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In improv, there's this principle that sounds real backwards until you hear it described. The more

specific you get, the more universal that reference really is. Like if I do a scene where I'm a person in a

restaurant, the audience gets that concept. They've probably been to a restaurant, but it's not all that

relatable in a tangible sense. Like no one's holding on to person in a restaurant.

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But if I'm Linda at Waffle House who has just served cold pancakes after her partner left her, the audience

probably gets that feeling. Even if it never happened to them, something like that happens so they can

relate. They can understand that frustration of bad things piling up on top of each other, all those bad

things being a pile of pancakes. They can relate and understand a feeling alone, being in a booth with bad

food.

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So that specificity makes a whole lot more people who watch that thing connect with that scene. And our

episodes can work like that too. Like if I did an episode about how I was about to hire the first person to my

team after running a business on my own for years, a whole lot of solopreneurs can probably relate to that

very particular element, even if they haven't done it yet. They know how that feels, that anticipation of

about,

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thinking about doing it.

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Or if I was about to talk about the first time I got up and stage in front of people,

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that's a feeling that a bunch of people listening can resonate with,

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even if they haven't got up to perform that same thing I was about to perform.

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That's what specifics do for our episodes.

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Our listener needs us to speak to them, with them, as an individual.

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And we can do this by detailing that specific situation or problem or fear, really. And we can do this by

thinking about the type of person that's listening to our episodes. Think about people in our

professional communities, specific people who might read the description of the show and find it

valuable. A show needs to have a very specific set of people like this who will resonate with those stories

to be specific enough to do well,

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has a podcast as a whole. So you're committing to a very specific audience as specific as those cold

pancakes in a Waffle House. That can feel a little bit intimidating because you might worry about finding

that audience but excluding that wide net is the point because that wide net might not find you to begin with

and they probably won't stick around because those analogies won't work on them. I've never been in a

Waffle House by the way.

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But specifics, that's what it's really about. I'm Jen deHaan, and this is the Credibility Minute. Find

more episodes and get in touch with me at stereoforest.com slash minute. I just don't live close to one at

all.