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The Cutting Edge Japan Business Show

The Cutting Edge Japan Business Show

By: Dr. Greg Story
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 For succeeding in business in Japan you need to know how to lead, sell and persuade. This is what we cover in the show. No matter what the issue you will get hints, information, experience and insights into securing the necessary solutions required. Everything in the show is based on real world perspectives, with a strong emphasis on offering practical steps you can take to succeed.copyright 2022 Economics Management Management & Leadership
Episodes
  • Why There Are Few Sale's Case Studies In Japan

    Why There Are Few Sale's Case Studies In Japan
    Mar 1 2026
    Why are case studies so hard to publish with Japanese clients? Case studies are supposed to make selling easier. We are told to show a prospective buyer that "someone like you" succeeded, and that proof builds confidence. The problem is that in Japan, getting client cooperation is hard because many Japanese companies tightly control what information leaves the firm. That is not a minor obstacle; it changes what "credibility" looks like in the field. Instead of expecting public permission, we have to design proof that respects confidentiality while still feeling real and specific. This is why case studies in Japan often feel scarce compared to what overseas sales textbooks assume. If the client will not approve a named story, the seller must still communicate outcomes, the problem that created urgency, and what changed after the solution. We can do that, but we need a format that works inside the constraints. Mini-summary: Japanese companies often restrict external information, so sellers must build credibility without relying on public, named case studies. What can we do when the client will not allow a published case study? We can create two types of case studies: verbal and print. The key is not the medium; it is the discipline. People are time poor, so clarity and brevity matter in both formats. A verbal case study is what we say in meetings, in a tight narrative that helps the buyer picture themselves. A print case study can be a one-page story we bring into the room, written in a way that does not require the client name to be effective. The practical aim is to give enough detail to feel credible, while keeping the organisation anonymous. This is not about hiding; it is about focusing. We choose details that explain the business pressure and the human reality, without exposing confidential data. When we do that consistently, the story becomes a reusable sales tool, even in a market where public testimonials are difficult. Mini-summary: Use verbal and print case studies that are short, clear, and designed to work even when the client name cannot be revealed. Why should we start a case study with the outcome instead of the problem? We should start with the outcome, the result, because attention is scarce. If we begin with background and mechanics, we lose the listener to competing distractions. When we lead with the "wonderful and extensive outcomes" of the solution, we create curiosity. The buyer wants to know: could that happen here? That is the moment when credibility starts to form. Outcome-first also helps the buyer mentally extrapolate. If the result is relevant, the listener can map the story onto their own organisation. That mental transfer is the whole point. If the outcome is not something the buyer can imagine achieving, then the case study has no meaning for them. The result is not decoration; it is the gateway to relevance. Mini-summary: Outcome-first case studies keep attention and help the buyer translate the result into their own context. How do we make the problem section persuasive instead of boring? After we put the "goodies" in front of the buyer, we explain the issue we solved. The best way is a story, not a technical breakdown. Mechanics alone are boring and they rarely motivate action. What motivates is the human and organisational cost of the problem: the pressure, the stakes, the fear of failure, and the impact on real people. That is why the example of a stressed section manager works. When we describe a manager under intense senior pressure, losing sleep, developing health problems, and worrying their team will miss deadlines and lose face, we create emotional connection. Now the buyer sees more than a spreadsheet; they picture the scene in their own frame of reference. This makes the problem feel urgent and real, and it sets up the solution as relief, not merely a process change. Mini-summary: Storytelling makes the problem feel real by showing human stakes, which is more persuasive than a mechanical explanation. How should we describe the solution so buyers believe it and remember it? The solution section is the "how we did it" part, but it should not read like a sterile checklist. We need to combine the solution description with the impact it had on individuals and the team. We can explain the features, but we must link them to benefits: what changed for the company, how time was saved, how deadlines were met, and what the team did differently because of those benefits. The example of software that isolates critical steps and saves hundreds of hours works because it connects capability to outcome. It then closes the loop with human impact: stress reduced, health stabilised, and the team recognised as heroes. The celebration is not fluff; it is proof of emotional resolution and social recognition. That is memorable, and memory helps sales because buyers recall stories, not lists. Mini-summary: Describe features only as a bridge to benefits and human impact, so the buyer ...
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    15 mins
  • 386 Pitchpeople vs Salespeople: Why Pitching Doesn't Work

    386 Pitchpeople vs Salespeople: Why Pitching Doesn't Work
    Feb 23 2026
    Why are annual sales targets "irrelevant" once they are set? Annual sales targets often feel like the main event, but this script argues they are already decided: "The targets for the year are already set or will be set shortly". Because the number is locked in, therefore obsessing over it does not change your daily behaviour, your sales conversations, or your results. What matters is what you will do to improve yourself this year so hitting those targets becomes "more certain and easier to do". The practical warning is about momentum without reflection. We "roll one year into the next" and keep operating without "interventions to recalibrate what we are doing and why we are doing it". Because habits drive behaviour, therefore bad habits become "the enemy of progress". The next step is to identify the habits that reduce results and ditch them on purpose. Mini-summary: Targets do not create results. Habits and interventions create results. How does a "victim mentality" form in sales, and why does it hold people back? The script frames a common pathway into sales: "Sales is the refuge of failures from other jobs." People lose a job, companies always need salespeople, and they "find themselves in a sales job". Because they "get no training", therefore "the job is horrible", and confidence takes a hit. That is where mindset collapses into identity. The text describes "chains of low esteem and low self confidence", and says it becomes hard to break free. This matters because sales is a communication profession. If you approach buyers with low self-belief, therefore you will avoid control, accept poor meeting structures, and fall back on pitching instead of diagnosing needs. The intervention is simple and direct: "Decide you will become a professional." Mini-summary: No training creates pain, pain creates low confidence, and low confidence keeps you unskilled. Decide to be professional to interrupt the cycle. What does "study sales and communication" actually mean in practice? The script is specific: if you cannot read, "listen to audio or watch videos". Because there is "so much free content marketing pieces available out there today", therefore access is not the barrier. The barrier is the decision to take learning seriously and make it routine. It then pushes beyond free learning to paid training: "Get yourself on a sales training course and even if you have to borrow money to go on that course, do it". The reason is outcome-based: "the investment will repay you a hundred fold and more". The text even offers a named option: "Naturally I recommend a Dale Carnegie sales course for you, but at least get training." Because training upgrades skill and confidence, therefore the "difference is night and day" and so is the "money flow" that comes back as a result. Mini-summary: Use any learning format you can sustain, then commit to structured training because skills change outcomes fast. What is "kokorogame" and why does "true intention" change sales results? "Kokorogame" is translated as "true intention" and is treated as pre-performance preparation. The script uses Japanese cultural examples: in martial arts "we meditate", in flower arranging "the master strips the flower stems", and in shodo "the calligraphy expert rubs the ink stone". Because these rituals set the mind for the task, therefore they improve the quality of what follows. Sales is framed the same way. Before you sell, the fundamental question is: "Why are we selling? Is it to make ourselves money or make the client money?" Because your intention shapes your behaviour, therefore the answer triggers "a chain reaction of further decisions and actions". That chain defines whether you are "professionals or transients in the world of selling". If your intention is client-centred, therefore your questions, pacing, and recommendations become more useful and more credible. Mini-summary: "Kokorogame" is mental set-up. Intention drives decisions, and decisions drive behaviour in sales conversations. Why is buyer-controlled selling "ridiculous" in Japan, and what should replace it? The script makes a strong claim: "In Japan, in 99% of cases, the buyer controls the sales conversation and this is just ridiculous." The reason is role clarity. "The salesperson's job is to help the buyer make the best decision to advance their business." Because buyers are busy and have blind spots, therefore leaving them to "self-service" produces weak decisions and weak outcomes. The corrective is also direct: "Decide to control the sale conversation." That does not mean dominating the buyer. It means structuring the conversation so the buyer reaches a better decision faster. If the salesperson does not lead, the script says it "only happens when the salesperson is inadequate and untrained". Training and professionalism therefore show up as meeting control: the ability to guide, clarify, and then present the right solution. Mini-summary: Buyer control leads to self-service...
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    10 mins
  • 385 Big Venue, Big Results: Practical Techniques for Large Crowds

    385 Big Venue, Big Results: Practical Techniques for Large Crowds
    Feb 8 2026
    Presenting to a very large audience demands a different approach because distance changes what people can see, hear, and feel. The core problem is not your content — it is visibility and connection at scale. When the venue grows, you shrink. The solution is to deliberately "big up" your delivery so the people seated at the far extremes still experience your presence and message. What changes when you move from a normal room to a large venue? Large venues create the tyranny of distance. Because the back rows sit so far away, the speaker looks "quite small" from those seats, which means subtle gestures and normal stage behaviour lose impact. Therefore you must scale up what you do on stage so you do not look like "a peanut" to people at the far extremes. When you accept that the room makes you smaller, you stop relying on nuance and start designing for the cheap seats at the back. Mini-summary: Because distance reduces your visibility, you must deliberately enlarge your delivery so your message still lands. How do you diagnose what the back row experiences? Arrive early and sit in the most far flung locations: the last row at the back or the rear seats on an elevated tier. Because you see the stage from the hardest viewpoint, you learn how small a speaker looks from there and you adjust accordingly. This is a practical, reality-based check: instead of guessing, you confirm what the audience will actually see. Then you can design your presence for the far extremes, not only for those close to the stage. Mini-summary: Because you cannot improve what you have not observed, sit in the back and design for what you see. How do you avoid stage-edge mistakes in big venues? Big venues often have a defined space between the front row and the stage, sometimes with an orchestra pit. Because you will stand very close to the apron to be more easily seen, you must know where "far enough forward" is before you begin. The risk increases once you start scanning for faces high up on the back tiers, because your eyes go up and you stop looking down where you are walking. Curved stages make it easier to forget the edge is not straight. Therefore, check the front of the stage beforehand so you can move with confidence and stay safe. Mini-summary: Because large stages include hidden hazards, you must inspect the front edge early and set your safe boundary. What microphone choice and gesture size works best at scale? Use a pin microphone so your hands stay free for gestures. Because you are effectively "a peanut" to the people in the cheap seats at the back, your gestures must become much larger than anything you have used before. Therefore, use double-handed gestures to fill up more of the stage with your presence. When you use open palms to signal trust, spread your hands far wider than the boundaries of your body. When you indicate something "high", raise your hand as high above your head as possible so it has impact. Mini-summary: Because the audience sits far away, you need free hands and much larger gestures for visibility. How do you use audience participation to create energy in a massive room? Ask the audience to raise their hands for a common experience, but do not overdo it. Because many people do the same thing at the same time, crowd dynamics and crowd psychology kick in: the room becomes "infected" with energy and agreement. This shared movement also feeds back into you on stage, giving you a serious energy lift. When a big audience leans in, the connection feels electric, so use that surge to reinforce your message and build momentum. Mini-summary: Because synchronised audience action amplifies energy, a simple show of hands can lift the entire room. How do you project ki, voice, and eye contact to the back wall? Marshal your ki or chi for the task and mentally push your energy to the very back wall of the hall. Because you are miked up, you do not need to yell; yelling will distort the sound. Instead, direct your voice strength to the last rows without forcing volume. Then use your eyes to reach the whole space. Break the audience into a baseball diamond: left, centre, right field, plus inner and outer field. Work those six sectors by picking out individuals and looking straight at their faces. Even if they are blurry outlines to you, people around them will feel seen because they believe you are looking at them. Mini-summary: Because a large hall demands deliberate reach, project energy and voice to the back while distributing eye contact by sectors. How should you move on a big stage without distracting people? Avoid nervous wandering, where a speaker goes up and down continuously and distracts from the key message. Because constant movement draws attention to itself, it pulls focus away from what you are saying. Instead, use controlled movement with purpose. Walk slowly to the extreme left edge, stop, settle, and speak to that side. Return to centre, stop, settle, and speak. Then move to the right and ...
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    12 mins
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