In Canada, it's hockey season. Most of the time when you think of hockey, you think of a team. The Sens, the Leafs, The Habs, the Rangers, the Flyers, etc. You think about how the team plays together, how they are coached, how they relate to each other on and off the ice. When I took a look at hockey and at the teams, I realized that there are a number of lessons in leadership we can learn.
Lesson 1: Each team has many members, but there are only 6 members on the ice at a time – 3 forwards, 2 defence and a goalie. The other members are on the bench waiting for their turn. It is important to not only have the main line, but also members in reserve for when that first line needs a break. When a player is on the ice giving their all for 2-3 minutes, they need to get off for at least the same length of time so they can gather their strength to do it again.
Lesson 2: Every team needs a leader and so each team has a captain. The captain can be any one of those 6 players and may be on or off the ice at any time, but the captain will be the one you will hear calling encouragement to the other players, patting them on the back when they do well, and offering words of encouragement should they mess up.
Lesson 3: A captain must be prepared to take the lead, to guide and direct his or her teammates, to demonstrate skills by his or her actions, to stand up for his or her teammates, and to take the responsibility for when things go wrong.
The captain needs to pay attention to the other team members, noting who is doing well and who is not where they should be. The captain will either speak to the player themselves or pass on information to the coach. The captain knows when someone is having a bad day and might need a little more support or when they are having a good day and want some acknowledgement.
Lesson 4: When there is training to be done, the coach looks to the captain to set the pace, to buckle down and encourage the rest of the team to do the same. The captain has to be in better shape than the others in order to be able to set an example, so he or she must train harder and smarter.
Lesson 5: During the game it is important to put the best players on the ice for the situation at hand. For instance, if the play is in the home end, and the other team is winning, it is important to have a strong defensive line so that no more goals get in. If the play is in the other end and the team needs a goal, it is important to have the best forwards on the ice – a line that “clicks” and plays well together for the chance of a goal. It is important to know if someone is having a bad day or a good day and play them accordingly.
At times there are players who like to be the “stars” of the game. They grab the puck and race down the ice to score a goal. The fans may cheer, but in the dressing room, there is no cheer for this lone hero and it is up to the captain to explain to that player that he or she is part of a team and that it is necessary to work together so that everyone has a chance to shine. If the player keeps on “going it alone”, he or she may find out that they are indeed going it alone as the rest of the team will withdraw from them. Sometimes this is interpreted by the player as jealousy, but in fact it may be disgust that the player simply won’t listen and support everyone else.
Lesson 6: It is always important to have back up players. No team can play well if they only have their minimum number of players on the ice for the whole game. Every one needs some time off to rest and recuperate, to gain strength to carry on. If they have to play the whole game they become exhausted and lose their ability to play well and may even lose their initiative to play at all.
You can see how these lessons relate easily to Toastmasters. It is important to have a leader – the President, but the President is not the team. The Executive and all the other members are the team and the members of the Executive are simply the first line. It is important for all members to be present and willing to take on some of the duties so that the other “players” can get some rest, recuperate and prepare to carry on.
It is important in Toastmasters and hockey for everyone to take their turn on the ice in order to win the game.
Be the best leader you can be
Fran Watson
Tuesday, February 12, 2008
Saturday, February 2, 2008
Toasters, Toastmasters and Toasts
Nothing so frightens a person as the announcement that they are expected to respond to a toast on some appallingly near-by occasion. All ideas they may ever have had on the subject melt away and like a drowning man they clutch furiously at the nearest solid object.
Before making any specific suggestions to the prospective toaster or toastmaster, let us advise that they consider well the nature and spirit of the occasion which calls for speeches. The toast, after-dinner talk, or address is always given under conditions that require abounding good humor, and the desire to make everybody pleased and comfortable as well as to furnish entertainment should be uppermost.
Perhaps a consideration of the ancient custom that gave rise to the modern toast will help us to understand the spirit in which a toast should be given. It originated with the pagan custom of drinking to gods and the dead, which in Christian nations was modified, with the accompanying idea of a wish for health and happiness added. In England during the sixteenth century it was customary to put a "toast" in the drink, which was usually served hot. This toast was the ordinary piece of bread scorched on both sides. Shakespeare in "The Merry Wives of Windsor" has Falstaff say, "Fetch me a quart of sack and put a toast in't." Later the term came to be applied to the lady in whose honor the company drank, her name serving to flavor the bumper as the toast flavored the drink. It was in this way that the act of drinking or of proposing a health, or the mere act of expressing good wishes or fellowship at table came to be known as toasting.
Since an occasion, then, at which toasts are in order is one intended to promote good feeling, it should afford no opportunity for the exploitation of any personal or selfish interest or for anything controversial, or antagonistic to any of the company present. The effort of the toastmaster should be to promote the best of feeling among all and especially between speakers. And speakers should cooperate with the toastmaster and with each other to that end. The introductions of the toastmaster may, of course, contain some good-natured bantering, together with compliment, but always without sting. Those taking part may "get back" at the toastmaster, but always in a manner to leave no hard feeling anywhere. The toastmaster should strive to make his speakers feel at ease, to give them good standing with their hearers without overpraising them and making it hard to live up to what is expected of them. In short, let everybody boost good naturedly for
everybody else.
The toastmaster, and for that matter everyone taking part, should be carefully prepared. It may be safely said that those who are successful after-dinner speakers have learned the need of careful forethought. A practised speaker may appear to speak extemporaneously by putting together on one occasion thoughts and expressions previously prepared for other occasions, but the neophyte may well consider it necessary to think out carefully the matter of what to say and how to say it. Cicero said of Antonius, "All his speeches were, _in appearance_, the unpremeditated effusion of an honest heart; and yet, in reality, they were _preconceived with so much skill_ that the judges were not so well prepared as they should have been to withstand the force of them!"
After considering the nature of the occasion and getting himself in harmony with it, the speaker should next consider the relation of his particular subject to the occasion and to the subjects of the other speakers. He should be careful to hold closely to the subject allotted to him so that he will not encroach upon the ground of other speakers. He should be careful, too, not to appropriate to himself any of their time. And he should consider, without vanity and without humility, his own relative importance and govern himself accordingly. We have all had the painful experience of waiting in impatience for the speech of the evening to begin while some humble citizen made "a few introductory
remarks."
In planning his speech and in getting it into finished form, the toaster will do well to remember those three essentials to all good composition with which he struggled in school and college days, Unity, Mass and Coherence. The first means that his talk must have a central thought, on which all his stories, anecdotes and jokes will have a bearing; the second that there will be a proper balance between the parts, that it will not be all introduction and conclusion; the third, that it will hang together, without awkward transitions. A toast may consist, as Lowell said, of "a platitude, a quotation and an anecdote," but the toaster must exercise his ingenuity in putting these together.
In delivering the toast, the speaker must of course be natural. The after-dinner speech calls for a conversational tone, not for oratory of voice or manner. Something of an air of detachment on the part of the speaker is advisable. The humorist who can tell a story with a straight face adds to the humorous effect.
Now we are going to add a special paragraph for the absolutely inexperienced person--who has never given, or heard anyone else give, a toast. It would seem hardly possible in this day of banquets to find an individual who has missed these occasions entirely--but he is to be found. Especially is this true in a world where toasting and after-dinner speaking are coming to be more and more in demand at social functions--the college world. Here the young man or woman, coming from a country town where the formal banquet is unknown, who has never heard an after-dinner speech, may be confronted with the necessity of responding to a toast on, say "Needles and Pins." Such a one would like to be told first of all what an after-dinner speech is. It is only a short, informal talk, usually witty, at any rate kindly, with one central idea and a certain amount of illustrative material in the way of anecdotes, quotations and stories. The best advice to such a speaker is: Make your first effort simple. Don't be over ambitious. If, as was suggested in the example cited a moment ago, the subject is fanciful--as it is very apt to be at a college banquet--any interpretation you choose to put upon it is allowable. If the interpretation is ingenious, your case is already half won. Such a subject is in effect a challenge. "Now, let's see what you can make of this," is what it implies. First get an idea; then find something in the way of illustrative material. Speak simply and naturally and sit down and watch how the others do it. Of course the subject on such occasions is often of a more serious nature--Our Class; The Team; Our President--in which case a more serious treatment is called for, with a touch of honest pride and sentiment.
To sum up what has been said, with borrowings from what others have said on the subject, the following general rules have been formulated:
_Prepare carefully_. Self-confidence is a valuable possession, but beware of being too sure of yourself. Pride goes before a fall, and overconfidence in his ability to improvise has been the downfall of many a would-be speaker. The speaker should strive to give the effect of spontaneity, but this can be done only with practice. The toast calls for the art that conceals art.
_Let your speech have unity_. As some one has pointed out, the after-dinner speech is a distinct form of expression, just as is the short story. As such it should give a unity of impression. It bears something of the same relation to the oration that the short story does
to the novel.
_Let it have continuity_. James Bryce says: "There is a tendency today to make after-dinner speaking a mere string of anecdotes, most of which may have little to do with the subject or with one another. Even the best stories lose their charm when they are dragged in by the head and shoulders, having no connection with the allotted theme. Relevance as
well as brevity is the soul of wit."
_Do not grow emotional or sentimental_. American traditions are largely borrowed from England. We have the Anglo-Saxon reticence. A parade of emotion in public embarrasses us. A simple and sincere expression of feeling is often desirable in a toast--but don't overdo it.
_Avoid trite sayings_. Don't use quotations that are shopworn, and avoid the set forms for toasts--"Our sweethearts and wives--may they never meet," etc.
_Don't apologise_. Don't say that you are not prepared; that you speak on very short notice; that you are "no orator as Brutus is." Resolve to do your best and let your effort speak for itself.
_Avoid irony and satire_. It has already been said that occasions on which toasts are given call for friendliness and good humor. Yet the temptation to use irony and satire may be strong. Especially may this be true at political gatherings where there is a chance to grow witty at the expense of rivals. Irony and satire are keen-edged tools; they have their uses; but they are dangerous. Pope, who knew how to use them, said:
Satire's my weapon, but I'm too discreet
To run amuck and tilt at all I meet.
_Use personal references sparingly_. A certain amount of good-natured chaffing may be indulged in. Yet there may be danger in even the most kindly of fun. One never knows how a jest will be taken. Once in the early part of his career, Mark Twain, at a New England banquet, grew funny at the expense of Longfellow and Emerson, then in their old age and looked upon almost as divinities. His joke fell dead, and to the end of his life he suffered humiliation at the recollection.
_Be clear_. While you must not draw an obvious moral or explain the point to your jokes, be sure that the point is there and that it is put in such a way that your hearers cannot miss it. Avoid flights of rhetoric and do not lose your anecdotes in a sea of words.
_Avoid didacticism_. Do not try to instruct. Do not give statistics and figures. They will not be remembered. A historical resume of your subject from the beginning of time is not called for; neither are well-known facts about the greatness of your city or state or the prominent person in whose honor you may be speaking. Do not tell your hearers things they already know.
_Be brief_. An after-dinner audience is in a particularly defenceless position. It is so out in the open. There is no opportunity for a quiet nod or two behind a newspaper or the hat of the lady in front. If you bore your hearers by overstepping your time politeness requires that they sit still and look pleased. Spare them. Remember Bacon's advice to the speaker: "Let him be sure to leave other men their turns to speak."
But suppose you come late on the program! Suppose the other speakers have not heeded Bacon? What are you going to do about it? Here is a story that James Bryce tells of the most successful after-dinner speech he remembers to have heard. The speaker was a famous engineer, the occasion a dinner of the British Association for the Advancement of Science. "He came last; and midnight had arrived. His toast was Applied Science, and his speech was as follows: 'Ladies and gentlemen, at this late hour I advise you to illustrate the Applications of Science by applying a lucifer match to the wick of your bedroom candle. Let us all go to bed'."
If you are capable of making a similar sacrifice by cutting short your own carefully-prepared, wise, witty and sparkling remarks, your audience will thank you--and they may ask you to speak again.
Bottom's Up!
Fran Watson
Before making any specific suggestions to the prospective toaster or toastmaster, let us advise that they consider well the nature and spirit of the occasion which calls for speeches. The toast, after-dinner talk, or address is always given under conditions that require abounding good humor, and the desire to make everybody pleased and comfortable as well as to furnish entertainment should be uppermost.
Perhaps a consideration of the ancient custom that gave rise to the modern toast will help us to understand the spirit in which a toast should be given. It originated with the pagan custom of drinking to gods and the dead, which in Christian nations was modified, with the accompanying idea of a wish for health and happiness added. In England during the sixteenth century it was customary to put a "toast" in the drink, which was usually served hot. This toast was the ordinary piece of bread scorched on both sides. Shakespeare in "The Merry Wives of Windsor" has Falstaff say, "Fetch me a quart of sack and put a toast in't." Later the term came to be applied to the lady in whose honor the company drank, her name serving to flavor the bumper as the toast flavored the drink. It was in this way that the act of drinking or of proposing a health, or the mere act of expressing good wishes or fellowship at table came to be known as toasting.
Since an occasion, then, at which toasts are in order is one intended to promote good feeling, it should afford no opportunity for the exploitation of any personal or selfish interest or for anything controversial, or antagonistic to any of the company present. The effort of the toastmaster should be to promote the best of feeling among all and especially between speakers. And speakers should cooperate with the toastmaster and with each other to that end. The introductions of the toastmaster may, of course, contain some good-natured bantering, together with compliment, but always without sting. Those taking part may "get back" at the toastmaster, but always in a manner to leave no hard feeling anywhere. The toastmaster should strive to make his speakers feel at ease, to give them good standing with their hearers without overpraising them and making it hard to live up to what is expected of them. In short, let everybody boost good naturedly for
everybody else.
The toastmaster, and for that matter everyone taking part, should be carefully prepared. It may be safely said that those who are successful after-dinner speakers have learned the need of careful forethought. A practised speaker may appear to speak extemporaneously by putting together on one occasion thoughts and expressions previously prepared for other occasions, but the neophyte may well consider it necessary to think out carefully the matter of what to say and how to say it. Cicero said of Antonius, "All his speeches were, _in appearance_, the unpremeditated effusion of an honest heart; and yet, in reality, they were _preconceived with so much skill_ that the judges were not so well prepared as they should have been to withstand the force of them!"
After considering the nature of the occasion and getting himself in harmony with it, the speaker should next consider the relation of his particular subject to the occasion and to the subjects of the other speakers. He should be careful to hold closely to the subject allotted to him so that he will not encroach upon the ground of other speakers. He should be careful, too, not to appropriate to himself any of their time. And he should consider, without vanity and without humility, his own relative importance and govern himself accordingly. We have all had the painful experience of waiting in impatience for the speech of the evening to begin while some humble citizen made "a few introductory
remarks."
In planning his speech and in getting it into finished form, the toaster will do well to remember those three essentials to all good composition with which he struggled in school and college days, Unity, Mass and Coherence. The first means that his talk must have a central thought, on which all his stories, anecdotes and jokes will have a bearing; the second that there will be a proper balance between the parts, that it will not be all introduction and conclusion; the third, that it will hang together, without awkward transitions. A toast may consist, as Lowell said, of "a platitude, a quotation and an anecdote," but the toaster must exercise his ingenuity in putting these together.
In delivering the toast, the speaker must of course be natural. The after-dinner speech calls for a conversational tone, not for oratory of voice or manner. Something of an air of detachment on the part of the speaker is advisable. The humorist who can tell a story with a straight face adds to the humorous effect.
Now we are going to add a special paragraph for the absolutely inexperienced person--who has never given, or heard anyone else give, a toast. It would seem hardly possible in this day of banquets to find an individual who has missed these occasions entirely--but he is to be found. Especially is this true in a world where toasting and after-dinner speaking are coming to be more and more in demand at social functions--the college world. Here the young man or woman, coming from a country town where the formal banquet is unknown, who has never heard an after-dinner speech, may be confronted with the necessity of responding to a toast on, say "Needles and Pins." Such a one would like to be told first of all what an after-dinner speech is. It is only a short, informal talk, usually witty, at any rate kindly, with one central idea and a certain amount of illustrative material in the way of anecdotes, quotations and stories. The best advice to such a speaker is: Make your first effort simple. Don't be over ambitious. If, as was suggested in the example cited a moment ago, the subject is fanciful--as it is very apt to be at a college banquet--any interpretation you choose to put upon it is allowable. If the interpretation is ingenious, your case is already half won. Such a subject is in effect a challenge. "Now, let's see what you can make of this," is what it implies. First get an idea; then find something in the way of illustrative material. Speak simply and naturally and sit down and watch how the others do it. Of course the subject on such occasions is often of a more serious nature--Our Class; The Team; Our President--in which case a more serious treatment is called for, with a touch of honest pride and sentiment.
To sum up what has been said, with borrowings from what others have said on the subject, the following general rules have been formulated:
_Prepare carefully_. Self-confidence is a valuable possession, but beware of being too sure of yourself. Pride goes before a fall, and overconfidence in his ability to improvise has been the downfall of many a would-be speaker. The speaker should strive to give the effect of spontaneity, but this can be done only with practice. The toast calls for the art that conceals art.
_Let your speech have unity_. As some one has pointed out, the after-dinner speech is a distinct form of expression, just as is the short story. As such it should give a unity of impression. It bears something of the same relation to the oration that the short story does
to the novel.
_Let it have continuity_. James Bryce says: "There is a tendency today to make after-dinner speaking a mere string of anecdotes, most of which may have little to do with the subject or with one another. Even the best stories lose their charm when they are dragged in by the head and shoulders, having no connection with the allotted theme. Relevance as
well as brevity is the soul of wit."
_Do not grow emotional or sentimental_. American traditions are largely borrowed from England. We have the Anglo-Saxon reticence. A parade of emotion in public embarrasses us. A simple and sincere expression of feeling is often desirable in a toast--but don't overdo it.
_Avoid trite sayings_. Don't use quotations that are shopworn, and avoid the set forms for toasts--"Our sweethearts and wives--may they never meet," etc.
_Don't apologise_. Don't say that you are not prepared; that you speak on very short notice; that you are "no orator as Brutus is." Resolve to do your best and let your effort speak for itself.
_Avoid irony and satire_. It has already been said that occasions on which toasts are given call for friendliness and good humor. Yet the temptation to use irony and satire may be strong. Especially may this be true at political gatherings where there is a chance to grow witty at the expense of rivals. Irony and satire are keen-edged tools; they have their uses; but they are dangerous. Pope, who knew how to use them, said:
Satire's my weapon, but I'm too discreet
To run amuck and tilt at all I meet.
_Use personal references sparingly_. A certain amount of good-natured chaffing may be indulged in. Yet there may be danger in even the most kindly of fun. One never knows how a jest will be taken. Once in the early part of his career, Mark Twain, at a New England banquet, grew funny at the expense of Longfellow and Emerson, then in their old age and looked upon almost as divinities. His joke fell dead, and to the end of his life he suffered humiliation at the recollection.
_Be clear_. While you must not draw an obvious moral or explain the point to your jokes, be sure that the point is there and that it is put in such a way that your hearers cannot miss it. Avoid flights of rhetoric and do not lose your anecdotes in a sea of words.
_Avoid didacticism_. Do not try to instruct. Do not give statistics and figures. They will not be remembered. A historical resume of your subject from the beginning of time is not called for; neither are well-known facts about the greatness of your city or state or the prominent person in whose honor you may be speaking. Do not tell your hearers things they already know.
_Be brief_. An after-dinner audience is in a particularly defenceless position. It is so out in the open. There is no opportunity for a quiet nod or two behind a newspaper or the hat of the lady in front. If you bore your hearers by overstepping your time politeness requires that they sit still and look pleased. Spare them. Remember Bacon's advice to the speaker: "Let him be sure to leave other men their turns to speak."
But suppose you come late on the program! Suppose the other speakers have not heeded Bacon? What are you going to do about it? Here is a story that James Bryce tells of the most successful after-dinner speech he remembers to have heard. The speaker was a famous engineer, the occasion a dinner of the British Association for the Advancement of Science. "He came last; and midnight had arrived. His toast was Applied Science, and his speech was as follows: 'Ladies and gentlemen, at this late hour I advise you to illustrate the Applications of Science by applying a lucifer match to the wick of your bedroom candle. Let us all go to bed'."
If you are capable of making a similar sacrifice by cutting short your own carefully-prepared, wise, witty and sparkling remarks, your audience will thank you--and they may ask you to speak again.
Bottom's Up!
Fran Watson
Efficiency Through Change Of Pitch
Speech is simply a modified form of singing: the principal difference being in the fact that in singing the vowel sounds are prolonged and the intervals are short, whereas in speech the words are uttered in what may be called "staccato" tones, the vowels not being specially prolonged and the intervals between the words being more distinct. The fact that in singing we have a larger range of tones does not properly distinguish it from ordinary speech. In speech we have likewise a variation of tones, and even in ordinary conversation there is a difference of from three to six semi-tones, as I have found in my investigations, and in some persons the range is as high as one octave.—WILLIAM SCHEPPEGRELL, Popular Science Monthly.
By pitch, as everyone knows, we mean the relative position of a vocal tone—as, high, medium, low, or any variation between. In public speech we apply it not only to a single utterance, as an exclamation or a monosyllable (Oh! or the) but to any group of syllables, words, and even sentences that may be spoken in a single tone. This distinction it is important to keep in mind, for the efficient speaker not only changes the pitch of successive syllables (see Chapter VII, "Efficiency through Inflection"), but gives a different pitch to different parts, or word-groups, of successive sentences.
Every Change in the Thought Demands a Change in the Voice-Pitch
Whether the speaker follows the rule consciously, unconsciously, or subconsciously, this is the logical basis upon which all good voice variation is made, yet this law is violated more often than any other by public speakers. A criminal may disregard a law of the state without detection and punishment, but the speaker who violates this regulation suffers its penalty at once in his loss of effectiveness, while his innocent hearers must endure the monotony—for monotony is not only a sin of the perpetrator, as we have shown, but a plague on the victims as well.
Change of pitch is a stumbling block for almost all beginners, and for many experienced speakers also. This is especially true when the words of the speech have been memorized.
If you wish to hear how pitch-monotony sounds, strike the same note on the piano over and over again. You have in your speaking voice a range of pitch from high to low, with a great many shades between the extremes. With all these notes available there is no excuse for offending the ears and taste of your audience by continually using the one note. True, the reiteration of the same tone in music—as in pedal point on an organ composition—may be made the foundation of beauty, for the harmony weaving about that one basic tone produces a consistent, insistent quality not felt in pure variety of chord sequences. In like manner the intoning voice in a ritual may—though it rarely does—possess a solemn beauty. But the public speaker should shun the monotone as he would a pestilence.
Continual Change of Pitch is Nature's Highest Method
In our search for the principles of efficiency we must continually go back to nature. Listen—really listen—to the birds sing. Which of these feathered tribes are most pleasing in their vocal efforts: those whose voices, though sweet, have little or no range, or those that, like the canary, the lark, and the nightingale, not only possess a considerable range but utter their notes in continual variety of combinations? Even a sweet-toned chirp, when reiterated without change, may grow maddening to the enforced listener.
The little child seldom speaks in a monotonous pitch. Observe the conversations of little folk that you hear on the street or in the home, and note the continual changes of pitch. The unconscious speech of most adults is likewise full of pleasing variations.
Imagine someone speaking the following, and consider if the effect would not be just about as indicated. Remember, we are not now discussing the inflection of single words, but the general pitch in which phrases are spoken.
(High pitch) "I'd like to leave for my vacation tomorrow,—(lower) still, I have so much to do. (Higher) Yet I suppose if I wait until I have time I'll never go."
Repeat this, first in the pitches indicated, and then all in the one pitch, as many speakers would. Observe the difference in naturalness of effect.
The following exercise should be spoken in a purely conversational tone, with numerous changes of pitch. Practise it until your delivery would cause a stranger in the next room to think you were discussing an actual incident with a friend, instead of delivering a memorized monologue. If you are in doubt about the effect you have secured, repeat it to a friend and ask him if it sounds like memorized words. If it does, it is wrong.
A SIMILAR CASE
Jack, I hear you've gone and done it.—Yes, I know; most fellows will; went and tried it once myself, sir, though you see I'm single still. And you met her—did you tell me—down at Newport, last July, and resolved to ask the question at a soirée? So did I.
I suppose you left the ball-room, with its music and its light; for they say love's flame is brightest in the darkness of the night. Well, you walked along together, overhead the starlit sky; and I'll bet—old man, confess it—you were frightened. So was I.
So you strolled along the terrace, saw the summer moonlight pour all its radiance on the waters, as they rippled on the shore, till at length you gathered courage, when you saw that none was nigh—did you draw her close and tell her that you loved her? So did I.
Well, I needn't ask you further, and I'm sure I wish you joy. Think I'll wander down and see you when you're married—eh, my boy? When the honeymoon is over and you're settled down, we'll try—What? the deuce you say! Rejected—you rejected? So was I.
—Anonymous.
The necessity for changing pitch is so self-evident that it should be grasped and applied immediately. However, it requires patient drill to free yourself from monotony of pitch.
In natural conversation you think of an idea first, and then find words to express it. In memorized speeches you are liable to speak the words, and then think what they mean—and many speakers seem to trouble very little even about that. Is it any wonder that reversing the process should reverse the result? Get back to nature in your methods of expression.
Read the following selection in a nonchalant manner, never pausing to think what the words really mean. Try it again, carefully studying the thought you have assimilated. Believe the idea, desire to express it effectively, and imagine an audience before you. Look them earnestly in the face and repeat this truth. If you follow directions, you will note that you have made many changes of pitch after several readings.
It is not work that kills men; it is worry. Work is healthy; you can hardly put more upon a man than he can bear. Worry is rust upon the blade. It is not the revolution that destroys the machinery but the friction.—HENRY WARD BEECHER.
Change of Pitch Produces Emphasis
This is a highly important statement. Variety in pitch maintains the hearer's interest, but one of the surest ways to compel attention—to secure unusual emphasis—is to change the pitch of your voice suddenly and in a marked degree. A great contrast always arouses attention. White shows whiter against black; a cannon roars louder in the Sahara silence than in the Chicago hurly burly—these are simple illustrations of the power of contrast.
In attempting these contrasts of pitch it is important to avoid unpleasant extremes. Most speakers pitch their voices too high. One of the secrets of Mr. Bryan's eloquence is his low, bell-like voice. Shakespeare said that a soft, gentle, low voice was "an excellent thing in woman;" it is no less so in man, for a voice need not be blatant to be powerful,—and must not be, to be pleasing.
In closing, let us emphasize anew the importance of using variety of pitch. You sing up and down the scale, first touching one note and then another above or below it. Do likewise in speaking.
Thought and individual taste must generally be your guide as to where to use a low, a moderate, or a high pitch.
Pitch your way to competent public speaking!
Fran Watson
P.S. For more help in public speaking check out your local Toastmasters club
By pitch, as everyone knows, we mean the relative position of a vocal tone—as, high, medium, low, or any variation between. In public speech we apply it not only to a single utterance, as an exclamation or a monosyllable (Oh! or the) but to any group of syllables, words, and even sentences that may be spoken in a single tone. This distinction it is important to keep in mind, for the efficient speaker not only changes the pitch of successive syllables (see Chapter VII, "Efficiency through Inflection"), but gives a different pitch to different parts, or word-groups, of successive sentences.
Every Change in the Thought Demands a Change in the Voice-Pitch
Whether the speaker follows the rule consciously, unconsciously, or subconsciously, this is the logical basis upon which all good voice variation is made, yet this law is violated more often than any other by public speakers. A criminal may disregard a law of the state without detection and punishment, but the speaker who violates this regulation suffers its penalty at once in his loss of effectiveness, while his innocent hearers must endure the monotony—for monotony is not only a sin of the perpetrator, as we have shown, but a plague on the victims as well.
Change of pitch is a stumbling block for almost all beginners, and for many experienced speakers also. This is especially true when the words of the speech have been memorized.
If you wish to hear how pitch-monotony sounds, strike the same note on the piano over and over again. You have in your speaking voice a range of pitch from high to low, with a great many shades between the extremes. With all these notes available there is no excuse for offending the ears and taste of your audience by continually using the one note. True, the reiteration of the same tone in music—as in pedal point on an organ composition—may be made the foundation of beauty, for the harmony weaving about that one basic tone produces a consistent, insistent quality not felt in pure variety of chord sequences. In like manner the intoning voice in a ritual may—though it rarely does—possess a solemn beauty. But the public speaker should shun the monotone as he would a pestilence.
Continual Change of Pitch is Nature's Highest Method
In our search for the principles of efficiency we must continually go back to nature. Listen—really listen—to the birds sing. Which of these feathered tribes are most pleasing in their vocal efforts: those whose voices, though sweet, have little or no range, or those that, like the canary, the lark, and the nightingale, not only possess a considerable range but utter their notes in continual variety of combinations? Even a sweet-toned chirp, when reiterated without change, may grow maddening to the enforced listener.
The little child seldom speaks in a monotonous pitch. Observe the conversations of little folk that you hear on the street or in the home, and note the continual changes of pitch. The unconscious speech of most adults is likewise full of pleasing variations.
Imagine someone speaking the following, and consider if the effect would not be just about as indicated. Remember, we are not now discussing the inflection of single words, but the general pitch in which phrases are spoken.
(High pitch) "I'd like to leave for my vacation tomorrow,—(lower) still, I have so much to do. (Higher) Yet I suppose if I wait until I have time I'll never go."
Repeat this, first in the pitches indicated, and then all in the one pitch, as many speakers would. Observe the difference in naturalness of effect.
The following exercise should be spoken in a purely conversational tone, with numerous changes of pitch. Practise it until your delivery would cause a stranger in the next room to think you were discussing an actual incident with a friend, instead of delivering a memorized monologue. If you are in doubt about the effect you have secured, repeat it to a friend and ask him if it sounds like memorized words. If it does, it is wrong.
A SIMILAR CASE
Jack, I hear you've gone and done it.—Yes, I know; most fellows will; went and tried it once myself, sir, though you see I'm single still. And you met her—did you tell me—down at Newport, last July, and resolved to ask the question at a soirée? So did I.
I suppose you left the ball-room, with its music and its light; for they say love's flame is brightest in the darkness of the night. Well, you walked along together, overhead the starlit sky; and I'll bet—old man, confess it—you were frightened. So was I.
So you strolled along the terrace, saw the summer moonlight pour all its radiance on the waters, as they rippled on the shore, till at length you gathered courage, when you saw that none was nigh—did you draw her close and tell her that you loved her? So did I.
Well, I needn't ask you further, and I'm sure I wish you joy. Think I'll wander down and see you when you're married—eh, my boy? When the honeymoon is over and you're settled down, we'll try—What? the deuce you say! Rejected—you rejected? So was I.
—Anonymous.
The necessity for changing pitch is so self-evident that it should be grasped and applied immediately. However, it requires patient drill to free yourself from monotony of pitch.
In natural conversation you think of an idea first, and then find words to express it. In memorized speeches you are liable to speak the words, and then think what they mean—and many speakers seem to trouble very little even about that. Is it any wonder that reversing the process should reverse the result? Get back to nature in your methods of expression.
Read the following selection in a nonchalant manner, never pausing to think what the words really mean. Try it again, carefully studying the thought you have assimilated. Believe the idea, desire to express it effectively, and imagine an audience before you. Look them earnestly in the face and repeat this truth. If you follow directions, you will note that you have made many changes of pitch after several readings.
It is not work that kills men; it is worry. Work is healthy; you can hardly put more upon a man than he can bear. Worry is rust upon the blade. It is not the revolution that destroys the machinery but the friction.—HENRY WARD BEECHER.
Change of Pitch Produces Emphasis
This is a highly important statement. Variety in pitch maintains the hearer's interest, but one of the surest ways to compel attention—to secure unusual emphasis—is to change the pitch of your voice suddenly and in a marked degree. A great contrast always arouses attention. White shows whiter against black; a cannon roars louder in the Sahara silence than in the Chicago hurly burly—these are simple illustrations of the power of contrast.
In attempting these contrasts of pitch it is important to avoid unpleasant extremes. Most speakers pitch their voices too high. One of the secrets of Mr. Bryan's eloquence is his low, bell-like voice. Shakespeare said that a soft, gentle, low voice was "an excellent thing in woman;" it is no less so in man, for a voice need not be blatant to be powerful,—and must not be, to be pleasing.
In closing, let us emphasize anew the importance of using variety of pitch. You sing up and down the scale, first touching one note and then another above or below it. Do likewise in speaking.
Thought and individual taste must generally be your guide as to where to use a low, a moderate, or a high pitch.
Pitch your way to competent public speaking!
Fran Watson
P.S. For more help in public speaking check out your local Toastmasters club
Tempo - Efficienty Through Change of Pace
Hear how he clears the points o' Faith
Wi' rattlin' an' thumpin'!Now meekly calm, now wild in wrath,
He's stampin' an' he's jumpin'.
—ROBERT BURNS, Holy Fair.
The Latins have bequeathed to us a word that has no precise equivalent in our tongue, therefore we have accepted it, body unchanged—it is the word tempo, and means rate of movement, as measured by the time consumed in executing that movement.
Thus far its use has been largely limited to the vocal and musical arts, but it would not be surprising to hear tempo applied to more concrete matters, for it perfectly illustrates the real meaning of the word to say that an ox-cart moves in slow tempo, an express train in a fast tempo. Our guns that fire six hundred times a minute, shoot at a fast tempo; the old muzzle loader that required three minutes to load, shot at a slow tempo. Every musician understands this principle: it requires longer to sing a half note than it does an eighth note.
Now tempo is a tremendously important element in good platform work, for when a speaker delivers a whole address at very nearly the same rate of speed he is depriving himself of one of his chief means of emphasis and power. The baseball pitcher, the bowler in cricket, the tennis server, all know the value of change of pace—change of tempo—in delivering their ball, and so must the public speaker observe its power.
Change of Tempo Lends Naturalness to the Delivery
Naturalness, or at least seeming naturalness, as was explained in the chapter on "Monotony," is greatly to be desired, and a continual change of tempo will go a long way towards establishing it. Mr. Howard Lindsay, Stage Manager for Miss Margaret Anglin, recently said to the present writer that change of pace was one of the most effective tools of the actor. While it must be admitted that the stilted mouthings of many actors indicate cloudy mirrors, still the public speaker would do well to study the actor's use of tempo.
There is, however, a more fundamental and effective source at which to study naturalness—a trait which, once lost, is shy of recapture: that source is the common conversation of any well-bred circle. This is the standard we strive to reach on both stage and platform—with certain differences, of course, which will appear as we go on. If speaker and actor were to reproduce with absolute fidelity every variation of utterance—every whisper, grunt, pause, silence, and explosion—of conversation as we find it typically in everyday life, much of the interest would leave the public utterance. Naturalness in public address is something more than faithful reproduction of nature—it is the reproduction of those typical parts of nature's work which are truly representative of the whole.
The realistic story-writer understands this in writing dialogue, and we must take it into account in seeking for naturalness through change of tempo.
Suppose you speak the first of the following sentences in a slow tempo, the second quickly, observing how natural is the effect. Then speak both with the same rapidity and note the difference.
I can't recall what I did with my knife. Oh, now I remember I gave it to Mary.
We see here that a change of tempo often occurs in the same sentence—for tempo applies not only to single words, groups of words, and groups of sentences, but to the major parts of a public speech as well.
To changing the pace of your world!
Fran Watson
Wi' rattlin' an' thumpin'!Now meekly calm, now wild in wrath,
He's stampin' an' he's jumpin'.
—ROBERT BURNS, Holy Fair.
The Latins have bequeathed to us a word that has no precise equivalent in our tongue, therefore we have accepted it, body unchanged—it is the word tempo, and means rate of movement, as measured by the time consumed in executing that movement.
Thus far its use has been largely limited to the vocal and musical arts, but it would not be surprising to hear tempo applied to more concrete matters, for it perfectly illustrates the real meaning of the word to say that an ox-cart moves in slow tempo, an express train in a fast tempo. Our guns that fire six hundred times a minute, shoot at a fast tempo; the old muzzle loader that required three minutes to load, shot at a slow tempo. Every musician understands this principle: it requires longer to sing a half note than it does an eighth note.
Now tempo is a tremendously important element in good platform work, for when a speaker delivers a whole address at very nearly the same rate of speed he is depriving himself of one of his chief means of emphasis and power. The baseball pitcher, the bowler in cricket, the tennis server, all know the value of change of pace—change of tempo—in delivering their ball, and so must the public speaker observe its power.
Change of Tempo Lends Naturalness to the Delivery
Naturalness, or at least seeming naturalness, as was explained in the chapter on "Monotony," is greatly to be desired, and a continual change of tempo will go a long way towards establishing it. Mr. Howard Lindsay, Stage Manager for Miss Margaret Anglin, recently said to the present writer that change of pace was one of the most effective tools of the actor. While it must be admitted that the stilted mouthings of many actors indicate cloudy mirrors, still the public speaker would do well to study the actor's use of tempo.
There is, however, a more fundamental and effective source at which to study naturalness—a trait which, once lost, is shy of recapture: that source is the common conversation of any well-bred circle. This is the standard we strive to reach on both stage and platform—with certain differences, of course, which will appear as we go on. If speaker and actor were to reproduce with absolute fidelity every variation of utterance—every whisper, grunt, pause, silence, and explosion—of conversation as we find it typically in everyday life, much of the interest would leave the public utterance. Naturalness in public address is something more than faithful reproduction of nature—it is the reproduction of those typical parts of nature's work which are truly representative of the whole.
The realistic story-writer understands this in writing dialogue, and we must take it into account in seeking for naturalness through change of tempo.
Suppose you speak the first of the following sentences in a slow tempo, the second quickly, observing how natural is the effect. Then speak both with the same rapidity and note the difference.
I can't recall what I did with my knife. Oh, now I remember I gave it to Mary.
We see here that a change of tempo often occurs in the same sentence—for tempo applies not only to single words, groups of words, and groups of sentences, but to the major parts of a public speech as well.
To changing the pace of your world!
Fran Watson
Emphasis and Subordination
In a word, the principle of emphasis ... is followed best, not by remembering particular rules, but by being full of a particular feeling.—C.S. BALDWIN, Writing and Speaking.
The gun that scatters too much does not bag the birds. The same principle applies to speech. The speaker that fires his force and emphasis at random into a sentence will not get results. Not every word is of special importance—therefore only certain words demand emphasis.
You say MassaCHUsetts and MinneAPolis, you do not emphasize each syllable alike, but hit the accented syllable with force and hurry over the unimportant ones. Now why do you not apply this principle in speaking a sentence? To some extent you do, in ordinary speech; but do you in public discourse? It is there that monotony caused by lack of emphasis is so painfully apparent.
So far as emphasis is concerned, you may consider the average sentence as just one big word, with the important word as the accented syllable. Note the following:
"Destiny is not a matter of chance. It is a matter of choice."
You might as well say MASS-A-CHU-SETTS, emphasizing every syllable equally, as to lay equal stress on each word in the foregoing sentences.
Speak it aloud and see. Of course you will want to emphasize destiny, for it is the principal idea in your declaration, and you will put some emphasis on not, else your hearers may think you are affirming that destiny is a matter of chance. By all means you must emphasize chance, for it is one of the two big ideas in the statement.
Another reason why chance takes emphasis is that it is contrasted with choice in the next sentence. Obviously, the author has contrasted these ideas purposely, so that they might be more emphatic, and here we see that contrast is one of the very first devices to gain emphasis.
As a public speaker you can assist this emphasis of contrast with your voice. If you say, "My horse is not black," what color immediately comes into mind? White, naturally, for that is the opposite of black. If you wish to bring out the thought that destiny is a matter of choice, you can do so more effectively by first saying that "DESTINY is NOT a matter of CHANCE." Is not the color of the horse impressed upon us more emphatically when you say, "My horse is NOT BLACK. He is WHITE" than it would be by hearing you assert merely that your horse is white?
In the second sentence of the statement there is only one important word—choice. It is the one word that positively defines the quality of the subject being discussed, and the author of those lines desired to bring it out emphatically, as he has shown by contrasting it with another idea. These lines, then, would read like this:
"DESTINY is NOT a matter of CHANCE. It is a matter of CHOICE." Now read this over, striking the words in capitals with a great deal of force.
In almost every sentence there are a few MOUNTAIN PEAK WORDS that represent the big, important ideas. When you pick up the evening paper you can tell at a glance which are the important news articles. Thanks to the editor, he does not tell about a "hold up" in Hong Kong in the same sized type as he uses to report the death of five firemen in your home city. Size of type is his device to show emphasis in bold relief. He brings out sometimes even in red headlines the striking news of the day.
It would be a boon to speech-making if speakers would conserve the attention of their audiences in the same way and emphasize only the words representing the important ideas. The average speaker will deliver the foregoing line on destiny with about the same amount of emphasis on each word. Instead of saying, "It is a matter of CHOICE," he will deliver it, "It is a matter of choice," or "IT IS A MATTER OF CHOICE"—both equally bad.
Charles Dana, the famous editor of The New York Sun, told one of his reporters that if he went up the street and saw a dog bite a man, to pay no attention to it. The Sun could not afford to waste the time and attention of its readers on such unimportant happenings. "But," said Mr. Dana, "if you see a man bite a dog, hurry back to the office and write the story." Of course that is news; that is unusual.
Now the speaker who says "IT IS A MATTER OF CHOICE" is putting too much emphasis upon things that are of no more importance to metropolitan readers than a dog bite, and when he fails to emphasize "choice" he is like the reporter who "passes up" the man's biting a dog. The ideal speaker makes his big words stand out like mountain peaks; his unimportant words are submerged like stream-beds. His big thoughts stand like huge oaks; his ideas of no especial value are merely like the grass around the tree.
From all this we may deduce this important principle: EMPHASIS is a matter of CONTRAST and COMPARISON.
Recently the New York American featured an editorial by Arthur Brisbane. Note the following, printed in the same type as given here.
We do not know what the President THOUGHT when he got that message, or what the elephant thinks when he sees the mouse, but we do know what the President DID.
The words THOUGHT and DID immediately catch the reader's attention because they are different from the others, not especially because they are larger. If all the rest of the words in this sentence were made ten times as large as they are, and DID and THOUGHT were kept at their present size, they would still be emphatic, because different.
Take the following from Robert Chambers' novel, "The Business of Life." The words you, had, would, are all emphatic, because they have been made different.
He looked at her in angry astonishment.
"Well, what do you call it if it isn't cowardice—to slink off and marry a defenseless girl like that!"
"Did you expect me to give you a chance to destroy me and poison Jacqueline's mind? If I had been guilty of the thing with which you charge me, what I have done would have been cowardly. Otherwise, it is justified."
To make a word emphatic, deliver it differently from the manner in which the words surrounding it are delivered. If you have been talking loudly, utter the emphatic word in a concentrated whisper—and you have intense emphasis. If you have been going fast, go very slow on the emphatic word. If you have been talking on a low pitch, jump to a high one on the emphatic word. If you have been talking on a high pitch, take a low one on your emphatic ideas.
Here we are considering only one form of emphasis: that of applying force to the important word and subordinating the unimportant words. Do not forget: this is one of the main methods that you must continually employ in getting your effects.
Let us not confound loudness with emphasis. To yell is not a sign of earnestness, intelligence, or feeling. The kind of force that we want applied to the emphatic word is not entirely physical. True, the emphatic word may be spoken more loudly, or it may be spoken more softly, but the real quality desired is intensity, earnestness. It must come from within, outward.
A speaker said: "The curse of this country is not a lack of education. It's politics." He emphasized curse, lack, education, politics. The other words were hurried over and thus given no comparative importance at all. The word politics was flamed out with great feeling as he slapped his hands together indignantly. His emphasis was both correct and powerful. He concentrated all our attention on the words that meant something, instead of holding it up on such words as of this, a, of, It's.
What would you think of a guide who agreed to show New York to a stranger and then took up his time by visiting Chinese laundries and boot-blacking "parlors" on the side streets? There is only one excuse for a speaker's asking the attention of his audience: He must have either truth or entertainment for them. If he wearies their attention with trifles they will have neither vivacity nor desire left when he reaches words of Wall-Street and skyscraper importance. You do not dwell on these small words in your everyday conversation, because you are not a conversational bore. Apply the correct method of everyday speech to the platform. As we have noted elsewhere, public speaking is very much like conversation enlarged.
Sometimes, for big emphasis, it is advisable to lay stress on every single syllable in a word, as absolutely in the following sentence:
I ab-so-lute-ly refuse to grant your demand.
Now and then this principle should be applied to an emphatic sentence by stressing each word. It is a good device for exciting special attention, and it furnishes a pleasing variety. Patrick Henry's notable climax could be delivered in that manner very effectively: "Give—me—liberty—or—give—me—death." The italicized part of the following might also be delivered with this every-word emphasis. Of course, there are many ways of delivering it; this is only one of several good interpretations that might be chosen.
Knowing the price we must pay, the sacrifice we must make, the burdens we must carry, the assaults we must endure—knowing full well the cost—yet we enlist, and we enlist for the war. For we know the justice of our cause, and we know, too, its certain triumph.—From "Pass Prosperity Around," by ALBERT J. BEVERIDGE, before the Chicago National Convention of the Progressive Party.
Strongly emphasizing a single word has a tendency to suggest its antithesis. Notice how the meaning changes by merely putting the emphasis on different words in the following sentence. The parenthetical expressions would really not be needed to supplement the emphatic words.
I intended to buy a house this Spring (even if you did not).
I INTENDED to buy a house this Spring (but something prevented).
I intended to BUY a house this Spring (instead of renting as heretofore).
I intended to buy a HOUSE this Spring (and not an automobile).
I intended to buy a house THIS Spring (instead of next Spring).
I intended to buy a house this SPRING (instead of in the Autumn).
When a great battle is reported in the papers, they do not keep emphasizing the same facts over and over again. They try to get new information, or a "new slant." The news that takes an important place in the morning edition will be relegated to a small space in the late afternoon edition. We are interested in new ideas and new facts. This principle has a very important bearing in determining your emphasis. Do not emphasize the same idea over and over again unless you desire to lay extra stress on it. As a general rule, the new idea, the "new slant," whether in a newspaper report of a battle or a speaker's enunciation of his ideas, is emphatic.
In the following selection, "larger" is emphatic, for it is the new idea. All men have eyes, but this man asks for a LARGER eye.
This man with the larger eye says he will discover, not rivers or safety appliances for aeroplanes, but NEW STARS and SUNS. "New stars and suns" are hardly as emphatic as the word "larger." Why? Because we expect an astronomer to discover heavenly bodies rather than cooking recipes. The words, "Republic needs" in the next sentence, are emphatic; they introduce a new and important idea. Republics have always needed men, but the author says they need NEW men. "New" is emphatic because it introduces a new idea. In like manner, "soil," "grain," "tools," are also emphatic.
The most emphatic words are italicized in this selection. Are there any others you would emphasize? Why?
The old astronomer said, "Give me a larger eye, and I will discover new stars and suns." That is what the republic needs today—new men—men who are wise toward the soil, toward the grains, toward the tools. If God would only raise up for the people two or three men like Watt, Fulton and McCormick, they would be worth more to the State than that treasure box named California or Mexico. And the real supremacy of man is based upon his capacity for education. Man is unique in the length of his childhood, which means the period of plasticity and education. The childhood of a moth, the distance that stands between the hatching of the robin and its maturity, represent a few hours or a few weeks, but twenty years for growth stands between man's cradle and his citizenship. This protracted childhood makes it possible to hand over to the boy all the accumulated stores achieved by races and civilizations through thousands of years.
—Anonymous.
You must understand that there are no steel-riveted rules of emphasis. It is not always possible to designate which word must, and which must not be emphasized. One speaker will put one interpretation on a speech, another speaker will use different emphasis to bring out a different interpretation. No one can say that one interpretation is right and the other wrong. Your own intelligence must guide—and greatly to your profit.
YOU can do it! I have FAITH in your ability!!
To improved public speaking
Fran Watson
The gun that scatters too much does not bag the birds. The same principle applies to speech. The speaker that fires his force and emphasis at random into a sentence will not get results. Not every word is of special importance—therefore only certain words demand emphasis.
You say MassaCHUsetts and MinneAPolis, you do not emphasize each syllable alike, but hit the accented syllable with force and hurry over the unimportant ones. Now why do you not apply this principle in speaking a sentence? To some extent you do, in ordinary speech; but do you in public discourse? It is there that monotony caused by lack of emphasis is so painfully apparent.
So far as emphasis is concerned, you may consider the average sentence as just one big word, with the important word as the accented syllable. Note the following:
"Destiny is not a matter of chance. It is a matter of choice."
You might as well say MASS-A-CHU-SETTS, emphasizing every syllable equally, as to lay equal stress on each word in the foregoing sentences.
Speak it aloud and see. Of course you will want to emphasize destiny, for it is the principal idea in your declaration, and you will put some emphasis on not, else your hearers may think you are affirming that destiny is a matter of chance. By all means you must emphasize chance, for it is one of the two big ideas in the statement.
Another reason why chance takes emphasis is that it is contrasted with choice in the next sentence. Obviously, the author has contrasted these ideas purposely, so that they might be more emphatic, and here we see that contrast is one of the very first devices to gain emphasis.
As a public speaker you can assist this emphasis of contrast with your voice. If you say, "My horse is not black," what color immediately comes into mind? White, naturally, for that is the opposite of black. If you wish to bring out the thought that destiny is a matter of choice, you can do so more effectively by first saying that "DESTINY is NOT a matter of CHANCE." Is not the color of the horse impressed upon us more emphatically when you say, "My horse is NOT BLACK. He is WHITE" than it would be by hearing you assert merely that your horse is white?
In the second sentence of the statement there is only one important word—choice. It is the one word that positively defines the quality of the subject being discussed, and the author of those lines desired to bring it out emphatically, as he has shown by contrasting it with another idea. These lines, then, would read like this:
"DESTINY is NOT a matter of CHANCE. It is a matter of CHOICE." Now read this over, striking the words in capitals with a great deal of force.
In almost every sentence there are a few MOUNTAIN PEAK WORDS that represent the big, important ideas. When you pick up the evening paper you can tell at a glance which are the important news articles. Thanks to the editor, he does not tell about a "hold up" in Hong Kong in the same sized type as he uses to report the death of five firemen in your home city. Size of type is his device to show emphasis in bold relief. He brings out sometimes even in red headlines the striking news of the day.
It would be a boon to speech-making if speakers would conserve the attention of their audiences in the same way and emphasize only the words representing the important ideas. The average speaker will deliver the foregoing line on destiny with about the same amount of emphasis on each word. Instead of saying, "It is a matter of CHOICE," he will deliver it, "It is a matter of choice," or "IT IS A MATTER OF CHOICE"—both equally bad.
Charles Dana, the famous editor of The New York Sun, told one of his reporters that if he went up the street and saw a dog bite a man, to pay no attention to it. The Sun could not afford to waste the time and attention of its readers on such unimportant happenings. "But," said Mr. Dana, "if you see a man bite a dog, hurry back to the office and write the story." Of course that is news; that is unusual.
Now the speaker who says "IT IS A MATTER OF CHOICE" is putting too much emphasis upon things that are of no more importance to metropolitan readers than a dog bite, and when he fails to emphasize "choice" he is like the reporter who "passes up" the man's biting a dog. The ideal speaker makes his big words stand out like mountain peaks; his unimportant words are submerged like stream-beds. His big thoughts stand like huge oaks; his ideas of no especial value are merely like the grass around the tree.
From all this we may deduce this important principle: EMPHASIS is a matter of CONTRAST and COMPARISON.
Recently the New York American featured an editorial by Arthur Brisbane. Note the following, printed in the same type as given here.
We do not know what the President THOUGHT when he got that message, or what the elephant thinks when he sees the mouse, but we do know what the President DID.
The words THOUGHT and DID immediately catch the reader's attention because they are different from the others, not especially because they are larger. If all the rest of the words in this sentence were made ten times as large as they are, and DID and THOUGHT were kept at their present size, they would still be emphatic, because different.
Take the following from Robert Chambers' novel, "The Business of Life." The words you, had, would, are all emphatic, because they have been made different.
He looked at her in angry astonishment.
"Well, what do you call it if it isn't cowardice—to slink off and marry a defenseless girl like that!"
"Did you expect me to give you a chance to destroy me and poison Jacqueline's mind? If I had been guilty of the thing with which you charge me, what I have done would have been cowardly. Otherwise, it is justified."
To make a word emphatic, deliver it differently from the manner in which the words surrounding it are delivered. If you have been talking loudly, utter the emphatic word in a concentrated whisper—and you have intense emphasis. If you have been going fast, go very slow on the emphatic word. If you have been talking on a low pitch, jump to a high one on the emphatic word. If you have been talking on a high pitch, take a low one on your emphatic ideas.
Here we are considering only one form of emphasis: that of applying force to the important word and subordinating the unimportant words. Do not forget: this is one of the main methods that you must continually employ in getting your effects.
Let us not confound loudness with emphasis. To yell is not a sign of earnestness, intelligence, or feeling. The kind of force that we want applied to the emphatic word is not entirely physical. True, the emphatic word may be spoken more loudly, or it may be spoken more softly, but the real quality desired is intensity, earnestness. It must come from within, outward.
A speaker said: "The curse of this country is not a lack of education. It's politics." He emphasized curse, lack, education, politics. The other words were hurried over and thus given no comparative importance at all. The word politics was flamed out with great feeling as he slapped his hands together indignantly. His emphasis was both correct and powerful. He concentrated all our attention on the words that meant something, instead of holding it up on such words as of this, a, of, It's.
What would you think of a guide who agreed to show New York to a stranger and then took up his time by visiting Chinese laundries and boot-blacking "parlors" on the side streets? There is only one excuse for a speaker's asking the attention of his audience: He must have either truth or entertainment for them. If he wearies their attention with trifles they will have neither vivacity nor desire left when he reaches words of Wall-Street and skyscraper importance. You do not dwell on these small words in your everyday conversation, because you are not a conversational bore. Apply the correct method of everyday speech to the platform. As we have noted elsewhere, public speaking is very much like conversation enlarged.
Sometimes, for big emphasis, it is advisable to lay stress on every single syllable in a word, as absolutely in the following sentence:
I ab-so-lute-ly refuse to grant your demand.
Now and then this principle should be applied to an emphatic sentence by stressing each word. It is a good device for exciting special attention, and it furnishes a pleasing variety. Patrick Henry's notable climax could be delivered in that manner very effectively: "Give—me—liberty—or—give—me—death." The italicized part of the following might also be delivered with this every-word emphasis. Of course, there are many ways of delivering it; this is only one of several good interpretations that might be chosen.
Knowing the price we must pay, the sacrifice we must make, the burdens we must carry, the assaults we must endure—knowing full well the cost—yet we enlist, and we enlist for the war. For we know the justice of our cause, and we know, too, its certain triumph.—From "Pass Prosperity Around," by ALBERT J. BEVERIDGE, before the Chicago National Convention of the Progressive Party.
Strongly emphasizing a single word has a tendency to suggest its antithesis. Notice how the meaning changes by merely putting the emphasis on different words in the following sentence. The parenthetical expressions would really not be needed to supplement the emphatic words.
I intended to buy a house this Spring (even if you did not).
I INTENDED to buy a house this Spring (but something prevented).
I intended to BUY a house this Spring (instead of renting as heretofore).
I intended to buy a HOUSE this Spring (and not an automobile).
I intended to buy a house THIS Spring (instead of next Spring).
I intended to buy a house this SPRING (instead of in the Autumn).
When a great battle is reported in the papers, they do not keep emphasizing the same facts over and over again. They try to get new information, or a "new slant." The news that takes an important place in the morning edition will be relegated to a small space in the late afternoon edition. We are interested in new ideas and new facts. This principle has a very important bearing in determining your emphasis. Do not emphasize the same idea over and over again unless you desire to lay extra stress on it. As a general rule, the new idea, the "new slant," whether in a newspaper report of a battle or a speaker's enunciation of his ideas, is emphatic.
In the following selection, "larger" is emphatic, for it is the new idea. All men have eyes, but this man asks for a LARGER eye.
This man with the larger eye says he will discover, not rivers or safety appliances for aeroplanes, but NEW STARS and SUNS. "New stars and suns" are hardly as emphatic as the word "larger." Why? Because we expect an astronomer to discover heavenly bodies rather than cooking recipes. The words, "Republic needs" in the next sentence, are emphatic; they introduce a new and important idea. Republics have always needed men, but the author says they need NEW men. "New" is emphatic because it introduces a new idea. In like manner, "soil," "grain," "tools," are also emphatic.
The most emphatic words are italicized in this selection. Are there any others you would emphasize? Why?
The old astronomer said, "Give me a larger eye, and I will discover new stars and suns." That is what the republic needs today—new men—men who are wise toward the soil, toward the grains, toward the tools. If God would only raise up for the people two or three men like Watt, Fulton and McCormick, they would be worth more to the State than that treasure box named California or Mexico. And the real supremacy of man is based upon his capacity for education. Man is unique in the length of his childhood, which means the period of plasticity and education. The childhood of a moth, the distance that stands between the hatching of the robin and its maturity, represent a few hours or a few weeks, but twenty years for growth stands between man's cradle and his citizenship. This protracted childhood makes it possible to hand over to the boy all the accumulated stores achieved by races and civilizations through thousands of years.
—Anonymous.
You must understand that there are no steel-riveted rules of emphasis. It is not always possible to designate which word must, and which must not be emphasized. One speaker will put one interpretation on a speech, another speaker will use different emphasis to bring out a different interpretation. No one can say that one interpretation is right and the other wrong. Your own intelligence must guide—and greatly to your profit.
YOU can do it! I have FAITH in your ability!!
To improved public speaking
Fran Watson
The Sin of Monotony
One day Ennui was born from Uniformity.—MOTTE.
Our English has changed with the years so that many words now connote more than they did originally. This is true of the word monotonous. From "having but one tone," it has come to mean more broadly, "lack of variation."
The monotonous speaker not only drones along in the same volume and pitch of tone but uses always the same emphasis, the same speed, the same thoughts—or dispenses with thought altogether.
Monotony, the cardinal and most common sin of the public speaker, is not a transgression—it is rather a sin of omission, for it consists in living up to the confession of the Prayer Book: "We have left undone those things we ought to have done."
Emerson says, "The virtue of art lies in detachment, in sequestering one object from the embarrassing variety." That is just what the monotonous speaker fails to do—he does not detach one thought or phrase from another, they are all expressed in the same manner.
To tell you that your speech is monotonous may mean very little to you, so let us look at the nature—and the curse—of monotony in other spheres of life, then we shall appreciate more fully how it will blight an otherwise good speech.
If the stereo in the adjoining apartment grinds out just three selections over and over again, it is pretty safe to assume that your neighbor has no other CDs or records. If a speaker uses only a few of his powers, it points very plainly to the fact that the rest of his powers are not developed. Monotony reveals our limitations.
In its effect on its victim, monotony is actually deadly—it will drive the bloom from the cheek and the lustre from the eye as quickly as sin, and often leads to viciousness. The worst punishment that human ingenuity has ever been able to invent is extreme monotony—solitary confinement. Lay a marble on the table and do nothing eighteen hours of the day but change that marble from one point to another and back again, and you will go insane if you continue long enough.
So this thing that shortens life, and is used as the most cruel of punishments in our prisons, is the thing that will destroy all the life and force of a speech. Avoid it as you would shun a deadly dull bore. The "idle rich" can have half-a-dozen homes, command all the varieties of foods gathered from the four corners of the earth, and sail for Africa or Alaska at their pleasure; but the poverty-stricken man must walk or take a street car—he does not have the choice of yacht, auto, or special train. He must spend the most of his life in labor and be content with the staples of the food-market. Monotony is poverty, whether in speech or in life. Strive to increase the variety of your speech as the business man labors to augment his wealth.
Bird-songs, forest glens, and mountains are not monotonous—it is the long rows of brown-stone fronts and the miles of paved streets that are so terribly same. Nature in her wealth gives us endless variety; man with his limitations is often monotonous. Get back to nature in your methods of speech-making.
The power of variety lies in its pleasure-giving quality. The great truths of the world have often been couched in fascinating stories—"Les Miserables," for instance. If you wish to teach or influence men, you must please them, first or last. Strike the same note on the piano over and over again. This will give you some idea of the displeasing, jarring effect monotony has on the ear. The dictionary defines "monotonous" as being synonymous with "wearisome." That is putting it mildly. It is maddening. The department-store prince does not disgust the public by playing only the one tune, "Come Buy My Wares!" He gives recitals on a $125,000 organ, and the pleased people naturally slip into a buying mood.
How to Conquer Monotony
We obviate monotony in dress by replenishing our wardrobes. We avoid monotony in speech by multiplying our powers of speech. We multiply our powers of speech by increasing our tools.
The carpenter has special implements with which to construct the several parts of a building. The organist has certain keys and stops which he manipulates to produce his harmonies and effects. In like manner the speaker has certain instruments and tools at his command by which he builds his argument, plays on the feelings, and guides the beliefs of his audience.
Why did not the Children of Israel whirl through the desert in limousines, and why did not Noah have moving-picture entertainments and talking machines on the Ark? The laws that enable us to operate an automobile, produce moving-pictures, or music on the Victrola, would have worked just as well then as they do today. It was ignorance of law that for ages deprived humanity of our modern conveniences. Many speakers still use ox-cart methods in their speech instead of employing automobile or overland-express methods. They are ignorant of laws that make for efficiency in speaking. Just to the extent that you regard and use the laws will you have efficiency and force in your speaking; and just to the extent that you disregard them will your speaking be feeble and ineffective. We cannot impress too thoroughly upon you the necessity for a real working mastery of these principles. They are the very foundations of successful speaking. "Get your principles right," said Napoleon, "and the rest is a matter of detail."
It is useless to shoe a dead horse, and all the sound principles in Christendom will never make a live speech out of a dead one. So let it be understood that public speaking is not a matter of mastering a few dead rules; the most important law of public speech is the necessity for truth, force, feeling, and life. Forget all else, but not this.
When you have mastered the mechanics of speech outlined in the next few chapters you will no longer be troubled with monotony. The complete knowledge of these principles and the ability to apply them will give you great variety in your powers of expression. But they cannot be mastered and applied by thinking or reading about them—you must practise, practise, PRACTISE. If no one else will listen to you, listen to yourself—you must always be your own best critic, and the severest one of all.
The technical principles are all founded on the practices that good speakers and actors adopt—either naturally and unconsciously or under instruction—in getting their effects.
It is useless to warn the student that he must be natural. To be natural may be to be monotonous. The little strawberry up in the arctics with a few tiny seeds and an acid tang is a natural berry, but it is not to be compared with the improved variety that we enjoy here. The dwarfed oak on the rocky hillside is natural, but a poor thing compared with the beautiful tree found in the rich, moist bottom lands. Be natural—but improve your natural gifts until you have approached the ideal, for we must strive after idealized nature, in fruit, tree, and speech.
Are you guilty of monotony? If so, check out your local Toastmasters club for help!
Our English has changed with the years so that many words now connote more than they did originally. This is true of the word monotonous. From "having but one tone," it has come to mean more broadly, "lack of variation."
The monotonous speaker not only drones along in the same volume and pitch of tone but uses always the same emphasis, the same speed, the same thoughts—or dispenses with thought altogether.
Monotony, the cardinal and most common sin of the public speaker, is not a transgression—it is rather a sin of omission, for it consists in living up to the confession of the Prayer Book: "We have left undone those things we ought to have done."
Emerson says, "The virtue of art lies in detachment, in sequestering one object from the embarrassing variety." That is just what the monotonous speaker fails to do—he does not detach one thought or phrase from another, they are all expressed in the same manner.
To tell you that your speech is monotonous may mean very little to you, so let us look at the nature—and the curse—of monotony in other spheres of life, then we shall appreciate more fully how it will blight an otherwise good speech.
If the stereo in the adjoining apartment grinds out just three selections over and over again, it is pretty safe to assume that your neighbor has no other CDs or records. If a speaker uses only a few of his powers, it points very plainly to the fact that the rest of his powers are not developed. Monotony reveals our limitations.
In its effect on its victim, monotony is actually deadly—it will drive the bloom from the cheek and the lustre from the eye as quickly as sin, and often leads to viciousness. The worst punishment that human ingenuity has ever been able to invent is extreme monotony—solitary confinement. Lay a marble on the table and do nothing eighteen hours of the day but change that marble from one point to another and back again, and you will go insane if you continue long enough.
So this thing that shortens life, and is used as the most cruel of punishments in our prisons, is the thing that will destroy all the life and force of a speech. Avoid it as you would shun a deadly dull bore. The "idle rich" can have half-a-dozen homes, command all the varieties of foods gathered from the four corners of the earth, and sail for Africa or Alaska at their pleasure; but the poverty-stricken man must walk or take a street car—he does not have the choice of yacht, auto, or special train. He must spend the most of his life in labor and be content with the staples of the food-market. Monotony is poverty, whether in speech or in life. Strive to increase the variety of your speech as the business man labors to augment his wealth.
Bird-songs, forest glens, and mountains are not monotonous—it is the long rows of brown-stone fronts and the miles of paved streets that are so terribly same. Nature in her wealth gives us endless variety; man with his limitations is often monotonous. Get back to nature in your methods of speech-making.
The power of variety lies in its pleasure-giving quality. The great truths of the world have often been couched in fascinating stories—"Les Miserables," for instance. If you wish to teach or influence men, you must please them, first or last. Strike the same note on the piano over and over again. This will give you some idea of the displeasing, jarring effect monotony has on the ear. The dictionary defines "monotonous" as being synonymous with "wearisome." That is putting it mildly. It is maddening. The department-store prince does not disgust the public by playing only the one tune, "Come Buy My Wares!" He gives recitals on a $125,000 organ, and the pleased people naturally slip into a buying mood.
How to Conquer Monotony
We obviate monotony in dress by replenishing our wardrobes. We avoid monotony in speech by multiplying our powers of speech. We multiply our powers of speech by increasing our tools.
The carpenter has special implements with which to construct the several parts of a building. The organist has certain keys and stops which he manipulates to produce his harmonies and effects. In like manner the speaker has certain instruments and tools at his command by which he builds his argument, plays on the feelings, and guides the beliefs of his audience.
Why did not the Children of Israel whirl through the desert in limousines, and why did not Noah have moving-picture entertainments and talking machines on the Ark? The laws that enable us to operate an automobile, produce moving-pictures, or music on the Victrola, would have worked just as well then as they do today. It was ignorance of law that for ages deprived humanity of our modern conveniences. Many speakers still use ox-cart methods in their speech instead of employing automobile or overland-express methods. They are ignorant of laws that make for efficiency in speaking. Just to the extent that you regard and use the laws will you have efficiency and force in your speaking; and just to the extent that you disregard them will your speaking be feeble and ineffective. We cannot impress too thoroughly upon you the necessity for a real working mastery of these principles. They are the very foundations of successful speaking. "Get your principles right," said Napoleon, "and the rest is a matter of detail."
It is useless to shoe a dead horse, and all the sound principles in Christendom will never make a live speech out of a dead one. So let it be understood that public speaking is not a matter of mastering a few dead rules; the most important law of public speech is the necessity for truth, force, feeling, and life. Forget all else, but not this.
When you have mastered the mechanics of speech outlined in the next few chapters you will no longer be troubled with monotony. The complete knowledge of these principles and the ability to apply them will give you great variety in your powers of expression. But they cannot be mastered and applied by thinking or reading about them—you must practise, practise, PRACTISE. If no one else will listen to you, listen to yourself—you must always be your own best critic, and the severest one of all.
The technical principles are all founded on the practices that good speakers and actors adopt—either naturally and unconsciously or under instruction—in getting their effects.
It is useless to warn the student that he must be natural. To be natural may be to be monotonous. The little strawberry up in the arctics with a few tiny seeds and an acid tang is a natural berry, but it is not to be compared with the improved variety that we enjoy here. The dwarfed oak on the rocky hillside is natural, but a poor thing compared with the beautiful tree found in the rich, moist bottom lands. Be natural—but improve your natural gifts until you have approached the ideal, for we must strive after idealized nature, in fruit, tree, and speech.
Are you guilty of monotony? If so, check out your local Toastmasters club for help!
Confident Public Speaking
Have Something to Say
The trouble with many speakers is that they go before an audience with their minds a blank. It is no wonder that nature, abhorring a vacuum, fills them with the nearest thing handy, which generally happens to be, "I wonder if I am doing this right! How does my hair look? I know I shall fail." Their prophetic souls are sure to be right.
It is not enough to be absorbed by your subject—to acquire self-confidence you must have something in which to be confident. If you go before an audience without any preparation, or previous knowledge of your subject, you ought to be self-conscious—you ought to be ashamed to steal the time of your audience.
Prepare yourself. Know what you are going to talk about, and, in general, how you are going to say it. Have the first few sentences worked out completely so that you may not be troubled in the beginning to find words.
Know your subject better than your hearers know it, and you have nothing to fear.
After Preparing for Success, Expect It
Let your bearing be modestly confident, but most of all be modestly confident within. Over-confidence is bad, but to tolerate premonitions of failure is worse, for a bold man may win attention by his very bearing, while a rabbit-hearted coward invites disaster.
Humility is not the personal discount that we must offer in the presence of others—against this old interpretation there has been a most healthy modern reaction. True humility any man who thoroughly knows himself must feel; but it is not a humility that assumes a worm-like meekness; it is rather a strong, vibrant prayer for greater power for service—a prayer that Uriah Heep could never have uttered.
Washington Irving once introduced Charles Dickens at a dinner given in the latter's honor. In the middle of his speech Irving hesitated, became embarrassed, and sat down awkwardly. Turning to a friend beside him he remarked, "There, I told you I would fail, and I did."
If you believe you will fail, there is no hope for you. You will.
Rid yourself of this I-am-a-poor-worm-in-the-dust idea. You are a god, with infinite capabilities. "All things are ready if the mind be so." The eagle looks the cloudless sun in the face.
Assume Mastery Over Your Audience
In public speech, as in electricity, there is a positive and a negative force. Either you or your audience are going to possess the positive factor. If you assume it you can almost invariably make it yours. If you assume the negative you are sure to be negative. Assuming a virtue or a vice vitalizes it. Summon all your power of self-direction, and remember that though your audience is infinitely more important than you, the truth is more important than both of you, because it is eternal. If your mind falters in its leadership the sword will drop from your hands.
Your assumption of being able to instruct or lead or inspire a multitude or even a small group of people may appall you as being colossal impudence—as indeed it may be; but having once essayed to speak, be courageous. BE courageous—it lies within you to be what you will. MAKE yourself be calm and confident.
Reflect that your audience will not hurt you. In facing your audience, pause a moment and look them over—a hundred chances to one they want you to succeed, for what man is so foolish as to spend his time, perhaps his money, in the hope that you will waste his investment by talking dully?
Concluding Hints
Do not make haste to begin—haste shows lack of control.
Do not apologize. It ought not to be necessary; and if it is, it will not help. Go straight ahead.
Take a deep breath, relax, and begin in a quiet conversational tone as though you were speaking to one large friend. You will not find it half as bad as you imagined; really, it is like taking a cold plunge: after you are in, the water is fine. In fact, having spoken a few times you will even anticipate the plunge with exhilaration.
To stand before an audience and make them think your thoughts after you is one of the greatest pleasures you can ever know. Instead of fearing it, you ought to be as anxious as the fox hounds straining at their leashes, or the race horses tugging at their reins.
So cast out fear, for fear is cowardly—when it is not mastered. The bravest know fear, but they do not yield to it. Face your audience pluckily—if your knees quake, MAKE them stop. In your audience lies some victory for you and the cause you represent. Go win it.
The world owes its progress to the men who have dared, and you must dare to speak the effective word that is in your heart to speak—for often it requires courage to utter a single sentence. But remember that men erect no monuments and weave no laurels for those who fear to do what they can.
No one doubts that temperament and nerves and illness and even praiseworthy modesty may, singly or combined, cause the speaker's cheek to blanch before an audience, but neither can any one doubt that coddling will magnify this weakness. The victory lies in a fearless frame of mind. Prof. Walter Dill Scott says: "Success or failure in business is caused more by mental attitude even than by mental capacity." Banish the fear-attitude; acquire the confident attitude. And remember that the only way to acquire it is—to acquire it.
To confident public speaking!!
Fran Watson
P.S. To find out more about public speaking or to further develop your skills, contact your local Toastmasters club.
The trouble with many speakers is that they go before an audience with their minds a blank. It is no wonder that nature, abhorring a vacuum, fills them with the nearest thing handy, which generally happens to be, "I wonder if I am doing this right! How does my hair look? I know I shall fail." Their prophetic souls are sure to be right.
It is not enough to be absorbed by your subject—to acquire self-confidence you must have something in which to be confident. If you go before an audience without any preparation, or previous knowledge of your subject, you ought to be self-conscious—you ought to be ashamed to steal the time of your audience.
Prepare yourself. Know what you are going to talk about, and, in general, how you are going to say it. Have the first few sentences worked out completely so that you may not be troubled in the beginning to find words.
Know your subject better than your hearers know it, and you have nothing to fear.
After Preparing for Success, Expect It
Let your bearing be modestly confident, but most of all be modestly confident within. Over-confidence is bad, but to tolerate premonitions of failure is worse, for a bold man may win attention by his very bearing, while a rabbit-hearted coward invites disaster.
Humility is not the personal discount that we must offer in the presence of others—against this old interpretation there has been a most healthy modern reaction. True humility any man who thoroughly knows himself must feel; but it is not a humility that assumes a worm-like meekness; it is rather a strong, vibrant prayer for greater power for service—a prayer that Uriah Heep could never have uttered.
Washington Irving once introduced Charles Dickens at a dinner given in the latter's honor. In the middle of his speech Irving hesitated, became embarrassed, and sat down awkwardly. Turning to a friend beside him he remarked, "There, I told you I would fail, and I did."
If you believe you will fail, there is no hope for you. You will.
Rid yourself of this I-am-a-poor-worm-in-the-dust idea. You are a god, with infinite capabilities. "All things are ready if the mind be so." The eagle looks the cloudless sun in the face.
Assume Mastery Over Your Audience
In public speech, as in electricity, there is a positive and a negative force. Either you or your audience are going to possess the positive factor. If you assume it you can almost invariably make it yours. If you assume the negative you are sure to be negative. Assuming a virtue or a vice vitalizes it. Summon all your power of self-direction, and remember that though your audience is infinitely more important than you, the truth is more important than both of you, because it is eternal. If your mind falters in its leadership the sword will drop from your hands.
Your assumption of being able to instruct or lead or inspire a multitude or even a small group of people may appall you as being colossal impudence—as indeed it may be; but having once essayed to speak, be courageous. BE courageous—it lies within you to be what you will. MAKE yourself be calm and confident.
Reflect that your audience will not hurt you. In facing your audience, pause a moment and look them over—a hundred chances to one they want you to succeed, for what man is so foolish as to spend his time, perhaps his money, in the hope that you will waste his investment by talking dully?
Concluding Hints
Do not make haste to begin—haste shows lack of control.
Do not apologize. It ought not to be necessary; and if it is, it will not help. Go straight ahead.
Take a deep breath, relax, and begin in a quiet conversational tone as though you were speaking to one large friend. You will not find it half as bad as you imagined; really, it is like taking a cold plunge: after you are in, the water is fine. In fact, having spoken a few times you will even anticipate the plunge with exhilaration.
To stand before an audience and make them think your thoughts after you is one of the greatest pleasures you can ever know. Instead of fearing it, you ought to be as anxious as the fox hounds straining at their leashes, or the race horses tugging at their reins.
So cast out fear, for fear is cowardly—when it is not mastered. The bravest know fear, but they do not yield to it. Face your audience pluckily—if your knees quake, MAKE them stop. In your audience lies some victory for you and the cause you represent. Go win it.
The world owes its progress to the men who have dared, and you must dare to speak the effective word that is in your heart to speak—for often it requires courage to utter a single sentence. But remember that men erect no monuments and weave no laurels for those who fear to do what they can.
No one doubts that temperament and nerves and illness and even praiseworthy modesty may, singly or combined, cause the speaker's cheek to blanch before an audience, but neither can any one doubt that coddling will magnify this weakness. The victory lies in a fearless frame of mind. Prof. Walter Dill Scott says: "Success or failure in business is caused more by mental attitude even than by mental capacity." Banish the fear-attitude; acquire the confident attitude. And remember that the only way to acquire it is—to acquire it.
To confident public speaking!!
Fran Watson
P.S. To find out more about public speaking or to further develop your skills, contact your local Toastmasters club.
Self Consciousness In Public Speaking
“There is a strange sensation often experienced in the presence of an audience. It may proceed from the gaze of the many eyes that turn upon the speaker, especially if he permits himself to steadily return that gaze. Most speakers have been conscious of this in a nameless thrill, a real something, pervading the atmosphere, tangible, evanescent, indescribable. All writers have borne testimony to the power of a speaker's eye in impressing an audience. This influence which we are now considering is the reverse of that picture—the power their eyes may exert upon him, especially before he begins to speak: after the inward fires of oratory are fanned into flame the eyes of the audience lose all terror.”—William Pittenger, Extempore Speech.
Students of public speaking continually ask, "How can I overcome self-consciousness and the fear that paralyzes me before an audience?"
Practise, practise, PRACTISE!
Practise in speaking before an audience will tend to remove all fear of audiences, just as practise in swimming will lead to confidence and facility in the water. You must learn to speak by speaking.
Do not be disheartened if at first you suffer from stage-fright. For one reason or another, some master-speakers never entirely overcome stage-fright, but it will pay you to spare no pains to conquer it. Daniel Webster failed in his first appearance and had to take his seat without finishing his speech because he was nervous. Gladstone was often troubled with self-consciousness in the beginning of an address. Beecher was always perturbed before talking in public.
Be Absorbed by Your Subject
If you feel deeply about your subject you will be able to think of little else. Concentration is a process of distraction from less important matters. It is too late to think about the cut of your coat when once you are upon the platform, so centre your interest on what you are about to say—fill your mind with your speech-material and, like the infilling water in the glass, it will drive out your unsubstantial fears.
Self-consciousness is undue consciousness of self, and, for the purpose of delivery, self is secondary to your subject, not only in the opinion of the audience, but, if you are wise, in your own. To hold any other view is to regard yourself as an exhibit instead of as a messenger with a message worth delivering.
If the theater caught fire you could rush to the stage and shout directions to the audience without any self-consciousness, for the importance of what you were saying would drive all fear-thoughts out of your mind.
Far worse than self-consciousness through fear of doing poorly is self-consciousness through assumption of doing well. The first sign of greatness is when a man does not attempt to look and act great. Before you can call yourself a man at all, Kipling assures us, you must "not look too good nor talk too wise."
Nothing advertises itself so thoroughly as conceit. One may be so full of self as to be empty. Voltaire said, "We must conceal self-love." But that can not be done. You know this to be true, for you have recognized overweening self-love in others. If you have it, others are seeing it in you. There are things in this world bigger than self, and in working for them self will be forgotten, or—what is better—remembered only so as to help us win toward higher things.
Yours for Confident Public Speaking
Fran Watson
Students of public speaking continually ask, "How can I overcome self-consciousness and the fear that paralyzes me before an audience?"
Practise, practise, PRACTISE!
Practise in speaking before an audience will tend to remove all fear of audiences, just as practise in swimming will lead to confidence and facility in the water. You must learn to speak by speaking.
Do not be disheartened if at first you suffer from stage-fright. For one reason or another, some master-speakers never entirely overcome stage-fright, but it will pay you to spare no pains to conquer it. Daniel Webster failed in his first appearance and had to take his seat without finishing his speech because he was nervous. Gladstone was often troubled with self-consciousness in the beginning of an address. Beecher was always perturbed before talking in public.
Be Absorbed by Your Subject
If you feel deeply about your subject you will be able to think of little else. Concentration is a process of distraction from less important matters. It is too late to think about the cut of your coat when once you are upon the platform, so centre your interest on what you are about to say—fill your mind with your speech-material and, like the infilling water in the glass, it will drive out your unsubstantial fears.
Self-consciousness is undue consciousness of self, and, for the purpose of delivery, self is secondary to your subject, not only in the opinion of the audience, but, if you are wise, in your own. To hold any other view is to regard yourself as an exhibit instead of as a messenger with a message worth delivering.
If the theater caught fire you could rush to the stage and shout directions to the audience without any self-consciousness, for the importance of what you were saying would drive all fear-thoughts out of your mind.
Far worse than self-consciousness through fear of doing poorly is self-consciousness through assumption of doing well. The first sign of greatness is when a man does not attempt to look and act great. Before you can call yourself a man at all, Kipling assures us, you must "not look too good nor talk too wise."
Nothing advertises itself so thoroughly as conceit. One may be so full of self as to be empty. Voltaire said, "We must conceal self-love." But that can not be done. You know this to be true, for you have recognized overweening self-love in others. If you have it, others are seeing it in you. There are things in this world bigger than self, and in working for them self will be forgotten, or—what is better—remembered only so as to help us win toward higher things.
Yours for Confident Public Speaking
Fran Watson
Training In Public Speaking
“Training in public speaking is not a matter of externals—primarily; it is not a matter of imitation—fundamentally; it is not a matter of conformity to standards—at all. Public speaking is public utterance, public issuance, of the man himself; therefore the first thing both in time and in importance is that the man should be and think and feel things that are worthy of being given forth. Unless there be something of value within, no tricks of training can ever make of the talker anything more than a machine—albeit a highly perfected machine—for the delivery of other men's goods. So self-development is fundamental.” Dale Carnagey
It is an ancient truism that we learn to do by doing. The first thing for the beginner in public speaking is to speak—not to study voice and gesture and the rest. Once he has spoken he can improve himself by self-observation or according to the criticisms of those who hear. That is why the first speech given in Toastmasters is The Icebreaker – a simple 4-6 minute talk about the individual, who they are, why they have come to Toastmasters, or some aspect of their life that they would like to share.
“Many teachers have begun with the how. Vain effort! No one can learn how to speak who does not first speak as best he can.” Dale Carnagey
During the meetings, participants learn the qualities which go to make up an effective speaker; by what means at least some of these qualities may be acquired; and what wrong habits of speech work against acquiring and using the qualities which he/she finds to be good.
Experience, then, is not only the best teacher, but the first and the last. But experience must be a dual thing—the experience of others must be used to supplement, correct and justify our own experience; in this way we shall become our own best critics only after we have trained ourselves in self-knowledge, the knowledge of what other minds think, and in the ability to judge ourselves by the standards we have come to believe are right.
For more help in public speaking, check out your local Toastmasters club. There are clubs all around the world to help you become a better speaker.
Yours in public speaking
Fran Watson
It is an ancient truism that we learn to do by doing. The first thing for the beginner in public speaking is to speak—not to study voice and gesture and the rest. Once he has spoken he can improve himself by self-observation or according to the criticisms of those who hear. That is why the first speech given in Toastmasters is The Icebreaker – a simple 4-6 minute talk about the individual, who they are, why they have come to Toastmasters, or some aspect of their life that they would like to share.
“Many teachers have begun with the how. Vain effort! No one can learn how to speak who does not first speak as best he can.” Dale Carnagey
During the meetings, participants learn the qualities which go to make up an effective speaker; by what means at least some of these qualities may be acquired; and what wrong habits of speech work against acquiring and using the qualities which he/she finds to be good.
Experience, then, is not only the best teacher, but the first and the last. But experience must be a dual thing—the experience of others must be used to supplement, correct and justify our own experience; in this way we shall become our own best critics only after we have trained ourselves in self-knowledge, the knowledge of what other minds think, and in the ability to judge ourselves by the standards we have come to believe are right.
For more help in public speaking, check out your local Toastmasters club. There are clubs all around the world to help you become a better speaker.
Yours in public speaking
Fran Watson
Friday, February 1, 2008
What's In A Handshake?
All over the globe, people greet each other in different ways. This is brought about by different cultures. Even the primitives of yesterdays down to the present tribal groups use greetings to show respect and acknowledgement of meeting one another.
The primitives show their hands as a gesture that they come in peace. A roman salute during the time of Julius Caesar is done with the right hand clenched in a fist and sharply drawn to the chest. Grasping each other’s forearm by the hand is also practiced then. In the western world, youngsters greet each other with a high five (at times with both hands). Soldiers greet their superiors with a snappy salute. The typical handshake among the general public is done with each other’s palms interlocking.
If you are traveling to different places, it is still best to check first what the local custom is with regards to the proper greeting procedure. It is better to do it correctly than to be sorry after doing it. There’s a saying: “When in Rome, do as the Romans do.” Proper greeting or handshake best describes this expression.
To know the right greeting procedure, ask around the local circle. Your good intention might be interpreted as an insult and you know what follows thereafter, especially in places where you’re a visitor. This becomes more important if you’re a first timer to a particular country wherein you’re not familiar with the cultures.
There are incidences wherein a handshake accompanied by another gesture is interpreted in more ways than one. Take for example, a typical handshake done by some politicians. A common handshake accompanied by a grasp by the left hand to the right hand or to the right shoulder of the other person may have different meanings to some people. Some interpret it as being overly comfortable with the other person when in fact the politician hardly knows the person. Between close friends, this may be proper. But between two individuals who hardly know each other, this may mean otherwise.
The lesson here is to be reserved in your gesture. What is intended to be good might not be interpreted as such.
In the event that there is confusion on how the proper gesture in a locality is administered, it may be safer to throw a sincere smile instead of a handshake. Since a handshake is considered a type of body language, so is a smile. A smile almost always never fails in any culture around the world.
Local folks who extend their hands or greet first may also give you an idea of the way a greeting is administered in a certain place. Duplicating what they do or simply returning the favor can be safely assumed to be the proper way a greeting should be done in that place.
Some athletes who have strong hands are cautious in shaking hands because they fear hurting other people’s hands. As for those whose livelihood is dependent on their hands, like surgeons, dentists, and musicians, they are likewise cautious in shaking other people’s hands. This time it’s their hands they want to protect.
So, what’s in a handshake? It may be just a casual greeting but it may also mean a lot.
Happy greetings
Fran
The primitives show their hands as a gesture that they come in peace. A roman salute during the time of Julius Caesar is done with the right hand clenched in a fist and sharply drawn to the chest. Grasping each other’s forearm by the hand is also practiced then. In the western world, youngsters greet each other with a high five (at times with both hands). Soldiers greet their superiors with a snappy salute. The typical handshake among the general public is done with each other’s palms interlocking.
If you are traveling to different places, it is still best to check first what the local custom is with regards to the proper greeting procedure. It is better to do it correctly than to be sorry after doing it. There’s a saying: “When in Rome, do as the Romans do.” Proper greeting or handshake best describes this expression.
To know the right greeting procedure, ask around the local circle. Your good intention might be interpreted as an insult and you know what follows thereafter, especially in places where you’re a visitor. This becomes more important if you’re a first timer to a particular country wherein you’re not familiar with the cultures.
There are incidences wherein a handshake accompanied by another gesture is interpreted in more ways than one. Take for example, a typical handshake done by some politicians. A common handshake accompanied by a grasp by the left hand to the right hand or to the right shoulder of the other person may have different meanings to some people. Some interpret it as being overly comfortable with the other person when in fact the politician hardly knows the person. Between close friends, this may be proper. But between two individuals who hardly know each other, this may mean otherwise.
The lesson here is to be reserved in your gesture. What is intended to be good might not be interpreted as such.
In the event that there is confusion on how the proper gesture in a locality is administered, it may be safer to throw a sincere smile instead of a handshake. Since a handshake is considered a type of body language, so is a smile. A smile almost always never fails in any culture around the world.
Local folks who extend their hands or greet first may also give you an idea of the way a greeting is administered in a certain place. Duplicating what they do or simply returning the favor can be safely assumed to be the proper way a greeting should be done in that place.
Some athletes who have strong hands are cautious in shaking hands because they fear hurting other people’s hands. As for those whose livelihood is dependent on their hands, like surgeons, dentists, and musicians, they are likewise cautious in shaking other people’s hands. This time it’s their hands they want to protect.
So, what’s in a handshake? It may be just a casual greeting but it may also mean a lot.
Happy greetings
Fran
Keep Their Attention
In almost all gatherings (conventions, alumni homecomings, commencement exercises, fund raising or awarding ceremonies), guest speakers are usually invited to highlight the occasion.
To make the gathering memorable, guest speakers are selected for a certain reason, some according to their popularity and accomplishments. As much as possible, the speaker’s profession or line of achievement must be in some way related to the occasion.
Let’s say the occasion is a convention of home developers. The likely guest speaker to grace it could be a famous housing czar well known and respected by the city and state.
To impart a lasting impression to the audience, a speaker must find ways to keep the attention glued to his speech.
If it so happens that you are the invited guest speaker of a gathering, the suggestions below may help to keep your audience listening instead of walking around or doing something else.
1. Speak in a clear, crisp, comprehensible voice with an enthusiastic tone. Avoid mumbling. Try not to eat the words as if there’s a gum in your mouth.
2. Your speech should be in consonance with the aim of the gathering, touching on issues relevant to its objective and applicable to current needs for the benefit of the majority.
3. More speakers prepare a list of the issues they want to touch on instead of a speech prepared and read (or memorized) word for word. A spontaneous speech aligned on the ideas prepared or written on the list is projected more naturally.
4. Inject humor into your speech to keep the audience attentive and waiting for more. Studies reveal that, when humor is involved, audiences find the speaker interesting to listen to. But be aware not to go beyond the line of humor because this may unintentionally embarrass others or be misunderstood by them. This might raise comments that criticize your speech. Try your best to avoid criticism.
5. When you raise an issue, one of the best ways to project it is by citing instances or examples. Correlate the example and the issue clearly.
6. Suppose the gathering was organized to save an industry or boost the morale of those that will be directly and indirectly affected by it. Try your best to deliver an inspiring speech. A speech filled with positive thoughts, like projecting a bright tomorrow, can turn a depressive mood into an enthusiastic one. If you are well versed on the industry with a solution to offer to suppress its downtrend, then say it.
7. Audience participation may seem to turn your speech into a discussion, but it is one way to confirm effectiveness of what you are saying or offering.
8. Image how the industry will look like 5 or 10 years from now on a positive flight. Be specific and realistic in your projection. If hard work is called for, say so.
9. Leave a lasting, meaningful message as you wrap up your speech.
A speech that leaves the audience thinking long after the speech has been made will also leave the audience remembering the speaker for a long time.
Yours for a happy audience!
Fran Watson
To make the gathering memorable, guest speakers are selected for a certain reason, some according to their popularity and accomplishments. As much as possible, the speaker’s profession or line of achievement must be in some way related to the occasion.
Let’s say the occasion is a convention of home developers. The likely guest speaker to grace it could be a famous housing czar well known and respected by the city and state.
To impart a lasting impression to the audience, a speaker must find ways to keep the attention glued to his speech.
If it so happens that you are the invited guest speaker of a gathering, the suggestions below may help to keep your audience listening instead of walking around or doing something else.
1. Speak in a clear, crisp, comprehensible voice with an enthusiastic tone. Avoid mumbling. Try not to eat the words as if there’s a gum in your mouth.
2. Your speech should be in consonance with the aim of the gathering, touching on issues relevant to its objective and applicable to current needs for the benefit of the majority.
3. More speakers prepare a list of the issues they want to touch on instead of a speech prepared and read (or memorized) word for word. A spontaneous speech aligned on the ideas prepared or written on the list is projected more naturally.
4. Inject humor into your speech to keep the audience attentive and waiting for more. Studies reveal that, when humor is involved, audiences find the speaker interesting to listen to. But be aware not to go beyond the line of humor because this may unintentionally embarrass others or be misunderstood by them. This might raise comments that criticize your speech. Try your best to avoid criticism.
5. When you raise an issue, one of the best ways to project it is by citing instances or examples. Correlate the example and the issue clearly.
6. Suppose the gathering was organized to save an industry or boost the morale of those that will be directly and indirectly affected by it. Try your best to deliver an inspiring speech. A speech filled with positive thoughts, like projecting a bright tomorrow, can turn a depressive mood into an enthusiastic one. If you are well versed on the industry with a solution to offer to suppress its downtrend, then say it.
7. Audience participation may seem to turn your speech into a discussion, but it is one way to confirm effectiveness of what you are saying or offering.
8. Image how the industry will look like 5 or 10 years from now on a positive flight. Be specific and realistic in your projection. If hard work is called for, say so.
9. Leave a lasting, meaningful message as you wrap up your speech.
A speech that leaves the audience thinking long after the speech has been made will also leave the audience remembering the speaker for a long time.
Yours for a happy audience!
Fran Watson
Body Language - Interpreting Confidence
Words of confidence can be heard when spoken, likewise words of confidence can be read when written or documented. But can confidence be interpreted from the actions of a person?
Yes, it can. As a matter of fact, action has a higher degree of consistency compared to spoken or read materials regardless of the subject involved. Whenever there is a cloud of doubt on the truthfulness of an issue under discussion, the language not spoken or read serves as the confirmation of accuracy. This is the language of body movements or gestures. In this case, the issue is confidence.
Take these postures as indications of confidence:
A confident person is most likely to talk spontaneously, without second thoughts on his mind, as can be seen from his eyes. The eyes are the gates to a person’s character. A confident person gives more frequent eye contact than a non-confident individual. He can look at you straight every now and then, at a longer time, and his eyes blink less (unless the person has a habit of frequent blinking which you will notice beforehand).
A confident person talks with hands away from his face. He doesn’t cover his mouth (unless he has halitosis or unless the person he is talking to looks or reminds him of something funny) or nose (unless he smells something offensive). He doesn’t scratch his head (unless it’s itchy because of scalp disorders).
A person beaming with confidence of having achieved much stands erect and proud. He shows that he definitely knows where he is headed. A straight back with chin up shows confidence and even superiority.
One of the most reliable indications of a confident person can be seen by the gesture of his hands. When each finger of a hand (in spread position) meets each equivalent finger of the other hand at the tips, it is a very sure sign of confidence. This gesture resembles the structure of a church steeple. This is the reason why this gesture is called steepling or tapering.
Some people openly show off this hand gesture when they are seated. They proudly show their steepling hands, indicating authority and showing they are sure of what they are saying.
You may notice that when a boss and subordinate talks to each other, the boss is most likely the one doing the steepling. While seated in front of a desk, the boss usually places his elbows on top of the desk with the steepled hands almost on face level as if he is looking through a screen).
As for a woman, she usually rests her elbows on the armchair when seated with her steepled hands on her lap. If she is standing, the steepled hands are usually in the waist level.
In most of the gestures, especially when it comes to the steepled hands, it is important to know if the gesture you see from the other person is truly indicative of his true emotions or personality. Make sure you are not being misled or deceived. This is especially true in dealing with people you hardly know and when sincerity plays an important role in the deal. You can check this by looking for other clues that are congruent or related to the gesture he is exhibiting.
How's your body language? Are you portraying confidence?
Fran Watson
Yes, it can. As a matter of fact, action has a higher degree of consistency compared to spoken or read materials regardless of the subject involved. Whenever there is a cloud of doubt on the truthfulness of an issue under discussion, the language not spoken or read serves as the confirmation of accuracy. This is the language of body movements or gestures. In this case, the issue is confidence.
Take these postures as indications of confidence:
A confident person is most likely to talk spontaneously, without second thoughts on his mind, as can be seen from his eyes. The eyes are the gates to a person’s character. A confident person gives more frequent eye contact than a non-confident individual. He can look at you straight every now and then, at a longer time, and his eyes blink less (unless the person has a habit of frequent blinking which you will notice beforehand).
A confident person talks with hands away from his face. He doesn’t cover his mouth (unless he has halitosis or unless the person he is talking to looks or reminds him of something funny) or nose (unless he smells something offensive). He doesn’t scratch his head (unless it’s itchy because of scalp disorders).
A person beaming with confidence of having achieved much stands erect and proud. He shows that he definitely knows where he is headed. A straight back with chin up shows confidence and even superiority.
One of the most reliable indications of a confident person can be seen by the gesture of his hands. When each finger of a hand (in spread position) meets each equivalent finger of the other hand at the tips, it is a very sure sign of confidence. This gesture resembles the structure of a church steeple. This is the reason why this gesture is called steepling or tapering.
Some people openly show off this hand gesture when they are seated. They proudly show their steepling hands, indicating authority and showing they are sure of what they are saying.
You may notice that when a boss and subordinate talks to each other, the boss is most likely the one doing the steepling. While seated in front of a desk, the boss usually places his elbows on top of the desk with the steepled hands almost on face level as if he is looking through a screen).
As for a woman, she usually rests her elbows on the armchair when seated with her steepled hands on her lap. If she is standing, the steepled hands are usually in the waist level.
In most of the gestures, especially when it comes to the steepled hands, it is important to know if the gesture you see from the other person is truly indicative of his true emotions or personality. Make sure you are not being misled or deceived. This is especially true in dealing with people you hardly know and when sincerity plays an important role in the deal. You can check this by looking for other clues that are congruent or related to the gesture he is exhibiting.
How's your body language? Are you portraying confidence?
Fran Watson
3 Easy Steps To Be Good In Public Speaking
Throughout the history of human civilization, people have been expressing their confidence and strength, not only by force, but also by the noble art of public speaking. The orators of ancient Greece were highly respected and valued in the community. Likewise, today’s world leaders are admired and esteemed when they have the power to address the public with poise and conviction. Think about people like Winston Churchill, John F. Kennedy, Martin Luther King, Oprah and others.
Such a high regard for public speaking makes the average person cringe at the idea of talking in front of an audience no matter how big or small the size. Whether giving a toast at a wedding or delivering a speech to a large assembly, most people make a big deal about public speaking and try to avoid it as much as possible. But public speaking does not need to create such fears.
Although it may appear challenging, public speaking can be accomplished by following a few simple guidelines.
Before Making The Speech: Preparation
Like any other endeavor, public speaking requires careful preparation to be successful. Perhaps you have seen one of the “inspired” spontaneous speeches in movies. The reality is that those scenes are carefully rehearsed and such scenes rarely happen in real life. In order to have at least a decent speech, one must plan well. Even the world’s most famous leaders spend time to prepare for public addresses, and most even have teams to work on those plans. However, even if one does not have a speech preparation committee one can prepare for public speaking.
First, it is important to know what the occasion the speech is for. The Gettysburg address would definitely not be appropriate for a wedding, since a speech has to fit the event and the people who will be there.
Second, one should give careful consideration to the type of audience who will witness the speech. For instance, an assembly of academics would probably not take a perky speaker seriously; therefore one should choose a suitable public speaking style based on the audience.
Third, one should know what the expectations are for the speech. A farmer’s association would usually not be interested on a speech about the intricacies of beadwork. It is important to carefully consider the subject matter to be tackled as well as the time frame available before beginning to prepare the speech.
Making The Speech: Writing
When writing for public speaking, one should carefully organize the contents of the speech. It is important to begin with a very strong introduction in order to grab the audience’s attention. It is necessary to catch the audience’s attention early to prevent them from becoming bored.
Next, the body should be purposeful. You should try to cover only 2 or 3 major points. Be prepared with some personal stories to cover the points you are making and perhaps a joke or two to keep the audience’s attention when boredom arises.
Lastly, one should make a conclusion that sticks to the mind. No matter how stirring a speech is, it is useless if the people forget it the instant they leave the gathering. Conclusions should give a concise but memorable recap of the body and include a call to action of some sort.
Again, dazzling spontaneous speeches rarely happen in real life. Most good speeches have been written long before their delivery. While most noted public figures have speech-writing committees, one can make a good speech even without the help of a team of ghostwriters.
The Actual Public Speaking: Delivery
This is the part most people are afraid of; but when proper planning and writing is done well, the delivery should follow easily.
Before the actual time comes, one must decide whether to speak from memory or to use notes. Beginners often benefit from a script or a guide, however when one becomes more comfortable speaking in public, one can start relying from memory.
Reading directly from a script can be quite boring for the audience; thus, it is important to keep constant contact with them by making eye contact with all parts of the room. This requires practicing the speech so that at least some of it can be memorized, and you can effectively use pauses to glance at the audience.
Speaking from memory is quite impressive, but for a beginner it can be difficult to avoid missing some parts of the speech. Speaking with notes can be a good compromise so long as one is able to expound on the points well. Sometimes having a simple cue card with the main points is all a speaker needs. The choice of how to deliver the speech depends entirely on the speaker; thus, it is important for one to weigh the options carefully.
Learning More About Public Speaking
There are several resources to help you do well in public speaking. Several books and articles about the topic have been published. Many companies offer public speaking training, and such services provide in-depth courses that could help one speak well in public. You can join a local Toastmasters Club and learn public speaking techniques with other like-minded people. There are clubs all around the world. You will have the opportunity to learn and practice for a very small cost. You can also find articles and courses on the internet.
Public speaking is challenging, but can be a very worthwhile skill. With the guide provided above, one should no longer be afraid to speak in public.
Fran Watson
For more information on Public Speaking, sign up for my free mini-course.
Such a high regard for public speaking makes the average person cringe at the idea of talking in front of an audience no matter how big or small the size. Whether giving a toast at a wedding or delivering a speech to a large assembly, most people make a big deal about public speaking and try to avoid it as much as possible. But public speaking does not need to create such fears.
Although it may appear challenging, public speaking can be accomplished by following a few simple guidelines.
Before Making The Speech: Preparation
Like any other endeavor, public speaking requires careful preparation to be successful. Perhaps you have seen one of the “inspired” spontaneous speeches in movies. The reality is that those scenes are carefully rehearsed and such scenes rarely happen in real life. In order to have at least a decent speech, one must plan well. Even the world’s most famous leaders spend time to prepare for public addresses, and most even have teams to work on those plans. However, even if one does not have a speech preparation committee one can prepare for public speaking.
First, it is important to know what the occasion the speech is for. The Gettysburg address would definitely not be appropriate for a wedding, since a speech has to fit the event and the people who will be there.
Second, one should give careful consideration to the type of audience who will witness the speech. For instance, an assembly of academics would probably not take a perky speaker seriously; therefore one should choose a suitable public speaking style based on the audience.
Third, one should know what the expectations are for the speech. A farmer’s association would usually not be interested on a speech about the intricacies of beadwork. It is important to carefully consider the subject matter to be tackled as well as the time frame available before beginning to prepare the speech.
Making The Speech: Writing
When writing for public speaking, one should carefully organize the contents of the speech. It is important to begin with a very strong introduction in order to grab the audience’s attention. It is necessary to catch the audience’s attention early to prevent them from becoming bored.
Next, the body should be purposeful. You should try to cover only 2 or 3 major points. Be prepared with some personal stories to cover the points you are making and perhaps a joke or two to keep the audience’s attention when boredom arises.
Lastly, one should make a conclusion that sticks to the mind. No matter how stirring a speech is, it is useless if the people forget it the instant they leave the gathering. Conclusions should give a concise but memorable recap of the body and include a call to action of some sort.
Again, dazzling spontaneous speeches rarely happen in real life. Most good speeches have been written long before their delivery. While most noted public figures have speech-writing committees, one can make a good speech even without the help of a team of ghostwriters.
The Actual Public Speaking: Delivery
This is the part most people are afraid of; but when proper planning and writing is done well, the delivery should follow easily.
Before the actual time comes, one must decide whether to speak from memory or to use notes. Beginners often benefit from a script or a guide, however when one becomes more comfortable speaking in public, one can start relying from memory.
Reading directly from a script can be quite boring for the audience; thus, it is important to keep constant contact with them by making eye contact with all parts of the room. This requires practicing the speech so that at least some of it can be memorized, and you can effectively use pauses to glance at the audience.
Speaking from memory is quite impressive, but for a beginner it can be difficult to avoid missing some parts of the speech. Speaking with notes can be a good compromise so long as one is able to expound on the points well. Sometimes having a simple cue card with the main points is all a speaker needs. The choice of how to deliver the speech depends entirely on the speaker; thus, it is important for one to weigh the options carefully.
Learning More About Public Speaking
There are several resources to help you do well in public speaking. Several books and articles about the topic have been published. Many companies offer public speaking training, and such services provide in-depth courses that could help one speak well in public. You can join a local Toastmasters Club and learn public speaking techniques with other like-minded people. There are clubs all around the world. You will have the opportunity to learn and practice for a very small cost. You can also find articles and courses on the internet.
Public speaking is challenging, but can be a very worthwhile skill. With the guide provided above, one should no longer be afraid to speak in public.
Fran Watson
For more information on Public Speaking, sign up for my free mini-course.
Get a FREE Mini-eCourse!ENABLING AND MASTERING Public Speaking and All Types of Speaking in Public Practical Guidelines for Breakthrough Performance Simply enter your name and email address below to receive this FREE, five-part mini-e-course, which is taken straight from this newly released ebook. Enjoy this preliminary taste of things to come straight from the covers of this ultimate and comprehensive public speaking reference guide! |
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