN
In Japan, however, the reverse is true. According to Cathy, a
woman in her thirties who speaks Japanese fluently and has spent

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many years as a business consultant in Japan and America, you

can ask a Japanese businessperson a question through an inter-
preter, listen to a half hour of back-and-forth talk between inter-
preter and businessman, and then have the interpreter tell you,
"He doesn't think he can do it."
The long exchange is an attempt to evaluate you, the short
reply is the outcome of that analysis. "The Japanese are very
concerned with what sort of person you are. How do you think?
Can you be trusted? All of that is part of the translation, which,
of course, you never hear. You receive a filtered-down ver-
sion. Actually, you get the subtext. They do a great deal of editori-
alizing. "
A point to remember when doing business in Japan, Cathy
points out, is that the Japanese never want to hurt your feelings.
In a business deal, things may look good to an American if he
or she is taken out and wined and dined. The American sees the
subtext as "The deal is going through." In fact, this wining and
dining can have just the opposite subtext.
"I ran my own consulting business in Japan," Cathy told me,
"and at one point a Japanese bank wanted to branch out. An
American attorney who had hired me hoped to convince these
bankers to retain him. After a long business meeting, the head
of the Japanese bank took us out for a very expensive lunch. My
client was sure that he was their man. Why else would they insist
on such a long and lavish lunch?
"As we left the restaurant, I thanked the banker, in Japanese,
and with a slight bow, he said, 'It's the least we can do.' I knew
it was his way of saying, 'No deal.''
One of the most important subtexts in Japan has to do with
age. Older people in Japan, unlike in America, are venerated
and treated with great respect. Cathy told me of a young "hotshot"

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American lawyer who spoke Japanese and was respected by his

Japanese colleagues. He worked for a Japanese law firm, but
they wouldn't let him service his Japanese clients alone because
he was only in his thirties. His firm knew that the clients would
be insulted unless a more experienced attorney was present at
meetings. The older lawyer, whether he was capable or not, gave
a subtext of authority to the meetings.
"There are many subtleties in dealing with the Japanese," Cathy
stressed. "Exchanging business cards is one area that can cause
problems. In the United States, you take someone's business card.
Perhaps you glance at it, then you put it in your pocket.
"In Japan, that would have all the subtext of an insult. You
must take the card, study it and make some complimentary comment
about it. Then you place it on the table and leave it there for
some time. Put it away too soon and you've insulted the owner.
The subtext would be 'This person is not important.'
"We Americans see Japan as moving at a slower pace. We
are often frustrated because they take a long time to make decisions.
Here in the States, a top executive will make a decision and
impose it down the line. In Japan, there is a committee, and
everyone on it has input into that decision. Each person reads
the document with the decision and stamps it with a seal. They
don't sign things as we do. They use a stamp cut out of ivory
with characters engraved on it. The seal carries the same subtext
that a signature does here. 'I agree to this.'
"In fact, you can give someone else your stamp to withdraw
money from a bank, and the bank will accept it!
"Because so many opinions are needed to make a decision,
and because the Japanese favor compromise and consensus, meet-
ings can seem endless, and there will be meeting after meeting

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until consensus is reached. You have to be prepared for the long

haul if you do business in Japan."
It is also important, according to Cathy, that people of equal
rank sit next to one another at business meetings. The head of
the table with the seat of honor goes to the most important person.
"The seat of honor in a traditional Japanese meeting room," Cathy
notes, "is with your back to an alcove with a pleasing flower
arrangement, a must in any business setting. Americans would
think it more flattering to be seated facing the alcove so you
could see the flowers."
There are subtle nuances of speech you must be aware of at
Japanese business meetings, according to Cathy. When someone
says "We'll think about it," he or she is actually saying "No!"
At a table in a restaurant, when you are asked if you would like
another drink, you don't say "No, thank you." That would hurt
the host's feelings. Instead, if you don't want the drink, you say
"I'm fine."
In general, the Japanese culture uses politeness as a universal
subtext and as a mask. It is a very hierarchal society, and everyone
must know his or her place. Bowing, smiling, and mannered polite-
ness send out not-so-subtle subtexts necessary in a society where
crowding is universal. Oddly enough, in this crowded society,
touching is frowned on. The American habit of an arm around
the shoulder or a touch on the arm is abhorred.
I had always heard that women were excluded from business
in Japan, but Cathy assured me that this is not so. "If you're a
foreigner, man or woman, you won't fit into the system. But if
you're qualified, they'd just as soon deal with a woman as with a
man. I know."
As for Japanese women, it is not impossible for one to have a

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business career. What is impossible is to have such a career

and still be married. They feel you should do one thing and do
it right. They don't believe you can be a wife and a mother and
still work.
"I was the most junior member of a Japanese firm," Cathy
said, remembering her early days in Japan. "When we went out
to lunch, the most important man would leave first, and after
him, each would leave in order of importance. I'd go last and
have to push the door open myself. The subtext was clear. I was
low woman on the totem pole!
"Then a British attorney visited us, and we all went out to
lunch, and lo and behold, they held the door open for me to go
out first! I realized that it was because they thought that was
what the British visitor would have done, and they didn't want to
offend him."

MORE DEALINGS WITH THE JAPANESE

Anthony works for an import furnishings outfit, and frequently
travels abroad to arrange for import of various items from different
factories. He told me of his problems with a Japanese casting
factory. "I went there to see if they could make a certain zinc
die cast for a candlestick. We intended to silverplate the casting
because that would allow for fine sculpting, depending on how
the die tools were made.
"At the factory, I saw that they made excellent die castings
for industrial products. I showed the factory committee the sample
candlestick and asked, 'Can you do this?' They said yes and I
asked how soon can I get samples. They asked when I was leaving
Japan. 'In four days,' I told them. 'We'll have the samples for
you before you go,' they assured me.

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"Now I knew that was impossible. The tools are the key to
making a good die cast. Making a good tool is hard work and
takes far longer than four days. I told the committee, through
my translator, that they couldn't get a tool made in four days.
There was a lot of back and forth talk between the committee
and my translator, and finally I was told, what they are trying to
say is that if they had a tool, they'd get the candlestick in four
days.
"Why didn't they say that? Well . . . He couldn't answer that,
but I knew the real reason. They didn't want to hurt my feelings.
I might feel disturbed if they told me the truth, and I might
even go to a competitor. They'd rather lie to me and tell me
what I wanted to hear. Had I accepted the four day assessment,
I'd return to find it not ready. If I said, 'But you told me four
days!' they'd say, 'Very sorry. Unforeseen difficulties.''
In doing business in Japan, Anthony stressed, you must under-
stand that subtext, "We do not want to hurt your feelings." To
break through the subtext, you must phrase your questions properly.
Don't ask "How soon can I have the sample?" The time you stay
in Japan would determine the answer. The questions should be:
"How long will it take you to make a set of tools?" "Do you
make the tools here, or do you subcontract them out?" "What
will they be made of?" All these details will help you to pinpoint
the real answer.
According to all the people I have talked to, there are two
languages in Japan. One has a subtext that says "We want you
to be happy," and the other has a subtext of reality. To get at
that subtext, your questions must be specific, not general.
The Japanese habit of wanting to make the customer feel good
can be a defeating one. You can't run a modern business by
continually disappointing your customers. To compensate for this,

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the Japanese have established the Trading Company concept. The

Trading Company is essentially an administrative group of people
with some technical background in the industry they represent
A Trading Company will represent some ten to twelve factories
It handles the administration work and the invoicing. When you
finish playing games at the factory level (a necessary step) you
go to the Trading Company for realistic information on prices
and delivery. The Trading Company will only do business on an
open account. They deal with letters of credit to ensure that they
get paid if they live up to their contract.
In a Trading Company, the mask of politeness is partially
dropped. They aren't too concerned about hurting your feelings,
but to make up for harsh reality, they entertain lavishly. They would
think nothing of spending a thousand dollars for a dinner—of
course, the factory pays!

KOREA AND TAIWAN

Another businessman, who dealt with Korea, said that negotiating
with Koreans was very difficult because they are constantly trying
to second-guess you. "For some reason, they feel inferior in negotia-
tions compared to people from the United States. They consider
an American an ace negotiator because of his or her education,
background and wealth. They are slow to take your word, and
they spend a great deal of time boxing with you until they feel
they can understand your motives and whether you're sincere."
In Korea this businessman visited a foundry where he wanted
to get some decorative brass wall hooks made. The foundry was
very archaic, like foundries in the United States 150 years ago,
but it turned out beautiful products. Labor, of course, was very
cheap.

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He showed them his blueprints with the understanding that

since they made similar products they could gauge a realistic
price. They quoted thirty cents, which he knew was grossly under
value.
"Astonished, I repeated 'thirty cents?' That gave me away. They
quickly said, 'Well, that's for the one we're showing you. Yours
would be higher.' 'How much higher?' 'It depends . . .' We went
back and forth, like a boxing match, while they tried to psyche
me out. I got the subtext, 'It's going to be cheap, but we want to
know how high we can goose you.' In the meantime, I tried not
to give them my subtext—'I'll pay much more than you quoted.''
In Korea, my friend found two types of businesses: the very
small company, like the one he ordered the wall hooks from,
and the very large company employing up to forty thousand people.
The bigger the company, the more it resembled an American
corporation, and the easier it was for him to read the subtext.
"Talk to a Korean official running a steel factory employing ten
or twelve thousand people and it's like talking to a guy from
Pittsburgh. The text and subtext are pretty much the same."
This same man did a lot of business with Taiwan. There, he
said, you can negotiate anything, but you must also be ready to
second-guess everything. "It's a country where certainty doesn't
really exist in business. Even when it's signed, you're never sure
you have a contract.
"Now big businesses like RCA and GM have their own people
working there. They would rather not have the Chinese run the
plant. The Chinese in Taiwan are skillful, very good learners,
and can be taught to do almost anything, but I hate to do business
there no matter what the saving in labor cost. Their subtexts are
always confusing.
"For example, if you want an item for thirty cents and they

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offer forty, and, after negotiation, you get it to thirty-five—which

you can afford—you still won't have a firm commitment. If you
ask them how long they can hold that price, they'll tell you they
aren't sure. You get a lot of ifs and buts. If I tell them I can't
have an open contract, they'll ask me how many pieces I want
I'll tell them fifty thousand, and they'll come back with 'We can
probably hold it for fifty thousand.'
"Probably?
" 'Well, we can't be sure.'
"No matter how you try to pin them down, they always slip
away, and even with a firm commitment, the next shipment can
come through with an invoice a few cents above the agreed price.
They only tell you the probabilities, which you can be sure will
change. Oh, you can do business there, as long as you understand
the subtext behind the contract: 'Somehow or other we're going
to up the price!' "

THE ITALIAN WAY

Samantha, a woman in her fifties who travels through Europe
buying products for a chain of stores in the States, has had a lot
of experience in Italy. "They do make beautiful things, but the
Italians south of Milan, I must tell you, are almost naive in their
business dealings. They fully intend to stick to what they promise,
and their subtext seems to be transparent honesty and a deep
desire to accommodate you. You have to know that.
"You find an item you want, and they'll promise you delivery
in three months. Just what your schedule needs. The trouble is,
you won't get the delivery then. They promise you anything to
get the order because they know, if they get it, they'll get some

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payment. You may not continue to do business with them, but

they'll get something."
Samantha told me she had dealt with a very famous Italian
dinnerware manufacturer, who has a wholly owned subsidiary in
the States. "I think the parent company has sales of a billion
dollars, and the subsidiary sells twenty million. That's pretty small
in terms of the parent company, and so they treat it as nothing
and lie to their own subsidiary. They'll send cups without saucers.
The subsidiary can't use a cup without a saucer. Okay, they say,
they'll send it next week. When the order comes through, the
saucers are still missing. Now that's their own subsidiary. Imagine
what it's like if you aren't a subsidiary!
"The only difference is when you deal with a cooperative. Then
the plant manager has a sense of responsibility and you'll get a
realistic price and delivery on time."
Are there any tricks to doing business in Italy? I asked her,
and she shrugged. "I never found out how to be successful there.
Now I simply assume that if they tell me delivery will be in
three months, I figure six. I compensate. You know, I've even
tried doing business there with a letter of credit with an expiration
date. No difference. They'll let it expire. They feel that if you
buy on a letter of credit, then you're locked in. Your subtext
tells them you'll give in before they do. They let the letter of
credit be canceled, and they wait for you to say, okay, let's extend
it. That will buy time, but of course it's a risk."
"Is that true all through Italy?" I asked her.
"No. Not in Milan. That's the center of industrial activity. All
the businesspeople are located there. The bankers and industrialists
there have discovered that they can't survive without some stability.
There's more certainty in Milan.
"But the farther one gets from Milan, the more the Milanese

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see the people they deal with as peasants. There's a big class
distinction throughout Italy. In Sicily, for example, the people
call the Neopolitans Northerners. They're talking about people
only forty miles away! They think of all Northerners as big industrial-
ists. The truth is, however, that Naples is a poor, devastated
city rife with unemployment.
"Now I must point out that there are exceptions. There's Olivetti.
Olivetti distributes merchandise all over Italy and they have their
own way of doing things. There's an Italian phrase about Olivetti
that sums up the policy of the firm. It's Taco Olivetti. Roughly,
it means the Olivetti way. Somehow they are successful in a very
bureaucratic system. The whole industrial setup in Italy is bureau-
cratic, and it goes right through to the government.
"Don't get me wrong," Samantha added quickly. "They are
not dishonest in the way that we know dishonesty. They believe
that's the way to do business, and it goes right down through the
culture to the stores themselves. Everything is negotiable. There
is no set price, except in the supermarkets which are modeled
on Western styles."

THE HONG KONG CONNECTION

Elaine is a young woman who has spent six years in Hong Kong
working in banking. The business pace in Hong Kong, she told
me, is pretty much what it is in New York City, a fast-paced
environment. "The people hustle a great deal, and doing business
depends largely on personal relationships. A lot of business is
done in a social setting rather than in the office, over drinks,
over dinner, at the golf course, on a yacht. There are many hostess
bars in Hong Kong, and business is conducted there too.

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 WHEN WORLDS COLLIDE

"If you are a foreigner, you must get into that routine. You
must remember that going out to dinner, drinking, and eating is
a big social thing, more important than it is here."
There is very little cultural life in Hong Kong, Elaine told
me, and dining and social engagements seem to take the place
of theater and music. Foreigners, however, are rarely expected
to reciprocate in terms of entertainment. "They understand that
usually you are only passing through."
There is, however, a darker subtext to being a foreigner in
Hong Kong. Foreigners are still referred to as "foreign devils"
by the native Chinese. Although there is a surface camaraderie,
"backslapping, handshaking, a lot of physical contact, in general
they do not accept strangers," Elaine remarks. "To get to where
the power base is, you have to be an insider. Making friends,
even on a superficial level, takes a long time."
I asked how a foreigner could overcome the ethnocentricity of
the Chinese in Hong Kong, and Elaine shook her head. "With
difficulty. Of course, it helps if you speak the language, which
in the business world is usually Cantonese. It also helps if you
are a senior partner in your firm, an influential person or an
older citizen. Influence and importance helps, but age has a very
strong subtext in Hong Kong. Once, on a job interview with a
Chinese entrepreneur, an older man, I found that his wife and
children, present at the interview, treated him with extraordinary
respect. The women were silent, waiting on him and even anticipat-
ing his wishes, and his son referred to him as 'The Chairman,'
always in the third person."
It is best, Elaine stressed, to act deferential in your dealings
with older or important businesspeople. "They won't see it as a
sign of weakness or a lack of power. In fact, you would project

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an offensive subtext if you didn't, and you'd get nowhere in business

deals."
Age, rank, and being a man are the three things that send out
the most relevant subtexts. "I've been in situations where I was
excluded from business discussions simply because I was a woman!"
Elaine recalled.

THE RUSSIAN FAILING

Mike is an entrepreneur who has tried to do business in the Soviet
Union. "Tried is the operative word," Mike says. "In the States,
if the deal has something in it for both of us, it will go forward.
In the U.S.S.R., it doesn't make any difference. There is simply
no incentive to close a deal. The subtext you get is 'Why should
I bother? What good will it do me?' Now I'm speaking of government
agencies. Since there is no profit motive, no bonus or payoff,
there is no incentive.
"Even McDonald's," Mike recalled, "had a hell of a time setting
up their golden arches in Moscow. It took years before they could
get some flow or momentum, and even then the Soviets who worked
there had to be given lessons in subtext. They had to be taught
to smile and wait on customers without insulting them or taking
their own sweet time!"
According to Mike, and others who have done business in the
Soviet Union, there is a tremendous reluctance on the Soviets'
part to put themselves out, and the reason, of course, is that
they feel there is no profit or advantage in doing so. "There is
also a reluctance to experiment, an absence of innovation and
an overwhelming bureaucracy that goes right down from government
to individuals. It's very discouraging to a businessperson from

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the States. Americans read Soviets' subtext as 'I've got my job

no matter what I do or don't do.' We throw up our hands, and
yet . . . " He hesitated. "It's a market with such potential!"

INDIA
Mike has also done some business in India. "What a difference,"
he told me. "In India they let you do whatever you want to do.
You tell a manufacturer, I want that item for twenty-five cents,
and no matter what, you'll get it."
The pervasive poverty in India, according to Mike, forces them
to keep their small factories open at any expense. "It's their sole
support, and if they lose money on one deal, they'll look for
another to make it up.
"Usually, when you start negotiating at a factory, you find that
the person you are negotiating with will have some contact with
the factory, but he or she is not part of it. That person could
be the factory's outside accountant, lawyer, or a business acquain-
tance, someone who's considered your equal. . . . "
This outsider will do the talking, Mike explained, but you have
to read the subtext behind the talk. What they are talking about
is not necessarily what will happen on the factory level. "This is
tremendously important in making any contract or commitment."

GREAT BRITAIN: CLASS STILL COUNTS

In trying to get at the subtexts of businesspeople in Great Britain,
I talked to Ian, who has lived in the States for thirty years and
represents an American company abroad.
"I constantly do business with the Brits," he told me, "and
there have been great changes there in the past twenty years.

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Today, the British businessperson moves far more swiftly than

he or she used to, and is quick to understand what you are trying
to say. At one time, you had to be a social equal, but that's
changing, although it still exists among the older crowd."
Ian pointed out that Great Britain is a country where the subtexts
of your speech, clothes, and manners are all of great importance.
"The British Broadcasting Company, the BBC, set the standard
for proper English speech, and so much revolves around how
you speak. Your speech will slot you into the proper social level
at once."
I asked Ian what the British thought of the different subtexts
of American speech, and he shook his head ruefully. "The Brits
have a terrible time differentiating among the American regional
accents. All people from the States sound alike to them. However,
they do read the subtexts of our clothes and schools. Did you go
to Yale, Harvard, Amherst? You're right up there. Do you wear
the right cut of suit, the right shirt and shoes? All of that is very
important to them in judging character. You see, they tend to
wear their characters on their sleeves: a proper school tie, a Savile
Row suit, to them the subtext is 'You are a success, you are in
an executive position.'"
Another point Ian made is the British liking for ceremony and
its subtext. "They like to eat at fancy restaurants. They don't go
in for the quick sandwich at their desk as the American businessper-
son will. In Britain, you wouldn't take a business associate around
the corner for a hamburger. Although the very long lunch is out,
the executive lunch still lasts from noon to two. There is no power
breakfast in Great Britain. They like to linger over breakfast in
their own home. If you do have breakfast with a Brit, it will be
a social occasion, not a business one.
"British businesspeople like to play their own game, dignified

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entertainment and the subtext it sends out. They'll make sure

there's a bottle of champagne in the visitor's room—the nice little
amenities."
If a British businessperson has a nice home, he or she may
invite a visitor there for a drink before going out to dinner, or
maybe for dinner at home. "They like to show you their homes,
unlike the French or the Japanese."
Asking people to visit you for a weekend is still done after an
association has been established, according to Ian, but this usually
occurs only in the upper levels of society. The visiting person
must be of the same social class as the host. The invitation will
usually revolve around something they want to show you, like a
medieval church, or something they want you to watch, such as
a fox hunt or a race. Ian advises that it is good policy to accept
such an invitation. "The visit may interest you, but even if it
doesn't, it's part of the process of getting to know each other on
a nonbusiness level."
For all the social propriety, Ian feels that British businesspeople
may be quite ruthless. However, their approach is often determined
by the other person's attitude. "They regard Americans as pushy
for trying to get at a bottom line or a quick sense of direction in
a relationship. They're sensitive about that. They wonder why he
or she is in such a hurry. They won't come right out and say so,
but they read the subtext 'I am trying to put something over on
you,' into Americans' aggressiveness."
The British like to size up the Americans. "They will be interested
in your schooling, where you went to university. In your life-
style—though you should never pull out pictures of your wife
and kids. They'll assure you that they're very nice, but what they're
really thinking is, 'I wish you wouldn't start all this now!' They
are very reserved about their personal lives. In Great Britain you

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never ask anybody what he or she earns. The Brits have a rather
unkind joke about Americans. They say, you meet one and the
American immediately asks, How old are you? What do you do?
How much do you make?"
To break the ice, Ian suggests asking the British business associ-
ate about something that interests you. "If you are a theater buff,
you might ask about the latest production of the Royal Shakespeare
Company. They'd be quick to tell you about the season's openings
and might even invite you to see a performance. The trick is to
express your interest indirectly and let them help you."
The British no longer dress for dinner, but if you're invited to
dinner or to a country house weekend, it's proper to ask what
the dress will be. "They would much rather you ask than to have
you arrive dressed incorrectly."
A final warning Ian gave concerns the proper way to address
the British businessperson who happens to be a member of the
aristocracy. "If he is a knight named John Smith, you address
him as Sir John, not Mr. Smith and never Sir Smith. If he is a
baron, marquess, earl, or viscount, it will be Lord Smith, not
Lord John!"
In Great Britain, as in Russia and the Eastern Bloc countries,
change is going on, and many of the subtexts that work this year
may be out of date next year. This may be particularly true of
Russia, where the attempt to move into a free-market economy
could change the workers' attitudes.

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 A F T E R W O R D

r m s this book has shown, the abil-

ity to recognize subtext will not only allow you to express yourself
more effectively in the workplace, it will also help you to better
understand others. In some cases, understanding subtext can be
job-saving—provided that you act on what you know.
One man who failed to read subtext in time and act on it was
Orville Dale, formerly a labor-relations director at the United Artists

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Corporation. According to an article in The New York Times, Mr-

Dale discovered that his company was going to be acquired by
MGM, and he worried about his future in spite of the company's
reassurance that there would be no mass dismissal. "They kept
telling us not to worry, that everything would stay the same after
the merger, that everybody would stay in New York at their same
jobs," Mr. Dale remembered.
However, a perceptible, ongoing subtext contradicted the compa-
ny's overt reassurance and could have clued him in to reality.
"We were suddenly using European and other foreign banks for
financing, and our budgets for film production costs were starting
to dwindle," Mr. Dale said. He also recalled that money in general
was getting tight and that employees didn't know who their leaders
were, "the UA guys in New York or the MGM people in L.A."
Within a year, Mr. Dale, along with other directors, was out of a
job. Had he read the situation correctly, Mr. Dale noted, he would
have started job hunting at once.
Mr. Dale's case is not unusual. According to a Manhattan execu-
tive recruiter, most people like to take the "ostrich approach"
and ignore the signals. However, there is no question that if you
are willing to attend to them, there are usually perceptible subtex-
tual signals that can help you manage your career. Among the
obvious, but too often ignored, signals, this recruiter says, "are
things like, you suddenly don't get the same signals that others
get; you don't get invited to certain important meetings or social
events in the company, or you have to suddenly share your private
secretary." These signals, combined with the subtext behind your
boss's manner, can give you a clue that it's time to "jump." The
important thing is to read them and understand the subtext behind
them.
There are times when the subtext lies not in incidents but in

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 AFTERWORD

words. In case anyone doubts the important subtext behind words

alone, consider the unpleasant example of a letter written by a
conservative group during the 1990 campaigns and sent to Republi-
can state legislative candidates around the country. The letter
included a list of words useful in political campaigns to describe
opponents, words such as liberal, traitors, bizarre, sick, incompetent,
corrupt, shallow, pathetic, shame, and, of course, tax spending.
Gopac (G.O.P. Political Action Committee), the group responsible
for the list, had a good understanding of the intense subtext behind
each of these words. "The words and phrases used are powerful,"
Gopac explained to its candidates. "Read them, memorize as many
as possible. And remember that . . . these words will not help
if they are not used."
The vast field of subtext goes beyond words and actions to the
very appearance of things. This book has discussed how our clothes
and our faces send out a subtext to others, but very strong subtexts
are also sent out by possessions: a Lexus car, a Gucci bag, a
Montblanc pen, a Patek Philippe watch, or a corner office.
The growing recognition of this truth has been responsible for
a new business that could well be named Rent-A-Subtext. A Chi-
cago company, understanding the powerful subtext sent out by a
businessperson's attache case, is prepared to rent out a thousand-
dollar attache case for one hundred dollars a day. Its customers,
it hopes, will be those businesses who want their representatives
to make a particularly powerful impression.
This kind of false facade subverts the best of all purposes behind
learning to read subtext: understanding others and projecting a
subtext in synch with the best aspects of your own character. In
any interaction between people, there is the spoken text and the
unspoken subtext. Of the two, the subtext is the more honest
because it is usually unconscious. We can lie with words, but it

23 1
 SUBTEXT

is far more difficult to lie with all the subtextual nuances that
accompany those words.
Yet, once we learn the elements of subtext—the signals that
accompany our words; speech; the meaning of touch; the language
of our bodies and the ethnic, regional, and personal differences
in that language; the clothes we wear and the objects we use—
we are faced with the temptation consciously to control the subtext
we project in order to manipulate others in business and social
relations.
Sometimes such manipulation is necessary and good. Sometimes
it is immoral and dishonest. And there is always the danger that,
even with the best of intentions, conscious manipulation of subtext
can become obvious, and thus contradict its intended message.
We should remember that what we communicate with our subtext
is most effective when it is unconscious. When our actions, our
voices, our appearances all transmit a subtext without our being
aware of it, that subtext will be honest, will be perceived as
honest, and will be very persuasive.
Just as the salesman in our chapter on selling is at his best
when he believes in the product, so we are at our most convincing
when we ourselves believe in what we are saying, whether that
belief is based on intellectual reasons, on an emotional "gut"
feeling, or on a sort of self-hypnosis. Once we believe in our
own words, then all manipulative devices become secondary. The
unconscious can take over, and our subtext will be as strong and
as convincing as our text.
However, this does not mean that a person cannot learn all
the elements of subtext and put them to good use. Indeed, we
should do just that, for once the elements are learned and incorpo-
rated into our behavior, they will surface when they are needed
and we can use them convincingly.

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 I N D E X

Ability to handle power, 142-54 risk and, see Risk taking

aggression, 149—51 scoring the questions, 151
dominance quotient, 146-49 waiter with the water, 150
interior of exterior people, 143— Aging, 29
146 posture and, 80
leadership, 151—54 Agreement, 65, 189
power profile, 142-43 Anger, 131-32
scientific validation of, 142 Appearance, 4-5
Accommodation, 105 see also Image
Acton, Baron John, 138 Arabs, 204-207
Advertising, 177-78 Arrogance and contempt, 62
Affection, 51 Arthur, King, 87, 88
Aggressiveness, 84-85, 89, 149-51 Attention and interest, 60, 81, 88
movie line, 149—50 Auden, W. H., 206
new neighbors, 150-51 Aura of a product, 176-78

233
 INDEX

Autonomic nervous system, 130—31 control and, 20

Awkwardness, 44 empathy and, 110
eye contact and, 129
Bakker, Tammy Faye, 17 mask and, 18
BBDO International, 13 power and, 155-56
Beards, 162 touch and, 53
Belgium, 212 Chow, Mina, 10
Bill Blass products, 178 Churchill, Winston, 85
Blinking, 129 Clark, Bill, 31
Blushing, 130-31 Clark University, 8
Body language, 58-91 Clothing, 4-5, 24-28, 30-34, 80
blindness to, 66-67 at job interviews, 160-62
eye contact, see Eye contact Coldness and withdrawal, 60, 72
gestures, see Gestures Colors, 24, 25, 26, 33, 161
posture, see Posture Commercials, 12-13
selling and, 180, 185-86, 190- Competence, 15, 24, 25, 28, 49, 80
191 Concern, 53, 109
space, see Space Confidence, 23, 26
Bork, Judge Robert H., 10 flexibility and, 108-9
Broadcast News, 40 risk and, see Risk taking
Bush, George, 17 selling and, 181-82
Business executives, 11, 13—14 Control, 20-22, 49, 164
clothes and, 24-28, 30-31 Coping, 35-37
first names and, 23—24 Corry, John, 10, 11-12
hair and, 28-30 Creating the right image for any situa-
Janus Factor and, 16-17 tion, 11-14
mask and, 15-16 Cronkite, Walter, 40
Business Periodical Index, 159 Cultural differences:
eye contact and, 63—64, 129
Caesar, Sid, 42 gestures, 71—73
Campbell Soup Company, 201 time and, 140-41
Carson, Johnny, 14 touch and, 53, 55-56
Carter, Jimmy, 4, 11, 53 see also Global workplace
Cervenka, Edward, 76, 78 Cunning, 156
Chanel perfume, 177
Charisma, 156 Dale, Orville, 229-30
Chicago Seven, 82-83 Dancy, John, 10
Children: Dangerous liaisons, see Romance in
body language blindness and, 66 the office

234
 INDEX

Darling, Dudley, 169 Euphemisms, 45

Deaver, Michael K., 11 Executive Television Workshop,
Denmark, 209 22
Dietrich, Marlene, 41 Eye contact, 58-66
Disabilities, 32 culture and, 63-64, 129
Dominance, 84, 90 between friends and acquain-
Dominance quotient (DQ), 146-49 tances, 63
chow time, 147-48 gender and, 62
conversation, 147 head nod and, 64-66
on the job, 148 job interview and, 163
scoring the questions, 148-49 lies and, 129
Downey, Morton, Jr., 14 listening and, 58-60
Du Pont, 201 "moral looking time," 61—63
refusal to make, 61—62
Eating, 5 rules of the game, 61-64
Efron, Dr. David, 72 between strangers, 61—63
Ekman, Dr. Paul, 8, 123-26, 128, "war of the eyes," 61
131, 134 Eyes, 190-91
Eldad, Lieutenant, 61
Electrolux, 178 Face, 14
Elizabeth Arden cosmetics, 177—78 "unmatched," 131
Embarrassment, 44 Facial expressions, 8, 17—18
Empathy, 109-19 lies and, 123-28, 131
breaking the barriers, 116—17 Fast talk, 44
children and, 110 Finland, 209-11
concern and, 109 First impressions, 22
gender and, 115 selling and, 180-82
Method acting and, 110-11, 112 First names, 23-24
natural, 115 Flattery, 182-83
reverse list, 117-18 Flexibility, 105-9
role reversal, 113—15 confidence and, 108—9
self-empathy, 111-13 scenarios concerning, 107—
warning about, 118—19 108
Energy, 184-86 testing your, 106-8
England, 207, 225-28 views of, 106
Enthusiasm, 184-86 France, 207, 211-12
Equal Employment Opportunity Friendliness, 23
Commission, 203 F & S Index of Corporations and In-
Equality, 88 dustries, 159

235
 INDEX

Gannett Company, 199 Good Housekeeping, 201, 202

Gender, 5—6 Gopac (G.O.P. Political Action Com-
empathy and, 115 mittee), 231
eye contact and, 62 Grillo, Joyce, 25-26, 28, 30
gestures and, 68-69 Grodd, Clifford, 25
posture and, 81, 83 Grooming, 162
Germany, 207, 211 Group dynamics, 154—56
Gestures, 67-78 Guilelessness, 178—79
automatic, 67-69 Gurly Brown, Helen, 196
contradictory messages, 67, 68, 74
Hair, 28-30
controlled use of objects, 75
Hall, Edward T., 51
culture and, 71-73
Handbook of Gestures (Saitz and Cer-
gender and, 68-69
venka), 76, 78
lies and, 133—34
Hartley, Mariette, 40
meaning of, 69—70
Hawkins, Arthur H., 44-45
negative side of, 70—71
Head nod, 64-66
rituals of nervousness, 74-75
job interviews and, 168
speaking to a group and, 73—74
Height, 90
symbolic, 75—78
Helplessness, 36-37
Getty Oil, 60
Hess, Dr. Ekhard, 130
Global workplace, 204-28
Hewlett-Packard Company, 198-99
Arabs, 204-7
Hidden Dimension, The (Hall), 51
Belgians, 212
Hoffman, Dustin, 111
Chinese in Hong Kong, 222-24
Hoffman, Judge Julius, 82-83
Danes, 209
"Hometown, USA," commercials, 12
English, 207, 225-28
Homosexuals, 56
Finns, 209-11
Honda, 178
French, 207, 211-12
Hong Kong, 222-24
Germans, 207, 211
Hoover, 178
Indians, 225
Hostility or anger, 101
Italians, 220-22
How to Make It in a Man's World
Japanese, 208, 212-18
(Pogrebin), 198
Koreans, 218-19
Hurt, William, 40
private space and, see Private
Hyman, Stanly, 164
space
Russians, 224-25 Image, 10, 22
Swedes, 209 changing the, 34—35
Taiwanese, 219-20 clothes and, 24-28, 30-34
Goffman, Dr. Erving, 57 creating the right, 11-14

236
 INDEX

hair and, 28-30 handshake, 163—64

mask and, see Mask head nod and, 168
playacting and, 35—37 jewelry, 161, 162
Impression Management, 25 keep cool, 166
India, 225 learning about the company, 159-
Infiniti car, 177 160, 165
Inner self, 19, 92-119 location of, 165-66, 173
empathy and, see Empathy melody and, 42
flexibility and, see Flexibility neutral questions, 167
risk and, see Risk taking opening question, 168
Innocence, 178—79 opportunity questions, 166-67
Insincerity, 60 resume, 159-60
Insult, 84 rug and jug rule, 165-66
Intelligence, 25 selling yourself during, 168-69
Interest and sympathy, 173—74 shifting the focus of, 167-68
Interior or exterior people, 143-46 sitting during, 164-65
kids, 145-46 threatening questions, 167
love and marriage, 143-44 walk, 162-63
scoring the questions, 146 walking a middle line during, 167
vacations, 145 what the interviewer should know,
where to live, 144 172-74
Intimidation, 75, 90 women and, 161, 163—64
Italy, 220-22 you've got something they want,
157-59
Janus Factor, 16-17 Jones, Simon, 35
Japan, 208, 212-18 Journal of Abnormal Social Psychol-
Jargon, 45-46 ogy, 154
"Jewel in the Crown," 111 Juries, 31-34
Jewelry, 161, 162
Job interviews, 157—74 Kemp, Jack F., 12-13
active listening, 174 Kinzel, Dr. Augustus F., 91
beginning of, 164-65 Klein, Freada, 201
being fired from previous job and, Knight, Luci R., 28
168-69 Koppel, Ted, 14, 15
clothes, 160-62 Korea, 218-19
eye contact, 163 Kunstler, William, 82-83
first impressions, 162
grooming, 162 Labels, 44-45
handling tricky questions, 169-72 Landauer, Christine 0 . , 199

237
 INDEX

Law, 31-34 time and, 131

Leadership, 151-54 timing and, 131
becoming a leader, 154-55 truth and, 133
CEO, 151-52 "unmatched" face and, 131
the method, 152 Loneliness, 75, 113
the order, 153 Los Angeles Management Counselors
scoring the questions, 153—54 Association, 165
Leaning forward or back, 81, 83 Love, 51
job interview and, 164-65 Low-key image, 195
selling and, 179-80
Learning to risk, 100-105 McLuhan, Marshall, 14
Class-A risks, 103-5 Makeup, 28
Class-B risks, 103 job interviews and, 161
Class-C risks, 102—3 Making an impression, 9-11
easy risks, 101 Male and Female (Mead), 81
face-to-face risks, 101—2 Manipulators, 134
Lies, 120-34 Maniscalco, Louise, 27
acting and, 132 Marchand, Philip, 14-15, 23
anger and, 131-32 Mask, 14-22
autonomic nervous system and, control and, 20-22
130-31 defined, 14
blinking and, 129 Janus Factor, 16-17
blushing or growing pale and, 130- lies and, 132
131 putting on the, 14-16
eye contact and, 129 using the, 19-20
eye pupil changes, 130 wearing the, 17-19
facial clues, 123-24 Massage, 54
gestures and, 133—34 Mathis, Robert, 199
"gut feelings" about, 120-21 Matz, Joyce, 28
lie detector, 121-23 Maytag, 178
manipulators and, 134 Mead, Margaret, 11, 81
mask and, 132—33 Melody, 41-42
microexpressions and, 127-28 Method acting, 110-11,
nervous fidgeting and, 134 112
smiles and, 124-26, 132 MGM, 230
subliminal messages and, 127—28, Microexpressions, 127—28
130 Minorities, 32
sweating and, 131 "Morning in America" commercials,
tears and, 130 12

238
 INDEX

Muskie, Edmund, 17 agreement or disagreement and,

Mystery, 14, 15-16 81-82, 83
defensive, 85
Nelson, Jim, 120-21 gender and, 81, 83
Nervous fidgeting, 134 insiders or outsiders, 83—84
Nervousness, 74-75 leaning and, 81, 83, 164-65, 179-
New School for Social Research, 180
54 paying attention, 82, 84
New York, 31 reading people's, 81—83
New York Times, The, 14, 55, 61, status and, 84
85, 111, 230 walking, 85-86
"Nightline," 14 Power, 13, 43-44, 135-56
Nixon, Richard, 17 ability to handle, see Ability to
Nonverbal, physical mannerisms, handle power
164 becoming a leader, 154—55
Nose rub, 68 corrupting tendency of, 138
Nowicki, Dr. Stephen, 66 defined, 138
games of, 138-40, 141
O'Brian, Tom, 120-21 group dynamics and, 154-56
Office space, 88-89 misunderstanding, 135-38
Olivetti, 222 space and, 86-87
Osmond, Donny, 34-35 telephone and, 139, 141
time and, 140-41
Paying attention, 82, 84 Tommy's takeover, 155-56
Peipold, Dr. William E., 91 Preconceived notions, 10
Pennzoil, 60 Private space, 204-8
Personal Space (Sommer), 207 Arabs and, 204-7
Pfister, Walter J., Jr., 22-24 English, 207
Pigott-Smith, Tim, 111 French, 207
Pitch, 39-41 Germans, 207
Playacting, 35—37 Japanese, 208
Pogrebin, Letty Cottin, 198 Private territory, 89, 91
Police officers, 31 Prologue: The Birth of Architecture
Politeness, 19 (Auden), 206
Politicians, 4, 11-14, 22-23 Pupillometry, 130
Polygraph machine, 121—23
Quayle, Dan, 14-15, 23
Posture, 79-86
aggressive, 84—85 Ralph Lauren products, 178
aging and, 80 Reading material, 32

• 239 •
 INDEX

Reagan, Ronald, 4, 11, 12, 13-14, Sales, 175-91

85-86 advertising and, 177-78
Recognition, 62, 63 body language and, 180, 185-86,
Redmond, Joe, 169 190-91
Register, 39-41 confidence and, 181—82
Relations in Public Places (Goffman), don'ts to be aware of, 186—87
57 energy and, 184-86
Reskin, Dr. Barbara F., 33 enthusiasm and, 184—86
Resonance, 39-41 eyes and, 190-91
Resume, 159-60 first ten seconds and, 180—82
Reverse list, 117-18 flattery and, 182-83
Risk taking, 93-105 giving two choices, 188-89
aggressive self-confidence and, head nod and, 65
93-96 height and, 90
fear of failure and, 100-101 in case your first approach fails,
inner risk factor, 96-100 183-84
learning to risk, see Learning to listening and, 179-80
risk nonverbal signals, 191
nothing ventured, nothing gained, one specific detail and,
95-96 179
test of, 96-100 performance of a product and,
Role reversal, 113-15 176-77
Romance in the office, 192— price and, 190
203 product and, 176
blackmail and, 197 product's aura and, 176—78
end of the affair, 196-97 resistant customers and, 179—80
opinions on, 197-99 seller and, 178-79
rules against, 198-99 shame and, 184
sexiness in the corporate world, showmanship and, 187—88
195-96 sizzle and, 187-88
sexual harassment, see Sexual ha- spoken signals, 190
rassment thinking seriously of buying, 189-
sleeping your way to the top, 194— 191
195 "three Be's" and, 181
Rudeness, 62—63 touching and, 50—51, 52
Russia, 224-25 voice and, 186
Saudi Arabia, 204-7
Sadat, Anwar, 53 Schlenker, Dr. Barry, 34
Saitz, Dr. Robert, 76, 78 Schopenhauer, Arthur, 134

240
 INDEX

Sex and the Office (Gurley Brown), Status:

196 eye contact and, 63—64
Sexual harassment, 199—203 posture and, 84
envy and anger and, 200 space and, 87—88
fighting, 203 touch and, 52—53
legal aspects of, 200-202 Strength, 24, 80
other side of the coin, 202—3 Style, 32
Sexuality, 13, 41, 73 Subliminal messages, 127—28, 130
touching and, 52, 53, 56 Subtext, 1-8
at work, see Romance in the office changing your, 6—8
Shaking hands, 48-49 defined, 1
job interviews and, 163-64 elements of, 3—6
Shame, 184 unconscious, 231—32
Showmanship, 187—89 Supertalk, see Voice
Sizzle, 187-88 Suspicion and fear, 117
Slang, 45-46 Sweating, 131
Smiling, 15, 18, 23, 63 Sweden, 209
asymmetrical, 126, 131
false smile, 125, 126 Table manners, 5
felt smile, 125-26 Taiwan, 219-20
lies and, 124-26, 132 Talland, Dr. G. A., 154
Sommer, Dr. Robert, 207 Tears, 130
Soviet Union, 224-25 Teenagers, 18—19
Space, 86-91 Television, 10-14
culture and, 204-8 Bork nomination, 10
height and, 90 first impressions and, 22
introverts and extroverts and, mask and, 14-15, 17
91 paradox of, 11—12
manipulating, 89-91 politicians on, 4, 11—14
office, 88-89 voice and, 40
police interrogation and, 90 Texaco, 60
power and, 86-87 Threat, 83
private territory, 89, 91 Time:
status and, 87-88 culture and, 140-41
Speech patterns, 4, 6 lies and, 131
Spock, Dr. Benjamin, 71 power and, 140
Standard and Poor's Register: Direc- Tomlin, Lily, 112-13
tors and Executives, 159 Touch, 48-57
Stanislavsky school of acting, 132 breaking down resistance, 54—55

241
 INDEX

Touch (cont.) analyzing your own, 46—47

caring and, 50 melody, 41-42
culture and, 53, 55—56 phoniness, 44
dangers of, 50-51 resonance, register, and pitch, 38-
expected and unexpected, 51—52 41
hierarchy to, 52-53 sales and, 186
massage, 54 speed of, 44
reading it out, 56-57 volume, 43-44
rules of the game, 52—53 words, 44-46
selling and, 50-51, 52 youthful, 80
sexual implications of, 52, 53, 56 Vulnerability, 80, 90
shaking hands, 48-49
status and, 52-53 Wagner, K. C, 201
ultimate, 53-55 Walking, 85-86
Tremont Savings and Loan Associa- job interviews and, 162-63
tion, 120-21 Whirlpool, 178
Who's Who in Finance and Industry,
United Artists (UA), 229-30 159
University of California Medical Words, 44-46
School, 8
Unscrupulousness, 156 Youman, Roger, 55—56
Urshel, Mara, 27 Ysrael, Lieutenant Colonel, 61

Variety, 95 Zajonic, Dr. Robert, 8

Voice, 38-47 Zones of privacy, see Private
abilities and, 38-39 space

242