Recently, I coached a Marketing Director for a beverage company who said his job was “to convey facts and figures.”
After hearing that, I needed a stiff drink.
Actually, his viewpoint wasn’t surprising. And he quickly understood when I suggested that his real purpose was something quite different. His job as a speaker, I told him, was meeting the needs of his listeners and achieving lasting influence.
In tough economic times like the present, the distinction between conveying information and activating audiences is more important than ever. Merely informing audiences becomes a serious error when they are depending upon your leadership to help them in times of trouble.
Many people approach public speaking with this belief that their primary task is to deliver information. That is never the case. Information, like all speech content, is only one tool a speaker uses to achieve his or her purpose. Let’s look a little more closely at how this natural tension of purpose vs. information plays out, and why your task is naturally much more of the former, and much less of the latter.
It’s Your Emotional Impact That Lasts
Audiences will remember their emotional response to you long after the information you deliver has faded from memory. The retention skills of audiences are notoriously shaky, and within, say, a week, your listeners will remember as little as 10% of the “critical” data you presented to them.
Yet if you touched them emotionally, they may remember you for a lifetime. Consider these examples:
• Who was your favorite teacher in elementary school? Why do you remember her fondly today? Was it because of her visionary grasp of geography?
• Who among the many speakers you’ve heard in your life do you consider extraordinary? What were the main points or facts in the speech that you found so impressive?
• On April 19, 1951, Gen. Douglas MacArthur delivered his farewell address to a joint session of Congress. MacArthur said that “Old soldiers never die, they just fade away.” And no wonder this speech became one of the most famous in American history, given the General’s expert lesson on the medical needs of elderly combat veterans.
You see what I mean, don’t you?
Think carefully, then, of the purpose you’re trying to achieve in your presentation—and always in terms of your audience’s demographics, experience, and needs. Then use any and every means at your disposal to achieve that purpose. Don’t just educate—move your audience. Don’t inform listeners—inspire them. To do so means creating an emotional connection. Even CFOs must put financial information into context for the C-suite, to help these executives process the information in terms of company goals and initiatives.
Delivery Skills Foster Success
Studies have shown repeatedly that nonverbal communication equals or exceeds verbal content in achieving audience influence. In tough times especially, the skill of advocacy is critical in motivating listeners and leading them to action.
One reason PowerPoint presentations so often fail, for instance, is that the presenter depends solely upon a slide deck to convey information. But that is first and foremost the speaker’s task, although PowerPoint may be one tool he or she uses to do so. Above that, a speaker’s job is to move an audience through force of will and to lift listeners on a wave of emotional drama.
To motivate your listeners, then, use all of these nonverbal tools:
- Stance
- Movement
- Gestures
- Eye contact
- Facial expression
- Proximity to your listeners
- Open hand and arm movements
- Welcoming gestures (for questioners and skeptics)
- Vocal energy and variety
- Pauses and silence
- Smiles
- Emotion that audiences can hear in your voice
In general, spend less time gathering material and more time practicing on your feet. Employ a video camera or a mirror. Use different gestures each time you practice, however, so your physical expression won’t become stale and over-rehearsed.
You Are the Message, So Make the Message Strong
As we’ve seen above, public speaking is never about merely conveying information. Instead, it is an exercise in leadership. Speakers either lead or they bore. One of the marvelous facts about speaking in public is that no matter the pedigree of your listeners—you are the leader in the room during the time of your presentation.
No leader succeeds merely by possessing the best information. True leaders use that information to motivate and activate employees and followers.
A danger exists, in fact, that because we accumulate information, and spend so much time massaging that information as we prepare for our speech, we believe the information is all-important. Equally harmful is forgetting that the audience will be hearing our content for the first time. So we rattle off our data—secure in the knowledge that, once adequately informed, an audience will use that information exactly as we’d like them to.
It never happens that way. We must tell our listeners how they should use our information—we must, that is, lead them to do so.
There is only one tool that allows you as speaker to accomplish this task: It is you—physically, emotionally, and in the ways you demonstrate leadership when you speak.
In tough times or good times, you are the message. It’s a formula for succeeding as a speaker that goes far beyond “conveying facts and figures.”
Give your audiences the emotional connection and leadership they crave, and you’ll be delivering a powerful message indeed.
Tuesday, July 20, 2010
Monday, June 28, 2010
General McChrystal's Lesson in Dealing with Print Journalists
When the news broke that Gen. Stanley McChrystal was being fired by President Obama, I was conducting training at the U.S. State Department on how to deal with the media. My yearly Media Training course is for senior-level diplomats at our embassies and consulates abroad. The two-day course covers aspects of appearing effectively in the media, as well as handling oneself in the face of reporters’ ploys and tactics.
On Day Two, I discuss the differences between television, radio, and print journalism. I also point out the unique perils of speaking to newspaper and magazine reporters. It was at precisely this point in the workshop that the McChrystal news broke.
What a teaching opportunity!
Adding to the relevance of the breaking story was the fact that two of the workshop participants were posted to the Middle East-Southwest Asia region. These are diplomats for whom events in Afghanistan have a direct and immediate impact.
So what is the lesson I teach regarding handling oneself with a print reporter? There are three critical concerns:
Print Media Have Time to Burn (You)
Print reporters usually have more time to spend with sources than T.V. and radio journalists. Broadcast deadlines are relentless and fixed: If the news breaks today, then the story must be fully in place for the six o’clock news, the on-the-hour radio broadcast, the signature political show on cable, or the Sunday morning talk shows. The 24-hour news cycle is voracious. It demands tasty tidbits and the freshest ingredients for its entrees, and it will not hesitate to suction all such fodder into its maw.
Newspapers and magazines create banquets with slower-cooked, richer dishes. Print journalists often have the time to conduct research on their subject or interviewee. They may be part of a “spotlight” or investigative team that works months on a story. Since they don’t face La Broadcast Dame sans Merci, print reporters can often afford time to educate themselves on a story--and subsequently may question their sources more knowledgeably and precisely.
Print Reporters Can Hang (You)
Here, perhaps, lies the greatest danger for sources, as Gen. McChrystal and his subordinates learned to their sorrow. Because their stories are often more in-depth than those on television, radio, or online, print journalists have fewer restrictions on the amount of time they can spend with sources. They can hang. The Rolling Stone reporter who wrote the McChrystal article, for instance, spent parts of an entire month with the general and his staff.
When reporters and their sources hang out together, they don’t spend all of their time in hard-backed chairs in an office, or folding stools in a military tent. There will be lunches and dinners; time spent chatting in local watering holes, remarks made while waiting for taxis or drivers to arrive.
The Game (You) Is Played Differently
We naturally trust people more if we spend a lot of time with them. But print journalists have the added advantage of disguise! Television and radio personalities constantly remind us who they are visually: They bring with them camera operators, sound technicians, boom microphones, recording equipment and sound booths, and most obvious of all, broadcast trucks.
The print reporter carries a humble notebook, or nothing at all. No “on” or “off” switch reminds us when the recording stops. It is when the sit-down interview ends, in fact, that the source is at greatest peril. Unless one requests a ground rule of “off the record” at this or any other time, and it is accepted by the reporter, you must assume that the interview is still going on.
It is often when the reporter and source have strolled out of the interview room and are chatting of other things, that the unguarded remark that should never have been uttered is expressed.
Jimmy Carter may have lusted in his heart for other women and left the rest of us blissfully unaware of the fact, but he volunteered the information to a Playboy reporter after their interview was “over” and the reporter was leaving the Carters’ home.
As famed media adviser Roger Ailes reminds us, “Recognize that any time you are in the presence of a newsperson, the conversation is fair game for the record.”
Wouldn’t you agree, Gen. McChrystal?
On Day Two, I discuss the differences between television, radio, and print journalism. I also point out the unique perils of speaking to newspaper and magazine reporters. It was at precisely this point in the workshop that the McChrystal news broke.
What a teaching opportunity!
Adding to the relevance of the breaking story was the fact that two of the workshop participants were posted to the Middle East-Southwest Asia region. These are diplomats for whom events in Afghanistan have a direct and immediate impact.
So what is the lesson I teach regarding handling oneself with a print reporter? There are three critical concerns:
Print Media Have Time to Burn (You)
Print reporters usually have more time to spend with sources than T.V. and radio journalists. Broadcast deadlines are relentless and fixed: If the news breaks today, then the story must be fully in place for the six o’clock news, the on-the-hour radio broadcast, the signature political show on cable, or the Sunday morning talk shows. The 24-hour news cycle is voracious. It demands tasty tidbits and the freshest ingredients for its entrees, and it will not hesitate to suction all such fodder into its maw.
Newspapers and magazines create banquets with slower-cooked, richer dishes. Print journalists often have the time to conduct research on their subject or interviewee. They may be part of a “spotlight” or investigative team that works months on a story. Since they don’t face La Broadcast Dame sans Merci, print reporters can often afford time to educate themselves on a story--and subsequently may question their sources more knowledgeably and precisely.
Print Reporters Can Hang (You)
Here, perhaps, lies the greatest danger for sources, as Gen. McChrystal and his subordinates learned to their sorrow. Because their stories are often more in-depth than those on television, radio, or online, print journalists have fewer restrictions on the amount of time they can spend with sources. They can hang. The Rolling Stone reporter who wrote the McChrystal article, for instance, spent parts of an entire month with the general and his staff.
When reporters and their sources hang out together, they don’t spend all of their time in hard-backed chairs in an office, or folding stools in a military tent. There will be lunches and dinners; time spent chatting in local watering holes, remarks made while waiting for taxis or drivers to arrive.
The Game (You) Is Played Differently
We naturally trust people more if we spend a lot of time with them. But print journalists have the added advantage of disguise! Television and radio personalities constantly remind us who they are visually: They bring with them camera operators, sound technicians, boom microphones, recording equipment and sound booths, and most obvious of all, broadcast trucks.
The print reporter carries a humble notebook, or nothing at all. No “on” or “off” switch reminds us when the recording stops. It is when the sit-down interview ends, in fact, that the source is at greatest peril. Unless one requests a ground rule of “off the record” at this or any other time, and it is accepted by the reporter, you must assume that the interview is still going on.
It is often when the reporter and source have strolled out of the interview room and are chatting of other things, that the unguarded remark that should never have been uttered is expressed.
Jimmy Carter may have lusted in his heart for other women and left the rest of us blissfully unaware of the fact, but he volunteered the information to a Playboy reporter after their interview was “over” and the reporter was leaving the Carters’ home.
As famed media adviser Roger Ailes reminds us, “Recognize that any time you are in the presence of a newsperson, the conversation is fair game for the record.”
Wouldn’t you agree, Gen. McChrystal?
Monday, June 21, 2010
BP's Tony Hayward and Surviving Congressional Testimony
In the media training I conduct for executives and political figures, I emphasize a goal of not merely surviving a media encounter, but thriving. In the media as in sports, the individual or team that focuses solely on defense usually will not win. Media appearances offer unique opportunities to reach huge numbers of stakeholders. They should be embraced with enthusiasm, rather than with the notion that escaping with one’s skin is a victory.
Yet some media encounters are barely survivable. When ambush is the order of the day, or where bias is institutionally entrenched, showing sheer guts and stamina can equal success.
Yesterday’s appearance by BP CEO Tony Hayward before Congress demonstrated this clearly. Even before any questioning had begun, the committee members’ opening statements branded Mr. Hayward with a prominent “P,” and led him straight to the stocks like a colonial sinner in an electronic town square.
No one would deny that BP is massively responsible for the Gulf of Mexico oil spill, the deaths of 11 workers, and untold environmental damage. Nor could anyone reasonably conclude that a Congressional hearing of this type is about investigating anything. A witness who tries to counter the naked political maneuvering in such a hearing is doomed.
Congress doesn’t ask questions in such an encounter—it renders judgments. How then can a witness survive sitting opposite such a tribunal of judges with righteous voices thundering?
In testimony of this type, the ability to absorb punishment without revealing callousness or weakness is the key survival skill. Where authority and competence cannot win the day, steadfastness and accountability must be in full view.
Here are three critical tools for media appearances where the odds are stacked heavily against you:
Nonverbal Messages: When a crisis hits, nonverbal behavior that says “steady as she goes” is a powerful reminder of your personal or organizational competence. Posture which indicates engagement, an unwavering focus on one’s questioners, a willingness to remain in the crosshairs without flinching, and especially strong eye contact, are key nonverbal messages that set of tone of accepted responsibility. Has corporate or institutional malfeasance led you to the witness box? All the more reason to send out an opposite message with every visual tool at your disposal.
Low-Key Vocal Approach: In the long hours of his Congressional grilling, Mr. Hayward demonstrated this skill continuously. A general rule of media encounters is that the more vociferous your opponent is, the calmer you should become. Listeners hear reasonableness in steady pleasant tones, not in emotional storms. If your vocal inflection is muted and you speak plainly, your opponents will brand you as aloof in the face of disaster. Let them. Remain focused and deliberate as you add the third tool of survival:
Bridge and Stay on Message: “Bridging” means moving from the quicksand specially mixed for you by your questioner, to the solid ground of your prepared responses. Decide on the three critical points you want to hammer home in your interview or testimony. Then take every opportunity to get those messages out. Answer topics, not questions. Remember your strategy for this particular media encounter, and stay on that path despite the harshness of your opponents’ attacks.
By employing this approach, you will be using tools—three in this case—that are designed as practical applications of your media strategy. Above all, they will help you with the all-important goal of difficult media situations: staying in control and using the encounter to accomplish your aims.
In “survival media events” like the one discussed here, that strategy will only be achievable in the long run. But you must start the process now.
Yet some media encounters are barely survivable. When ambush is the order of the day, or where bias is institutionally entrenched, showing sheer guts and stamina can equal success.
Yesterday’s appearance by BP CEO Tony Hayward before Congress demonstrated this clearly. Even before any questioning had begun, the committee members’ opening statements branded Mr. Hayward with a prominent “P,” and led him straight to the stocks like a colonial sinner in an electronic town square.
No one would deny that BP is massively responsible for the Gulf of Mexico oil spill, the deaths of 11 workers, and untold environmental damage. Nor could anyone reasonably conclude that a Congressional hearing of this type is about investigating anything. A witness who tries to counter the naked political maneuvering in such a hearing is doomed.
Congress doesn’t ask questions in such an encounter—it renders judgments. How then can a witness survive sitting opposite such a tribunal of judges with righteous voices thundering?
In testimony of this type, the ability to absorb punishment without revealing callousness or weakness is the key survival skill. Where authority and competence cannot win the day, steadfastness and accountability must be in full view.
Here are three critical tools for media appearances where the odds are stacked heavily against you:
Nonverbal Messages: When a crisis hits, nonverbal behavior that says “steady as she goes” is a powerful reminder of your personal or organizational competence. Posture which indicates engagement, an unwavering focus on one’s questioners, a willingness to remain in the crosshairs without flinching, and especially strong eye contact, are key nonverbal messages that set of tone of accepted responsibility. Has corporate or institutional malfeasance led you to the witness box? All the more reason to send out an opposite message with every visual tool at your disposal.
Low-Key Vocal Approach: In the long hours of his Congressional grilling, Mr. Hayward demonstrated this skill continuously. A general rule of media encounters is that the more vociferous your opponent is, the calmer you should become. Listeners hear reasonableness in steady pleasant tones, not in emotional storms. If your vocal inflection is muted and you speak plainly, your opponents will brand you as aloof in the face of disaster. Let them. Remain focused and deliberate as you add the third tool of survival:
Bridge and Stay on Message: “Bridging” means moving from the quicksand specially mixed for you by your questioner, to the solid ground of your prepared responses. Decide on the three critical points you want to hammer home in your interview or testimony. Then take every opportunity to get those messages out. Answer topics, not questions. Remember your strategy for this particular media encounter, and stay on that path despite the harshness of your opponents’ attacks.
By employing this approach, you will be using tools—three in this case—that are designed as practical applications of your media strategy. Above all, they will help you with the all-important goal of difficult media situations: staying in control and using the encounter to accomplish your aims.
In “survival media events” like the one discussed here, that strategy will only be achievable in the long run. But you must start the process now.
Sunday, June 13, 2010
The World's Most Amazing Public Speaking Technique
For people the world over, speaking in public is a terrifying proposition. Yet what is more exciting than a powerful speech on an important topic? Speeches and presentations have changed history, inspired millions, created instant superstars, and rallied entire nations to action. On a more everyday level, they contribute to professional advancement and help organizations accomplish their mission.
With such a momentous pedigree, you’d think that speaking in public would be an ultra-sophisticated task, approachable only by the best and brightest among us. Yet public speaking is relatively easy, and with practice and experience, immensely satisfying. Stage fright is a significant hurdle, of course—but even gaining confidence as a speaker is easier than we might imagine.
There’s a simple procedure, in fact, that can assure us of greater confidence while contributing hugely to our speaking success. This procedure is so mundane and obvious, however, that we usually ignore it completely. So here’s the scintillating secret to undaunted and dynamic public speaking:
Breathe.
“Well, I’m already doing that,” I can hear you thinking—“and I’m still nervous!” And it’s true that what we call breathing for life doesn’t help us much in public performances. Vegetative breathing is a more or less autonomic response and doesn’t require effort. But breathing for speech is different. We need more oxygen, for one thing, to project sound outward and to lengthen our exhalation (since speech is simply controlled outward breath).
Equally important, we must unlearn the lazy habit of breathing shallowly. For speech, we need to breathe diaphragmatically or “belly breathe.” The diaphragm is a dome-shaped muscle that flattens out when the lungs above it expand, and by that flattening, push out our abdominal muscles. That’s why our belly moves outward when we breathe in.
Diaphragmatic breathing is a bellows-like action that allows the lungs to expand fully and to effortlessly produce a full reservoir of air. That’s the level of oxygen we need to produce strong and resonant speech. But there are some other very positive effects to be gained from using this humble but amazing tool of vocal production.
Here are six benefits of using your diaphragm to breathe fully. Together, they go far beyond the simple production of sound. These attributes belong more to the realm of credibility, authority, and believability as a speaker. And those are characteristics that can take you a long way toward public speaking success.
Six Benefits of Diaphragmatic Breathing
1. Slows your heart rate and calms you physically.
2. Provides oxygen to the brain.
3. Aids your stance and appearance: formidable instead of “caved in.”
4. Gives a resonant floor to your voice which produces the sound of authority.
5. Supports sound to the end of the sentence, where the important words come.
6. You appear confident and in control (rather than gasping or out of breath).
In order of the benefits above, then, good diaphragmatic breathing will: Reduce your nervousness, keep you sharp and mentally present, help you appear prepared and professional, make your arguments credible and persuasive, “punch” the important words and phrases that drive your narrative, and give you the appearance of a practiced speaker who is completely in control.
“And the heart must pause to breathe,” wrote Lord Byron.
Indeed!
With such a momentous pedigree, you’d think that speaking in public would be an ultra-sophisticated task, approachable only by the best and brightest among us. Yet public speaking is relatively easy, and with practice and experience, immensely satisfying. Stage fright is a significant hurdle, of course—but even gaining confidence as a speaker is easier than we might imagine.
There’s a simple procedure, in fact, that can assure us of greater confidence while contributing hugely to our speaking success. This procedure is so mundane and obvious, however, that we usually ignore it completely. So here’s the scintillating secret to undaunted and dynamic public speaking:
Breathe.
“Well, I’m already doing that,” I can hear you thinking—“and I’m still nervous!” And it’s true that what we call breathing for life doesn’t help us much in public performances. Vegetative breathing is a more or less autonomic response and doesn’t require effort. But breathing for speech is different. We need more oxygen, for one thing, to project sound outward and to lengthen our exhalation (since speech is simply controlled outward breath).
Equally important, we must unlearn the lazy habit of breathing shallowly. For speech, we need to breathe diaphragmatically or “belly breathe.” The diaphragm is a dome-shaped muscle that flattens out when the lungs above it expand, and by that flattening, push out our abdominal muscles. That’s why our belly moves outward when we breathe in.
Diaphragmatic breathing is a bellows-like action that allows the lungs to expand fully and to effortlessly produce a full reservoir of air. That’s the level of oxygen we need to produce strong and resonant speech. But there are some other very positive effects to be gained from using this humble but amazing tool of vocal production.
Here are six benefits of using your diaphragm to breathe fully. Together, they go far beyond the simple production of sound. These attributes belong more to the realm of credibility, authority, and believability as a speaker. And those are characteristics that can take you a long way toward public speaking success.
Six Benefits of Diaphragmatic Breathing
1. Slows your heart rate and calms you physically.
2. Provides oxygen to the brain.
3. Aids your stance and appearance: formidable instead of “caved in.”
4. Gives a resonant floor to your voice which produces the sound of authority.
5. Supports sound to the end of the sentence, where the important words come.
6. You appear confident and in control (rather than gasping or out of breath).
In order of the benefits above, then, good diaphragmatic breathing will: Reduce your nervousness, keep you sharp and mentally present, help you appear prepared and professional, make your arguments credible and persuasive, “punch” the important words and phrases that drive your narrative, and give you the appearance of a practiced speaker who is completely in control.
“And the heart must pause to breathe,” wrote Lord Byron.
Indeed!
Thursday, May 27, 2010
"Monster in the Gulf" -- Is BP Obama's Katrina?
More than five weeks have passed since the offshore rig Deepwater Horizon exploded and sank in the Gulf of Mexico, claiming the lives of eleven men. As oil continues to billow beneath the surface from BP’s damaged well, political blood has been spreading in the water as well.
Consider the rhetoric that spilled onto the airways today:
“The President has hired everything in Washington. Someone has convinced them that BP is their partner. They’re not their partner. We need some action here.” (James Carville)
“Why does it take the President 37 days, 38 days? . . . He’ll be there on Day 39.” (John King/CNN)
“We were dealt an untruth by the Corps of Engineers, another group that’s paid with our tax dollars. How much more are we going to put up with?” (Plaquemines Parish President Billy Nungesser)
“We’ve started taking matters into our own hands.” (Louisiana Gov. Bobby Jindal)
Negative comments, all. We might expect as much from the Republican politicians represented above. But from a Democratic consultant, and the host of a CNN news show? Just how big a disaster is this disaster shaping up to be for President Obama?
The environmental damage is not only gargantuan, but without discernible limit. The “Monster in the Gulf” bloats daily, like a sea-going version of Blob. The BP/Deepwater Horizon blowout has grown to 19 million gallons, perhaps as high as 39 million gallons. BP has now surpassed 1989’s Exxon Valdez as the coastline oil disaster of preeminence.
Inescapably, the current occupant of the White House is taking the heat. President Obama will travel to Louisiana this Friday—the “39th day,” as John King reminded us on his show—and today the President framed his administration’s response this way at a press conference:
“The American people should know that from the moment this disaster began, the federal government has been in charge of the response effort.”
Those words certainly have a “the buck stops here” sound to them. Yet the American people can’t help but notice that this is the President’s first news conference in 308 days.
President Obama—like President Bush before him during the Katrina disaster—would do well to remember the words of Theodore Roosevelt, an earlier Chief Executive who once said: “I have a perfect horror of words that are not backed up by deeds.”
Consider the rhetoric that spilled onto the airways today:
“The President has hired everything in Washington. Someone has convinced them that BP is their partner. They’re not their partner. We need some action here.” (James Carville)
“Why does it take the President 37 days, 38 days? . . . He’ll be there on Day 39.” (John King/CNN)
“We were dealt an untruth by the Corps of Engineers, another group that’s paid with our tax dollars. How much more are we going to put up with?” (Plaquemines Parish President Billy Nungesser)
“We’ve started taking matters into our own hands.” (Louisiana Gov. Bobby Jindal)
Negative comments, all. We might expect as much from the Republican politicians represented above. But from a Democratic consultant, and the host of a CNN news show? Just how big a disaster is this disaster shaping up to be for President Obama?
The environmental damage is not only gargantuan, but without discernible limit. The “Monster in the Gulf” bloats daily, like a sea-going version of Blob. The BP/Deepwater Horizon blowout has grown to 19 million gallons, perhaps as high as 39 million gallons. BP has now surpassed 1989’s Exxon Valdez as the coastline oil disaster of preeminence.
Inescapably, the current occupant of the White House is taking the heat. President Obama will travel to Louisiana this Friday—the “39th day,” as John King reminded us on his show—and today the President framed his administration’s response this way at a press conference:
“The American people should know that from the moment this disaster began, the federal government has been in charge of the response effort.”
Those words certainly have a “the buck stops here” sound to them. Yet the American people can’t help but notice that this is the President’s first news conference in 308 days.
President Obama—like President Bush before him during the Katrina disaster—would do well to remember the words of Theodore Roosevelt, an earlier Chief Executive who once said: “I have a perfect horror of words that are not backed up by deeds.”
Sunday, May 23, 2010
"And I Owe It All to Television": Making Your Case in 30 Seconds or Less
Want to make the acquaintance of the world’s greatest communicator? Allow me to introduce you.
Ladies and gentlemen . . . meet television.
Dazzler of billions, appropriately nicknamed The Glass Teat (or Boob Tube), Baby-Sitter, Goggle Box, and The Eye, television is the master persuader of our age. And whether you agree with the late Ernie Kovacs that “television is a medium because it is neither rare nor well done,” the small screen has much to teach us when it comes to quick and efficient communication.
Television has been spectacularly successful in reducing people’s attention span, for instance—and then has plugged itself snugly into that smaller space. Equally important, T.V. has taught us that critical information succeeds when it is delivered vividly, with a visual kick.
As speakers who must convince listeners in short order—say, in the 30 seconds it takes for audiences to form judgments about us or to deliver an elevator speech—we can benefit from television’s techniques. We too can learn how to broadcast a message concisely yet powerfully and even include a visual component. Here are five ways to do so:
1. Decide on your objective. Let’s start with the persuasive tool par excellence of television: the commercial. Whether you love ‘em or hate ‘em, commercials seduce and persuade like nobody’s business (except the advertiser’s). With extreme conciseness, sponsors show us how to home in on one’s objective and achieve it with maximum efficiency. Advertisers do this because they want to sell, right? Well, so do you! Whether it’s a product, service, idea, or vision, a crystal clear objective to make that “sale” will lead you to the influence you desire. In conceiving your message, give purpose precedence over sheer information.
2. Use an effective hook. Think of a commercial you enjoy (come on, I know you have one). The first time you saw it, weren’t you intrigued at the beginning of the spot? Didn’t the quirky, or startling, or funny, or outrageous nature of the ad pull you right in? Whatever your essential message is when you speak, it won’t resonate unless people are with you when you get to it. If you hook their interest at the start, they’ll be with you at the end. If you don’t, they won’t.
3. State the problem and its solution. Here’s a T.V. commercial of the type you’ve seen many times. It’s a series of visual images: (1) Four-year-old boy chasing the family’s new puppy, laughing and tumbling all over the front lawn. (2) Mom looking at his pants draped over her arm and frowning at the ground-in grass stains. (3) Shot of detergent box. (4) Mom smiling at the same pair of pants, now sparkling clean as she holds them at arm’s length. We get it all: a problem and its solution, presented as succinctly as possible. Television does this seamlessly with visuals. As a speaker, you need to use visuals too, though your brush consists of words. And so you must . . .
4. Paint word pictures. Studies have shown that visual stimuli can be the strongest elements of persuasive nonverbal communication. That means we must not only show visuals when we present our ideas, but speak in visuals as well. Paint a picture with words, and the image will captivate your listeners. Hamlet’s father’s ghost may have said this to the prince: “I could tell you how my own brother murdered me, but it would shock and horrify you too much.” Instead, Shakespeare had the character color his palette this way: “I could a tale unfold whose lightest word would harrow up thy soul, freeze thy young blood, make thy two eyes start from their spheres [and] each particular hair to stand on end like quills upon the porcupine.” Which of those two short speeches packs a wallop?
5. Use stories that illustrate your point. When time is short or the opportunity is fleeting, state your point first then back it up with evidence. Of forms of evidence, stories are among the most powerful that exist. In casting your evidence in the form of a story, you’re saying, “Look, I know that was just data. Let me show you what I mean . . . .” Your illustration that follows, with people involved and a successful outcome will make your information come alive. Tell a story, and you’ll have your listener hooked—which is how you engaged him or her in the first place. Why let them off the hook now?
Ladies and gentlemen . . . meet television.
Dazzler of billions, appropriately nicknamed The Glass Teat (or Boob Tube), Baby-Sitter, Goggle Box, and The Eye, television is the master persuader of our age. And whether you agree with the late Ernie Kovacs that “television is a medium because it is neither rare nor well done,” the small screen has much to teach us when it comes to quick and efficient communication.
Television has been spectacularly successful in reducing people’s attention span, for instance—and then has plugged itself snugly into that smaller space. Equally important, T.V. has taught us that critical information succeeds when it is delivered vividly, with a visual kick.
As speakers who must convince listeners in short order—say, in the 30 seconds it takes for audiences to form judgments about us or to deliver an elevator speech—we can benefit from television’s techniques. We too can learn how to broadcast a message concisely yet powerfully and even include a visual component. Here are five ways to do so:
1. Decide on your objective. Let’s start with the persuasive tool par excellence of television: the commercial. Whether you love ‘em or hate ‘em, commercials seduce and persuade like nobody’s business (except the advertiser’s). With extreme conciseness, sponsors show us how to home in on one’s objective and achieve it with maximum efficiency. Advertisers do this because they want to sell, right? Well, so do you! Whether it’s a product, service, idea, or vision, a crystal clear objective to make that “sale” will lead you to the influence you desire. In conceiving your message, give purpose precedence over sheer information.
2. Use an effective hook. Think of a commercial you enjoy (come on, I know you have one). The first time you saw it, weren’t you intrigued at the beginning of the spot? Didn’t the quirky, or startling, or funny, or outrageous nature of the ad pull you right in? Whatever your essential message is when you speak, it won’t resonate unless people are with you when you get to it. If you hook their interest at the start, they’ll be with you at the end. If you don’t, they won’t.
3. State the problem and its solution. Here’s a T.V. commercial of the type you’ve seen many times. It’s a series of visual images: (1) Four-year-old boy chasing the family’s new puppy, laughing and tumbling all over the front lawn. (2) Mom looking at his pants draped over her arm and frowning at the ground-in grass stains. (3) Shot of detergent box. (4) Mom smiling at the same pair of pants, now sparkling clean as she holds them at arm’s length. We get it all: a problem and its solution, presented as succinctly as possible. Television does this seamlessly with visuals. As a speaker, you need to use visuals too, though your brush consists of words. And so you must . . .
4. Paint word pictures. Studies have shown that visual stimuli can be the strongest elements of persuasive nonverbal communication. That means we must not only show visuals when we present our ideas, but speak in visuals as well. Paint a picture with words, and the image will captivate your listeners. Hamlet’s father’s ghost may have said this to the prince: “I could tell you how my own brother murdered me, but it would shock and horrify you too much.” Instead, Shakespeare had the character color his palette this way: “I could a tale unfold whose lightest word would harrow up thy soul, freeze thy young blood, make thy two eyes start from their spheres [and] each particular hair to stand on end like quills upon the porcupine.” Which of those two short speeches packs a wallop?
5. Use stories that illustrate your point. When time is short or the opportunity is fleeting, state your point first then back it up with evidence. Of forms of evidence, stories are among the most powerful that exist. In casting your evidence in the form of a story, you’re saying, “Look, I know that was just data. Let me show you what I mean . . . .” Your illustration that follows, with people involved and a successful outcome will make your information come alive. Tell a story, and you’ll have your listener hooked—which is how you engaged him or her in the first place. Why let them off the hook now?
Sunday, May 9, 2010
How to Speak from Notes or a Manuscript
Good speakers need to relate to their listeners even while reading from notes or a manuscript. Sound like a difficult task? It isn't really.
Why then do so many people read their speeches badly? It can’t be because speakers find it helpful to pretend no one is actually listening to them (though they sometimes seem to be in their own little world in that way). And they can’t possibly be aiming to have a closer relationship with a stack of speaking notes than with their audience (though that sometimes seems to be the case).
If the whole idea behind a presentation is to influence one’s listeners, and it is, a speaker had better find a way to establish rapport with that audience! After all, is anyone willing to be persuaded by someone who basically denies their existence?
What follows are six practical tips for speaking effectively while using a manuscript or notes. These suggestions will help you remain engaging and influential as a speaker while maintaining a conversational dynamic with your listeners.
1. Write to speak. Compose your talk for the ears of your listeners, not their eyes, as would be the case if they were reading your speech. Aim for the rhythms of conversation rather than the more formal style of memos and reports (or the barely-composed slang of e-mail messages). That means choosing simple words and short sentences. Use a tape recorder to listen to yourself to improve in this area.
2. Make it easy for you to read. Give yourself pages that can you see readily from the lectern. Use a large typeface, wide margins, and avoid the bottom of the page (otherwise your audience will see the top of your head too often).
3. Grab key phrases and run with them. You don’t want to spend more time with your text than with your listeners. So look down and “grab” key phrases or sentences. Then look up at your listeners and say them. Practice the technique to acquire a rhythm, for this is an essential skill for speakers. An important general rule: if you’re not LOOKING at your audience, nothing should be coming out of your mouth.
4. Use the pause that refreshes. That’s an old ad slogan, but it applies to public speakers, who must learn to use pauses! Pauses help shape a speech. They show that you’re confident enough to introduce an idea, then let it sink in. Pauses are refreshing for listeners. The adrenalin you're producing will be prodding you to speed up, but you must take your time. A speech without pauses seems to go on forever, regardless of its actual length.
5. Look at your listeners. This is the forest that some speakers don’t see because the trees that their manuscript is made up of get in the way. You should look up from your speech with every sentence you say. Audience members need eye contact to believe you’re talking to them; and none of us is persuaded by someone who won’t look us in the eye.
6. Hit your peaks. Remember that a speech or presentation needs shape in terms of both ideas and vocal delivery. A speech lacking a climax, for instance, is as formless and anonymous as an amoeba; and presentations without vocal variety are sheer torture for listeners. The tendency of our voice to “flatten out” increases when we read from notes or a manuscript rather than conversing with listeners. Remind yourself always that you are talking to people, not sheets of paper. People demand much more from you than squiggles on a page. Provided you breathe life into those words, your listeners will return the favor handsomely.
Why then do so many people read their speeches badly? It can’t be because speakers find it helpful to pretend no one is actually listening to them (though they sometimes seem to be in their own little world in that way). And they can’t possibly be aiming to have a closer relationship with a stack of speaking notes than with their audience (though that sometimes seems to be the case).
If the whole idea behind a presentation is to influence one’s listeners, and it is, a speaker had better find a way to establish rapport with that audience! After all, is anyone willing to be persuaded by someone who basically denies their existence?
What follows are six practical tips for speaking effectively while using a manuscript or notes. These suggestions will help you remain engaging and influential as a speaker while maintaining a conversational dynamic with your listeners.
1. Write to speak. Compose your talk for the ears of your listeners, not their eyes, as would be the case if they were reading your speech. Aim for the rhythms of conversation rather than the more formal style of memos and reports (or the barely-composed slang of e-mail messages). That means choosing simple words and short sentences. Use a tape recorder to listen to yourself to improve in this area.
2. Make it easy for you to read. Give yourself pages that can you see readily from the lectern. Use a large typeface, wide margins, and avoid the bottom of the page (otherwise your audience will see the top of your head too often).
3. Grab key phrases and run with them. You don’t want to spend more time with your text than with your listeners. So look down and “grab” key phrases or sentences. Then look up at your listeners and say them. Practice the technique to acquire a rhythm, for this is an essential skill for speakers. An important general rule: if you’re not LOOKING at your audience, nothing should be coming out of your mouth.
4. Use the pause that refreshes. That’s an old ad slogan, but it applies to public speakers, who must learn to use pauses! Pauses help shape a speech. They show that you’re confident enough to introduce an idea, then let it sink in. Pauses are refreshing for listeners. The adrenalin you're producing will be prodding you to speed up, but you must take your time. A speech without pauses seems to go on forever, regardless of its actual length.
5. Look at your listeners. This is the forest that some speakers don’t see because the trees that their manuscript is made up of get in the way. You should look up from your speech with every sentence you say. Audience members need eye contact to believe you’re talking to them; and none of us is persuaded by someone who won’t look us in the eye.
6. Hit your peaks. Remember that a speech or presentation needs shape in terms of both ideas and vocal delivery. A speech lacking a climax, for instance, is as formless and anonymous as an amoeba; and presentations without vocal variety are sheer torture for listeners. The tendency of our voice to “flatten out” increases when we read from notes or a manuscript rather than conversing with listeners. Remind yourself always that you are talking to people, not sheets of paper. People demand much more from you than squiggles on a page. Provided you breathe life into those words, your listeners will return the favor handsomely.
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