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Category Archives: BEFORE

Sound Serendipity

<a href="http://www.ted.com/talks/julian_treasure_5_ways_to_listen_better.html&quot;

Last night, after a near perfect beach day,  I rolled out my yoga mat.  No physical movement inspired me, so I just lay there, face down, stretched out, eyes closed.  

I noticed the sound of chirping crickets.  As I listened, I realized that the distinct throb of  chirping was on a unified beat. Somehow, I knew this but never noticed it. Cool.   Listening to the sound of summer was my entire practice, unexpected and delightful.

 

This morning, my public speaking feeds serendipitously led me to this TED talk by Julian Treasure. It’s about listening.  We talk alot about the power and importance of listening in public speaking, as it is the heart of connection.  It’s ironic that we are educated to read and write, but not to speak or listen. 

You will learn from and enjoy  this seven-minute video. Julian Treasure (great name!) is a grounded speaker, thinker and communicator.  He offers five ways to  increase your own conscious listening power. Plus (which is a plus),  it ‘s clear to me he is a devoted yoga practitioner. Today I will practice his second suggestion, “mixer” to increase my awareness.  Which will you chooses?

– Charlotte

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News Flash: You are Always Fighting for the Attention of Your Audience

We have talked about this issue before but it bears repeating. Just because you think what you have to say is ‘off the hook’ important and maybe even life-changing, doesn’t mean your audience thinks the same. You have to give them a reason to listen, and then another, and so on.

Enter the three S’s of presentation design: structure, storyboarding, and storytelling. This post addresses the first S, structure.

There are several ways in which a speech can be organized. They all serve your goal of keeping the attention of your audience. Which one you choose depends on your subject matter and your purpose. Are you trying to inform, motivate, convince, or persuade? Once you know the answer to that question, then you are ready to work with one of the following structures:

Chronological – when a time sequence must take center stage

Topical – when your key topic is so broad that you must break it down into component parts

Compare and Contrast – when you are trying to convince your audience of the pros and cons of a particular issue

Proposal to Proof – when you need to take a strong position or make a proposal. First you explain your proposal and then you prove to your audience why it’s the best option

Cause and Effect – we’ve been using this structure since our 6th grade reports on photosynthesis and it still works as a method for explaining why your audience should, say, quit smoking.

Motivated Sequence – perhaps the most used organizing tool when your goal is to persuade. The Motivated Sequence was created by a professor at Purdue in the 1930s. The structure includes five elements:

a. Attention – we have a problem
b. Need – explanation
c. Satisfaction – here’s a solution
d. Visualization – just imagine what could happen
e. Action – let’s do something

Now you’re ready to complete the first step in the preparation process. It takes a lot longer than winging it, but a good structure will increase your chances of speaking to an audience who actually pays attention.

– Barbara

The Paradox of Cliches

This week we are focusing on cliches, those overexposed sayings and overused metaphors that we hear everyday. As I write this I am sitting in an office reception area that itself could be a cliche: neutral colored couch and chairs, ferns and greenery (some real/some not), magazines on glass tables,and framed colored photographs of sunsets on the walls. Seriously, what is more cliche than a photograph of a sunset ? On a wall in an office?

The paradox of cliches is that they are often profoundly true (love is blind) deeply human (there’s no place like home) and embarrassingly unoriginal (easy as pie). They are also occasionally offensive, so please NEVER ask to “pick my brain.”   While we have all witnessed the gasping pinks and blues of a summer sky (I took this photo on Martha’s Vineyard) and the physical rush of “falling in love”, to use cliches in speech or writing is to communicate in tired language that masks your vivid, original self. If, as you prepare a presentation, the familiar language of a cliche speaks to you, try to reframe and recast the idea in your own words, using vibrant color, characters, setting and story. This will make you more real and more memorable.

So when you think cliches, remember:  Avoid them like the Plague.

-Charlotte

P.S. Note to Bostonians: check out the Catherine Opie photography exhibit at the ICA for an interesting twist on sunrises and sunsets.

http://www.icaboston.org/exhibitions/onview/

Robbing Peter to Pay Paul

Part One of a Two-Part Series on Ridding your Speech of Clichés

The debt ceiling debate has shed light on many problems, not the least of which is our penchant for speaking in clichés. After weeks of listening to politicians on both sides of the aisle sound like used car salesmen, we now have a list in my house of the Top Five sayings that should never be uttered again in this century:

 

  1. At the end of the day
  2. Kick the can down the road
  3. To be perfectly honest
  4. Robbing Peter to pay Paul
  5. Thinking outside the box

Thanks to the endless parade of talking heads, these expressions are plumb wore out (I just had to do that).  When you don’t have anything substantive to say, or you haven’t prepared, these clichés come in handy.  Many of our clients will respond to our feedback on eliminating clichés by saying that it’s important that they sound casual and conversational.  That’s fine.  You can still appear easy-going without uttering one of the five bizblabs above.  There is a difference between conversational speaking in which you avoid fancy, ivory-tower-sounding words and sleep-inducing catch phrases.

Do your audience a favor and delete these expressions from your memory.

– Barbara

Larry Crowne and Public Speaking

Having taught undergrads at the college level, I believe that gives me license to critique the movie Larry Crowne.  Tom Hanks and Julia Roberts are back together again, but in no way do they deserve your hard-earned money.  I went because I wanted to see what Hollywood would do to the art and craft of public speaking.

Julia Roberts plays a cynical, disaffected community college professor who reluctantly teaches Speech 217: The Art of Informal Remarks.  In every classroom scene she conveys a palpable loathing for her students, except at the end, of course, when she has been transformed by the “life is good” energy of her star student Larry Crowne, played by Tom Hanks.  Did she have to hate her job?  Would the movie be less compelling if she jumped out of bed every morning with the anticipation of shaping young minds and developing the talents of her students?  Oh, wait, I get it:  Larry Crowne is competing with Bad Teacher for box office revenues.  But I digress.

Do not see this movie.  I think Rex Reed said it best in his review:  “In an endurance test of 99 minutes that feels more like running a marathon on the Equator, nothing ever happens in this movie. There is no conflict. The characters are dead on arrival. Somebody must be held accountable for clunky, unspeakable dialogue like ‘I was worked up and under the influence of the demon rum.’ I mean, who talks like that outside the pages of paperbacks for hyper-thyroidal teens sold in airport departure lounges?”  Wow. Harsh.

On the bright side, the movie did get a couple of things right about public speaking.  First, Mrs. Tainot (Julia) suggests to her students  that they find three focal points in the room – one on the left, one on the right and one in the center of the room.  And when you have an important point to make, look directly at the center point for full effect.  Correct. One point for Hollywood.

The second thing they got right was how to deal with nerves.  Toward the end of the movie when Professor Tainot is preparing her students for the final speech, she has them stand up and move their bodies in all sorts of ways while reciting tongue twisters loudly.  This is a great way to diminish nervous tension and it was a real plus in an otherwise wasted two hours of my life.

Sorry Tom and Julia – I love your work, just not in this particular instance.  But Rita Wilson?  Your cameo as the mortgage loan officer stole the show.

– Barbara

Jane Fonda’s Autobiography: “My Life So Far”

I know I am getting older. And not only because of the number of times I have circled the sun, but because I find myself enjoying new interests like bird watching, peony-growing, and reading non-fiction.  Jane Fonda’s book was a revelation.

I admire and applaud her for writing with such intelligence and honesty. I was stunned by the duality of her life – what it looked like in pictures versus what was going on within. I was shocked that she shared so much about her very flawed parents, her fear, shame, disease to please, eating disorder and sex life. Fonda’s intellectual curiosity, transformation and journey to self are inspiring. Her true commitment to social and political change (especially for girls and women) is tremendous. This book is long, but it is very well structured, and filled with photos, celebrity insights, great quotes, and a comprehensive history of the U.S. involvement in the Vietnam War.

Jane Fonda studied acting with Lee Strasberg, who developed a style known as the Method. He became the artistic director of the Actors Studio and Fonda learned her most important acting techniques and lessons with him. Fonda quotes him as saying, “Tension is the occupational disease of the actor.”

Hmm…just the actor? Dare I say that tension is also the occupational disease of the public speaker? As Fonda explains it, relaxation is key for actors, so that “the body’s energetic flow is unimpeded and inspiration can rise and express itself through the actor’s spirit: in eyes, voice and movement…the body as instrument.” She continues, “ You can’t do most things well without being relaxed, not in sports, not in lovemaking, not in acting.”

We know in our heads that we need to embody this same relaxation when we speak in public, so that we make genuine connections and deeply feel that we have done our best.  For the speaker, this state of mind (and body!) is called “relaxed readiness.” Being relaxed and ready means we know where we are going, we’re ready to attend to the ebb and flow of unexpected people, questions, scenarios, and trusting that the ideas, the eyes, the voice and the movement will connect with our audience.  This is an occupational aspiration for public speakers.

-Charlotte

The Power of Superstition

I slammed the back door and heard a resounding crash. The Irish plumber ran in from outside to see what caused such a loud racket.  We looked at 1,000 pieces of shattered glass. In a heavy brogue he said, “You know, it’s not seven years of bad luck if you weren’t in the house when it happened.”

No, I didn’t know that, thank you very much. In fact, I’m too busy wondering if I would still be yelling my head off at one of my kids had they just done this. But now I have to worry. And come to think of it, did I not just break last night’s wine glass while cleaning up this morning? So, I’ve got potentially seven years of bad luck and we all know that bad things happen in threes. Now what? Throw salt? Spin in circles? Touch a tombstone?

I can’t believe that my chest is slightly constricted. Not only do I have a big mess to clean up, but I have to consider whether fate has knocked on my door and decreed a future outcome from this present state. Is this fear real?  Facts and science say no, but we all know that when our heart is beating fast, the relationship between facts and feelings is as disconnected as the vast difference between hearing and listening.

When I am presenting to a group and something unexpected and uncomfortable comes up, I experience this same chest constriction. It triggers a physiological “danger” response.  The motor of my inner voice starts gunning.  It takes concerted, against-the-flow effort to slow down the voice(s) and stay connected to what is happening in the room.  And then, most importantly, to genuinely move on. This is so hard to do and not unlike extricating myself from thousands of years of superstition. I cleaned up the shattered mirror, reflected on where this crash had led and wrote it down for you.  Now that was a good day’s work.

– Charlotte