The satisfaction of becoming a standout speaker

Opt to Be an Outstanding Orator

Is your focus on not looking really bad or on looking really good?

By Richard R. Bonner, CC


Many of us joined Toastmasters with the expectation, or at least the hope, that it would better our job and career prospects.

We probably thought in terms of improving our communication skills in staff meetings, thinking more quickly on our feet when questioned by the boss or customers, making creditable presentations both to staff and clients, and, if called upon – God forbid – giving bona fide speeches before live audiences.

In all those endeavors, we likely cared more about being competent for our job performance than about being excellent for its own sake. We had neither the time nor the inclination to try to be outstanding speakers and communicators; we simply wanted to be good enough to get what we needed. We didn't care so much about looking really good as not looking really bad. In essence, it came down to wanting a quick fix for promotions and raises. Show us the money!

But if truth be told, that kind of thinking grievously shortchanges us, denying us the brawny passion and satisfaction that comes from becoming a standout speaker.


Woodrow Wilson’s Inspiration
Consider the case of U.S. President Woodrow Wilson, as related by his official biographer, Ray Stannard Baker. While a student at Princeton University, Wilson read a magazine article about great orators, which included his hero, British Prime Minister William Gladstone. The article so excited and inspired him that he vowed he, too, would become a great speaker and statesman. He practiced aloud in the woods near campus and, when on vacation, in his father’s church on weekdays. The young Wilson soon gained a reputation as a fine speaker and debater, which eventually brought him back to the school as a professor, despite an indifferent academic record.

In no time Professor Wilson’s lectures drew some of the most enthusiastic audiences on campus. By continuing to feed his fire and passion for public speaking, he began to draw even more notice, and it wasn’t long before he became the highest-paid member of the faculty; from there he became president of the school. Next, he drew upon his speaking skills to help himself win the governorship of New Jersey and finally the presidency of the United States.

All the while he felt buoyed by the sheer exhilaration of public speaking, “because it sets my mind – all my faculties – aglow...I feel a sort of transformation – and it’s hard to go to sleep afterwards” (from Baker’s Woodrow Wilson: Life and Letters, published in 1927).


Making the Commitment
Let’s say that some of us wanted to become outstanding speakers. What might be our first step? Simply deciding to make the commitment, as Wilson did.

We could make the commitment privately to ourselves or, if we need to feel the spur and the lash to keep from backsliding, we could announce our decision at a Toastmasters meeting. Making the commitment sets the fire, and to keep it stoked and fueled, to keep the interest and passion up, we could immerse ourselves in the study of public speaking through books, CDs, DVDs, lectures, seminars, the Internet and classroom courses. Such sources could include rhetoric, great speeches of history, grammar and usage, diction, voice improvement, gesturing and body language, the lives of history’s famous orators, and other topics.

Perhaps we, too, could feel inspired – transformed – by the words of, say, Queen Elizabeth I addressing her troops at the approach of the Spanish Armada: “I know I have the body of a weak and feeble woman, but I have the heart and stomach of a king, and a king of England too.”

Or a poignantly anguished Nehru eulogizing the assassinated Mahatma Gandhi: “All we know is that there was a glory and that it is no more; all we know is that for the moment there is darkness, not so dark certainly, because when we look into our hearts we still find the living flame which he lighted there.”

Or the thrilling hope of playwright Vaclav Havel upon assuming the presidency of the newly liberated Czechoslovakia after decades of communist rule: “Let us teach ourselves and others that politics can be not only the art of the possible – especially if this means the art of speculation, calculation, intrigue, secret deals and pragmatic maneuvering – but that it can even be the art of the impossible, namely, the art of improving ourselves and the world.”


From the Page to the Podium
Of course, “doing” is usually the most effective way of learning, but don’t scant the study and book learning here. It’s invaluable. It gives us the substance and direction needed. It provides the theory for the practice – the theory we take from the page to the podium.

Besides, we’re already doing “the doing” in Toastmasters! And that doing should include entering speech contests. (Granted, somebody’s got to lose in a contest, but everyone who learns something – who improves from the experience – wins.)

Aside from the book learning, we have ourselves as resources to draw upon.

In 1830 U.S. Senator Daniel Webster responded to a speech from a political opponent by quickly preparing and delivering one of the great orations of history. When asked how long it had taken him to prepare, he replied: “20 years.”

For 20 years Webster had thought hard about, and agonized, over the sentiments that had led to his opponent’s position, drawing heavily upon the resources of his own life, according to the book Discussion and Debate: Tools of Democracy by Henry Lee Ewbank and J. Jeffery Auer.

Virtually all of us in Toastmasters have at least 20 years of life to draw upon: our education (formal and informal), our hopes and fears, our triumphs and tears. In looking over our life journeys, many of us might see only vast unremarkable stretches, but they’re not wastelands. They’re fallow fields whose rich potential awaits the skilled orator to unearth.


The Incremental Approach
“Enough,” says a show-me-the-money type. “Spare me the poetry. Who needs, and who can take, all the effort required to become an outstanding speaker? Being a decent speaker is all you need to be.”

That’s possible, but first let’s realize that the commitment and effort needed to excel in speaking seem far less unnerving if we demand only small but continuous steps of improvement from ourselves. This incremental approach takes major pressure off us yet puts improvement on a comfortable auto-pilot. Then one day, without our feeling the pain of the process, it just dawns on us that we’ve become darned good speakers.

Second, if competent speaking ability will likely help us on the job, what might outstanding speaking ability do?

Certainly we can at least consider making the extra effort, feeling a soul’s awakening as we uncage the oratory beast within ourselves. Maybe we’ll lie awake some nights, not in dread of a speech to be given but from a lingering high we’ve gotten from a speech just given, and given well. Put a dollar figure on that!


Richard R. Bonner, CC, a former writer for several daily newspapers, is a member of the Jewel City Toastmasters club in Glendale, California.

This article was originally publish at the Toastmasters International website. You can find free resources and more articles like this at Toastmasters International Free Resources (click here) .

How to create quotable sound bites

Crafting a Quotable Line

Enliven your speech with a
sentence that stands out. 
By Howard Scott, CC

“I have nothing to offer but blood, toil, tears and sweat.” – Winston Churchill

“In the past, those who foolishly sought power by riding the back of the tiger ended up inside.” – John F. Kennedy

Why are these statements memorable? It’s not because they are uttered by famous people – the same people said much in the same speeches that we don’t recall. Rather, it is because these sentences are bold enunciations of powerful sentiments. Furthermore, they are crisp, vivid encapsulations of the speech’s main point. Finally, they were uttered with great presence, which made them history.

Most of us are not Churchills or Kennedys, but we still can deliver a phrase or sentence in our speeches that embodies the topic and enlivens the speech. In a talk I gave on the estate tax, I said – referring to inheritance – “If you did a good job as a parent, your kids don’t need it. If you didn’t, they don’t deserve it.” With pauses before and after the statement, and with a bit of a histrionic delivery, I had the audience in the palm of my hand. At that instant, it was obvious the speech would be a success.

Jerry Brightman, a frequent keynote speaker and president of The Leadership Group, a consulting and training company in South Hadley, Massachusetts, says, “In all my talks, I try for one stirring sentence where I grab [the audience]. It’s what I call my ‘aha’ moment.”

Unfortunately, these quotations don’t just pop into your head. You have to work at them. The three parts of quote creation are:

• Crystallizing the talk’s main idea 
• Polishing the phrasing 
• Perfecting the delivery

1. Crystallizing the idea. Write down the nub of your speech in one sentence (i.e., the concept statement). This exercise gets you to focus on the talk’s meaning and enables you to search for a pithier, more dramatic, more concise way of stating it. Of course, the memorable phrase does not have to rephrase the speech’s essence, but it will be more forceful if it does. Regardless, writing down the nub helps you focus on the possibilities. Someone preparing a speech about the flat tax might arrive at this concept statement: “The flat tax is simple, but it isn’t fair because it overburdens the poor and underburdens the rich.”


2. Polish the phrasing. Now your job is to get the words just right. Eliminate the unessential and make it concise. Choose words that reverberate and images that are vivid. Language guides help, but you need to spark your imagination to create something memorable. In the flat-tax speech, one take on the concept statement is: “The flat tax treats us all as the same, yet we are not all the same.” But that’s not quite strong enough for a standout phrase. How about: “The flat tax oversimplifies all our assumptions about economics.” Cutting to the essence, we get: “The flat tax oversimplifies.” Now we have a quotable sentence. The four strong words convey what is truly wrong with the flat tax. In this manner, keep reworking your concept statement until you’ve created a gem.

Let’s say someone is giving a speech about being unemployed. The concept statement might be: “The year on the dole was a painful experience because I only knew my work.” But “because I only knew my work” is rather ordinary phrasing. Can you make the phrase more poetic? How about: “Because I defined myself by what I did, not who I am.” This statement offers concision. One can hear the emphasis on “did” and “am.” Since we are lengthening the phrase, perhaps we can shorten the beginning to simply the word “unemployment” rather than “the year on the dole.” Now we have: “Unemployment was painful because I defined myself by what I did, not who I am.”

Sometimes cutting up the sentence works. In a talk on beekeeping, the speaker’s concept statement is: “Honey is local, because the bees travel three miles in all directions sucking nectar from the plants.” The most important word is “local,” yet it is not explained until the end. Perhaps reversing the order of the sentence would be more effective. But since the second part of the sentence is rather mundane, making two sentences might be even better. The first sentence could be: “To make honey, the bees travel three miles in all directions, sucking nectar from the plants.” The second sentence becomes the memorable quotation: “Thus, honey is truly local.” See how one sentence feeds into the other.

“I really try to come up with a tight, short, key sentence,” says Christy Donovan, a member of the Upper Cape Toastmasters in Falmouth, Massachusetts. “Fewer words make greater impact.”

Another technique is to relate your concept statement to a line from a song, a common catchphrase or a TV show. When you do this, the audience will be familiar with the phrasing. Say a speaker gives a talk on listening to the radio. The concept statement might be, “One of the few things that’s free in life is radio.” How can we embolden these sentiments? How about: “Radio is a freebie 24 hours a day.” Even better: “There is no free lunch, but there is free radio.”

Even humorous talks can have a quotable line. For example, consider the potential for funny phrases if you gave a talk on raising chickens: “As a chicken farmer, you never wonder which comes first.” “Chickens – you can eat ’em or you can love ’em.” In a humorous talk on obituaries, offer this up: “If you don’t have a good obituary, how do you know you’re dead?” A little silly, a little farfetched, but it gets the audience’s attention.

Still another approach is to re-read the speech until you discover the most memorable line. David Kellogg, a member of the Bristol Speaker Toastmasters in East Syracuse, New York, says, “I look over my talk and try to emphasize one key sentence.”


3. Perfecting the delivery. In his only trip to the United States, Oscar Wilde remarked to a customs agent, “I have nothing to declare but my genius.” If he had spoken in a soft monotone, that utterance would not be in Bartlett’s Familiar Quotations today. So your delivery must be carefully orchestrated. Take a deep breath and pause before uttering your stirring words. Deliver the line, and then pause afterward. This sets off the statement, giving the audience time to appreciate your meaning.

Move to a different spot on the stage. This will help you own the space. Emphasize key words. Make your face as expressive as possible. Gesture to reinforce the statement.

If the talk warrants, repeat the quotable statement, perhaps right after the first utterance, for extra emphasis. In the unemployment speech, a strong ending might be: “I urge you all: Begin to redefine yourself as who you are, not what you do.” This repetition augments the power of the phrase.

Creating a quotable sound bite is hard work. But you will be rewarded by seeing how much one sentence can improve your speech. Indeed, some will call you eloquent.



This article was originally publish at the Toastmasters International website. You can find free resources and more articles like this at Toastmasters International Free Resources (click here) .

Similarities between writing and speaking

THE POWER OF THE PEN AND THE VOICE

Judith Tingley

Writing skills will help your speaking — and viceversa.

Mentors give new Toastmasters this speaking advice: “Grab their attention right off the bat, then keep them listening.” Similarly, writing teacher Julie Larios advises students, “If you can’t write an opening sentence that motivates the reader to keep reading, it’s all over.”

The importance of this cannot be overstated. The opening hook is one of the many similarities between writing and speaking. It is the impetus for my question: “What skills can speakers and writers share with each other to enhance outcomes?”

“Speakers and writers tell stories,” says author Betsy Dillard Stroud, ACS, CL, a member of Park Central Toastmasters in Phoenix, Arizona. “As two equally powerful instruments, the pen and the tongue have many commonalities.”

Stories, spoken or written, have an introduction, a body and a close. Within this three-part structure, writers and speakers find many ways to boost each other’s confidence and augment the quality of their presentations.

Writing Skills for Speakers The audience of 35 writers buzzed as the speaker jumped to the lectern and asked, “What is your number one challenge today, at this hour, at this moment?” The presenter spoke about his challenges as a writer. He described solutions that worked for him, varying the volume and pace of his speech. He employed nimble body language and good eye contact but did not use notes, which unfortunately, forecast the lack of substance in the speech. The absence of meaningful content dissolved the audience’s early excitement.

By initially writing out a speech in full, presenters can be more certain that their speeches impart ample substance and tell a story in an organized and compelling manner. Dillard Stroud finds that writing out her speeches also stimulates originality. “Writing is a godsend, because as I write, ideas emerge from the ether,” she says.

In writing, as in speaking, brevity is key. The Toastmaster’s red timing light and the red editing pen deliver the same message: “too many words.” Speaking in her Toastmasters club forces Dillard Stroud to pare down to the bare bones of a theme. It tightens her thinking from stream of consciousness to talking points. Her mantra? “Edit, simplify and delete.”

Writing out a speech also provides the opportunity for more creative word use and helps with building word pictures. Both elements make a speech stronger. At a recent meeting of the Park Central Toastmasters, members railed against worn phrases such as “Let’s get on the same page” and “Think outside the box.” At the same meeting, a speaker used unusual metaphors (“the abyss of pain” and “the shock absorber of the soul”), stimulating the audience with fresh word pictures.

Writing provides the opportunity to think through sentence structure and check the dictionary or thesaurus for a word that fits and flows with the rhythm of the speech. The act of writing the most fitting word or phrase makes it easier to remember that word or phrase when you need it later. There will be less need for filler words (uh, ah and um) to plug a momentary mind void.

Speakers can also learn to paint word pictures by reading, imitating or actually borrowing (with acknowledgement) the words of good writers. For example, Oliver Sacks in The Mind’s Eye writes, “When she flipped open the score of Mozart’s Twenty- First, she found it, to her bewilderment, completely unintelligible.

Although she saw the staves, the lines, the individual notes sharp and clear, none of it seemed to hang together, to make sense.” Even if you know nothing about music but want to speak about a moment of confusion, Sacks’ words are a model for expressing the bewildered experience.

When you are both the writer and the speaker, you may end up motivating and inspiring yourself, as well as your listeners, to greater heights. Jon Favreau, President Obama’s head speechwriter, said in a 2008 Newsweek magazine article, “You always hope that the person [speaking] can match the lofty moment that the writer dreams up.” As a speech-writing Toastmaster, perhaps you can match that peak of speaking performance.

Speaking Skills for Writers
A newly published author recently presented a lecture and book reading. With a soft, tremulous voice, she said, “I must apologize in advance. I’m not at all a public speaker. I’m sure I can’t keep your interest or attention for the length of time allotted, but I’ll try.” She then read from a written script for 50 minutes. I thought to myself, Even just a brief time in Toastmasters would help this writer improve dramatically. She had depths of unfolding substance, but not a pinpoint of panache.

Authors marketing their books must speak publicly. In the current world of publishing, writers build a platform and persuade readers to buy their books. Writers can learn from speakers how to overcome their early anxiety and become comfortable in the public eye. They also can learn to influence their audience.

Fear of public speaking becomes a new angst that often shrinks writers’ confidence. The fears of both writers and speakers originate in negative self-talk: the inner critic saying, “I can’t do this. I’m a private person, a writer. I can’t be a public speaker.” Here are some techniques speakers use to succeed:

Block out negative thoughts with a repetitive mantra such as, “One step at a time. I can do this.”

Reframe your role from an old, negative frame such as, “This is me. I can’t do this,” to a new, realistic frame: “This is me. I write and tell stories.”

Breathe deeply and slowly, saying re upon inhaling and lax, with your inner voice, upon exhaling.

Writers usually face a warm audience when they speak at a book signing or book discussion group. Readers show up to find out more about the author, as well as the book. Answering readers’ questions is like telling a true short story, with a beginning, a middle and a close. It’s simple, because you know the answers. “Who was the inspiration for the main character?” “How do you manage the writing life?”

“What do you like to do in addition to writing?” People tend to listen for commonalities — these serve to increase their attraction to you and your book.

Know Your Work
As you begin giving speeches to promote your writing career, use your writing skills to describe your work in one sentence. Next, describe it in one paragraph, and then again in one page. Write out answers to questions you think people may ask. “The writer-turned speaker is well served by note cards highlighting topics he can expand on extemporaneously,” says Tony Brenna, a member of U Speak Easy Toastmasters on Bainbridge Island in Washington. “What you have to say as a speaker should not sound ‘written.’ It should sound friendly, sincere and colloquial.”

The writer-speaker delivery has the power to attract an audience. Read a piece that calls for emotion on your part. This leaves listeners curious and anticipative. Practice by speaking out loud when alone. This helps you gain a greater understanding of how words feel and sound to both the reader and the listener. Practice in front of a mirror, and practice again with family or friends — or anyone who can give you realistic, constructive feedback.

Give your speech a trial run in your Toastmasters club before giving it to a more critical audience. “The speaker-audience connection available in the Toastmasters laboratory remains a unique way for me to sharpen my skills as a speaker, writer and more effective thinker,” says poet Tom Cleary, ATMB.

Writers and speakers are potential collaborators who can offer each other empathy in regard to their fears and struggles. They can draw upon one another’s experiences and gain information on how to improve their respective skills.

“Skillful writers and speakers become more efficient thinkers,” says Cleary, “and they can engage in a process that refines and enhances thought, just as a sculptor shapes stone into an image of solidity and significance.” What a word picture! In my mind’s eye, I see Auguste Rodin’s sculpture “The Thinker” surrounded by writers and speakers with open mouths and pencils in hand, emitting little balloons of brilliant words.

What do you see?

This article was originally publish at the Toastmasters International website. You can find free resources and more articles like this at Toastmasters International Free Resources (click here) .

How intriguing is your speech title?

FOR THE NOVICE

Howard Scott

HOW INTRIGUING IS YOUR SPEECH TITLE?

Why you should name your speech with care.

What’s in a name? Plenty,
if it is the title of a speech. If speakers took more care in crafting their speech titles, they would deliver better talks.

First, a good title creates anticipation. For example, let’s say these three speeches were on the club meeting agenda: “My Mailman Career,” “Russian Kettle Bells” and “The Tax That Will Be the Death of Me.” Which title is exciting and piques your interest? You’re more likely to be curious about the third one, despite its subject matter. What kind of tax is it? How does it kill? The third title suggests there will be drama. It is an active statement, and it revs up the listener for what’s to come.

“A title sets up the emotional barometer of the audience,” says Andrew Staicer, CC, ALB, of Palomar Airport Toastmasters in Carlsbad, California. “From this, you go full circle to bring the listener back to the original feeling.”

Croix Sather, CC, CL, a member of two Toastmasters clubs in Connecticut, puts it differently: “A good title should make your audience say, ‘Hey, I need to hear that!’”

Second, a clever title tells what’s ahead — to better prepare the audience to receive the talk. Like a book’s table of contents, a strong name will guide a speaker’s audience to a more comprehensible understanding. “A clever name answers ‘W-I-I-F-M’ (what’s in it for me) to get the individual’s attention,” Sather explains. It answers the question: Why should I listen to this speech? Unanticipated pauses, forgotten lines, mispronunciations and even a few “ums” and “ahs” are often overlooked because listeners want to hear the content.

Finally, a good title shows enthusiasm. It says “I care enough about this topic to come up with a memorable handle.” In later discussions, a catchy title will be on everyone’s lips. But an interesting title does more than help the audience. It helps the speaker during the creative process. That’s another reason the tag should never be an afterthought. Start with the title. It might not be the same one you wind up with, but the working solution will guide you in preparing the presentation.

The process of conceiving the name can also determine your focus. For instance, your subject might be the use of atomic bombs during World War II. You could handle the topic in many ways. You could discuss the causes, examine the politics or consider the morality of the issue. But the title “Japan’s Take on Little Boy and Fat Man” forces you to examine the topic from Japan’s perception of blame or blamelessness. You’ll carve out a more interesting talk with a narrowed focus. Bill Malthouse, DTM, of the Traveling TasteMasters club in Virginia, Maryland, adds, “A good title tends to focus your speech development, helping you keep on track.”

An apt name will set the tone. Compare “My Disastrous Life-Modeling Experience” with “My Brilliant Life- Drawing Modeling Career.” The first sets the stage for embarrassment. The second provides an insight into the model who rose to the challenge of posing for practicing artists.

A perfect designation forces you to take a position. One thing you don’t want to be is “wishy washy.” You want to take a stand. Almost subconsciously, your title will warp into your voice and your tone, and also into your emphasis, even in a reportorial piece. In a talk about Amy Chua’s Battle Hymn of the Tiger Mother, a best-selling book about child rearing, the title “Should We Shoot the Tiger Mother?” takes a much different approach than “Amy Chua, Mother of the Year.”

Malthouse offers a caveat: “A good title should not allow the audience to pre-classify the speech, but should not misdirect them either.” In other words, don’t use a title that is so literal and dry that the audience can anticipate your speech in advance. And on the flip side, avoid too much creativity, or else the audience won’t know what your topic is.

Also consider the topic. What is the subject matter, what are you trying to say and how do you want to say it? Are you after humor, pathos, admiration or education? For example, if it’s about your beekeeping hobby, try out several titles and see how each one informs the audience: “A Beekeeper’s Season,” “The Bumbling Beekeeper Finally Sees Gold,” “Keeping Bees Is Not as Easy as You Think,” and “To Bee-Keep or Not to Bee-Keep.” Each choice offers subtle variations in approach. Choose the one with the tone that appeals most to you.

Alexandra Watkins, ALB, a member of San Francisco Toastmasters, is founder and chief innovation officer of the naming and branding company Eat My Words. She says, “You have to catch someone’s interest with something unexpected, irresistible, fun or colorful — or with a clever twist on a familiar word or phrase.” She gives two examples on the subject of photography: “How to Shoot People” and “Confessions of a Sharp Shooter.”

Make your title active. Instead of “My Investing Strategy,” try “Investing by Instinct.” Make the title descriptive. “The Pre-Marital Pregnancy Problem” title could be improved: “How the Unwed Mother Affects Your Tax Dollar.” Make the title concrete. A better title than “My House” is “My Stone-Walled, Bamboo- Framed Dream House.” Make your title catchy. A better suggestion for the title “Why Drivers Shouldn't Stop for Joggers” is “Don’t Stop for Me.” Try for humor. Change “Too Much Technology” to “The Internet Is Making Us Stupid.” Occasionally reach out for alliteration. Instead of “Buying Baby Furniture at Superstores,” try “Buying Bouncy Baby Buggies.”

Movie references sometimes produce effective titles. An improvement to “My Life as a Housekeeper” is “Ironing Lady,” which obviously is a reference to the movie The Iron Lady. Instead of the topic “How We Age,” how about “Everything Goes,” a reference to that Broadway hit Anything Goes. Something in the news might work as well. Try scanning the newspaper for inspiration.

Avoid cliches. “The 12 Points of Light in Stock Picking,” “The Keys to a Happy Marriage” and “Losing 20 Pounds through Willpower” are all overdone. Keep searching for something fresh and original, even offbeat.

Andrew Staicer has a habit of walking around with a small pad and writing down interesting possibilities. He says, “I often come up with an inspiration when I am doing something else.”

Good titles are like good grooming habits. Just as people look at you differently when you are well-groomed, people listen more intently when your words are preceded by an intriguing title.

Of course, a good title is imperative in a speech contest because, unlike during regular Toastmasters club meetings, there is no introduction.

This article was originally publish at the Toastmasters International website. You can find free resources and more articles like this at Toastmasters International Free Resources (click here) .

How to keep the attention of a group of people

DEALING WITH A DISTRACTED AUDIENCE

Tim Cigelske

Don’t be put off by those who text or tweet when you speak.

It’s not easy speaking to an audience of people who appear to be distracted by their cell phones, or are clattering away on their laptops or burying their heads in their iPads. We have all been to conferences where people seemed to pay more attention to their electronic devices than to the live person on the podium. As smartphones connect people to their busy lives, this phenomenon will only become more common.

It is tempting to address this issue by trying to ban cell phones at presentations and imposing what author and speaker Scott Berkun calls “a fantasy of obedience” on an audience. But this rarely works.

“Fundamentally, this problem is ageless,” Berkun writes on his website, scottberkun.com. “It has always been very hard to keep the attention of any group of people — at any age, at any time.”

The distraction epidemic calls for a different type of approach — one that can engage people, not just force them to stare silently. Here is what you can do to capture the attention of a distracted audience.

Let Down Your Guard
What’s the first thing you normally hear when someone is giving a speech? “Please turn off all cell phones.” The last thing you want is to have your cutesy ringtone interrupt the speaker. Author and social media expert Chris Brogan turns this decree on its head during his speaking appearances. “Why is it so quiet in here?” he asked the audience at a presentation I attended in Milwaukee, Wisconsin. “This isn’t church. Go ahead and turn on your cell phones. Send tweets. Post to Facebook. Do what you have to do.”

This accomplished two things. First, it established a rapport between the speaker and the audience by creating an informal, friendly setting. Given the choice, most people would rather chat informally with a friend than be required to sit at attention during a speech. People tend to remember interactions with friends, so turn your speech into something that resembles that situation.

The second thing Brogan achieved was the creation of another potentially vast audience. By encouraging people to tweet and post on Facebook, he was expanding his reach far beyond the room. Additionally, audience members who participate this way during presentations become more engaged and attentive; they focus on conveying the speaker’s main points for the digital sound bites they post for social media users.

Another benefit: By reading these posts later, the speaker gets instant feedback and sees what was most memorable to the audience or what may have fallen flat.

Public speaking coach and trainer Lisa Braithwaite says some people learn best by doing something else while listening, whether it’s doodling or using a phone. She assumes the best intentions when she spots someone on his or her phone while she’s speaking.

“I tend to take a positive view that this is a person who’s taking notes, [or] tweeting what a great speaker I am, or is someone who needs to do something with their hands to pay attention,” she says.

Sometimes she has been surprised by what registered with people who seemed to be distracted during her speech. “The same people who didn't make eye contact or looked down would come up to me afterward and tell me they learned a lot from the presentation.”

Encourage Participation
When I began researching this article, I gave a speech to my Toastmasters club and instructed audience members to act distracted — or to actually distract themselves. They excelled at this, surfing the Web and holding conversations with each other. Some even took photographs with a flash. At one point, I took a break and invited the group to discuss how a speaker might engage a distracted audience. Members were then able to focus on the topic of distraction. Requesting audience participation had helped.

“I like that you asked us to answer a question,” one club member said. “It kept us engaged and comfortable.”

It’s a good thing to remember: When audiences are involved, they are more engaged. You want audience members to become companions as you lead them to the final destination or purpose of your speech. When I was a college freshman, one of my English professors insisted on a regular two-minute “talk break” during every 50-minute class period, no matter how busy we were. At first it seemed a little forced to stop discussing Macbeth or Beowulf to talk about our weekends with the person next to us. But over time it helped us bond, and ultimately the classroom became a better environment for learning.

Braithwaite, who is based in Santa Barbara, California, does the same thing with her audiences if she notices that something resonates with them and they start talking among themselves. She’ll encourage audience members to turn to their neighbor to share a story or an example related to that particular topic. Braithwaite calls that a positive distraction.

“Make use of their distraction and include it in the presentation,” she says of audience members who are chatting with each other about what you’re saying. “You don’t want to punish them for being interested and wanting to engage more.”

Be the Guide
A few years ago I attended a speech by someone involved in education reform. What I remember was a phrase she used: “The teacher needs to become less of the sage on the stage and more of the guide on the side.” Braithwaite reinforces that idea, saying a relaxed speaking environment is more productive and enjoyable for the audience.

“When I was in school, you got in trouble if you did anything but face forward and look at the teacher,” she says, “and that’s just ridiculous. It’s not human.”

For speakers, too, it is best to relax and not judge the appearance of an audience — or more precisely, the appearance of electronic devices in an audience. When you speak to a group of people, it is about making a connection and giving the audience something tangible to take away.

You can find a connection, even amid the clattering of laptops and flashes of iPhone screens.

This article was originally publish at the Toastmasters International website. You can find free resources and more articles like this at Toastmasters International Free Resources .

How to connect with your audience

COMMON SPEAKER PITFALLS

Craig Valentine

As a speaker, you may have the greatest content in the world, but if you do not connect with your audience, it can all go to waste. It’s like being on the phone and having something important to say, but there is static on the line and you can’t hear the other person. No matter what you have to say, your message won’t get through.
By understanding what stands in the way of connecting with an audience, you can make small adjustments that will lead to deeper and greater connections. Below are 20 reasons many speakers fail to connect.

1 The audience does not relate to the speaker.
When the speaker talks about success after success after success, audience members may think to themselves, Well, of course these strategies work for him. He’s special. These strategies would never work for me. Whenever audience members feel the speaker is too special, they tend to cast off his or her advice.

2 Audience members are not sold on why they should listen to the speaker.
Your biography, speech description and introduction should clearly show how the audience will benefit from your presentation. They should be excited before you even take the stage.

3 Audience members are not sold on why they should take the next step the speaker suggests.
If you do not sell the results that people can gain by following your advice (e.g., happiness, joy, recognition, money, saving time, reducing effort or doing more with less), they will not act on it.

4 The audience is given too many steps to take.

“A confused mind says no” is an old saying. I’ve added to it: “A clear mind says go.” Giving one exact next step to take helps you connect with your audience during and after your speech. For example, in one of my speeches I ask people to visit my website, and I stay connected with them. Because I don’t give several next steps, I can use my entire speech to build the case for getting them to take that one step. That’s a powerful and clear message.

5 The audience does not feel involved.
I remember watching the movie Lean On Me decades ago and hearing the line “No involvement, no commitment.” Hearing that line has produced change in every aspect of my life. People buy into what they help create, so in speaking it pays to make them part of the speech creation. How? By asking questions. Engage your audience members in quick activities. Listen to them as you speak. Involve them in your stories. Jump on spontaneous moments. Find ways to get and keep audience members involved.

6 The audience does not feel this is the only time you have given your speech.
In other words, they don’t feel it’s fresh. Instead, they feel like it’s something you have rehashed time and time again. Perhaps it is, but your audience shouldn’t get that impression. As a speaker, it’s important to find ways to make the speech fresh for you so it will be fresh for your audience.

I use what I call the Fabric Softener Approach. When you include a fabric softener sheet while doing the laundry, it refreshes the entire load. In speaking, I rarely give a speech without trying out at least one new line or story. In doing so, that new piece becomes like the sheet of fabric softener—it actually makes the entire speech fresh for me, and that helps keep it fresh for my audience. I also dedicate every speech I give to someone somewhere so that it’s just as important every time I give it.

7 The speaker is not all there.
If you are not emotionally involved in your stories during your speech, you do not stand a chance in connecting with your audience.

8 The speaker has not done the pre-speech research necessary to meet audience members where they are. Too many speakers give what they want to say rather than what the audience needs to hear. That’s a recipe for trouble.

9 The speaker does not match the energy of the audience.
Have you ever seen a speaker come out way too energetic and loud for the laidback audience in front of him? Have you ever been that speaker? It’s not about bouncing off the walls. It’s about matching your energy to the energy of your audience members, and then moving them to where you want them to be.

10 The speaker does not tease audience members before sharing the message.
Get your audience to thirst for your message before you quench their thirst. Otherwise they won’t value what you’re saying as much, and they won’t have enough curiosity to stay connected.

11 The speaker favors a side of the room and does not look at everyone in the audience. I
have seen so many speakers turn slightly and face one side of the room for most of their speech. Each person must feel you are speaking to him or her, or you will not connect. Look at everyone throughout the entire speech.

12 The speaker does not respond (at least visually) to the audience’s reactions.
There will be many moments during your speech where audience members will react in certain ways. If you keep talking without at least visually acknowledging their reactions, you will not connect with them. Instead, it will seem as if you could give the same exact speech without your audience even being there. Speaking involves a back-and-forth flow of energy. Blocking that energy is like blocking the blood flow in a person’s body. The results are disastrous.

13 The speaker “tells us” instead of taking us back to her story.
Don’t tell a story from the past; let your audience experience your story in the present. You can do that with dialogue, expressions, reactions and involvement.

14 The speaker does not use relatable characters.
If your stories are about climbing Mount Everest and doing things your audience has never done and never wants to do, you might have a problem connecting, unless you use journey-related universal principles that can bridge that gap.

I remember speaking to a group in a nursing home early in my career and wondering, How will these older folks relate to me? The answer is they didn’t have to. I told stories about advice I received from my grandfather and they, being grandparents and great-grandparents, related to him. So they related to me indirectly through my characters.

15 The speech is a verbal autobiography that leaves audience members wondering what they should get out of it. Don’t make people work that hard. They need to know what they’ll get out of your speech from the beginning—not just at the end. The speech can’t be, “I did this and I did that and I did this other thing … and you can do it too.” That’s not audience-focused enough to connect. You need to be audience-focused from the very beginning.

16 The speaker does not come out with a bang.
Audience members realize in 30 seconds whether or not they want to hear more. Make those 30 seconds count.

17 The speaker sounds like someone else.
You must be yourself or you’ll never connect. I remember watching a speaker who had great content—but there was a problem with his delivery. He faked a Southern accent. It seemed as though he was trying to have a Zig Ziglar-type drawl. This completely destroyed his connection. Why? Because it wasn’t his way; it was Ziglar’s way. Only Zig Ziglar can be Zig Ziglar. The rest of us need to be ourselves on stage.

18 The content is not original enough.
As soon as someone starts talking about the starfish or the bricklayer, many people will think they have heard this before, and they will tune out.

19 The speaker’s stories don’t stir anything in the audience.
If a speaker’s stories are one-dimensional and flat, he will not provoke any emotion (tears and regret, happiness and joy, etc.) in the audience and, therefore, the speaker will not connect.

20 The speaker does not get the audience to reflect.
If the audience does not reflect, the speaker will not connect.

Perhaps you have been guilty of some of the above-mentioned mistakes. I know I have. This list is in no way exhaustive—there are many other reasons speakers fail to connect with their audiences.

Which ones can you think of?

This article was originally publish at the Toastmasters International website. You can find free resources and more articles like this at Toastmasters International Free Resources .

Know the three I's of storytelling

MANNER OF SPEAKING

Allen Schoer

MASTERING STORYTELLING

Know the three I’s: invitation, imagination and impact.

You’re on the road to becoming your company’s Chief Storyteller. Let’s begin with some good news: You’re already better than you might think. You tell stories every day. Here, we’ll explore three capabilities that will take you well on your way to becoming a professional storyteller. Remember the “three R’s” of your early education: reading, writing and ’rithmetic? Now consider the “three I’s” of storytelling: invitation, imagination and impact. Here’s how you can master them:

1 Invitation. Remember Steve Jobs’ famous invitation to Pepsi’s then- CEO John Sculley when he lured him to Apple by asking, “Do you want to spend the rest of your life selling sugared water, or do you want a chance to change the world?” Engage your listeners by stimulating their curiosity and asking them to share in something exciting with you.

2 Imagination. Enlivening people’s imaginations is easy. What happens before you visit the doctor? Or when you’re waiting for the board’s reaction to your latest strategic plan? Your imagination puts on quite a show. Who needs PowerPoint or technological wizardry?

In 1961, U.S. President John F. Kennedy recognized the need for a new narrative to galvanize the space race. Before a joint session of the U.S. Congress, he boldly announced that by the end of the decade the country would be dedicated to “landing a man on the moon and returning him safely to Earth.” Despite widespread doubts, and the fact that the National Aeronautics and Space Administration (NASA) had not yet even sent a man into orbit around the Earth, he electrified the collective imagination of the country.

Imagination is the direct access point to our creativity. Simply say “Imagine this ...” and people’s creative juices start flowing. They’re transported to a different and vivid new reality without leaving their seats.

3 Impact. We crave impact. We want to be seen and know that what we do has meaning. In baseball terms, it’s called “looking the ball to the bat.” As a storyteller, that means watching your audience closely to see how your content is affecting them.

In 1995, South African President Nelson Mandela knew he had to shore up his government’s tenuous hold on post-apartheid unity. Adopting the strategy of “Don’t address their brains. Address their hearts,” Mandela convinced the Springboks rugby team, until then the country’s symbol of white supremacy, to join him. At the commencement of the Rugby World Cup final being held in South Africa, Mandela and the team symbolically broke all barriers by singing “Nkosi Sikelel’ iAfrika,” the anthem of the black resistance movement, to a still divided nation and a worldwide television audience. The Springboks won the World Cup, and South Africa moved toward reconciliation.

Brilliant ideas without brilliant human connection usually die fast. That connection builds trust and cultivates relationships. When you see how you move others and are moved by them, you grow in stature and authority.

Keep this in mind: What you’re saying isn't  for you. It’s for your team.

Practice Time
Try these techniques at your next team or client meeting and note what happens:
• Be an “investigator” — not a content dumper. Ask, don’t tell.
• Watch carefully how what you’re saying impacts your team.
• Don’t leap to the next point until you see people absorb the previous one. Don’t assume everyone’s with you. Ask questions like “Are you with me?” or “How do you relate to this?”
• Slow down. Don’t race your narrative simply to get to the end. Consider practicing on someone first.
• Create images to get the client engaged in your story: “Imagine this ...” or “Picture that ...”
• Stop occasionally and observe your effect on everyone in the room.

Remember, your team and your clients are your creative partners. Actress Katherine Hepburn said, “If you give audiences half a chance, they’ll do half your acting for you.”

This article was originally publish at the Toastmasters International website. You can find free resources and more articles like this at Toastmasters International Free Resources .