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Got a minute? If you're a busy manager, that's about all you have. That's why Carla Cross, management coach, speaker, and author, has created this blog just for you, with ready-to-use tips to master management through people.
Mar
29

Trainers: After Better Performance–or Just More Knowledge?

By

teacher at boardAre you standing in front of your students to create better performance, or more knowledge? If you are want to train, it’s very important to clarify for yourself exactly what your role is. Why? Because it will determine the outcomes you get.

I learned this the hard way. After graduating in piano performance, I applied to and had been awarded a scholarship to UCLA as a graduate assistant in the music department. But, after I was at UCLA a few weeks, I became disillusioned, for I found out that the UCLA music department was all about ‘knowledge’, not performance. Professors earned tenure by publishing papers about sixteenth century Elizabethan madrigals–but they didn’t have to be able to play the madrigals…My interest and experience in music had been performance.

Are You After Better Performance or More Knowledge?

I’ve never forgotten that lesson about the difference in the knowledge about something–and the performance of it. Which is more important in what you’re teaching? What do you want your students to be able to do as a result of your presentation/training? Sure, just like musical performance, you must have some technique to perform. But, also like musical performance, lots of knowledge doesn’t make you a good performer.

If You Want Better Performers…..

Here are five areas to look at to assure you’re creating performers, not just know-it alls.

1. What percent of your program is instructor focused? That is, the instructor performs. If it’s more than 50%, you have a knowledge-heavy program. Model your program like the piano teacher teaches piano. He talks very little, demonstrates some, and listens to the student play and gives positive reinforcement and re-direction. The teacher knows he taught because the student can play.

2. Do you choose your instructors based on their knowledge and their ability to deliver the message attractively? Start choosing your instructors, instead, on their ability to facilitate performance. They should be able to demonstrate a role play, set up a role play, and draw conclusions. Like great piano teachers create increasingly difficult programs for their students, your instructors should be able to craft ever-increasing difficult rule plays. Think of them like creators of ‘virtual reality’.

3. Who is held accountable for the program–the instructors or the students? In most programs, we ‘relieve’ the instructor if he doesn’t get good reviews from the students. The instructor’s the only one accountable. Turn it around. 75% of the accountability should be on the students to demonstrate they have learned the skill. Why? Because, without student accountability, managers get your ‘graduates’ who can’t perform.

4. Is your focus on curriculum? Are you attempting to create value for the program to management or owners by providing more information than the other school? Most training programs could cut 50% of their curriculum and graduate better performers. Instead of focusing on curriculum, create your program as ‘virtual reality’. Have a system that provides a series of “performance building blocks”. Don’t tell them all about playing a concerto. Just tell them enough to let them ‘get their fingers on the keys’.

5. Are the objectives of your program knowledge-based? How do the students graduate from your program? Do they pass a written exam? Managers want a graduate who can perform the activities of a real estate salesperson to reasonably high performance standards. A good training program should identify, teach, observe, and coach performance in several critical performance areas until the student can perform well enough to graduate.

The Right Performance ‘Test’

As a piano performance major, each term, I had to play a ‘mini-recital’ in the music auditorium for an audience of four–all piano professors. I couldn’t just talk about music theory, or answer a multiple choice exam. I had to play. And, to pass the ‘course’, I had to play to certain set performance standards.  The more your training program resembles the ‘virtual reality’ of your specific performance, the more valuable your program to the people who hired your students –and you.

 SSS_coverExpert Guidance to Write that Great Course!

If you’re serious about writing that great course, this is the resource for you. Step by step, Carla Cross, who has written courses for Re/Max, Better Homes and Gardens, Keller Williams Realty, GMAC, Royal LePage, and CRB, shows you exactly how to create your course and your outline. And, for those Washington state instructors, she shares tips on how to get your course approved for clock hours.

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With 95 pages, this resource, along with the 2 instructional videos, shows you exactly how to create a course that has substance, sizzle, and ‘sell’!

Thank you for a wonderful class on writing a course. This practice and hands on class has given me the confidence and tools I need to move forward with my course curriculum. I feel I have been given a business race car and I can move forward towards my dream of training agents across the country.  Mary Lee, former head of training for Windermere Real Estate, Spokane, Wa.

Introductory price:  $149   Click here for more information and to order. You’ll get immediate access to the 95-page resource guide and 2 instructional videos.

 

 

Comments

  1. Bus training says:

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