Presenting with Impact
Participant‟s Manual
Delegate name:
Date:
Contents
1.
Introduction
2.
The Presentation Cycle
3.
Before
4.
Planning & Preparation
5.
Managing Stress
6.
The Introduction
7.
Getting Your Message Across
8.
The Power of Verbal Communication
9.
Maintaining Interest
10.
The Big Finish
11.
After the Presentation
12.
Key Learning & Actions
2
Introduction
Welcome!
This course is about you and how you present yourself in your professional life. Making a good impression
to achieve results is often overlooked. Many think that if they just show up, present their content and follow
the rules, they will get what they want. Unfortunately, this is not always the case. In fact, in all too many
instances, people look unprepared, alienate and distract their audience - and they are not even aware that
this is happening!
There is no one correct or best way for people to present themselves. We have to work within our
capacities, positions and cultures, so adapt or revise the ideas we suggest in this workbook. Make the
materials work for you by using them as guidelines, rather than exact rules that must be followed.
This Presenting with Impact programme is for anyone who has to present to an audience, both large and
small, whether it be to your colleagues, customers or other groups of people. Throughout the programme
you will be able to practice all the skills introduced and in the process be recorded and individually
coached. This will be done in a supportive and encouraging environment so that you feel able to develop
the skills that you and your TMI presenters consider important for you to work on.
The kind of presentation we may see from time to time, aims at no more than getting the right words in the
right order; often with the emphasis on survival of the presenter! This programme aims to ensure your
audience understands and relates to everything that you are saying; or even better, is involved and bought
into an action or the idea you are introducing. This is the quality presentation where your audience doesn't
want it to end.
Specifically, Presenting with Impact is about building:
•
An awareness of how a good presentation looks and sounds
•
The confidence required to give a quality presentation every time
•
The practical experience of presenting in a safe environment, and receiving constructive personal
feedback
The programme won't make an instant public speaker out of you; it won't even make the butterflies go
away. What it will do is teach you how to use the butterflies to excel in your presentations, to use essential
communication skills, identify your hidden potential and ensure your presentations, with practice, become
the ones everyone looks forward to listening to.
Good Luck!
3
Programme Agenda
Day 1
Day 2
•
Welcome and Introductions
•
Day 1 Review
•
Introducing Me! – Presentation 1
•
The Power of Verbal Communication
•
The Presentation Cycle
•
Maintaining Interest
•
Planning & Preparation
•
Appealing to the Senses
•
Managing Stress
•
The Big Finish
•
The Introduction
•
Presentation 3
•
Presentation 2
•
After the Presentation
•
Getting Your Message Across
•
Summary & Action Planning
•
Day 1 Review
•
Close
My Objectives for the Programme
•
What would success look like for me?
•
What are my strengths as a presenter?
•
What skills do I need to develop during the programme?
1.
2.
3.
4.
5.
4
What Does Good Look Like?
A Good Presenter
A Good Presentation
Think of someone you know, what do they
do, what are their key attributes and skills
Think of a recent presentation you have attended why was it good, how do you know it was effective
Keep F.O.C.U.S ed
•
Fine Tuning
•
Outcomes
•
Chunking
•
Unlimited Points of View
•
Success Assurance
5
In his book „Successful Presentation Skills‟, Andrew Bradbury identifies the 5 skills most frequently used by
people rated by their colleagues as outstanding presenters. He calls this the FOCUS model;
Fine Tuning
Never settle for second best.
A skilled presenter continuously hones and refines a presentation, re-visits the aims and objectives to
ensure they are met, and improves the presentation for next time.
Achieving Outcomes
If I don‟t know where I am going, how will I know if I get there?
Great presenters are clear about the purpose of their presentation. They know what they want to achieve,
and know what success looks like.
Chunking
Break it down into manageable pieces.
A sensible presenter starts with the big picture, and works down to the details.
Unlimited Points of View
Don‟t take it personally, or make it personal!
A professional presenter can deliver from different perspectives, for example:
•
From their own point of view
•
From the audience‟s point of view
•
From a „neutral‟ point of view
By doing this they can challenge, deliver a difficult message, and avoid conflict.
Success Assured
What must be, will be!
A final characteristic is an unshakeable self belief that every presentation they make will achieve its goals,
be fun, interesting, and a great investment of time.
6
Learning New Skills
Neil Rackham, in his best selling book, SPIN Selling, lists five principles for learning skills. We recommend
that you follow them.
1. Practice Only One Behaviour At A Time
Your brain will get overwhelmed if you try more than one new behavior at a time. Then you'll get frustrated
and be tempted to give up.
2. Try The New Behaviour At Least Three Times
The first time we try anything new, we generally don't do well at it. At least three practices will begin to
make the behavior feel more comfortable.
3. Quantity Before Quality
Don't worry about perfection when you first begin to try a new behaviour. If you are learning a musical
instrument, for instance, you expect to hit a few wrong notes before you play smoothly and without
mistakes.
4. Practice In Safe Situations
Practice at home and on this programme.
5. Work With Yourself - Not Against Your Basic Inclinations
If some of this material does not appeal to you, then let it go. Focus on the things that you are inclined to
do, but don't throw this workbook away. You may find that a few months from now that an idea that didn't
make sense to you at this time, will make a lot of sense in the future.
7
A Learning Framework
There are many sources of information on Learning Theory and its application, some more complicated
than others. One very practical book we would recommend, particularly if you wish to assess your own
learning style, is "The Manual of Learning Styles" by Peter Honey and Alan Mumford.
When we start the process of learning, often we are in the position of not yet knowing what it is we need to
learn. Skills once taught may have become habits, far removed from the original competence. Take the
skills for learning to drive for example. How many of us always remember "Mirror, Signal, Manoeuvre"? or
holding the steering wheel in a secure way etc. In this sense we may need to unlearn some habits to get at
the core skill again.
It is for these reasons we are using the Conscious / Competence Model.
The Conscious / Competence Model
There are two dimensions within this model:
1. Our Awareness about Something
Our level of consciousness, which doesn't infer that you might be asleep, but looks at the level of conscious
thinking you need to engage when using some competence or skill.
2. Our Level of Expertise
Assessing the degree to which the skill required matches the skill demonstrated. Whether we have a high
level of competence or skill, or a lower level of competence or skill.
8
The Conscious / Competence Model
Incompetence
2
1
Conscious
Incompetence
Unconscious
Incompetence
Conscious
Unconscious
3
4
Conscious
Competence
Unconscious
Competence
Competence
Within this learning process we generally work our way through each of these four quadrants or stages in
turn. Some of the stages will take longer than others in terms of time, depending on many factors,
including:
•
Our confidence levels
•
Our willingness to learn
•
The encouragement and support we receive
•
Our ability to apply the new skills or knowledge
•
Our self-esteem
•
Our previous skills, knowledge and experience
9
Stage 1 - Unconscious Incompetence
We are either totally unaware of something or we have a vague awareness way back in our minds about
this body of knowledge or skill. We perhaps know very little or nothing at all about the skills needed or the
subject matter. e.g. "I have to admit I know very little about this subject" or "I have no idea how to ........".
Stage 2 - Conscious Incompetence
At this stage we now become aware of how much we don't know. This is the awkward stage in the learning
process, when our confidence or motivation can help or hinder our persistence with the learning. You only
have to think of a newly born foal, getting up from the stable floor for the first time. It wobbles and at first is
very awkward. Survival is its motivation! In the professional world we can feel just as awkward. e.g. "Wow!
There's more to this than I thought!"
Stage 3 - Conscious Competence
At this stage we are knowledgeable about a skill or subject, but we need to put it into practice for it to "take
hold". In doing so, we make a conscious effort to incorporate all the new information and try and work with
it in a way that makes sense for us. e.g. "It's beginning to make sense now, I can see where it all fits".
Stage 4 - Unconscious Competence
At this stage of our learning we have formed a habit, so much so that whilst we are using our new skills and
knowledge, we start to think about other things. We become more aware of what is going on around us,
e.g. "I'm really enjoying this. I can express myself on this subject in a number of different ways".
Think of a skill you have learnt in the past. Think through all the stages in your mind. Can you identify with
them?
10
The TMI Success Cycle
You can apply the same logic in the TMI Success Cycle.
Learn the Skill
First things first – we must invest the time to learn new skills. That often means starting right from scratch,
and breaking things down into small chunks. If we learn one thing at a time, we avoid overloading the brain.
Put Into Practice
At some point we need to take the risk, step off from the edge, and just have a go. This programme is an
ideal environment to practice your new skills – safe, encouraging and fun.
Gain Confidence
Bit by bit, one step at a time, you will gradually get the opportunity to test yourself in your new knowledge
and skills. By experiencing success, and by receiving expert coaching and development – your confidence
should soar.
Build Self Esteem
And that‟s the beauty of the Presenting with Impact programme. In two days, you can see the difference in
confidence, and feel great about yourself and what you have achieved.
11
The Presentation Cycle
How do I know
1
What do I need to
Preparation
do before I start?
I have met them?
4
2
Meeting
Introduction
Objectives
How do I keep
them awake?
3
How do I make
Maintaining
Interest
What‟s Going On?
At each stage of the cycle:
•
What are you doing?
•
What are you saying?
•
How are you doing / saying it?
Preparation
Introduction
Maintaining Interest
Meeting Objectives
12
the right start?
The Critical path
Before
During
13
After
Skilled Presenter Required
Skills
Qualities
Control
Model
Attitudes
Essential
Desired
Skills
Qualities
Attitudes
14
Where Am I Now?
Question
Always
Preparation
1.
2.
3.
4.
5.
I am always well prepared on the subject matter.
I have a clear structure in all my presentations.
I use a variety of checklists to help me prepare.
I am always clear as to my own point of view.
I know the objectives of my presentations.
Knowing My Audience
1.
2.
3.
4.
I always determine the knowledge level of my audience.
I understand how I can maintain their interest.
I vary my approach with different groups of people.
I know what I expect the audience to do as a
consequence of listening to me.
5. I analyse the benefits to the audience and use them to
maintain interest.
Physical And Psychological Environment
1. I check the physical environment before making a
presentation.
2. I use a checklist to ensure the physical comfort of the
audience.
3. I make sure my equipment needs are met.
4. I check that I will be visible to the whole audience.
5. I ensure that the layout of the room / venue is conducive
to effective learning.
Visual Representation
1.
2.
3.
4.
5.
I use a variety of visual aids in making a presentation.
I ensure the visuals I use have impact.
I use graphics as well as words to make my points.
I use visual aids to highlight the main messages.
I keep the information on my visual aids simple.
Stress Management
1. I have good strategies to help me relax before making a
presentation.
2. I know how to use breathing as a means to monitor my
stress levels.
3. I mentally rehearse my presentation to highlight any
oversights.
4. I positively mind set myself before each presentation.
5. I read about stress regularly to help me perform at my
best.
15
Sometimes
Never
Question
Always
Approach And Style
1.
2.
3.
4.
I always arrive in good time before making a presentation.
I begin my presentations on time.
I maintain a lively pace.
I allow for small breaks if I am to make a presentation for
longer than 1 hour.
5. I am always sincere and enthusiastic when making a
presentation.
Communication
1. I always explain the aim of my presentation first.
2. I outline the structure of my presentation to the audience.
3. I don't allow myself to become sidetracked from the
structure I have planned.
4. I summarise the main points at frequent intervals.
5. I check to see my audience has understood before moving
on to the next topic.
Handling Questions
1. I always ensure the audience has the opportunity to ask
questions.
2. I clarify the questions when I am not sure what is being
asked.
3. I treat all questions with the same degree of importance.
4. I use open body language when answering difficult
questions.
5. I ensure that I do not express a negative reaction when
asked a provocative question.
Meetings
1. I regularly share information and ideas at meetings.
2. I prepare for meetings in the same way I prepare to make
an individual presentation.
3. Everyone takes responsibility to ensure the physical
environment is conducive at our meetings.
4. I remember to relax tense muscles when frustrations
occur at meetings.
5. I maintain open body language at our meetings.
After A Presentation
1. I always evaluate how effective I thought my presentation
was.
2. I check to see that I kept to my structure and amended it
to what I actually did.
3. I outline areas I need to improve upon after making each
presentation.
4. I actively seek feedback from my audience afterwards.
5. I draw up an improvement plan each time from the
feedback I receive.
16
Sometimes
Never
What Does Good Look Like?
What Are My Strengths
What Are My Development Areas
17
Planning the Presentation
“HE CAN BEST BE DESCRIBED AS ONE OF THOSE ORATORS, WHO, BEFORE THEY GET UP,
DO NOT KNOW WHAT THEY ARE GOING TO SAY, WHEN THEY ARE SPEAKING,
DO NOT KNOW WHAT THEY ARE SAYING, AND, WHEN THEY HAVE SAT DOWN,
DO NOT KNOW WHAT THEY HAVE SAID.”
(Sir Winston Churchill)
Presentations quite often go wrong because the presenter doesn't have enough confidence in his material.
Only if you are absolutely clear about where your presentation is going, stage by stage, can you have the
confidence to project yourself, to involve your audience.
Structure
Its easier to get our messages across, if we make learning easy. Ensuring that our presentation has a
logical and simple structure, helps the audience digest the information quicker. The brain loves structure! It
likes to hear a beginning, middle and end!
The simplest form of presentation structure is demonstrated hundreds of times a day, on every television
and radio station. Every time we hear a News broadcast, we hear the information presented in the same
way:
News at 10
Tell them what you‟re
going to tell them
The Headlines
Tell them
The Main Stories in
Detail
Tell them what you‟ve
just told them
The Headlines Again
18
The PPP Model
The PPP Model is also a useful tool to
help get the presentation structure right.
Pay-Off
Purpose
Purpose – Why am I here, what am I
trying to achieve?
Process – How am I going to achieve my
aims, what‟s my agenda, my main topics?
Pay-Off – What‟s in it for them, what are
Process
they going to get out of it?
19
The TMI Grid
The TMI grid system is a foolproof method for putting together a clear, balanced structure. You can plan
what you are going to say, when and how you say it, where your main messages are going to appear, and
how you can be sure to get them across. It means you'll never 'dry up' for ideas, need never have to read
from a script, have to ad lib or go over time, and can, therefore, be confident and free enough to give a
quality presentation - every time!
It is a variation on the method used by Abraham Lincoln. He used to pick up ideas for speeches and store
them on pieces of paper in a band inside his top hat. At some stage before the speech was due, off would
come the hat, and the pieces of paper would be organised into a logical sequence.
A simple grid can be a good platform to start
your planning, and begin to formulate a
structure.
Across the top go your main headings, and
underneath, the detail behind the heading.
A next step, might be to use Post-it Notes to jot
down ideas, before you start to put them into some
sort of order.
This is a very simple form of Meta-planning.
Once you have organised your headings and
structure, its easy to follow.
It‟s also easy to change, if you find your self out
of time, or if something changes.
The following notes are useful reminders for
when you are using the grid system.
20
Create
•
Consider when you are your most creative. When and where would this be for you? Use this time to
generate your ideas.
•
Brainstorm - Throw ideas at the page without trying to impose a structure on them. Any attempt to
structure ideas at this stage would stifle creativity. Have fun with it and let your friends and
colleagues help!
•
Use your post-its - They can be moved around the page without any need for crossing out and
penciling in confusing directions.
•
Keep referring back to your cornerstones for ideas.
•
Add your own experiences, anecdotes and examples, to personalise your presentation.
Cluster
•
This is where the top hat comes off!
•
Pick out natural groups of ideas.
•
Cluster these ideas (ideally one to each post-it) into appropriate groups on the page, adding any new
ideas you may have.
Compose
•
Use The Grid - transfer the points from your post-its onto the grid - one point to a square, in capital
letters. These are your 'triggers'. This will be your 'security blanket' during your presentation. Use
colours, diagrams, and anything else you feel can highlight your triggers and make them easier to
follow.
•
Give each group of ideas a heading. These are your key points.
•
Plan your opening and closing statements. These are the most 'strategic' parts of your presentation.
Decide on your transition statements, so they will know when you have moved from one key area to
the next.
•
Allocate timings to your grid - remember to look at the clock when you start.
•
Classify your material into three different categories - must know, should know and nice to know.
Colour code (refer to information under the Colours heading) each of the categories so at a glance at
your grid you can decide which 'nice to knows' you can leave out if you begin to go over time or your
time allocation has been dramatically reduced because of external factors.
•
Use symbols and graphics to catch your eye and trigger your creative prowess. Use these to identify
points on your grid when you will use:
•
-
A quote
-
A visual
-
An involvement technique
Highlight, box or underline key words and / or phrases on your grid to make them stand out.
21
Colours
Using colour will engage your eye at a distance and will help you identify at a glance the material or content
of your presentation that is essential or just nice to include.
Try using the following as a suggestion on your Grid:
•
BLACK
= Must include (Key 5%)
•
GREEN
= Should include
•
RED
= Nice to include
•
BLUE
= To indicate planned times
Connectors
Denote transitions or connectors for the listeners ease and getting from "POINT A" to "POINT B". As a
suggestion you might like to make these transitions using some of the following ideas:
Use Bridge Words like, „Furthermore‟, „Meanwhile‟
•
A Question
•
A Flashback
•
Visual Aids
•
Pause
•
Physical Movement
•
Joke or Story
•
Using the PEP Formula - Point, Example, Point
22
Clarify Where Visuals Are Needed
Try to prevent your presentation from becoming a "Slide show". This not only tires your audience, but can
switch them off. (Refer to the section in this workbook on Visual Aids). A good rule of thumb is to use a
visual aid for most of the key points in your presentation. Think about the type of visual aid that you wish to
use, the equipment required to demonstrate it with and the preparation time.
23
The TMI Cornerstones
Communication Cornerstones
Communication Cornerstones
Me
No presentation is given, 'just for the sake of it'.
Benefits
My Point
of View
2-Way
Having fixed on your subject, use these cornerstones to
Subject
•
help you structure and give purpose to what you are
The Audience
Actions
Their Point
of View
What do you
want them
to do?
going to say.
Choose the Subject - What is the theme, content, style and approach you wish to take? Consider
an analogy for your presentation.
•
Your Point of View - If you are not clear about this you will confuse your audience and be easily
side-tracked.
•
Your Audience - their background, experience, level of knowledge, age, sex, interests, etc. How
are you (really) going to get through to them? What is the most appropriate approach? Will you be
talking to them, or over their heads?
•
The Actions Stage - What do you want them to do as a result of your presentation? This may vary
from buying a product to adopting a certain course of action. There should always be something
you want them to do as a result of listening to you. Otherwise, why take them away from their intrays?!
•
Benefits - Once you have decided on the action step, you can work out the benefits you should put
across to encourage them to take that action - and at which point of your talk to bring in the
benefits.
24
Introducing Me - Again!
My Elevator Pitch
“
”
25
Making Stress Work For You
“THE MIND IS A WONDERFUL THING - IT STARTS WORKING THE MINUTE YOU‟RE BORN AND
NEVER STOPS UNTIL YOU GET UP TO SPEAK IN PUBLIC”.
According to The Book of Lists, public speaking - not creepy crawlies, snakes, heights, deep water or even
death - is the foremost fear in the world. No wonder many of us get stressed just at the thought of it!
Stress & Your Body
So just when you want everything to work for you, one look at your audience and you tense up - you get
muscular tension! Here are some of the symptoms. Recognise any of them?
•
Your mouth goes dry.
•
Your voice trembles.
•
Your heart rate speeds up.
•
Your breathing becomes shallow, erratic, or just faster.
•
Your muscles feel tight across your shoulders, neck and throat.
•
You get a lump in your throat, and have to clear your throat quite often.
•
You develop a nervous cough - and this only makes things worse.
•
Your voice becomes monotone.
•
You lose your voice completely!
You can work with your voice, your body and your mind to control nerves.
My Stress Responses
26
The Stress Continuum
Pros
Pros
Cons
Cons
Taking Control Of Your Voice & Your Body
The answer is to reduce muscular tension gradually, by exercising the muscles in those areas of your body
which affect your voice: across the back, neck, throat and mouth.
Any sports person will warm up before an event. A presenter should do the same before speaking, for the
same reasons: to release muscular tension, take control of the body and prepare to give a good
performance.
27
Control Your Breathing
Unless you take control of your breathing rate, you will never control your voice. You need to slow down
your rate of breathing to a comfortable level and take in enough air to be able to project your voice to the
back row. So, the first exercise must be to get your breathing rate down and fill your lower lungs with air.
•
Stand up straight, with shoulders back and feet 18" apart. Feel
your lower ribs, and what happens to them when you breathe in.
•
Breathe in through your nose and out through your mouth. Use
your diaphragm to fill your lower lungs with air.
•
Your lower chest cavity expands when you inhale and contracts
when you exhale. Imagine you have a balloon under your ribs and
every time you inhale you are filling it with air and emptying it when
you exhale.
•
Maintain this breathing rate - 3 to 4 seconds in and out - as you
move onto the following exercises.
Quick Tests
Place your hands on your tummy whilst you are breathing. As you breathe in your stomach should
expand – imagine the balloon (your lungs) being inflated.
Lie on the floor with a book resting on your tummy. When you breathe in, the book should rise, when you
breathe out, it should fall.
This process is called Diaphragmatic Breathing and is a time honored Yoga technique, the more you
practice, the easier it becomes, the more relaxed you get.
28
Relaxing the Body
Your Shoulder Muscles
•
Relax your shoulders. Roll each shoulder separately, then together,
both backwards and forwards.
•
Push both shoulders down together to the floor (stopping if you feel
any pain) - now let them release to a position of ease. Repeat several
times. This is the Mitchell relaxation technique which relies on
stretching tense muscles not contracting them.
•
Turn the palms of your hands through 270 degrees. Raise your arms and inscribe the largest heart shape
you can. Feel the release of tension up your arms and across your shoulders. Breathe in as you lower
them. Tell yourself, 'I am relaxed'. Like yoga, the psychological input is as important with these exercises
as the physical input - perhaps more so.
•
Repeat the above exercises, this time following each hand in turn with your eyes. You are now beginning
to exercise your neck muscles.
•
After 5-10 minutes you should have a distinct sloping feeling in your shoulders, and your muscles should
feel warm and heavy. This is the feeling you should keep.
Your Neck Muscles
•
Your neck muscles should be relaxed to allow a free flow
of air across the vocal chords.
•
Place the palms of your hands on your neck and rub
gently from side to side until you become warm.
•
Shoulders straight to the front and head up straight, move your head slowly to the right as far as it will
go (stop if you feel any pain) and then back to the centre. Pause. Now move it to the left as far as it
will go.
29
Relaxing the Body (continued)
Your Jaw Muscles
•
Your jaw should almost always feel as though it is hanging in your
cheeks, even when your mouth is closed.
•
Move your jaw vertically down, from side to side and finally up and
down. Imagine that you are chewing gum.
•
Now, when you open your mouth to introduce yourself, your jaw
muscles will work!
•
Recite a few tongue twisters or sing!
Tongue Twisters
Sounds - T D L N R S Z (Consonants)
1. Ten tiny toddling tots trying to train their tongues to trill.
2. I slit the sheet and the sheet slit me; Slitten was the sheet that was slit by me.
3. The Leith police dismisseth us.
4. Lots of little London lamp-lighters, light London's lot of little lamps.
5. Nina needs nine knitting needles to knit naughty Nita's knickers nicely.
6. Red leather, yellow leather, red leather, yellow leather.
7. Dashing Daniel defied David to deliver Dora from the dawning danger.
8. A sick sparrow sang six sad Spring songs sitting sheltering under a squatting shrub.
30
Managing Stress Mentally
90%
Do I Want to Change?
No
Yes
Stress Response
Stressor?
Concern
Influence
• Breathing
• Relaxation
Control
• Stretching
31
The Introduction
Importance of the First
Words
7
4 Minutes
You are being judged even before
55
38
Way
you open your mouth - by the way
you stand, move, whether you are
smiling, or whether you are looking
Body
Language
•
at your audience.
Albert Mehrabian, Professor of Psychology at the University of California in Los Angeles, has
calculated that only some 7% of understanding derives from what is actually said, 38% coming
from the tone of voice in which it is said and 55% from the body language (or silent speech
signals).
•
In the first four minutes of a presentation the main aim is to grab and keep attention, and to build
rapport with the audience. You can do this by using essential communication skills which convey
confidence and encourage rapport with the audience. We will be examining these skills, and how
to get the desired result by using them.
32
How Do You Look?
Act With Purpose
Use your entire body to communicate your message. Generally speaking, slow, purposeful movements
are more impressive than short, jerky ones. A smile that you hold is more significant than one that
bounces on and off your face. A slow, measured handshake is more powerful than a brief squeeze. If you
study people who have a powerful impact on others, in most cases you will notice a controlled manner
about them. For example, if you drop a pen, pick it up. But pick it up with intention.
Short, quick movements look tense and nervous. They appear to be reactive, rather than proactive. When
you are acting this way, it may feel to you as if you are moving in slow motion, but the person watching you
will see control and purpose!
Start From a Firm Foundation – „The Ready Position‟
Starting a presentation is crucial, and making sure you start from a solid base is
important. In Yoga – the starting position for many exercises is called „The
Tree‟ – it‟s a way of grounding yourself before you begin your exercise.
At TMI we call the standing starting position for a presentation, the Ready
Position.
1. Positioning
Stand forward, away from any desk or visual equipment if you have any, these create physical and
psychological barriers. The audience needs to see you. The space behind you is your territory. In between
you and your audience is "No-Person's" land, the "OUR" territory. If you get too close to your audience
however, you can create "Wing orphans" who will, after a while, become distracted by the cricks in their
necks!
2. Stance / Posture
Feel the ground beneath you, spread your feet about shoulder width apart to a position where they will
support you and it feels comfortable. Even a house needs a good foundation! Some people also prefer to
raise slightly on the balls of the feet - this mind set is linked to that of the athlete and signals a
preparedness.
33
3. Knees
Unlock them! Locking your knees is a manifestation of your stress. Lightly bending your knees prevents
them from locking. It also adds to the psychological mind set of readiness.
4. Arms
Hang them loosely at your side (remember this is the start position only - you can, and will, be encouraged
to move them later!). Unclench your fists, remove rings or watches if you notice you use them as your
"lifeline" by clutching them or seeking divine inspiration from them!
5. Shoulders
Keep the shoulders back and down, imagine you are pushing your fingers towards the floor as far as they
can go. Wear a jacket in keeping with the audience's expectation.
6. Head Up
Your vocal chords and windpipe are the tools you will use. Give them the best chance, hold your chin up.
Otherwise it is like a bent straw allowing nothing to pass through it.
7. Smile
Enough said! Look calm, relaxed and in control, even if you don't feel like it! Only you know how you feel.
Don't give the game away.
Benefits Of The Ready Position
•
It tells your audience that you are ready to start.
•
It tells you that you are ready to start - you feel anchored to Focus, Flow and Finish.
•
You look confident - even if you don't feel it.
•
There will be less chance of you using distracting manipulator movements
•
There will be more chance of distributing eye contact evenly.
34
What Not to Wear!
Nowadays there are fewer and fewer rules for what you can wear, what is acceptable and what is not.
Sometimes even our efforts to ensure the dress code is explicit , doesn‟t work. „Please wear Smart Casual‟
somehow doesn‟t help!
Whilst international, cultural and social circles will follow their own styles and preferences, there is always
room for common sense rules and guidelines that apply to everyone, everywhere when it comes to
presenting in front of an audience.
The Clothes Course
•
Colours – Golden Rules
•
Comfort – Golden Rules
•
Class – Golden Rules
•
Buy cheap buy twice!
•
Pace the audience / client
•
Meet expectations
Colours
Comfort
The
Clothes
Course
Class
35
The Introduction - What Do I Say?
Opening Strategies
“THINGS ARE ALWAYS AT THEIR BEST AT THE BEGINNING.”
(Blaise Pascal)
Compare these two openings.
1. Um ... hello, I'm Jo Smith and in the next 20 minutes or so, if you don't mind, I'd like to try to convince
you that there are 6 or 7 communication skills that you might like to use on your next presentation.
Thank you.
2. Ladies and Gentlemen, Good Morning. How would you like to have your next audience hanging on
your every word? I'm Jo Smith and I'm going to share with you 7 communication skills which will add
magic to your next presentation.
36
Opening Strategies (continued)
Your opening needs to "GRAB" your audience's attention. It must be positive - rehearse it or even script it.
It must focus their interest on your subject.
Here are some ideas.
•
A stunning visual.
•
A thought provoking question.
•
A quote: Reference to something of topical interest.
•
An anecdote which they can recognise and identify with - keep it short and to the point.
•
A comment on an issue which is of great interest to the audience - another good reason for
finding out as early as possible who your listeners are going to be.
•
A joke - but only if you know it will get a laugh! The best humour is quick, spontaneous and at
your own expense.
As well as grabbing attention, there are some fundamentals that should also be covered up front. These
may be things for you – to help settle your nerves, or for the audience – to help settle theirs!
•
Your very first line – it should be rehearsed and practiced.
•
Establish your connection with the subject. Why are you there? Why should they be listening to
you? Establish your credentials, but be quick about it - they will want you to get on with it.
•
Aims, Objectives and Outcomes - give them the map. Tell them how you are going to tackle
the subject. Show them your key areas on a slide - and then stick to them!
•
Housekeeping – timings, safety instructions, toilets and breaks. This can be really important –
don‟t forget our basic human needs!
•
Just start. If your imagination fails you - just get on with it positively.
37
Essential Communication Skills
We know from Mehrabian‟s work that
Words
we communicate in many ways.
7
If we simplify the model – we can
distinguish two distinct methods of
communication.
55
38
Way
Body
Language
•
Non Verbal Communication
•
Verbal Communication
This chapter aims to look at both of these, and provide some background information, and guidelines for use.
Firstly Non Verbal Communication – how we look and what we do, rather than what we say and the way that
we say it! As well as how we look in terms of the „Ready Position‟, here we look at some other important
elements of non verbal communication.
•
Gestures
•
Eye Contact
•
Listening
•
And Using Space
38
Non Verbal Communication
Gestures
Use natural movement and gestures, just like the ones you use every single day of your life! Put them in
the picture. Show them, instead of just telling them, so that your message goes through two channels, their
ears and their eyes. Simply tell it, and they will forget. Show them and they are much more likely to
remember. Natural movement conveys confidence and enthusiasm, which is just what you want, and so
does your audience.
•
Make your gestures slow and deliberate - never fast and choppy.
•
Make your gestures match your speech. If you don't, your gestures will look artificial, as if
someone told you to gesture and you are following an order.
•
Hold your gestures slightly longer than you feel comfortable, especially if you are pausing
between sentences or ideas.
Emblems
Illustrators
Regulators
Adaptors
39
Non-verbal signals can be divided into four main categories Emblems, Illustrators, Regulators and
Adaptors. The two to be most aware of in presenting are Illustrators and Adaptors.
Emblems
Signals that can be directly translated into a word or words e.g. thumbs-up sign, two-finger victory sign.
Illustrators
They are connected to speech and can be used to emphasise a word or phrase - draw a picture. Think of
a game of charades or a mime and you are in the picture. They are often with the hands although any sort
of body movement can be described as an Illustrator.
Regulators
They are turn-taking signals which have an important role in starting or ending an exchange e.g.
handshakes convey messages about power and status. Others are head nods, eye contact and an
upraised finger when a listener is attempting to let the speaker know that he wishes to break into the
conversation. This gesture is probably a throwback to classroom days when that was the main way you
could get permission to speak.
The effective use of Regulators will enable you to take charge of an audience of any size e.g. regaining
control by using the Ready Position, handling disruptive delegates by holding eye contact longer.
Adaptors
These are movements, gestures and other actions used to manage our feelings or control our responses.
Some of these are the manipulator movements referred to earlier. Normally we are unaware of them e.g.
if feeling upset someone may pull at an earlobe, rub hands together or play with a ring or clothing. Of
course to an audience with nothing else to look at they immediately signal that you are anxious. The video
and coaching on this programme will help you become aware of your own habitual Adaptors.
Co-ordinate Your Verbal And Non-Verbal Messages
Say what you mean, but also show what you mean. Your audience will get confused if you say you are
glad to meet them or to be there, but everything about your body says that you would rather be somewhere
else. When there is confusion between what you say and what you are demonstrating, people will read
your non-verbal message louder. This instantly creates an impression of untrustworthiness.
40
Eye Contact
Another means of creating rapport with the audience, and something we give each other on a day to day
basis without thinking twice. As presenters we often drop eye contact completely and throw away any
chance of rapport with an audience. We often think of the audience as some kind of 'threat', just waiting to
give negative feedback: the best way to avoid negative feedback is to ignore it! We look at our notes, the
carpet, ceiling, pot-plants, doors, windows, the projection equipment, screen or flipchart. These never give
negative feedback! They don't buy, either. People buy, whether it be ideas, concepts or products, and
people don't like to be ignored.
The Benefits of Giving Eye Contact
Benefits for the Presenter
Benefits for the Audience
41
Golden Rules for Eye Contact
1. Look at them all, and they will all listen to you. Don't concentrate on the friendly face for too long, or the
middle of the front row, ignoring whole sections of the audience. The decision makers might be at the
back, or in the wings.
2. Distribute eye contact evenly and randomly. If you create patterns of eye contact, sections of the
audience will 'switch off' when it is not their turn.
3. If you have a very large audience (50+) divide the room mentally into quadrants and make sure you
look into each one. The further back you go you can cheat a little and focus on the ear of a person in
the centre of the group - four or five people around will feel you are looking at them. Don't try it at the
front of the room.
4. Think of your audience as the greens on a golf course. At any stage of your presentation you should be
putting the ball in someone's direction.
Without Eye Contact We May Appear:
•
to have something to hide
•
nervous, anxious and afraid
•
insecure in ourselves, and
•
disinterested in the speaker
In addition, we can't see what's going on!
What do we get from Eye Contact
•
Rapport - or „togetherness‟.
•
Interest - the best way to get it is to show it.
•
Feedback - respond well, even to the negative and it will often be replaced by positive feedback.
•
Show confidence - they want to listen to a competent presenter.
•
Show honesty, sincerity – and enthusiasm.
•
These are essential - it will almost be impossible to get on with an audience without showing
these.
42
Listening
“MOST PEOPLE ARE EITHER TALKING OR PREPARING TO TALK”
Anon
43
Using Space
There are many ways to set up a training or presentation room. Different lay-outs will work for different
situations. For example – if you want the audience to interact with each other in discussion, then small
groups will work well. If you need space for games and exercises – you need to make sure some space is
available!
Here are some options for room layout.
Cabaret Style
Boardroom Style
Lecture Style
A Big V Style
44
The Power of Verbal Communication
Words
45% of our understanding comes from
verbal communication. By this we
7
mean the words we use and the way in
which we use them.
38
55
Way
What‟s interesting however, is that
much more attention is paid to how we
Body
Language
say it rather than what we actually say.
It‟s not surprising then that we often hear people say „It‟s not what you said, but the way that you said it!‟
This chapter looks in more detail at what makes up both the Words and the Way.
Language – Some Golden Rules
1. Use language the audience will understand and warm to, 'buzz words'. It helps to get at their 'values'
level.
2. Avoid jargon, slang and swearing. If you have to use jargon, use theirs!
3. Try to create pictures, with words.
4. Use powerful words that create impact when they are used. For example:
Discovery
Easy
Guarantee
Love
Safety
Save
Results
New
Health
Money
Security
Proven
45
Vague Language
There is always a big question we ask ourselves
when preparing a presentation:
“Will they hear what I mean?”
It‟s not always a forgone conclusion. For as many
Communication Gap
people as there are in the audience, there could be
as many interpretations of the words you use.
Encode
Decode
Everyone is different, and the way we receive and
decode information can vary enormously. This
creates a communication gap.
46
Key Factors that Identify Vague Language
Andrew Bradbury identifies 5 factors that lead towards vague language and communication in his book –
Successful Presentation Skills.
Undefined Nouns
If you are not specific enough – it leads to confusion and questions. For example – What‟s missing here „If
necessary, we will provide transport‟
Answer – A definition of transport – bike, boat, plane, train?
Undefined Verbs
The same principle as before. Imagine you are invited to a job interview, and you are told “We want you to
come down to London..”
You might be flattered – but how are you expected to get there, and who is paying?
Undefined Comparisons
You have seen the advertisements I am sure – the one which claim…
“New improved formula” “Bigger, Better Value” “The worlds leading manufacturer…..”
Again – there can be lots of unanswered questions if you don‟t substantiate your claim.
Unsubstantiated Rules
This is not only unfair – but antagonising to the audience. If you are going to legislate – hesitate first! Is it
reasonable, logical, acceptable to your audience? Is it necessary? Does it add value? Does it hinder
creativity? It‟s not OK to just say “Do It!”
Unattributed Quotes
“Someone once said……” “All the research show‟s…” “I read somewhere….”
Who said what? Which research done when? Which author, what book?
Get your facts right, before your audience puts you right! Its important for lots of people to be factually
correct and have all the information to hand.
47
Pitch / Pace / Tone
There are many elements that make up „The Way‟.
Over or under use in any one area can have a big impact
on the effectiveness of your presentation.
Here are some ideas on good practice
High Credibility factors Include:
My Strengths & Improvement Areas
•
Good resonant tone
•
Conversational style
•
Varied pace
•
Volume
•
Clarity
•
Variety
48
Low Credibility Factors Include:
My Strengths & Improvement Areas
•
Formality
•
High pitch
•
Thin or nasal tone
•
Breathiness
•
Lack of vocal variety / range
•
Harsh tone
•
Over-articulation
•
Lazy articulation
Use The Full Range Of Your Voice
•
No one voice style is the best. Sometimes a loud voice is appropriate. Sometimes a quiet voice
is more powerful. A monotone voice will always put people to sleep.
•
Maintain the strength in your voice all the way to the end of your words. Many people start to drift
off at the end of a sentence. This gives the impression of insecurity.
•
Mix up your speed. Sometimes a slower sentence has more power. Speed helps maintain
interest in the listener.
•
End your sentences by letting your voice fall in tone or drop in pitch. Otherwise, you sound as if
you are asking a question and are unsure of yourself.
•
Practice lowering your voice. A popular method for doing this involves repeating a phrase
several times, each time lowering your pitch. For example, say: 'Yes, sir', four or five times,
each time dropping your voice in tone.
•
Control your breathing to get the best out of your voice. "Breath is the igniter of voice".
•
Maximise variety in terms of pace, pitch, tone, volume, even accent.
•
Project your voice. Remember the back row! They have as much right to hear you as the front
row.
49
The Art of Story Telling
There is always a big question we ask ourselves
when preparing a presentation:
“Will they hear what I mean?”
It‟s not always a forgone conclusion. For as many
people as there are in the audience, there could be
as many interpretations of the words you use.
Everyone is different, and the way we receive and
decode information can vary enormously. This
creates a communication gap.

X
Good
50
Bad
Managing Transitions
Story telling can also be an effective way of structuring your presentation. In the same way a story has a
beginning, it then takes you on a journey, and then ends – so can your presentation. This can help you
transition from one part of your presentation to another, and from one topic to another effortlessly.
There are three simple techniques which can help you do this:
•
Signposting
•
Stepping Stones
•
The Red Thread
Signposting
•
The art of letting the audience know where you are going and why.
•
Let them know at the beginning with an agenda / list of topics / aims and objectives.
•
Refer back to these during the presentation.
•
Summarise where you have been and where we still have to go.
•
Let the audience know what‟s coming up – some may be worried or anxious.
•
Let them know what‟s not coming up, to put minds at ease!
51
Managing Transitions (continued)
Stepping Stones
•
The art of moving from one part of the presentation to the next, with ease and grace.
•
Creating stepping stones for yourself are an essential skill of a good presenter.
•
Stepping Stones are what we use to link parts of the presentation together.
•
Sometimes it‟s hard to manage a large presentation in one go. That‟s a lot of information to be stored in your
brain, and with the best will in the world – to manage it all in one big chunk will be difficult no matter how
experienced you are.
•
If we break the presentation down into smaller pieces, its easier to retain. Once we have the pieces, we just
need to create the Stepping Stone – the Link – which helps us get from A to B.
Ideas for Stepping Stones
•
A specific sentence
•
A phrase
•
A story
•
A joke
•
A visual
The Red Thread
•
The Red Thread is simply the theme or themes that runs right
through your presentation.
•
It‟s the key message that you want the audience to understand
no matter what.
•
To make sure they get it – you just need to keep referring to it,
linking topics and subjects to it, starting with it – re-enforcing it
throughout – and ending with it!
52
Pace of Delivery
“THE PASSIONS ARE THE ONLY ADVOCATES WHICH
ALWAYS PERSUADE. THE SIMPLEST MAN WITH
PASSION WILL BE MORE PERSUASIVE THAN THE
MOST ELOQUENT WITHOUT.”
(Descartes, French Philosopher)
The nervous speaker goes too fast for his audience. He just wants to get on, to put an end to it all! It isn't just
that the words are delivered too rapidly, it's the pauses between words, sentences and ideas that are left out.
He hates silence. He thinks someone might fill it with something unpleasant!
Don't think of silence as an opportunity for someone to attack you. Think instead of what you can get by
saying nothing.
53
Why Pause?
Benefits for you?
Benefits for the audience?
•
Time to think. For them and for you.
•
Time for you to breathe, look at your notes.
•
An opportunity for them to respond. Don't be alone any more!
•
Emphasis. The key 5%, a pause gives weight to your words.
•
Gain attention, and test reactions.
•
Dramatic effect.
•
Show transition points - You are moving on to another area.
•
Overcome "Non-Words": Pause until the feeling passes!
•
Memory. Give time to remember where you are going next and your audience time to remember
the 5%.
•
Maximise variety in terms of pace, pitch, tone and volume.
•
Authority and Control - particularly if the audience is getting out of hand!
54
Maintaining Interest
How do I know
1
What do I need to
Preparation
The Presentation Cycle
do before I start?
Possibly your biggest challenge! Most
I have met them?
audiences are too polite to walk out on
4
2
Meeting
your presentation and let you know that
Introduction
Objectives
you are boring them! Perhaps you have
pitched your content too high or too
How do I keep
3
them awake?
How do I make
Maintaining
Interest
the right start?
low, or they can't read your slides.
Although they may not physically be
able to disengage and leave, they can
certainly switch off mentally.
The Theory of Recall
•
Hermann Ebbinghaus, published a landmark book in 1885, Uber das Gedachtis (On Memory),
translated into English in 1913. He conducted studies in memory and learning using rigorous
experiments, exploring retention, the effects of sequencing and patterns of practice on memory.
Indeed, most subsequent research into learning and memory has been footnotes to his work.
•
In perhaps his most famous experiment, trying to remember syllable lists, he found that after
certain periods he remembered only a percentage of the original. The graph shows how dramatic
the loss of memory can be.
55
Recall - The Ebbinghaus Effect
100
% RECALL
75
50
A
25
B
C
D
E
10m
1hr.
1 DAY
1 WK.
1 MTH.
6 MTHS
The general curve of forgetting essentially illustrates that the drastic fall in recall occurs immediately after
learning.
(A) After one hour more than 50% is forgotten. At 9hrs - 60%.
(B) At 1 day nearly 75% is lost, maintaining a loss through 1 week ( C )
(D) At 1 month (D) 80% is lost.
(E) At 6 months retention can be down to 2 to 3% only.
56
The Effects of Primacy & Recency
100%
*
Amount Recalled
*
RECENCY
PRIMACY
A
B
0
C
Time
D
2 Hours
E
Ebbinghaus also discovered the serial position effect. In remembering lists, he observed that people are far more
likely to remember items at the start and end of lists. These effects are called primacy and recency. It depends on the
nature of the material, the relationship between the material and users approach to learning, but by and large the
principle is that material from both ends of a learning experience are retained more than the stuff in the middle.
This principle is used extensively today in the structuring and design of all kinds of learning intervention or
communication. You can see a clear link here between Primacy and Recency, and the structuring techniques we
recommend earlier.
A famous use of recall theory was in the wake of a nuclear threat in the USA during the 1940‟s. In the „Yale Studies‟
funded by the Department of Defense – they used the principle when finding the best way to alert the public about a
nuclear war or attack.
57
Maintaining Interest
Its one thing knowing the theory – it‟s another thing actually using it!
If we are going to combat those tempted to sleep – we need to structure our presentation in a way that
doesn‟t allow them the chance. Sometimes we call this „highlighting‟ the presentation.
What can I do during the presentation to keep interest levels high?
58
Highlighting Techniques
Develop your points in a logical order in accordance with the map. Avoid anything that doesn't contribute
to your purpose, or undermines your main messages. Check your transition points. Are they clear to the
audience? Think about your audience, and their ability to take it all in. Use some, or all, of the following
ways of highlighting:
•
Visuals (see the section on Visual aids in this workbook). Vary them - overheads and flipcharts.
Let the audience help you to build up the points on a flipchart. It then becomes 'their visual' and
they will take more interest in it.
•
Questions - even rhetorical questions - will get them thinking. Just one question will alert
everyone to the possibility of future questions. Ask for a show of hands to gauge response to your
points.
•
Humour - because we all like a good laugh - especially when we have to sit still for an hour.
Something funny either side of a serious point will give that serious point - perhaps a main
message - greater impact.
•
Personal interest - tailor this to each audience. They are all different. Use their names if you
know them. Refer to shared experiences. They'll love it.
•
Anecdotes - because ever since we were children we've always liked a good story. Make your
stories relevant to your theme, and set the scene before you start telling the story to give your
audience a mental picture of what is to follow.
•
Analogies - you can always liken an important point to something which will be of personal interest
to them. Any examples you use should be familiar to the audience. Discriminating examples could
lose parts of your audience.
•
Quotations - remember to give the source.
•
Repetition - or, 'let me put that another way'.
•
Gimmicks - for example, if you are talking about a particular product, why not hand some out?
•
Demonstrations - always ask for a volunteer rather than nominating a member of the audience.
•
In a larger presentation, frequent breaks. Just a couple of minutes can recharge their batteries.
•
Background music - especially if you can find something appropriate to your subject. If there's a
tea break coming up in 15 minutes, why not give them a few bars of 'Everything Stops For Tea'?
That 15 minutes will suddenly be much easier to get through.
And don't forget those essential communication skills: the gestures, the eye contact, the use of pauses,
and the voice to emphasise your major messages
59
Think the Audience
An important factor to remember when trying to maintain levels of interest in your presentation is that not
everyone will find everything interesting! It‟s not possible to keep all of the people happy, all of the time. At
best, we can try to make sure that there is something in it for everyone, at some point.
A basic understanding of how people learn, and the basic preferences that exist, can be a distinct
advantage when putting together your presentation.
Concrete Experience
David Kolb in his work
Experience based,
feeling, people oriented,
likes feedback, likes
discussion.
„Experiential Learning‟
concluded that ….
1. Feeling / Activist
David Kolb
Active
Experimentation
Reflective
Observation
Active, doing, planning,
likes games, dislikes
lectures
Tentative, impartial,
reflective
2. Watching /
Reflector
4. Experimenting /
Pragmatist
Experiential Learning
not lead to learning; for
learning to take place, all
elements of the learning
Abstract
Conceptualism
New York, Prentice-Hall 1985
“A new experience alone does not lead to
learning; for learning to take place, all elements
of the learning process need to be
incorporated.”
“A new experience alone does
process need to be
Analytical, conceptual,
logical
incorporated.”
3. Thinking / Theorist
In short he identified 4 ways in which we learn:
1. By Doing – actually experiencing something new
2. By Reflecting – actually watching and observing rather than doing
3. By Thinking – simply contemplating, analysing and conceptualising a new experience
4. By Experimenting – by planning and practicing something new
If you consider your own preferences – which ways do you prefer to learn?
60
Learning Styles
Peter Honey and Alan Mumford developed Kolb‟s thinking at the Sheffield Business School in the 1980‟s
and 90‟s. In their work „The Manual of Learning Styles‟ they identified different learning styles which relate
to Kolb‟s learning cycle.
….always involve themselves fully and without bias in new experiences.
Activists…
They enjoy the here and now and are happy to be dominated by immediate
experiences.
….like to stand back to ponder experiences and observe them from many
Reflectors…
different perspectives. They collect data, both first hand and from others,
and prefer to think about it thoroughly before coming to any conclusion.
…. adapt and integrate observations into complex but logically sound
Theorists…
theories. They think problems through a vertical, step-by-step logical way.
….are keen on trying out ideas, theories and techniques to see if they work
Pragmatists…
in practice. They positively search out new ideas and take the first
opportunity to experiment with applications.
61
Learning Styles
Honey and Mumford found that we are likely to have a natural preference for one kind of learning over
another. We will learn more effectively if the method of presentation or learning delivery is in our natural
style. You can find out your preference by visiting www.peterhoney.com and completing the Learning
Styles Questionnaire.
Our challenge is to ensure that there are elements of our presentation that will appeal to all styles. So what
will each style like and dislike?
Activist
Reflector
Theorist
Pragmatist
62
Setting Up An Exercise
Objective
There must be a clear purpose for the exercise
or activity. It must fit and transition naturally into
the Programme or Seminar.
Exercises will either affect the content e.g. they
make and express a learning point or they are
used to affect the dynamics of the group.
Introduction
State the purpose, method, objective and time of the exercise. Use the following as a guideline:
•
What: is the exercise? e.g. “We are going to do Exercise 1 on Page 13, entitled … or, to do with
… or, on the subject of …
•
Why: are we doing it? e.g. “We want to agree on the 10 ways in which we could …”
•
How: is it to be done? e.g. “Please list your individual ideas on page 72 - do this from your own
experience. Then discuss all the ideas from everyone in the group and agree on the best 3.”
•
When: should you finish? e.g. “Take 3 minutes to jot down your own thoughts and then discuss
them for a further 7 minutes.”
•
Who: should / should not do it (If appropriate?) e.g. “I would like the XYZ group to focus on ABC,
and the 123 group to focus on 789” or “Would the observer in the group take notes.”
•
Where: should it be done (If appropriate? e.g. “Would ABC group use seminar room 3 and XYZ
group stay here …”
•
How: is the feedback (If there is to be any) to be done? e.g. “At the end of your discussions please
be ready to feedback 3 ways to take this forward and I will collect them on the flipchart”.
•
What: will happen then? e.g. “These will be collated with the other groups and used as an action
planning list later on in the programme.”
63
Setting Up An Exercise (continued)
Confirmation
•
Briefly restate the process .. "So to quickly cover what I am asking you to do - Use the exercise
on Page 45 for 3 minutes, have a go on your own, then discuss in groups for 7 minutes. Then
identify your top 3 ideas to be fed back onto the flipchart to use as an action plan for later on."
Check
•
"Are there any questions as to what you are being asked to do, - The how and why? If not, over
to you."
Timekeeping
•
Keep to the time given, giving advanced warning of the deadlines. "One more minute individually
and then into groups." or "Just a couple of minutes to finalise your lists."
Alternatives
•
If the exercise is a group activity, you can ask the group to allocate roles amongst them to get the
best use out of the available time. e.g. Timekeeper, Co-ordinator, Scribe, Spokesperson etc.
64
Appealing To The Senses
Each of us has a natural preference for the way in which we prefer to receive, process and impart
information. This is largely genetically determined but is also susceptible to development, particularly when
we are young (whilst our neural pathways are still being established). There are various ways in which
preferred processing modes become apparent and some simple ways in which we can enhance the
effectiveness of our communication once we are aware of them.
Sensory Styles
Some of us prefer to receive and process
information visually, some auditory, and some
kinaesthetically – by feeling.
Visual
Auditory
Kinaesthetic
65
This is often referred to as the VAK model.
Identifying Styles
Visual thinkers will tend to use and respond to terms such as:
•
I get the picture
•
I see that now
•
From my perspective
•
What's your view?
Auditory thinkers will tend to use and respond to terms such as:
•
I get the message
•
That rings a bell
•
That strikes a chord
•
Sounds OK to me
Kinaesthetic thinkers will tend to use & respond to terms such as:
•
How does that grab you?
•
A grasp of the basics
•
It certainly feels right
•
I can relate to that
Accommodating Sensory Styles
Visual
Auditory
Kinaesthetic
You could sketch a diagram
for visual thinkers.
You could stress key words
for auditory thinkers.
You could use a „hands-on‟
approach for kinaesthetic
thinkers
66
Visual Aids
“A PICTURE IS INDEED WORTH A THOUSAND WORDS. BUT IT MUST BE A GOOD ONE.”
(D. Leeds, Author Of Powerspeak)
Visual aids can either make or break your presentation. Put together and used correctly, they can
significantly enhance the chances of your audience both understanding and remembering your major
messages. Unfortunately, it is all too often the case that visuals are neither put together, nor used
correctly. Remember you are your best visual aid.
It‟s important we get it right.
In an attempt to make an impact, we might end up
distracting.
The Power Of Visual Aids
•
The visual impact: suddenly there's something to look at!
•
Every single member of your audience has the same image - instantaneously.
•
As a time saver: 'A picture tells a thousand words', so you don't have to tell them. Just make
sure your visual doesn't contain a thousand words!
•
An aid to memory: you can highlight main messages and use them as notes.
•
Variety: use different media, such as the overhead projector together with the flipchart.
•
A visual gives you time to think ahead.
67
Designing & Using Visual Aids
When designing your visual aids, a good place
to start is to consider all your options:
•
What have you got?
•
How are they most effectively used?
Type of Visual Aid
Potential Uses
68
The Golden Rules of using Visual Aids
•
Make them Big, Bold and Brilliant - the 3 B's!
•
Make them a visual! Don't just list numbers and words; use pictures and colour.
•
Keep information on each slide simple and reduce it to a minimum. 'The secret of being a bore is to
tell everything' (Voltaire) - so be selective.
•
Give your audience time to look at it and absorb your points.
•
'Reveal' where appropriate. If you have several points on an overhead, show all of them and then
reveal each point, one at a time, to focus attention on the points you are discussing at the time.
•
Prepare and rehearse. Don't set yourself up to lose.
Using Flipcharts
•
Prepare – using pencil helps if you need to recreate a
complicated diagram, or recall a list of key points. Simply do it
in light pencil and trace. The audience can‟t see your excellent
preparation.
•
Line of Sight – make sure your audience can see the
flipchart, place it in a central position, and write / draw from
the side when you can, so as to not turn your back on the
audience.
•
Use Their Words – Whenever possible, and assuming their
point is valid – always use the audience‟s words when taking
feedback and recording information. This encourages
contribution, and boosts the self esteem of the audience.
•
Marker Pens – test them first and make sure they work. Take
your own just in case. Make good use of colour.
69
Using Microsoft PowerPoint
Nowadays, this is the most common form of visual aid used in presentations. But just because its popular
– doesn‟t mean its appropriate. No-one wants to sit through death by PowerPoint – remember, your visual
aids are there to support you, not do it for you!
Some Guidelines for Effective Use of PowerPoint
When making your slides:
•
Keep it simple
•
Maximum of 7 bullet points
•
Use images and pictures
•
Highlight with colour
When preparing for your presentation:
•
Have a paper copy handy – 6 slides to a page works well – you can see what‟s coming next,
and where you‟re headed.
•
Rehearse!
•
Check the equipment – and check it again!
•
Make sure you practice your slide transitions – do they appear in the right order, is the
animation too much?
•
Know your shortcuts!
Hitting the function key F1
when in presentation mode
will give you this view.
There are some great
shortcuts to help you look
professional, and avoid
embarrassment.
70
The End - The Big Finish
“A SPEECH IS LIKE A LOVE AFFAIR;
ANY FOOL CAN START ONE BUT TO END IT REQUIRES CONSIDERABLE SKILL.”
(Lord Mancroft)
The end of your presentation is key. If we look back to what we know about structure – we know we need
to recap the important bits, and make sure they stick.
What to Include?
•
Your key message
•
Revisit the aims and objectives
•
A call to action – what do you want them to do now?
71
Finish in Style
It‟s not just what you say – remember its
how you say it!
This is just as relevant at the end of the
presentation.
Here are some ideas of how to end your presentation.
•
End with a bang - not a whimper!
•
Close with a story or memorable statement. This is the one line most people will remember from your
presentation, so don't start introducing new material. Rehearse it. Script it in full on your grid. Don't
hurry it.
•
Remember that you probably haven't finished yet; there are still questions to come - still sum up again
after you have handled the questions - leave them with your major message ringing in their ears - not
the message of the awkward devil who was out to get you!
•
End as a sales person - practice your close "ask for the order!".
•
Look to the future.
•
Ask a rhetorical question.
•
Refer back to your opening comments.
•
Conclude with a quotation.
•
Link it all with a visual.
“GREAT IS THE ART OF BEGINNING, BUT THE GREATER IS THE ART OF ENDING."
LONGFELLOW
•
Your whole grid is like a map, but remember, you have the map, they don't. At the beginning of the
presentation they need to know where they are being taken, and by the end they must know where they
have been! They will need frequent sign posts because they will be in the area for the first time.
Remember the old rule (like The News); tell them what you are going to say; then tell them; then tell
them what you have said.
72
After the Presentation
Just when you are glad its all over, and you have left them wanting more, like it or not it‟s the best possible
time to stop and reflect on your performance.
That means evaluating your performance and planning the next one.
Self Evaluation
There are some simple things you should ask yourself after the presentation.
•
How did I do?
•
What went well?
•
What would I do differently next time?
Delegate Evaluation
Likewise – it‟s important to get the audience‟s feedback and comments. You can‟t get this if you don‟t ask!
Again – there are some simple things that can make a big difference to your next performance.
•
Did we meet our objectives?
•
What worked well?
•
What didn‟t?
•
How can I improve?
73
Contingency Planning
If ever you were to have a "Negative Fantasy" about giving a presentation, what would it be? Here‟s one
way of preparing yourself for the worst. If you are prepared for it, and have planned for it – it‟s no longer a
problem.
You may want to consider the audience, the room, the equipment etc.
Create a practical checklist, that you could use as a presenter to manage and pre-empt potential pitfalls:
Checklist
Y
74
N
Some Considerations
As a presenter you may find it useful to consider:
•
Questions - when and where would you like to take them?
•
Room layout - this may not always be a choice you have, consider the practicalities of seating
and visual ease as well as the pluses and minuses of the environment, e.g. lighting, access
times, furniture, etc.
•
Equipment - power sources, types available, spare bulbs, position of clock, flipchart(s), room for
use.
•
Is there the space you require for involvements, exercises and any learning games you wish to
use?
•
Can you switch or divert telephones? What about messages?
•
Fresh air? Bodies generate approximately one third of a kilowatt of energy per hour. Noise of air
conditioning unit?
75
Summary to Success
1. Grab The Audience's Attention
Your opening must grab your audience's attention. It must be positive so rehearse it or even script it. It
must focus their interest on your subject. You could start with a visual, a thought-provoking question, a
quote or a joke - but only if you know it will get their attention.
2. Make It Memorable
Most audiences are too polite to walk out on your presentation, to let you know that you are boring them or
that you have pitched your content at the wrong level. However, although they may not physically leave,
their minds can leave by switching off mentally. Use visuals, questions, humour, anecdotes and analogies
to ensure that your audience remembers your main message long after the presentation has finished.
3. Create Rapport
It can be a very lonely life standing up to give a presentation. The sooner you get some response from
your audience the sooner your stress levels will reduce and you can start to relax and enjoy yourself. Turn
that nerve-wracking monologue into a dialogue by showing interest in your audience by giving eye-contact
and so inviting them to respond to an early question or to laugh at a humorous remark!
4. Watch Your Body Language
Look calm, relaxed and in control, even if you do not feel like it. Only you know how you feel. Try some
deep diaphragmatic breathing and gentle exercising of the muscles in those areas of your body which
affect your voice - across the back, neck, throat and jaw. Use natural movements and gestures to convey
confidence and enthusiasm which is what your audience wants.
5. Say It With Pictures
Visual aids can either make or break your presentation. Do make them Big, Bold and Brilliant - the 3 B's!
Use pictures and colour and keep information to a minimum. Prepare and rehearse, particularly checking
for spare bulbs and switches if using unfamiliar equipment.
6. End With A Bang, Not A Whimper
Go over your key points again. Remind them of your main messages. Close with a story or memorable
statement. Do not start introducing new material. Rehearse it and do not hurry it. There may still be
questions to come - remember to sum up again after you have finished handling questions. Leave them
with your major message ringing in their ears - not that of the awkward devil who was out to get you from
the start!
7. Evaluate
Before you rush off, remember to assess the success of your presentation. Ask yourself what two things
went well and what would you change next time.
76
The Next Steps
This space is for you to make the most of your learning. Now is the time to plan some actions that will help
you fully realise your goals as a presenter.
•
What am I going to do now to continue to improve?
•
When am I going to do it?
•
Who‟s help do I need?
No.
Area for
Development
Action To Be Taken (S.M.A.R.T.)
77
By
Whom /
When
Achieved
Further Reading
1.
Cicely Berry, Your Voice And How To Use It Successfully (Harrap, 1975)
2.
Dale Carnegie, How To Develop Self Confidence And Influence People By Public Speaking (World's
Work Ltd. 1983, First Published As A Cedar Book, 1957)
3.
Joan Detz, How To Write And Give A Speech (St. Martin's Press, 1984)
4.
Leon Fletcher, How To Design And Deliver A Speech (Harpers & Row, 1985)
5.
Michael Gelb, Present Yourself (Aurum Press, 1988)
6.
Ron Hoff, "I Can See You Naked': A Fearless Guide To Making Great Presentations (Andrews And
Mcmeel, 1988)
7.
Greville Janner, Janner On Presentation (Business Books Ltd, 1984)
8.
A L Kirkpatrick, The Complete Public Speaker's Manual (Parker Publishing Company, 1981)
9.
Steve Madel, Effective Presentation Skills (Kogan Page, 1988)
10. Robert L Montgomery, A Master Guide To Public Speaking (Harper & Row, 1979)
11. Robert T Oliver, Public Speaking In The Reshaping Of Great Britain (University Of Delaware Press:
Associated University Presses, 1987)
12. Terry C. Smith, Making Successful Presentations, John Wiley & Sons, 1984)
13. Chris Stevens, Alternative Health: Alexander Technique (Mcdonald Optima, 1987)
14. Vivian Summers, Public Speaking (Penguin Books, 1988)
15. Christopher Turk, Effective Speaking (E & F N Spon, 1985)
16. Leonard Zunin, Contract: The First Four Minutes (Ballantine Books, 1973)
17. Dorothy Leeds, Powerspeak (Piatkus)
18. Andrew Bradbury, Successful Presentation Skills (Kogan Page 2000)
19. Daniel Taylor PhD, The Healing Power of Stories (Doubleday 1996)
20. Colin Rose and Malcolm J Nicholl, Accelerated Learning for the 21st Century (DTP 1998)
21. Robert L Jolles, How to Run Seminars and Workshops (Wiley 1994)
22. www.brainbox.co.uk
23. www.peterhoney.com
78
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