I have a public speaking secret to tell you. Come closer! CLOSER! There is a technique professionals use to give long speeches. Do you want to know what it is? Are you sure?? Ok, but you have to promise to keep this a secret! We can’t have everyone running around with this information!
Public speaking professionals use bits of material during their events. This is a section of material so related to the information that it’s easy to memorize. Thus, bits act as transitions, seamlessly changing from one topic to another.
No one memorizes long speeches! Who has that kind of time? When you use bits during public speaking engagements you’ll find that you’re less reliant on your notes. This will free you up and provide more opportunities for other things during the event. For example, you won’t feel as though you have to be chained to the lectern and instead can move about the stage, keep in mind with purpose, and get closer to the audience.
Ok, you swore you wouldn’t tell anyone this amazing public speaking tip! Now go home and create or find some bits to add to your next event!
Friday, June 29, 2007
Wednesday, June 27, 2007
Public Speaking : Tie one on (for men only)
Alright guys, there is no point in wearing a tie during a public speaking event if you can’t wear it well! I experienced this embarrassing mistake and don’t want you to suffer too! Try this trick I picked up from Paul Radde:
1. Put on your good luck public speaking tie
2. Run the skinny part through the loop in the back of the main part of the tie
3. Use a tie clip or large paper clip and bind the skinny part to your shirt
4. Put the tie clip or pin on the skinny part of your tie below the loop (this holds the main part of your tie perfectly and hides the clip)
While there is no guarantee that you’ll look good for you public speaking event, at least your tie will!
1. Put on your good luck public speaking tie
2. Run the skinny part through the loop in the back of the main part of the tie
3. Use a tie clip or large paper clip and bind the skinny part to your shirt
4. Put the tie clip or pin on the skinny part of your tie below the loop (this holds the main part of your tie perfectly and hides the clip)
While there is no guarantee that you’ll look good for you public speaking event, at least your tie will!
Monday, June 25, 2007
Public Speaking: Tips for Television, Videotape,
Anyone who’s ever been filmed knows that you look and sound different on TV than in person. Often times, you’ll have public speaking events on TV, videotape, or videoconferencing and have to be prepared. Over the years, I’ve spoken with and watched countless public speaking professionals. Here are some tips to maximize your appearance when not conducting an event in person:
TELEVISION & VIDEOTAPE TIPS
**Use smaller gestures.
**Make sure clothing is broken in and comfortable when you are sitting and standing…we don’t want anyone’s pants splitting!
**Have instant photos or video taken of you while sitting and standing prior to your performance and make sure your clothes look good in both positions.
**Find out the background color of the set if possible. You don't want your clothing to blend in and make you invisible.
**Ask the producer for wardrobe color suggestions…unless of course he’s wearing a pink shirt with purple polka dots!
**Do not wear any clothing with tight patterns or pin stripes. This causes an optical illusion called a moiré pattern, which makes you look baaaaaaaaaad. You might want to go and read that sentence again, just to make sure you got it!
**Avoid clothing with large patterns or geometric shapes. The audience will watch your clothes instead of you.
**Avoid wearing black, white, or red on television or video. Even the best of cameras have trouble with these colors.
**Avoid flashy jewelry, as it reflects light.
**Avoid jingly jewelry; it reflects light and makes noise that will be picked up by your microphone (this applies whether you are on TV or not).
**Wear your eyeglasses if you want, but avoid shiny frames. My favorite are those giant ones too big for your face!
**Tip the bows of your eyeglasses up slightly off your ears. This angles the lenses down to reduce glare from lights.
**Wear makeup because it reduces the glare of TV lights, and who couldn’t use a little makeup?
**Apply it to all exposed body parts, like backs of hands, arms, neck, etc. Apply cover-up below eyes to mask bags and/or wrinkles.
**Keep in mind that good studios are kept cool to negate the effect of the hot TV lights. You may freeze for a while until the lights are turned on, then you may burn up. Dress for the heat, but bring a jacket or extra cover-up to be used while you are waiting to go on.
**Bring a handkerchief or tissues to dab perspiration during breaks.
**Don't second guess the camera. Act as if you are always on screen.
TELEVISION & VIDEOTAPE TIPS
**Use smaller gestures.
**Make sure clothing is broken in and comfortable when you are sitting and standing…we don’t want anyone’s pants splitting!
**Have instant photos or video taken of you while sitting and standing prior to your performance and make sure your clothes look good in both positions.
**Find out the background color of the set if possible. You don't want your clothing to blend in and make you invisible.
**Ask the producer for wardrobe color suggestions…unless of course he’s wearing a pink shirt with purple polka dots!
**Do not wear any clothing with tight patterns or pin stripes. This causes an optical illusion called a moiré pattern, which makes you look baaaaaaaaaad. You might want to go and read that sentence again, just to make sure you got it!
**Avoid clothing with large patterns or geometric shapes. The audience will watch your clothes instead of you.
**Avoid wearing black, white, or red on television or video. Even the best of cameras have trouble with these colors.
**Avoid flashy jewelry, as it reflects light.
**Avoid jingly jewelry; it reflects light and makes noise that will be picked up by your microphone (this applies whether you are on TV or not).
**Wear your eyeglasses if you want, but avoid shiny frames. My favorite are those giant ones too big for your face!
**Tip the bows of your eyeglasses up slightly off your ears. This angles the lenses down to reduce glare from lights.
**Wear makeup because it reduces the glare of TV lights, and who couldn’t use a little makeup?
**Apply it to all exposed body parts, like backs of hands, arms, neck, etc. Apply cover-up below eyes to mask bags and/or wrinkles.
**Keep in mind that good studios are kept cool to negate the effect of the hot TV lights. You may freeze for a while until the lights are turned on, then you may burn up. Dress for the heat, but bring a jacket or extra cover-up to be used while you are waiting to go on.
**Bring a handkerchief or tissues to dab perspiration during breaks.
**Don't second guess the camera. Act as if you are always on screen.
Friday, June 22, 2007
Public Speaking : ButtCamp in San Diego Sunday, July 8, 2007
The Finest Internet Training for Speakers Anywhere
SPEAKERS, TRAINERS, AUTHORS, COACHES, SMALL BUSINESSPERSONS AND CONSULTANTS
If you want to learn how to market and sell products and services while sitting on your rear end at home, attend Tom Antion's Electronic Marketing BUTT Camp.
Tom is no techie, but he has discovered the way to use his computer to keep money and speaking engagements rolling in while he sits at home with his feet up.
Click here for all the exciting details and to register http://www.antion.com/SanDiego2007.htm
SPEAKERS, TRAINERS, AUTHORS, COACHES, SMALL BUSINESSPERSONS AND CONSULTANTS
If you want to learn how to market and sell products and services while sitting on your rear end at home, attend Tom Antion's Electronic Marketing BUTT Camp.
Tom is no techie, but he has discovered the way to use his computer to keep money and speaking engagements rolling in while he sits at home with his feet up.
Click here for all the exciting details and to register http://www.antion.com/SanDiego2007.htm
Wednesday, June 20, 2007
Public Speaking : Words that Sell
The title of this article is the same as a famous book by Richard Bayan that is used by marketing professionals around the world. As I was looking through it the other day I realized that the same kinds of words could be used in public speaking to get the same kinds of effects.
We want to sell our ideas don't we? We want to increase our credibility don't we? We want to move people to action don't we? These are all the things that good advertising copywriters try to do in print with their words. Judiciously using the phrases in this book will give you a more scientific way to accomplish the goals of your speech. You will have specific words and word phrases to pick from to get a particular response from the audience.
Example: Let's say you are telling the audience about a good resource that you want them to check out. You want to persuade them to seek it out and take advantage of it. You might turn to the "Words that Sell" book and go to the "Informative" section. There you would find words and word phrases that mean valuable and informative.
You might say:
"This resource will:
**take the guesswork out of ...
**expand your knowledge ...
**help to alter your perceptions of ...
**keep you abreast of ...
**give you new insight ...
**give you the hard facts ...
**keep you ahead of the game ...
There were 33 phrases in that section alone. This book will simplify your work especially when you are searching for just the right thing to say to make a particular point. In addition, it is an indispensable tool to have around when you are writing copy for your promotional material and website.
We want to sell our ideas don't we? We want to increase our credibility don't we? We want to move people to action don't we? These are all the things that good advertising copywriters try to do in print with their words. Judiciously using the phrases in this book will give you a more scientific way to accomplish the goals of your speech. You will have specific words and word phrases to pick from to get a particular response from the audience.
Example: Let's say you are telling the audience about a good resource that you want them to check out. You want to persuade them to seek it out and take advantage of it. You might turn to the "Words that Sell" book and go to the "Informative" section. There you would find words and word phrases that mean valuable and informative.
You might say:
"This resource will:
**take the guesswork out of ...
**expand your knowledge ...
**help to alter your perceptions of ...
**keep you abreast of ...
**give you new insight ...
**give you the hard facts ...
**keep you ahead of the game ...
There were 33 phrases in that section alone. This book will simplify your work especially when you are searching for just the right thing to say to make a particular point. In addition, it is an indispensable tool to have around when you are writing copy for your promotional material and website.
Monday, June 18, 2007
Public Speaking : Glossary A - E
**Public Speaking Glossary F - J
**Public Speaking Glossary K - O
**Public Speaking Glossary P - T
**Public Speaking Glossary U - Z
Acronym: A form of abbreviation where the letters of the abbreviation form a new word as in HUD for The Department of Housing and Urban Development.
Ad-lib: Unplanned words or phrases spoken during a presentation.
Alliteration: The repetition of the same first sound or the same first letter in a group of words or line of poetry as in from stem to stern.
Anachronism: A person, place, or event that is placed in a time period in which it does not belong such as George Washington sitting in front of a computer.
Analogy: A comparison of two things that are alike in some ways and different in others. An example is your brain is similar to a computer.
Anecdote: A short interesting or amusing incident.
Aside: In the theater, something said to the audience that is not to be heard by the other actors. In television, the actor would look right at the camera and talk to the viewers. In a presentation, the speaker would make a temporary departure from the main theme or topic.
Attribution: Crediting the source of material used in a presentation.
Audience gag: A joke pulled on the audience, sometimes with some of the audience members used as shills.
Audience participation: The audience doing something other than listeningduring a public speaking engagement. Some of them could be on-stage with you, carrying on group discussions, playing games, singing, etc.
A/V: Abbreviation for audiovisual equipment, such as overhead projectors, tape recorders, slide projectors, microphones, etc.
Bits: A short section of material so related that it is easy to memorize. Also called Chunks, Series.
Black Humor: According to Webster's Dictionary, "Humor that ignores human suffering and looks for the absurdity in any experience, even the most tragic." Used as a stress reliever in many high pressure occupations (medicine, law enforcement, military, etc.). Also Sick humor, Gallows humor. (Note: Please don't use in a professional presentation)
Blocking: Positioning of you and your equipment on the stage. Also your intended movement on the stage.
Blooper: A clumsy mistake, especially one made in public; a faux pas.
Blue Humor: Risqué or dirty humor The kind of humor everyone likes, but won't admit it. (OK, I'm kidding or am I?) Also called Off-color humor.
Bomb: In the USA a GIANT failure. In Great Britain a smashing success.
Bombproofing: Term coined by your lovable author to signify the steps you take as a presenter to be sure you don't bomb.
Breakout session: Splitting the entire group into smaller groups to hear special interest public speaking topics.
Callback: Referring to a word or phrase you mentioned earlier in your presentation.
Canned act: The use of standard material regardless of the makeup of the audience (not customized). Also Planned Spontaneity.
Canned ad-lib: Pre-planned response to a presentation problem or audience member comment.
Caricature: A picture in which the subject's distinctive features are deliberately exaggerated to produce a comic or grotesque effect.
Cartoon: An illustrated joke. Also Comic Strip.
Cheap laugh: Simple, sometimes tasteless, laughs that anyone, regardless of skill level, could elicit from the audience during a public speaking engagement (this is my specialty Ha-ha).
Chunks: See Bits.
Classroom seating: Seating style where chairs are placed behind tables.
Cliché: A worn-out saying such as "It's better to be safe than sorry" (that's a sorry cliché).
Comeback: A humorous or clever retort to an audience comment. Also Repartee or Riposte.
Comedian: An amusing person whose primary purpose is to entertain. Also Comic.
Comedienne: Older, less politically correct, term for a female comedian.
Comic: See Comedian.
Comic relief: An amusing element introduced into a serious speech or play to temporarily relieve tension.
Comic strip: Cartoon progressing over a series of scenes.
Concurrent session: A session occurring at the same time as another (breakout) session.
Content: The usable information in a presentation.
Convulsive laughter: Violent laughter that causes a person to lunge forward, backward or both.
Cordless microphone: A microphone which works by transmitting radio signals to a receiver which is connected to the public address (PA) system. Also Wireless Microphone.
Custom humor: Humorous comments, skits, role playing, gags, or costuming devised specifically for a particular audience.
Dais: A raised platform in the front of the room where the speaker stands. Also Podium, Riser, Stage or Platform.
Deadpan expression: A serious expression contrasted with funny lines.
Demo tape: An audio or video tape used to promote speakers, bands, magicians, etc.
Downstage: The area of the stage closest to the audience.
Dynamic range: Gradation of intensity available for use by a presenter from demure whisper to boisterous screams.
Easel: A tripod or frame used to support flipchart pads or other visuals.
Emcee: Abbrev. MC, An informal term for Master of Ceremonies. Also Toastmaster, Roastmaster.
Exaggeration humor: Expanding or diminishing features or information to outrageous proportions for comic effect.
Extemporaneous: An impromptu or spontaneous presentation.
Extender line: Line added to the end of a humorous comment that evokes additional laughter.
(Public Speaking Glossary A - E) Click here for Public Speaking F - J
**Public Speaking Glossary K - O
**Public Speaking Glossary P - T
**Public Speaking Glossary U - Z
Acronym: A form of abbreviation where the letters of the abbreviation form a new word as in HUD for The Department of Housing and Urban Development.
Ad-lib: Unplanned words or phrases spoken during a presentation.
Alliteration: The repetition of the same first sound or the same first letter in a group of words or line of poetry as in from stem to stern.
Anachronism: A person, place, or event that is placed in a time period in which it does not belong such as George Washington sitting in front of a computer.
Analogy: A comparison of two things that are alike in some ways and different in others. An example is your brain is similar to a computer.
Anecdote: A short interesting or amusing incident.
Aside: In the theater, something said to the audience that is not to be heard by the other actors. In television, the actor would look right at the camera and talk to the viewers. In a presentation, the speaker would make a temporary departure from the main theme or topic.
Attribution: Crediting the source of material used in a presentation.
Audience gag: A joke pulled on the audience, sometimes with some of the audience members used as shills.
Audience participation: The audience doing something other than listeningduring a public speaking engagement. Some of them could be on-stage with you, carrying on group discussions, playing games, singing, etc.
A/V: Abbreviation for audiovisual equipment, such as overhead projectors, tape recorders, slide projectors, microphones, etc.
Bits: A short section of material so related that it is easy to memorize. Also called Chunks, Series.
Black Humor: According to Webster's Dictionary, "Humor that ignores human suffering and looks for the absurdity in any experience, even the most tragic." Used as a stress reliever in many high pressure occupations (medicine, law enforcement, military, etc.). Also Sick humor, Gallows humor. (Note: Please don't use in a professional presentation)
Blocking: Positioning of you and your equipment on the stage. Also your intended movement on the stage.
Blooper: A clumsy mistake, especially one made in public; a faux pas.
Blue Humor: Risqué or dirty humor The kind of humor everyone likes, but won't admit it. (OK, I'm kidding or am I?) Also called Off-color humor.
Bomb: In the USA a GIANT failure. In Great Britain a smashing success.
Bombproofing: Term coined by your lovable author to signify the steps you take as a presenter to be sure you don't bomb.
Breakout session: Splitting the entire group into smaller groups to hear special interest public speaking topics.
Callback: Referring to a word or phrase you mentioned earlier in your presentation.
Canned act: The use of standard material regardless of the makeup of the audience (not customized). Also Planned Spontaneity.
Canned ad-lib: Pre-planned response to a presentation problem or audience member comment.
Caricature: A picture in which the subject's distinctive features are deliberately exaggerated to produce a comic or grotesque effect.
Cartoon: An illustrated joke. Also Comic Strip.
Cheap laugh: Simple, sometimes tasteless, laughs that anyone, regardless of skill level, could elicit from the audience during a public speaking engagement (this is my specialty Ha-ha).
Chunks: See Bits.
Classroom seating: Seating style where chairs are placed behind tables.
Cliché: A worn-out saying such as "It's better to be safe than sorry" (that's a sorry cliché).
Comeback: A humorous or clever retort to an audience comment. Also Repartee or Riposte.
Comedian: An amusing person whose primary purpose is to entertain. Also Comic.
Comedienne: Older, less politically correct, term for a female comedian.
Comic: See Comedian.
Comic relief: An amusing element introduced into a serious speech or play to temporarily relieve tension.
Comic strip: Cartoon progressing over a series of scenes.
Concurrent session: A session occurring at the same time as another (breakout) session.
Content: The usable information in a presentation.
Convulsive laughter: Violent laughter that causes a person to lunge forward, backward or both.
Cordless microphone: A microphone which works by transmitting radio signals to a receiver which is connected to the public address (PA) system. Also Wireless Microphone.
Custom humor: Humorous comments, skits, role playing, gags, or costuming devised specifically for a particular audience.
Dais: A raised platform in the front of the room where the speaker stands. Also Podium, Riser, Stage or Platform.
Deadpan expression: A serious expression contrasted with funny lines.
Demo tape: An audio or video tape used to promote speakers, bands, magicians, etc.
Downstage: The area of the stage closest to the audience.
Dynamic range: Gradation of intensity available for use by a presenter from demure whisper to boisterous screams.
Easel: A tripod or frame used to support flipchart pads or other visuals.
Emcee: Abbrev. MC, An informal term for Master of Ceremonies. Also Toastmaster, Roastmaster.
Exaggeration humor: Expanding or diminishing features or information to outrageous proportions for comic effect.
Extemporaneous: An impromptu or spontaneous presentation.
Extender line: Line added to the end of a humorous comment that evokes additional laughter.
(Public Speaking Glossary A - E) Click here for Public Speaking F - J
Friday, June 15, 2007
Public Speaking : I Get So Emotional
If you want to get real action out of your audience during a public speaking engagement, then tugging on their heart strings can help make it happen. This is where your storytelling ability can really make you shine.
Great storytellers like my friends Maggie Bedrosian and Thelma Wells can take a simple set of facts and paint moving pictures in the minds of their audience members with carefully crafted stories.
You don't have to tell stories when speaking to get emotional response. You can get another two-for-one happy hour special when you ask the right questions. Asking questions not only involves the audience mentally, it can also stimulate many kinds of emotion. Do you remember when you were a child and you could barely get to sleep Christmas Eve because you just knew Santa was going to bring you that special something? This question would stimulate fond feelings in most general public Christian audiences. It would not, however, connect so well with people who do not celebrate Christmas (remember: know your audience).
How about this question, Do you remember doing something really bad as a child? What kind of punishment did your parents give you? These questions would cause the audience to remember bad feelings.
Did you ever have a pet that died, or did you have a friend who had a pet that died? This would undoubtedly elicit sad feelings. If you want the audience to smile, ask them this, Can you remember the most embarrassing moment of your life? Most people will laugh when thinking back to an embarrassment that they felt was a tragedy at the time because one of the definitions of humor is tragedy separated by space and time. So, tell stories while speaking in public and ask the right questions to move the emotional state of your audience.
There are many emotions you can trigger in the audience just by your choice of words. Happiness, anger, sadness, nostalgia are just a few. Knowing your purpose for speaking to a group helps you to pick which emotions you want to tap. When your purpose is known, choosing words to get the desired emotional response is much easier.
Here's an example of a simple set of facts that a speaker might convey:
"There have been eleven accidents in the past year at the sharp curve which is two miles north of Cherokee Lake on Route 857. Installation of guard rails, warning signs, and a flashing light will cost approximately $34,000. Even though we have not balanced the budget this year, I feel that we should appropriate money for this project. Thank you."
Here is a little different version that uses emotional appeal to get the message across.
"On July 18th of this year John Cochran was found dead. The radio of his car was still playing when the paramedics got to his overturned vehicle. John's neck was broken. It was snapped when his car flipped over an embankment. No one here knows John Cochran because he did not live here, but he died in our neighborhood. Most of you do know of the hairpin turn on Route 857 that has been the scene of eleven accidents this year alone and has injured many friends as well as strangers. We need money to put up guardrails, signs, and a flashing light. I know money is tight, but I hope you see fit to find the funds to remedy this situation before the unknown John Cochran becomes one of your loved ones."
Can you see the difference in these two appeals? The first was simply a set of facts. Facts are important, but they rarely stimulate people to action. The action comes when emotions get attached to believable facts. You can bet the second version of the above story would have the best chance of securing that $34,000.
To create the emotional appeal in the second version of the story, words and phrases were chosen that had emotional power. ... John Cochran was found dead. The radio of his car was still playing ... John's neck was broken. It was snapped ... His car flipped ... hairpin turn ... He died in our neighborhood. All these phrases were woven into the original set of facts to create the emotional response of horror about this terribly dangerous turn.
Great storytellers like my friends Maggie Bedrosian and Thelma Wells can take a simple set of facts and paint moving pictures in the minds of their audience members with carefully crafted stories.
You don't have to tell stories when speaking to get emotional response. You can get another two-for-one happy hour special when you ask the right questions. Asking questions not only involves the audience mentally, it can also stimulate many kinds of emotion. Do you remember when you were a child and you could barely get to sleep Christmas Eve because you just knew Santa was going to bring you that special something? This question would stimulate fond feelings in most general public Christian audiences. It would not, however, connect so well with people who do not celebrate Christmas (remember: know your audience).
How about this question, Do you remember doing something really bad as a child? What kind of punishment did your parents give you? These questions would cause the audience to remember bad feelings.
Did you ever have a pet that died, or did you have a friend who had a pet that died? This would undoubtedly elicit sad feelings. If you want the audience to smile, ask them this, Can you remember the most embarrassing moment of your life? Most people will laugh when thinking back to an embarrassment that they felt was a tragedy at the time because one of the definitions of humor is tragedy separated by space and time. So, tell stories while speaking in public and ask the right questions to move the emotional state of your audience.
There are many emotions you can trigger in the audience just by your choice of words. Happiness, anger, sadness, nostalgia are just a few. Knowing your purpose for speaking to a group helps you to pick which emotions you want to tap. When your purpose is known, choosing words to get the desired emotional response is much easier.
Here's an example of a simple set of facts that a speaker might convey:
"There have been eleven accidents in the past year at the sharp curve which is two miles north of Cherokee Lake on Route 857. Installation of guard rails, warning signs, and a flashing light will cost approximately $34,000. Even though we have not balanced the budget this year, I feel that we should appropriate money for this project. Thank you."
Here is a little different version that uses emotional appeal to get the message across.
"On July 18th of this year John Cochran was found dead. The radio of his car was still playing when the paramedics got to his overturned vehicle. John's neck was broken. It was snapped when his car flipped over an embankment. No one here knows John Cochran because he did not live here, but he died in our neighborhood. Most of you do know of the hairpin turn on Route 857 that has been the scene of eleven accidents this year alone and has injured many friends as well as strangers. We need money to put up guardrails, signs, and a flashing light. I know money is tight, but I hope you see fit to find the funds to remedy this situation before the unknown John Cochran becomes one of your loved ones."
Can you see the difference in these two appeals? The first was simply a set of facts. Facts are important, but they rarely stimulate people to action. The action comes when emotions get attached to believable facts. You can bet the second version of the above story would have the best chance of securing that $34,000.
To create the emotional appeal in the second version of the story, words and phrases were chosen that had emotional power. ... John Cochran was found dead. The radio of his car was still playing ... John's neck was broken. It was snapped ... His car flipped ... hairpin turn ... He died in our neighborhood. All these phrases were woven into the original set of facts to create the emotional response of horror about this terribly dangerous turn.
Wednesday, June 13, 2007
Public Speaking : No Brainstoppers!
I made this term up so don't try to find it anywhere else. A "brainstopper" is something you say or do that causes the mind of an audience member to stop to think. This can be a good thing, but most of the time when I catch a coaching student delivering a brainstopper, it is a bad thing.
Here is an example of a good brainstopper. You might say, "Take a moment and think about the first toy you had as a child."
A command like this would take the audience member's mind from where it is now to a time long ago. For most of the audience this will be a pleasant experience. For some it may be unpleasant. Either way you still are directing the show. You might do this to make some kind of point about how simple things used to please us, or something like that.
Here is an example of a bad brainstopper. You might say, "That man's elocution is impeccable." For all of us highly educated and brilliant folks the word "elocution" obviously means fine form in speaking or reading.
If this word was used in a less educated arena, the instant it came out of your mouth, the brains of the audience members would be racing to figure out what the word "elocution" means. Thus, their brains have stopped because you used a word that was not easily understood. The audience member will not hear your next few sentences because they are still trying to figure out the word "elocution." Do this several times and they will tune out altogether ... unless of course you are Deepak Chopra who gets high praise for being totally unintelligible hahahahaha
Another way to stop someone's brain is to distract them by your actions. You might display an odd prop before explaining what it is. This would make an audience member stop listening while their minds tried to figure out what the prop is. If you were talking during this time, they wouldn't hear a word you said.
Look at your word choice and actions carefully before you exhibit them on stage. It is hard enough to keep attention in today's short attention span environments. Don't make it worse by using bad brainstoppers.
Here is an example of a good brainstopper. You might say, "Take a moment and think about the first toy you had as a child."
A command like this would take the audience member's mind from where it is now to a time long ago. For most of the audience this will be a pleasant experience. For some it may be unpleasant. Either way you still are directing the show. You might do this to make some kind of point about how simple things used to please us, or something like that.
Here is an example of a bad brainstopper. You might say, "That man's elocution is impeccable." For all of us highly educated and brilliant folks the word "elocution" obviously means fine form in speaking or reading.
If this word was used in a less educated arena, the instant it came out of your mouth, the brains of the audience members would be racing to figure out what the word "elocution" means. Thus, their brains have stopped because you used a word that was not easily understood. The audience member will not hear your next few sentences because they are still trying to figure out the word "elocution." Do this several times and they will tune out altogether ... unless of course you are Deepak Chopra who gets high praise for being totally unintelligible hahahahaha
Another way to stop someone's brain is to distract them by your actions. You might display an odd prop before explaining what it is. This would make an audience member stop listening while their minds tried to figure out what the prop is. If you were talking during this time, they wouldn't hear a word you said.
Look at your word choice and actions carefully before you exhibit them on stage. It is hard enough to keep attention in today's short attention span environments. Don't make it worse by using bad brainstoppers.
Monday, June 11, 2007
Public Speaking : Have Passion for Your Topic
by Terry Paulson, Ph.D., CSP, CPAE
"Forget all the conventional 'rules' but one. There is one golden rule: Stick to topics you deeply care about and do not keep your passion buttoned inside your vest. An audiences' biggest turn on is the speakers' obvious enthusiasm. If you are lukewarm about the issue, forget it!"Tom Peters
There is a certain zest that shines through a presenter's face when he speaks of something he has authentic passion for. That speaker can be excited and whisper and it still get through. Don't just speak on any subject; speak on ones you live!
What do you believe in enough that no one can stop you from finding a place to share it? When you have the right speech, you will feel like saying, "Get over here now! You don't want to miss this!"
In such a talk, your hour of speaking feels like minutes. Great speakers don't just love to speak; they love to make a difference for people.
Finish this sentence:
"I love this job, I get to . . . "
If you ever struggle to find the motivation and the enthusiasm to start your speech, take a moment to go back to your success history as a speaker to review images you have retained that affirm what your presentations have meant to past audiences. Relive that image before you take the platform. Feed your own enthusiasm for your message as you get ready to make a difference again. If you have no enthusiasm for your message, why should anyone else? Find the passion in your purpose or find another topic to speak on. (Reprinted with permission from "50 Tips for Speaking Like a Pro.")
"Forget all the conventional 'rules' but one. There is one golden rule: Stick to topics you deeply care about and do not keep your passion buttoned inside your vest. An audiences' biggest turn on is the speakers' obvious enthusiasm. If you are lukewarm about the issue, forget it!"Tom Peters
There is a certain zest that shines through a presenter's face when he speaks of something he has authentic passion for. That speaker can be excited and whisper and it still get through. Don't just speak on any subject; speak on ones you live!
What do you believe in enough that no one can stop you from finding a place to share it? When you have the right speech, you will feel like saying, "Get over here now! You don't want to miss this!"
In such a talk, your hour of speaking feels like minutes. Great speakers don't just love to speak; they love to make a difference for people.
Finish this sentence:
"I love this job, I get to . . . "
If you ever struggle to find the motivation and the enthusiasm to start your speech, take a moment to go back to your success history as a speaker to review images you have retained that affirm what your presentations have meant to past audiences. Relive that image before you take the platform. Feed your own enthusiasm for your message as you get ready to make a difference again. If you have no enthusiasm for your message, why should anyone else? Find the passion in your purpose or find another topic to speak on. (Reprinted with permission from "50 Tips for Speaking Like a Pro.")
Friday, June 08, 2007
Public Speaking : Specific Objectives
Make sure you find out exactly what you are supposed to accomplish when you are asked to do a public speaking engagement. It is best to have it in writing. This can be handled with a question on your pre-program questionnaire. If you don*t get this information, you are open to complaints that you did not achieve the goals of the meeting organizers.
P.S.: Just because this is a short article doesn't mean you should ignore it's BIG message. Ignore this point and it can mean BIG trouble.
P.S.: Just because this is a short article doesn't mean you should ignore it's BIG message. Ignore this point and it can mean BIG trouble.
Wednesday, June 06, 2007
Public Speaking : Talk About Your Family
When you are doing a public speaking engagement, one way to build rapport with an audience is to include information about your family. Most people in the audience get the warm fuzzies when you mention your spouse or kids in a positive light. Of course, you do run the risk that a few people in the audience may not like their spouse or kids. Generally the benefits of this technique far outweigh the risks.
Monday, June 04, 2007
Public Speaking : Storytelling Tricks
TRICK: Look in different directions to indicate different characters. The audience will associate a stage right or stage left look with the different character.
TRICK: Use above trick along with changing your voice tone to indicate different characters.
TRICK: Do what the written story says. If it says Joe cleared his throat, you clear your throat at that point in the story.
TRICK: Use above trick along with changing your voice tone to indicate different characters.
TRICK: Do what the written story says. If it says Joe cleared his throat, you clear your throat at that point in the story.
Friday, June 01, 2007
Public Speaking : Storytelling DON'Ts
When setting up a story:
**Don't say the words funny, reminds me of, or story. These words are so overused they alert the audience that a story is coming. This causes audience members to resist your story rather than get caught up in your story. They say in essence, Let's see you make me laugh, or OK here comes another story.
**Don't say, I heard a good one the other day for the same reason you don't say it reminds me of. The audience will resist and challenge you to make them laugh.
**Never say, I don't know if I should tell this one. If there is any doubt whatsoever that a story is not appropriate for a particular group, leave it out.
Better ways to set up a story
The best way to start a story is to get right into it. You should be into the story before anyone realizes it is a story. That way they are already deeply involved and don't have time to resist.
You could say:
There was this man ...
On the flight here ... Don't say, A funny thing happened on the way to the meeting today.
Driving in this morning ...
In the cab today ...
I was talking with ...
Let me take you back ..., Come with me ... Imagine ..., Visualize this ... These are a little different because they do alert the audience that a story is coming, but they get them so involved emotionally that any resistance is counteracted.
When getting out of a story
**Never say, But seriously folks. If it was a funny story you don't have to say, Hey Stupid! That was a joke. It also implies you were lying.
**To exit a story, don't say anything about it being over. Just make a slight change in delivery, tone, rate, expression, etc., and go on.
Here Are Some More Don'ts
**Use too many stories on the same topic. Each successive one will lose impact.
**Tell a story where you are the hero. If you are the hero, make it appear that it was dumb luck that made you so (self-effacing humor). If you are a bonafide hero, forget what I just said, but make sure you add a healthy dose of humility for best connection with the audience.
**Use terms foreign to the experience of the audience.
**Die of printed page poison. Written stories must be changed to be recited aloud. When you find a story that you like in a reference book, you cannot say it exactly as it is written or you will sound stupid. You must knock out the he saids and she saids.
**Don't give a history lesson when telling a humorous story. Put yourself into the story to make it believable. Fake truth is essential to humor even if story is totally false. The exception to the need for fake truth is when you are telling an exaggeration. Then anything goes.
Example:
I had a terrible day at the beach. I came home with 14 harpoon wounds.
**Don't say the words funny, reminds me of, or story. These words are so overused they alert the audience that a story is coming. This causes audience members to resist your story rather than get caught up in your story. They say in essence, Let's see you make me laugh, or OK here comes another story.
**Don't say, I heard a good one the other day for the same reason you don't say it reminds me of. The audience will resist and challenge you to make them laugh.
**Never say, I don't know if I should tell this one. If there is any doubt whatsoever that a story is not appropriate for a particular group, leave it out.
Better ways to set up a story
The best way to start a story is to get right into it. You should be into the story before anyone realizes it is a story. That way they are already deeply involved and don't have time to resist.
You could say:
There was this man ...
On the flight here ... Don't say, A funny thing happened on the way to the meeting today.
Driving in this morning ...
In the cab today ...
I was talking with ...
Let me take you back ..., Come with me ... Imagine ..., Visualize this ... These are a little different because they do alert the audience that a story is coming, but they get them so involved emotionally that any resistance is counteracted.
When getting out of a story
**Never say, But seriously folks. If it was a funny story you don't have to say, Hey Stupid! That was a joke. It also implies you were lying.
**To exit a story, don't say anything about it being over. Just make a slight change in delivery, tone, rate, expression, etc., and go on.
Here Are Some More Don'ts
**Use too many stories on the same topic. Each successive one will lose impact.
**Tell a story where you are the hero. If you are the hero, make it appear that it was dumb luck that made you so (self-effacing humor). If you are a bonafide hero, forget what I just said, but make sure you add a healthy dose of humility for best connection with the audience.
**Use terms foreign to the experience of the audience.
**Die of printed page poison. Written stories must be changed to be recited aloud. When you find a story that you like in a reference book, you cannot say it exactly as it is written or you will sound stupid. You must knock out the he saids and she saids.
**Don't give a history lesson when telling a humorous story. Put yourself into the story to make it believable. Fake truth is essential to humor even if story is totally false. The exception to the need for fake truth is when you are telling an exaggeration. Then anything goes.
Example:
I had a terrible day at the beach. I came home with 14 harpoon wounds.
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