Author: Franz Malten Buemann

It doesn’t have to happen with intent, in fact, it rarely does.

Micro-emotions appear on our face and then disappear in less than a second. Blink and you’ll miss them. But sometimes, people don’t blink.

We’ve evolved to be hyperware of these tiny displays of emotion.

And yet, most of us don’t even realize it’s happening. We don’t realize we’re seeing the signs, or that we’re sending them.

Someone who sends tiny flashes of empathy is often seen as charismatic. We’re afraid of a dog that seems, in a fraction of a second, to be angry. And we build friendships around our instincts gained from these flashes (or the absence of them)

I had a friend who didn’t realize that when she got nervous, she often winked. As a result, people changed their responses to her, because they misunderstood the tiny signal she was inadvertently sending. Once she realized what was happening, she couldn’t easily extinguish the winks, but at least she knew the cause of the responses and could act accordingly.

The same thing happens, but even more so, with other flashes of emotion. When someone is stressed, nervous or fearful, he might send out previously unacknowledged flashes and signals of those feelings. They might be beyond our control, but the reactions people have are real, and understanding what prompts the response is the first step in moving forward to address them.

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Happy Friday! ‘This week in CX’ brings you the latest roundup of industry news. This week, we’re looking at new AI implementations by Google and Freshworks, and what they mean for the customer moving forward. There’s also new research into the consumer view on product quality during the financial crisis, and how unified commerce is being…
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There are lots of books on creating cooking, photography, writing and music. But they can’t possibly help you do better until you see and taste and appreciate what you’re trying to create.

If you think what you’re serving is good, but others don’t, more recipes aren’t going to help.

That’s why so much type is poorly set, so many self-published books look the way they do, so many restaurants are merely good and so much long-tail music is easily skipped and forgettable.

There are two steps to begin:

Show us an example of someone else’s work that you believe is good. A book cover that feels professional, a jazz riff that inspires, a pasta dish that’s unforgettable.

Then make a version of it. Not a copy, but something that rhymes.

If you can’t do that, it’s probably not a matter of technique. It’s about being in sync with what other people aspire to engage with.