justice

58 – Nick Rowley – Brutal Honesty

In this long-awaited podcast, Michael sits down with renowned trial lawyer Nick Rowley. They discuss Nick’s journey to success, how he came up with “brutal honesty,” his book “Running With the Bulls,” the secret to settling high value cases, saying “no” to the defense, and Nick’s advice for how to become a better trial lawyer.

The conversation begins with Nick sharing his path to becoming the record-breaking trial lawyer he is today. Nick describes himself as a “juvenile delinquent” when he was a child. He was bullied a lot in school and expelled from every school he attended. After graduation, he decided to join the military to “kill bad guys,” but ended up becoming a medic. It was this role that fueled him with purpose. Using his GI Bill, Nick finished his bachelor’s degree and attended law school to continue his desire to help others, which he describes as an addiction.

Nick was never afraid to take tough cases to trial and losing, because he grew up getting beat up. He adds that even if he does lose, he learns more from his losses than his wins and they help make him a better lawyer. Michael echoes this sentiment and agrees that losses hurt in the short-term, but don’t bother him in the long run.

The conversation shifts when Michael shares how he’s noticed most top trial lawyers weren’t “born with a silver spoon in their mouth,” to which Nick wholeheartedly agrees. “It’s about life experience,” Nick states. He goes on to explain how if you’ve never had to work hard, experience failure, been afraid, or gone without, you don’t have the same “hunger” as someone who has. Nick emphasizes the importance of inner drive and notes trial lawyers who grew up without anything know if they don’t put in the work, no one else is going to do it for them. Michael also explains how it’s easier to feel comfortable in a client’s home when you’re used to the environment most of them live in. Both share stories of getting to know clients on a personal level and how this translates to a successful jury verdict.

Michael then transitions by asking Nick which case he is most proud of in his established career. Instead of talking about his largest verdict, he shares a story of a smaller verdict on a particularly challenging case. After being called upon by a lawyer having severe health issues the day before his trial was set to begin, Nick flew out to Santa Monica to help get the case continued. The defense lawyer was uncooperative and lacked the slightest bit of sympathy for the attorney, so Nick decided to try it without any prior knowledge of the case. His description of voir dire and addressing what he saw as the pain points of the case with brutal honesty is riveting and concludes with a $1.5 million verdict based solely on non-economic damages.

Nick is highly regarded as a trial lawyer for many reasons, but he is probably most famous for coining the term “brutally honest” in jury selection. Nick shares the story of how he came up with the term and explains why it works so well. He emphasizes the importance of asking jurors to define “brutal honesty” themselves, then asking them to please be brutally honest with you. This strategy has made a huge difference in Nick’s jury selection process. As an example, Michael role plays as a juror who doesn’t believe in money for pain. Through this example, Nick shows how he would address a juror with these views. Michael and Nick both agree stereotyping jurors immediately is an ineffective strategy and should be avoided.

The conversation shifts into a discussion of Nick’s book, “Running With the Bulls.” Michael inquires as to why Nick decided to write a book about settling cases when he is most famous for trying cases. Nick answers simply, “I do settle cases.” Nick insists the secret to settling cases for high value is “having the balls to go to trial.” He describes his frustration with not getting paid after a jury verdict and started thinking of ways to preemptively strike against this, so as soon as he gets his jury verdict he is “able to collect it immediately.” This resulted in Nick crafting a process to “expose the bullshit” and the insurance company puppet masters, a process he shares with fellow plaintiff attorneys to help raise the bar for everyone.

Michael shares the chapter of the book which resonated with him the most, “The Power of No.” He explains how he still feels bad for saying “no” to the defense, even though he knows better. Nick believes most trial lawyers are gentle, accommodating people by nature. He shares a strategy for re-framing this mindset when it comes to the defense, ending with, “They are the enemy, because they’re working for the enemy … be kind and accommodating. But when it comes to money, don’t hold anything back.”

The two transition into a discussion of criteria for accepting cases. Nick states there aren’t criteria. For him it is asking himself – Do I feel something inside? Is there something I can do for this person? Can I imagine myself standing in front of the jury? He notes that in an ideal world, he would only work on large cases, but argues the small cases are just as important, stating “If I’m not willing to take these cases, who else is?” For example, a case where a child was killed in a state with a $250,000 cap on non-economic damages is still a case worth fighting for. Nick emphasizes the need for industry leaders to set an example for other lawyers by taking on these worthy cases, even if they don’t lead to a huge payout.

The conversation ends with Michael asking Nick what he thinks a lawyer needs to do to be the next Nick Rowley. Nick states, “I want the lawyer who has the drive to do whatever it takes.” He emphasizes the importance of learning everything available from industry experts, listing off a multitude of names including Keith Mitnik, David Ball, Randi McGinn, and many more. He adds that having the guts to try difficult cases, learning from your losses, and breaking the mold are incredibly important in the journey to becoming a successful trial lawyer.

If you’d like to learn more from Nick Rowley, subscribe to the Trial By Human and Trial By Women list serves, attend his seminars, or visit his website to find more information about bringing Nick in on a case. You can also support Nick’s political efforts to fight the $250,000 cap on non-economic damages by visiting fairnessact.com.

This podcast also covers taking care of yourself during trial, lifting state caps on non-economic damages, the pain of trying a wrongful death case, where Nick is trying to improve, and so much more.

 

BACKGROUND ON NICK ROWLEY

Many consider Nicholas C. Rowley to be the most accomplished trial lawyer of his generation. He has extensive courtroom experience representing victims of serious injuries and medical malpractice, especially those who have suffered traumatic brain injuries, spinal injuries, and chronic pain. In 2009 and 2010, the Consumer Attorneys Association of Los Angeles (CAALA) named Nick as a finalist for its prestigious “Trial Lawyer of the Year” award. Nick was also recognized by the Los Angeles Daily Journal for winning a “Top Verdict of 2010” for his $31.6 million jury verdict for the victim of a traumatic brain injury. In 2012, Nick was a finalist for the “Consumer Attorney of the Year” award, given by CAOC (Consumer Attorneys of California). In 2009, the Consumer Attorneys of San Diego awarded Nick its “Outstanding Trial Lawyer” award. In 2013, Nick was honored with the organization’s top award – “Outstanding Trial Lawyer of the Year“.  Also Some of Nick’s other recent successes include a record-setting $74,525,000 verdict for a victim of medical malpractice, a $38,600,000 jury verdict for a young man who fell from a hotel balcony while intoxicated, a $17,000,000 win for woman who suffered a mild traumatic brain injury caused by a fall from a hotel window and a $13,860,000 win for a mild traumatic brain injury caused by an automobile crash.

Nick has served as an instructor at Gerry Spence’s famed Trial Lawyers College and delivers keynote addresses nationwide on his revolutionary approach to voir dire and damages. Other lawyers, faced with low settlement offers from insurance companies, frequently bring Nick into their cases just before trial. Nick is a relentless warrior who has prevailed in the courtroom time and time again. He prides himself on his caring and empathetic approach to working with his clients and their families, and his ability to help juries find the truth and deliver justice to the injured.

Nick is on the Board of Directors of the Imagination Workshop, which is a non-profit theater arts organization committed to using the unique power of the theater to provide life-changing artistic opportunities to the mentally ill, homeless veterans, senior citizens, and ‘at-risk’ young people. IW programs give troubled people, frequently alienated or overlooked by society, a safe way to express themselves and gain insight that often helps make their lives more successful.

Nick is also on the Honorary Board of Governors of TLC, Los Angeles Trial Lawyers’  Charties, a non-profit organization whose purpose is to make a positive difference in the quality of life for people within the greater Los Angeles area, focusing on issues related to education, children, battered women, persons with disabilities, and homelessness, by providing financial assistance to needy persons and groups in the greater Los Angeles area.

Nick is the author of the book Trial By Human, where he candidly shares his approach that brings brutal honesty and humanity into the courtroom.

 

36 – David Ball – Finding the Alignment – Understanding What Jurors Want

In this Trial Lawyer Nation podcast, Michael Cowen sits down with a special guest, Dr. David Ball. David is a trial consultant, speaker, and one of the “fathers” of the book “The Reptile in the MIST.” His name and his books have been mentioned on numerous episodes not only Michael Cowen, but many of our Trial Lawyer Nation guests. With several books of David’s to choose from, Michael can’t help but note how “David Ball on Damages 3” has been very useful in helping him craft opening statements and serving as an outline for many trials. He also highly recommends all trial lawyers have this book within arms-reach of their desk (more on this later in the episode). And for those trial lawyers who don’t know David personally, it is important to also note he has probably done more good for trial lawyers than anyone else in the industry.

Having started down his path many years ago, David’s mission of trying to help trial attorneys make complicated things clear, originally came from his background in theatre, where much of what he had learned in theatre has been extremely useful for trial lawyers. In fact, working with a more classical repertoire theatre with works from Shakespeare, he wondered how he could make those plays crystal clear for the audience who is listening to it and how it might relate to the legal industry. His conclusion? “I realized lawyers have 2 problems: 1. They’re boring as hell and 2. They’re not very clear about what they’re talking about.” Today David describes what he does as helping to strategize cases to maximize the principles of what we’ve learned in the neurosciences and apply it to how people really make conclusions, how decisions are made, how we know things, and how logic has very little to do with any of it. Essentially, working as a bridge between the neurosciences and the courtroom.

So, how do we get jurors to see things the way we want them to? Logic doesn’t deal with the law school version of tell them your case, they’ll understand your case, and if you’re in the right, they’ll give your client a just verdict. Justice has nothing to do with how people make decisions. How do we translate that into things you’re allowed to do in trial and in a way that will motivate jurors to do what we want them to do? David says, people don’t make their decisions on the basis of “justice,” but rather justice is simply the result of something you think you want. He goes on to explain why trial lawyers need to look at what they’ve got and then put this “stew” together into something someone REALLY wants, for it to end the way we want it to. The whole process of trial, as David describes it, is an alignment.

David continues to describe this alignment by combining solid research along with all the things he’s learned in theatre about what real storytelling is. The fundamental thing about The Reptile, he describes, is by getting the jurors to want themselves to be safe and live in a safe world, that becomes their want. He also points out that in order to get their want, he also needs to get his client’s “want,” which is money. Michael adds to this by stating the only power the jury has in the courtroom is to give or deny money in the case. David goes on to say that if the attorney is presenting their case well, jurors will understand if they give a good verdict it will make their world safer, but also giving a bad verdict will make their world a more dangerous place than it is now. In other words, once the jurors walk into the courtroom, they will be walking out with either a safer world or a more dangerous world, but it will never be the same way as when they walked in. Furthermore, David explains when you ask a client why they are doing the case, not only will they say it’s because they need the money (compensation) but they also want to make sure this won’t happen to anyone else. To expand on his point, David shares an example from his early years watching the trial of a case involving a wealthy woman in North Carolina, who was rear-ended and clearly didn’t need the compensation from the case. The answer the woman gave him when he asked her why she was going through with the case, even though it was painful, is priceless. And it helps us understand why even the smallest cases are important in making the world a safer place. David also talks about the points he describes to the jurors regarding their potential complicities in what they allow the defense to get away with and the affects it will have on others who face the same situations in the future.

Which leads Michael to pose the question, “how do we figure out what the jurors want?” David goes through a laundry list of things we know about what jurors want, including through focus groups and the neurosciences what motivates us to want something. Boiled down to its core, David explains this with a great example of teenage boys as jurors, which will shock you and make complete sense. And he wraps up with describing the fundamental drives that keep us alive, as well as the impact of disrespect and humiliation.

The topic shifts at one point to talk about when the other side brings in what they call an “independent medical examiner,” three lies in one person’s title, David jokes (sort of). Rather than disagreeing with their conclusion, David proposes you show what they did wrong in their methodology, to show they purposely arrived at the wrong conclusion. He goes on to show how the right types of questions posed to your own experts can further point out the flaws in their conclusions without the need to call the defense’s independent expert a liar. Michael also adds how it can be very effective to discuss the idea of a defense’s witness as “independent,” when they’ve been picked and paid for by the defense, in helping the jury not feel like their intelligence is being disrespected. David continues to talk about the difference between describing the defense as someone who may lie in order to protect themselves vs. someone who is disrespecting the jury by insulting their intelligence and the impact this can have on a jury. He goes on to point out how it is analogous to the difference between a doctor lying to a patient, where the patient might be being disrespected but the juror is not vs. a doctor getting on the witness stand and deliberately misleads the jury, and as such, disrespecting them.

One of the things David describes as loving about what he’s been able to do, is when he started writing his first theatre for trial book, there was nothing. Nobody was doing anything in the way of teaching major overall strategy and there were certainly no books on damages or doing it. He’d like to think that the Damages book helped give rise to this whole other industry. In one hand he should hate it, he created all his own competitors, and on the other hand it is the greatest feeling in the world for him.

David also suggests for every attorney to page through their Damages 3 book on a consistent basis to examine it through the lens of the case you’re working on currently, in order to see things you never saw before. He suggests this, mainly because so much information is lost after seminars and reading other books, because the only things you likely retain are the things which pertain to the case you’re working on right now.

Michael and David move on to the topic of the principles of persuasion and how David has brought his theatre experience into the courtroom. Revisiting the idea of “real storytelling,” David talks through the actual history of storytelling and how it has evolved over time. He points out why you have to make people want to hear the next part of the story, AKA “narrative thrust,” using “dramatic tension” to create tension between this moment and the next moment, and the next moment could be an hour away or two minutes away. Crafting what David describes as “forwards” where everyone sees the anticipated moment in the story and wants to hear it for themselves. He also points out these forwards are very case specific, very particular to the story, and it is a relatively sophisticated thing to do for people who are not natural born storytellers, but you can learn to do it. And he describes why the context in storytelling and where you put pieces of information in the story matter significantly to shaping the story.

Michael and David touch briefly on social media and a trial lawyer’s first amendment right, where it is important to note David believes if you are a trial lawyer, you have accepted a fiduciary responsibility to your client which trumps your ability to have free speech. He also believes society has become so divisive these days on social media and now face to face, where we now have the challenge of bringing both sides together to fight for an even greater cause. David uses the example of 2 people fighting, but when someone comes in and tries to do harm to them, they will both unite because they are both in danger and need each other to save themselves. The heart of such a scenario, is the aim of every trial lawyer when working with diverse juries.

Digging deeper into David’s theatre background, Michael talks about how he has yet to see a trial lawyer facing a potentially multi-million-dollar trial rehearse as much as a community theatre where 30 people may be in the audience. David shares how being a trial lawyer is the only area of public performance where they don’t rehearse. He goes on to suggest you cannot fully rehearse on your own and, a full rehearsal, means a dress rehearsal. In the same way you cannot have football practice without eventually having a scrimmage with another side. When you are on the stage, you have a million other things on your mind, you’re being “Hamlet.” When you’re a lawyer, you’ve got your peers, the judge, and the jury all watching you. It distracts your attention from where it needs to be, so you seem very nervous. You cannot be a leader of human beings when you’re very nervous. And the best lawyers are leaders of human beings.

The podcast ends with a discussion on charisma in the courtroom as well as David’s important work in the criminal defense industry. And after spending this episode with David, it’s clear to see why so many trial lawyers look to him as a powerhouse in the industry.

“Please note the TLN19 discount code mentioned in this show has now expired.”

 

BACKGROUND

David Ball, who wrote trial advocacy’s best-selling strategy bookDavid Ball on Damagesis a litigation researcher and strategist with North Carolina’s Malekpour & Ball Consulting (JuryWatch, Inc.). He is the nation’s most influential jury consultant, communications expert, and advocacy teacher. His training is in science, engineering, and small-group communications, and he is a 30-year veteran of the professional theater.

Dr. Ball and his partner, lawyer/consultant Artemis Malekpour (artemis@consultmmb.com), consult on civil and criminal cases across the country. They are routinely credited with turning the most difficult cases into significant victories. They are the nation’s only trial consultants qualified to safely and comprehensively guide attorneys with Reptilian, David Ball on Damages, and David Ball on Criminal Defense methods and strategy. Their hundreds of brainstorming sessions – “WorkDays” – have become the gold standard for case-strategy development.

In addition to David Ball on Damages, Dr. Ball’s other landmark advocacy books include Theater Tips & Strategies for Jury Trials, Reptile (with Don Keenan), Theater for Trial (with Joshua Karton), Reptile in the MIST, and David Ball on Criminal Defense.

Dr. Ball has taught law students at North Carolina, Wake Forest, Pittsburgh, Minnesota, Roger

Williams, Loyola, and Campbell schools of law, and at Duke Law as Senior Lecturer. He’s an award-winning teacher for the North Carolina Advocates for Justice and the American Association for Justice’s National College of Advocacy. He has long been among the nation’s most in-demand of CLE speakers. His favorite job was taxi driver in the 1970s in Stamford, CT, and his Daddy was a Catskill Mountains bootlegger during Prohibition.

 

Dr. Ball is also a pioneer in adapting film and theater methods into trial techniques. His theater/film students have won Oscars, Obies, Tonies, and Emmies; his scripts have been staged at professional theaters off-Broadway, throughout North America, and overseas. He helped to lead the Guthrie Theater, as well as Carnegie-Mellon University’s renowned theater conservatory and, as Chair, Duke University’s Drama Department. His best-selling film and theater training book, Backwards and Forwards, has been the field’s standard every year since 1984, and is now in uses by trail lawyers as well. His crossover books, Theater Tips and Strategies for Jury Trials along with the new Theater for Trial, are the standards for the use of film and theater techniques in litigation.

Dr. Ball also wrote the cult classic film Hard Rock Zombies, though he made up for it by writing Swamp Outlaw, a novel about Civil War Era Lumbee hero Henry Berry Lowery, now under option for a motion picture. (TV viewers: Dr. Ball and Dr. Bull deny each other’s existence.)

 

RESOURCES

Reptile: The 2009 Manual of the Plaintiff’s Revolution

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