Presentation Skills

Training Handbook
Prepared by Indrayani, Mahindra British Telecom.
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C O N T N T S
Page no.
Introduction
Basic Preparation
Content & Structure
Choosing & Preparing Aids
Final Preparations
Facing Nerves
Making Presentations
andling !uestions
Su""ar#
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INT!O"#CTION
Successful presentations are nothing but ways of presenting facts and figures in such a
way so as to convince other people into believing what you want them to believe.
Different people or different levels of people need to be handled in different ways.
However there are some fundamentals, which need to be adhered to irrespective of
the audience we address. The spoken word has always had the ultimate advantage of a
personal presence. This commands respect from an audience in a way that no printed
word, film or television reproduction can. Communication has therefore become the
most important part of our work.
This is amply proved by the remarkable success of the e-mail in this decade.
presentation is perceived to be the most effective mode of communication with a
group of people as it allows the ! presenter " to have an interactive session with the !
audience ". The audience in turn has the opportunity to directly #uestion the
presenter on anything concerning the topic under discussion. This makes it essential
for individuals to develop their presentation skills, to be competitive and effective in
the modern business scenario. presentation enables the sharing of thought. $t also
enables the presenter to monitor responses during actual face % to % face delivery.
$n the following pages, you will find a wealth of e&perience in both, traditional as well
as multimedia presentations.
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B$SIC
P!P$!$TION
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BASIC P'(PA'A)I*N
)he ke# to a success+ul presentation is good preparation.
)oda#, -e -ill look at the .asics/
Basic Preparation
Anal#0ing the occasion
Pro+iling the audience
1earning a.out the location
2e+ining our ai" and o.3ectives
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ANA15SIN6 )( *CCASI*N
7 Pu.lic Speaking 8 and 7 *ral Presentation8 are descriptions, -hich cover an enor"ous range
o+ activities. At one end o+ the scale, -e "a# .e presenting the "onthl# accounts o+ our clu.
to a co""ittee o+ +our or +ive people gathered in a sitting roo". At the other end, -e "a# .e
"aking a speech to a "a3or con+erence in +ront o+ an audience o+ thousands, co"plete -ith
)9 ca"eras and the press. For "ost o+ us, the occasion -ill +all so"e-here in .et-een. :e
"a# .e "aking sales or technical presentations, giving talks to clu.s or societies,
addressing "eetings or perhaps giving +or"al or in+or"al training sessions.
)he .asic approach to oral presentation and pu.lic speaking is the sa"e, -hichever sort o+
occasion -e are concerned -ith. o-ever, the type and quantity of material, the aids and
methods we choose and the level at which we present it, -ill depend on the nature o+ the
occasion. :e "ust learn as "uch as -e can a.out this in advance.
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*ur success -ill depend on ho- closel# -e "atch our e<pectations -ith that o+ the
audience. :e "ust kno- -hat ground -e are e<pected to cover, ho- long -e should
speak, and ho- -e -ill +it in -ith other speakers and ele"ents in the event.
)he starting point +or our anal#sis -ill .e to ask -hoever invited us to speak unless, o+
course, -e are planning the event ourselves. In either case, -e "ust .e s#ste"atic and press
+or ans-ers in care o+ dou.t. I+ the event is a regular one, -e "a# .e a.le to get in+or"ation
+ro" people -ho have attended previousl#.
=
Here is a checklist %or analysing the occasion &
$nalysing the occasion
:hich organisation is holding the event>
:hat are the o.3ectives o+ this organisation>
:hat is the nature o+ the occasion>
o- +or"al is it to .e>
:h# have I .een asked> :hat is e<pected o+ "e>
Are there other speakers> I+ so, -ho > :hat are their su.3ects >
:ill the# speak .e+ore or a+ter "e > Is it to .e a tea" presentation >
o- long have I got> :hen -ill I start >
:ill there .e ?uestions> 2iscussion> A panel>
:ill there .e a chair +or "# session>
:hat clothes are appropriate> o- should I dress>
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P!O'I(IN) TH $#"INC
)he ke# to success in an# presentation is to please and satis+# our audience. It is the#, not us,
-ho "ust .e the center o+ the event. )o anal#se an audience, -hich has not #et asse".led, is
not eas#, .ut it is i"portant to tr#.
Audiences and their e<pectations var# -idel#. Fe- things are -orse +or a speaker than to
arrive e<pecting a s"all group o+ +riends and colleagues and to .e con+ronted -ith an
audience o+ hundreds, or to .elieve he is to address a packed audience o+ distinguished
acade"ics and +ind he is +aced -ith hal+ a do0en +irst A #ear students.
:e "ust "ake the .est esti"ate -e can o+ the nu".er o+ people -ho -ill .e present. )his
-ill a++ect the kind o+ aids that are appropriate and the st#le -e adopt. Ma3or surprises on the
da# B -hether too "an# or too +e- C are also .ad +or the "orale.
)he level o+ e<pertise o+ the audience is ver# i"portant. Presentations, -hich are pitched at
the -rong level D either too high or too lo- D are sure to +ail. It -ill help i+ -e can +ind out
-hether our audience is likel# to hold an# strong opinions a.out our su.3ectE -hether the#
have an# .iases or preconceptions. Audiences usuall# +eel neutral to-ards a speaker at the
start o+ a presentationE .ut i+ there is an# reason -h# the# "ight .e speciall# hostile or
+riendl# -e -ould do -ell to .e -arned.
)he "ore -e kno- a.out an# inter D personal or inter D group tensions -ithin the audience
the .etter. So"e people -ill .e in+luential, others not. )o appear to side -ith one +action "a#
do little good i+ -e thoroughl# upset another.
As -ith the occasion, +inding out a.out the e<pected audience usuall# re?uires us to speak to
the organiser o+ the event B i+ it is not us C, and i+ it is a regular one, to people -ho have
attended .e+ore.
ere is a checklist +or audience anal#sis/
Pro%iling the a*dience
o- "an# are e<pected>
:h# -ill the# .e there>
o- kno-ledgea.le -ill the# .e in the su.3ect area>
:ill the# have strong preconceptions or .iases a.out the su.3ect> Might the# .e
particularl# +riendl# or hostile to "e or to -hat I -ant to sa#>
:ill the# .e there in their o-n right, or representing others>
Might there .e tensions or con+licts -ithin the audience> I+ so, -hat, and .et-een
-ho">
:ho -ill .e the ke# +igures>
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($!NIN) $BO#T TH (OC$TION
)he place in -hich a presentation is given can have a .ig e++ect on its success.
Si0e "a# .e critical. Nothing -ill kill an event "ore ?uickl# than +or it to .e held in a roo"
-hich is "uch too .ig. 2istractions can .e ver# da"aging.
I+ -e do not kno- -hat +acilities are availa.le or ho- to use the", -e "a# lose an
opportunit# to i"press, or, even -orse, get tangled in e".arrassing pro.le"s. )he e?uip"ent
availa.le to help a speaker varies enor"ousl#. :e cannot leave this to chance. )o arrive -ith
a set o+ "agni+icent %4"" slides, +or e<a"ple, and +ind there is no pro3ector -ould pro.a.l#
destro# our presentation.
It is al-a#s help+ul to visit the +acilit# in -hich the presentation is to .e "ade at an earl#
stage i+ -e can. I+ -e are reall# luck#, -e "a# .e a.le to rehearse there.
Here is a checklist %or learning abo*t the location&
The location
o- do I get there>
o- long -ill it take> Are there an# possi.le causes o+ dela#> Is there convenient car D
parking or pu.lic transport>
Is the setting +or"al or in+or"al>
:ill I .e e<pected to speak +ro" a plat+or">
Is there a podiu", rostru" or ta.le>
o- is the audience seating arranged>
:hat are the acoustics like>
Is there pu.lic address e?uip"ent> I+ so, -hat kind o+ "icrophone> :ho controls the
volu"e> 2oes it -ork -ell>
:hat are the visual aid +acilities> I+ there is a %4 "" pro3ector, ho- are slides changed and
-ill it take the sa"e kind o+ "aga0ine as "ine >
:hat +or"at is the video > :here are the po-er points> Is there a +lipchart, stand and
"arkers >
o- are the visual aids placed relative to the audience> :here -ill I need to stand, and
-here can "# aids .e put .e+ore and a+ter use >
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"'ININ) O#! $IM $N" OB+CTI,S
)he "ore clearl# -e perceive -hat -e -ant to achieve in a speech or presentation, the "ore
likel# are -e to succeed. :e "ust think hard and care+ull# in advance, and de+ine our ai"
and o.3ectives as accuratel# as -e can. It is use+ul to -rite the" do-n D this helps us to think
clearl#, creates a record to -hich -e can re+er and ena.les us, i+ -e -ish, to share the" -ith
the audience .e+ore -e .egin.
*ur audience -ill have o.3ectives too. )he# "a# have asse".led speciall# in order to hear
-hat -e have to tell the", .ut even so, the# -ill onl# .e prepared to give their ti"e and
attention to us as long as the# .elieve that -e kno- -hat -e are doing, -h# -e are doing it,
and -hat response -e -ould like +ro" it.
The aim
*ur ai" is the overall target -e -ish to reach -ith our presentation D the reason -h# -e are
planning to stand there and hold +orth.
In so"e cases, the ai" "a# .e clear and sel+Ae<planator#. o-ever, surprisingl# o+ten, there
"a# .e dou.t. :e "a# have .een asked, +or e<a"ple, to speak at a con+erence on a su.3ect
in -hich -e are an e<pert D .ut -h# > Are -e there to give a general introduction to la#
people, to descri.e the +indings o+ our latest research to e<perts, or to engage in a dialogue in
a controversial area >
O*r aim
:e "ight, +or e<a"ple, decide that our ai" -as/
7 )o persuade the directors o+ the H5I co"pan# to use the services o+ our organisation 8
or
7 )o ensure that all "e".ers o+ the gol+ clu. understand -h# the su.scription "ust rise .#
4G J8
or
7 )o entertain and a"use the dining clu. and help the" to +eel the annual dinner -as a
success+ul and en3o#a.le occasion8
or
7 )o i"prove the cold D calling per+or"ance o+ the sales representatives in "# tea" 8
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and so on.
The ob-ecti.es
*ur o.3ectives are the "ore detailed and precise steps -e plan to take to reach our ai"E not
the "ethods -e -ill use A those -ill co"e later D .ut the co"ponents included -ithin the
overall ai". A part +ro" conve#ing certain in+or"ation, are -e intending to convince, a"use,
sell a product or ourselves, o.tain i""ediate action, or -hat >
Negati.e Ob-ecti.es
*ccasionall# -e "a# +eel the need to include negative o.3ectives D aspects -e intend to
avoid. :e "a# -ish to hide +acets o+ our su.3ect, -hich are co""erciall# secret. :e "a#
-ish to avoid areas o+ controvers#, or perhaps angles -hich "ight divert the attention o+ the
audience +ro" our "ain "essage. )here "a# .e parts o+ our case or "e".ers o+ our tea" -e
+eel are -eak. :e "a# -ish to avoid upsetting or o++ending so"e or all o+ our audience in a
particular -a#.
O*r ob-ecti.es
For e<a"ple, i+ our ai" -as/ 7 )o persuade the directors o+ the H5I co"pan# to use the
services o+ our organisation 8, -e "ight decide that our o.3ectives -ere /
)o convince the" that each individual in our tea" is a ?uali+ied and e<perienced
pro+essional.
)o de"onstrate that our organisation has had relevant e<perience and satis+ied other clients.
)o sho- that -e have the capacit# to undertake the -ork the# re?uire -ithin the ti"e scale.
)o esta.lish good personal relationships .et-een their senior "anage"ent and our tea".
)o e<plain our +ee structure and esta.lish a .asis +or negotiation
The negati.e ob-ecti.es might incl*de&
)o hide as +ar as possi.le the +ailure o+ the contract -ith the ABC co"pan#
)o avoid a clear state"ent on price until our ne<t -age negotiations have .een co"pleted
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Personal or / hidden 0 ob-ecti.es
)here "a# also .e strictl# personal o.3ectives, such as/
)o de"onstrate to the ne- "arketing director that I a" a highl# e++icient "e".er o+ sta++
)o gain the co""ission, -hich these sales -ould entitle "e to and -in the "onthl# sales
a-ard )here is nothing -rong -ith such o.3ectives, although -e are less likel# to -ant to
co""it the" to paper. )he# -ill usuall# re"ain hidden and -e "ust .e-are that -e are not
"isled .# such o.3ectives into giving a presentation that is unhelp+ul or uninteresting to "ost
o+ the audience.
Beha.io*ral ob-ecti.es
)hroughout our preparation, -e should tr# to put oursel+ in the audience8s place. :e
should ask not 7 :hat do I -ant to sa# > 8, .ut 7 :hat do I -ant the" to hear and .elieve> 8.
For this reason, it can .e help+ul to -rite do-n o.3ectives in a +or", -hich e<presses -hat
-e intend +ro" the angle o+ the audience. )hese are so"eti"es call 7 beha.io*ral
ob-ecti.es 8 as the# are .ased on the .ehaviour -e -ould like to see +ro" our audience a+ter
the presentation. Such an approach is particularl# help+ul +or training presentations.
)hus, i+ our ai" -as 7 )o i"prove the cold D calling o+ the sales reps in "# tea" 8 -e could
set o.3ectives in the +or"/
Beha.io*ral ob-ecti.es
B# the end o+ the presentation, the representatives -ill/
Accept the need +or su.stantial i"prove"ent in cold D calling per+or"ance.
Kno- the steps to achieve cold D calling success
ave insight into their o-n cold D calling e++ectiveness and the areas in -hich the# need to
i"prove
ave set i"prove"ent targets and .e "otivated to achieve the"
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CONTNT
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ST!#CT#!
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CONTNT
No- that, -e kno- -hat -e are ai"ing at. )he ne<t steps are to +ill out the content o+ our
presentation, to gather Bor selectC our "aterial and to give it structure.
Content and str*ct*re
6athering "aterial
Selecting "aterial
Structuring the presentation
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)athering Material
2o -e need to gather >
:e "a# not need to gather "aterial. I+ -e have/
given the sa"e, or a si"ilar presentation .e+ore
-ritten an article, report B or .ook L C on the su.3ect
recentl# co"pleted research or a detailed stud# o+ the su.3ect
access to and per"ission to use our organisation8s or so"eone else8s "aterial
then -e "a# have ?uite enough. In this case, our need -ill .e to select and check -hat -e
have.
2hen sho*ld 3e gather4
:e should .egin gathering as soon as possi.le. Material gathered three "onths in advance o+
the presentation is +ar "ore valua.le than the sa"e "aterial gathered three da#s .e+ore. )he
e<tra ti"e gives us the opportunit# to digest the "aterial and "ake it part o+ our thought
processes. :e can re3ect it, ?uestion it or support it .# +urther research and additional
"aterial.
I+ -e -ork at the last "inute, all this is i"possi.le D -e -ill have to take it or leave it as -e
+ind it.
The key so*rce
I+ -e are not a su.3ect e<pert, our +irst ai" should .e to locate a key source. )his -ill .e a
.ook, article, report or person that can give us the +ra"e-ork +or the re"ainder o+ our
research. )his is not to suggest ruthless plagiaris". Apart +ro" an# legal or "oral
considerations, -e shall -ant to put our sta"p on an#thing -e use. I+ -e do not, -e "ight as
-ell invite our audience to read the source and save ever#one, including ti"e, "uch e++ort
and us. (nc#clopedias are a natural ke# source +or "an# su.3ectsE even i+ -e kno- a su.3ect
-ell, it is al-a#s -orth looking it up.
2here to look
)here are "an# sources o+ "aterial. )he# include/
So*rces o% material
our o-n e<perience
colleagues, +a"il# and +riends
.ooks
3ournals, "aga0ines and ne-spapers
electronic data.ases
original research
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Selecting Material
Ho3 m*ch material4
)he a"ount o+ "aterial needed can .e di++icult to 3udge, especiall# i+ -e are not a practiced
speaker. o- "uch -ill .eco"e clearer as our -ork proceeds, .oth in the actual gathering
and in the ne<t step D structuring. aving esta.lished a structure, -e "a# realise that -e need
to add "ore "aterial to +ill in a section or support an argu"ent and there -ill al-a#s .e so"e
toAing and +roAing .et-een these t-o steps. *ccasionall# our research "a# even indicate that
our o.3ectives -ere too a".itious or too li"ited, and -e "a# need to go .ack and revise
the".
"on0t prepare too m*ch
Because the# are a+raid o+ dr#ing up, ine<perienced speakers al"ost al-a#s prepare "ore
"aterial than the# have ti"e to use, ho-ever "uch ti"e the# have.
'le5ibility
So"e speakers D especiall# -hen giving training sessions D give the"selves greater
+le<i.ilit# .# classi+#ing their "aterial in three -a#s/
Core "aterial -hich is essential to the presentation
2isposa.le "aterial B e.g. e<tra e<a"ples C -hich can .e passed over -ithout har"ing the
"essage i+ ti"e is short
Supple"entar# "aterial -hich can .e used i+ there is ti"e to spare, or in ans-ering
?uestions I+ -e have an# dou.t on ho- long our "aterial -ill last, -e "ust check .# care+ul
rehearsal
Old material
It is co"+orting to have e<isting "aterial -ith us -hen -e are preparing +or a presentation.
:e or a colleague "a# have given a si"ilar presentation .e+ore, and the notes and visual aids
have .een kept. But the te"ptation to pick the "aterial up and use it -ithout +urther
e<a"ination "ust .e resisted.
The dangers o% old material
)he dangers in using old "aterial, -hether our o-n or so"eone else8s, include/
It -as prepared +or a di++erent audience
)he occasion and the speaker8s o.3ectives "a# have .een di++erent
It "a# not have -orked -ell last ti"e
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It "a# not take account o+ lessons learnt during previous presentations
It "a# not no- .e up D to D date
Str*ct*ring the presentation
Bene%its
)he audience has onl# one chance to understand -hat -e are sa#ing. I+ the# lose the thread,
the# "a# never pick up and even i+ the# do, the# "a# have "issed vital points. A clear,
si"ple structure is the .est -a# o+ preventing this happening. :ith it, -e can set up
checkpoints and signposts -hich -ill help to keep the audience -ith us. I+ the# do lose us,
the# can re3oin us co"parativel# easil# at the ne<t 3unction.
A good structure -ill /
attract attention
hold interest
help understanding
"ake our "essage "ore "e"ora.le
Types o% str*ct*re
)hree co""on t#pes o+ structure are suita.le +or an oral presentation /
logical argu"ent
narrative
+or"al
(ogical $rg*ment
All that -e sa# should .e logical. I+ it is not, -e are in trou.le. o-ever, this does not "ean
that to +ollo- one logical argu"ent step .# step +ro" start to +inish -ill necessaril# provide a
good
structure +or our presentationE this can .e e<tre"el# tedious +or the audience and "a# .e
inappropriate +or our o.3ectives.
A logical argu"ent -ill .e suita.le as our structure i+ -e are presenting a case to a court or
tri.unal, speaking in a +or"al de.ate or seeking to convince an audience o+ the truth o+ our
opinion. In other situations, other structures are likel# to .e "ore e++ective.
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Narrati.e str*ct*re
(ver#one loves a good stor#. )he Narrative structure or stor# line is the one "ost likel# to
gra. and hold the attention o+ the audience and "ake -hat -e sa# "e"ora.le. I+ -e can
structure -hat -e -ant to sa# as a stor#, -e are onto a -inner. But to -ork, the stor# "ust
"eet three conditions/
A stor# "ust .e
good
-ell A told
relevant to our o.3ectives
Mn+ortunatel#, +e- .usiness presentations can .e structured in this -a# as a -hole. o-ever,
it is o+ten possi.le to use stories as part o+ the overall structure, as a separate section or to
"ake a particular point.
'ormal str*ct*re
I+ neither the logical argu"ent nor the stor#line are suita.le +or our presentation, -e shall
need to use a "ore +or"al structure. Pro.a.l# the oldest advice a.out structure is /
1. )ell the" -hat #ou are going to tell the"
$. )ell the"
%. )ell the" -hat #ou have told the"
)his structure provides the essential ele"ents o+ introduction, "ain section and conclusion.
)he repetition, i+ skill+ull# done, -ill help understanding and retention. )he introduction B 7
)ell the" -hat #ou are going to tell the" 8 C and the conclusion B 7 )ell the" -hat #ou have
told the" 8 C -ill .e prepared last. Both should .e prepared -ith great care, as the# are the
"ost i"portant sections.
The introd*ction
I+ -e are to co""and attention, especiall# in a large gathering, -e need to .e larger than li+e
D "ost openings .ene+it +ro" a touch o+ dra"a. Be+ore the introductor# su""ar#, the
introduction should include so"ething designed to attract the attention, -het the appetite and
+ocus the audience8s thinking. :e need not go over the top, .ut -e should not .e sel+ D
conscious. :e should avoid spoiling the e++ect .# e<planation or too "an# -ords. aving
gra..ed attention, -e should "aintain the suspense and onl# release it -hen -e are read# to
do so, ideall# not .e+ore the conclusion.
Methods o% grabbing attention incl*de&
Making a 3oke
)elling an anecdote
Making a controversial state"ent
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2ispla#ing a ke# visual aid
Per+or"ing an arresting action
Making a -oke
A good 3oke -ill gain attention, esta.lish e"path# and +ocus the audience8s thinking.
o-ever, the 3oke "ust .e +unn#, not too -ell kno-n, relevant to our su.3ect and -ell D told.
)o tell a 3oke -hich does not succeed -ill set us .ack .adl#E it is "uch .etter not to tr#. )o
tell one -hich has little or no connection -ith our su.3ect -ill not get us +urther +or-ardE -e
shall have to start all over again once the laughter has died do-n.
Mnless -e are an e<pert hu"orist, it is .etter to stick to good one D line 3okes than risk a stor#
o+ an# length. I+ -e have dou.ts, it is .etter to choose another "ethod o+ starting.
Telling an anecdote
:e "a# have a stor# -hich, -hilst not .eing +unn#, gra.s attention in other -a#s. It "a# .e
a stor# o+ deep hu"an interest, pre+era.l# true and ideall# -hich happened to us. aving
engaged the audience8s interest in this -a#, -e can so"eti"es hold .ack the conclusion until
the end o+ the presentation, thus holding their attention right through.
Making a contro.ersial statement
Startling or provocative state"ents -ill attract and +ocus attention and -het the appetite o+
our audience in the sa"e -a# as a headline in a ne-spaper.
For success, -e "ust pick out so"ething that -e can e<plain and 3usti+# as -e go on D an
intriguing aspect, une<pected statistic or "ain conclusion +ro" our "essage, encapsulated in
a pith# -a#. :e "ust not .lunt its edge .# i""ediate e<planationE our audience "ust -ait
+or this, possi.l# until the end.
"isplaying a key .is*al aid
An e<cellent start can .e "ade .# displa#ing a ke# visual aid a slide, +oil or preAprepared
+lipchart -hich su""arises or +ocuses on a ke# aspect o+ our "essage and could .e used. It
should .e pictorial, pre+era.l# -ithout -ords, .right, intriguing and si"ple. Producing an
o.3ect such as a piece o+ "achiner#, e?uip"ent or clothing relevant to our su.3ect -ill also
+ocus attention in the sa"e -a#.
As -ith the controversial state"ent, -e should not e<plain it right a-a#, e<planation Bor
spontaneous enlighten"entC -ill co"e as -e proceed. An especiall# use+ul device is to
produce an *P +oil to -hich -e can add one or "ore e<planator# overla#s.
Per%orming an arresting action
:e "a# start .# per+or"ing so"e action relevant to our su.3ect in "i"e or du". sho- D a
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de"onstration B particularl# i+ there is an ele"ent o+ "anual skill C or the "anipulation o+
so"e "achiner# or e?uip"ent.
The opening s*mmary
aving engaged the audience8s attention, our ne<t task is to 7 )ell the" -hat -e are going
to tell the" 8/ to la# out in su""ar# +or" the structure o+ the presentation. )his is .est done
-ith a visual aid D slide, +oil or +lipchart D listing the title and headings o+ our "ain sections.
:e should displa# it, read it through aloud, and put it on one side +or use as -e "ove
+ro" point to point or in the conclusion.
The main section
)he "ain section B 7 )ell the" 8 C -ill need a nu".er o+ "ain headings D usuall# .et-een
three and si<. More and the structure -ill .e too co"plicated +or an audience to understand or
re"e".er. :e "a# have one or t-o su. D headings -ithin the "ain structure .ut, once
again, there "ust not .e too "an# or .oth, -e and our audience, -ill lose our -a#. )he "ain
sections "ust +ollo- s"oothl# in a "eaning+ul order.
The concl*sion
I+ -e are using the +or"al structure, -e shall al-a#s approach the conclusion -ith a crisp,
clear su""ar# o+ our "ain points. )his can .e readil# rein+orced .# displa#ing the
su""ar# -ith -hich -e started.
:e "a# +ollo- the su""ar# .#/
Closing options
Picking up the point -e started the presentation -ith
a challenge or call to action
a ?uestion +or the audience to think a.out
a relevant -itticis" or good 3oke
$1
CHOOSIN) 1 P!P$!IN)
P!SNT$TION
$I"S
$$
P!SNT$TION $I"S
aving decided -hat -e -ant to achieve and sorted out the content o+ our presentation, the
ne<t step is to choose our aids. )he voice alone is not enough +or successE there are "an#
aids availa.le to help us. )he roo" in -hich the presentation -ill take place, its e?uip"ent
and +urniture, -ill also a++ect our success.
Presentation aids
:h# use aids >
)he dangers o+ aids
Choosing aids
)he roo"
2hy *se aids 4
Preparing and using aids re?uires e<tra -ork .ut it is al-a#s -orth-hile.
Aids o++er "an# .ene+its /
Presentation aids &
attract attention
help understanding
help retention
give pleasure
$ids attract attention
)he speaker8s voice alone ?uickl# loses attention, even -hen skill+ull# used. B# adding
another sense, aids -ake an audience up and +ocus their attention. In a presentation o+ an#
length, the variet# alone helps to rekindle attention and sti"ulate +lagging interest.
$ids help *nderstanding
:ords are o+ten not the "ost e++icient -a# to conve# "essages. )he nature o+ an un+a"iliar
o.3ect -ill .e +ar .etter understood i+ -e see a picture, or .etter still i+ -e are a.le to touch
it. )he la#out o+ a .uilding or tract o+ countr# -ill .e .est conve#ed .# a plan or "ap.
'elationships -ithin an organisation are "uch clearer i+ sho-n in the +or" o+ a chart. )he
"eaning o+ statistics is +ar easier to grasp +ro" a graph or histogra". Co"ple< theories are
o+ten .etter understood -hen e<pressed as a pictogra".
$%
S*ccess 3ith aids
$ids sho*ld &
rein+orce the "essage
"atch the e?uip"ent availa.le
.e care+ull# prepared
not .e too "an#
not .e too co"plicated
.e skill+ull# used
Choosing aids
)here is a "assive range o+ presentation aids.
Common aids to presentation
)he co""onest are /
.lack.oard and chalk
.lank +lipcharts or -hite.oard
prepared +lipcharts or posters
overhead pro3ector
slide pro3ector
"odels
sa"ples
handouts
videotape or +il"
co"puter D .ased i"ages
$&
AM2I* 9ISMA1 SMPP*')
'(IP TIPS
)!$PHICS
$ TT!$CTI,
6ive each +lip a title
Mse .ullet points B like the ones on this page C
Mse at least $ dark colours
B I) 1 BO("
Mse thick "arkers
B .ring #our o-n L C
Should .e legi.le +ro" 1G "eters L
C $PIT$( 67 2O!"S
Never -rite sentences L
$4
AM2I* 9ISMA1 SMPP*')
O8H P!O+CTO! !#(S
TH P!O+CTO!
Make sure the pro3ector lens and pro3ection sur+ace are clean
.e+ore starting #our presentation B i+ #ou can8t get hold o+ so"e
glass cleaning li?uid and a cloth, turn the pro3ector o++ and use a
handkerchie+ and 7spit and polish8C
Check +or a spare pro3ector la"p
)est pro3ector N screen distance -ith a sa"ple transparenc# +or
positioning and +ocus.
)O("N !#(S
F!$M Mse a standard hori0ontal +ra"e -ith #our 71ogo8
+or all transparencies
1$!) #se large, legible letters )itles O 1 D $ c". )e<t O G.4 D
1 c"
IM$)S Mse illustrations on all transparencies 2ords are not
.is*al aids 9
CO(O#! Mse $ D % co"ple"entar# colours on all
transparencies
KISS Keep it si"ple and s-eet L
*ne idea onl# per transparenc#
Ma<i"u" ; lines o+ te<t
Ma<i"u" ; -ords per line
$;
P!SNT$TION TCHNI:#S
*verla#
Mse a Pointer to highlight "essages
eg. / cut out arro-, transparent pointing +inger, pen or pencil
B .e care+ul it doesn8t roll o++ C or a laser pointer
Place pointer on the transparenc# and "ove as #ou change
"essages E
"on0t hold it E Murph# sa#s / 7 5our hand -ill shake L
POINT!S
Position yo*r pointer here %irst
Ne5t mo.e it here
P!P$! Prepare transparencies in sleevesE in the
right orderE unclipped
P ($C Place a transparenc# on the pro3ectorE alignE
s-itch on
POSITION 2o not .lock an# participant8s vie- o+ the
screenE s-itch o++ pro3ector .et-een each transparenc#
$=
M#(TIM"I$ P!SNT$TION
)here is a signi+icant change in the -a# presentations are "ade toda#. :ith technolog# .eing
availa.le at the tip o+ onePs +inger, users are realising the potential o+ "ulti"edia tools in
"aking e++ective presentations. )he po-er+ul ne- "ulti"edia presentation products,
techni?ues and s#ste"s availa.le are designed to dra"aticall# improve and facilitate the
persuasion process.
:ith these tools, presentations need not .e .oring and "undane an# "ore.
State A o+ A the art interactive "ulti"edia presentation tools are useless, unless used correctl#
and intelligentl#. Be+ore #ou read +urther, stop to re"ind #oursel+. that you and your
message, and not the technolog#, are the ke#s to the co""unication process. Al-a#s keep in
"ind the +our i""uta.le rules o+ presentations...
!*le I & Ha.e something to say.;
!*le II & Say it clearly.
!*le III & Say it like yo* mean it.
!*le I, & No amo*nt o% technology can help yo* 3ith !*le I.
Con.ince yo*r listeners
5our goal in an# presentation is deceptivel# si"ple / #ou "ust convince #our audience to
take an action or adopt a point o+ vie-. )he +our rules o+ reaching that goal are -ell A
esta.lished and ti"e A tested. )o persuade #our target, audience #ou "ust
6et their attentionE
elp the" co"prehend #our "essageE
Bring the" into agree"ent -ith #our "essageE
Induce the" to retain the in+or"ation long enough to trigger the desired result.
An audience that is thinking a.out #our cool use o+ special e++ects o+ #our interesting
presentation s#ste", is not thinking a.out #our "essage. It "a# .e desira.le to 7 sho- o++ P a
.it, to let #our audience kno- ho- technologicall# savv# #ou are, .ut re"e".er that the role
o+ an# presentation tool is a supporting one. Strive to keep the" as transparent to the
persuasion process as possi.le.
I+ in dou.t a.out #our a.ilit# to properl# use graphics, colour or t#pe st#le, select and stick to
one o+ the pre A designed te"plates that are included -ith "ost presentation so+t-are.
Clarit# and visual appeal are crucial ke#s in an# presentation. 6raphics include ever#thing
+ro" cartoons to .order designs, to +ull colour photographs. )he# not onl# help deliver the
"essage, .ut also tell an audience a lot a.out #ou, a.out #our sophistication and preparation.
)he ke#s to the use o+ graphics is .alance and clarit#.
Keep the design clean and the e++ects si"ple.
Keep .ackgrounds consistent and su.tle.
Mse onl# ?ualit# Clipart and use it sparingl#.
$@
In the right direction
2irect the Presentation to +ollo- the needs and interests o+ the audience rather than setting
+or the preA set se?uence o+ i"ages and in+or"ation. )he "ost po-er+ul e++ect co"puter D
.ased presentations have on the persuasion process, is the a.ilit# to create and deliver
interactive "essages. 5ou have the opportunit# to custo"i0e #our presentations, since the
co"puter o++ers rando" access, and the potential +or nearl# unli"ited depth o+ in+or"ation.
Interactivit# "akes the audience re"e".er #ou and #our "essage.
Interact -ith #our audience .# /
Addressing audience priorities .# targeting their speci+ic interestsQ
Setting the pace according to the needs o+ the audienceE
Bridging the gap .et-een the topic and the audience .ackgroundE
Integrating in+or"ation +ro" "ultiple sources.
The n.ironment
Colour / the e++ective use o+ colour involves "ore than picking pleasant hues. Colour
ps#cholog# can contri.ute to the persuasion process .# adding e"phasis, reducing an<iet#,
instilling credi.ilit# and creating e<cite"ent.
Colours "a# look di++erent -hen pro3ected. Check the".
1ight colours on dark .ack grounds attract the e#e.
Mse colour cues to i"pl# relationships.
1i"it the nu".er o+ colours on a single screen to three at the "ost.
(sta.lish a colour sche"e at the .eginning and stick -ith it.
Bright colours "ake s"all o.3ects and thin lines stand out.
)he e"otions o+ colour var# according to the "essage and the culture o+ the audience, +or
instance
'ed O alert, li+e, revolution
*range I 5ello- O opti"is", -isdo"
:hite O innocence, hope+ul, ne-, clean
Purple O regal sophisticated
6re# O integrit#, "aturit#
Blue O dignit#, trust, sta.ilit#
$F
Te5t & )#pe can .e .oth graphical and te<tual. (ven the si"plest presentations and -ord
processing o++er a -ide arra# o+ +onts. Choosing the right +ont, st#le and si0e "a# see" like
3ust picking -hat looks good .ut in realit#, +onts have a pro+ound conscious and su. D
conscious i"pact on #our audience.
Pick a +ont that +its the "essage.
2onPt use "ore than three +onts.
2onPt overuse .old+ace, italic or all caps.
2onPt use a +ont si0e s"aller than 1@ points.
eadlines should .e in the range o+ %4 A &4 points
Sans seri+ +onts are easier to read -hen pro3ected.
Finall#, so"e ho"e truths A co""it the" to "e"or# and no "atter -hat happens, keep
s"ilingL
I+ #ou distri.ute handouts at the .eginning o+ a presentation, hal+ o+ the" -ill .e paper air
planes .e+ore the presentation ends. and the" out in the end.
A videotape that hasnPt .een re-ound .e+orehand -ill al-a#s start pla#ing in the "iddle.
An audience -ould rather -atch an e"pt# +ish tank, than -atch a presenter tr# to +igure out
ho- to use a re"ote control.
Mnless #ou are a ?uali+ied h#pnotist, let no i"age re"ain on the screen +or longer than ;G
seconds.
I+ #ou -ant #our audience to think the e<act sa"e thing at the e<act sa"e ti"e. pro3ect a
.lurred i"age on the screen. )he# -ill all think. R Focus, StupidLS
Co"puters sense +ear.
%G
Some tips on deli.ering the m*ltimedia &
$(2$7S !MMB! A #ou are the "essage. )he "ulti"edia ele"ents and deliver#
technolog# are +or re+erence, clari+ication and e"phasis.
Avoid nervous hand "ove"ents.
2o not +iddle -ith the "ouse or the ke#.oard.
A s"ile sho-s not onl# that #ou are +riendl#, .ut that #ou have con+idence in
#our technolog#.
I+ #our co"puter .o".s, do not let #our s"ile .o". -ith it.
2o not tell #our audience that #ou are -orried a.out #our e?uip"ent .# looking
at it constantl#.
2o not read te<t o++ the screen .
2o not sit do-n .ehind the co"puter.
Mse a re"ote "ouse to let #ou "ove around the stage.
Never turn #our .ack on the audience.
Never lean on the podiu" or e?uip"ent.
TIPS TO M$6 TCHNO(O)7 IN,ISIB(
Never add sound or visual e++ects -ithout good reason.
Never +uss -ith e?uip"ent setting during a presentation.
Keep e?uip"ent out o+ audience sight lines.
2o not let the pro3ector .lock the vie- o+ #ou or #our screen.
2o not look do-n at the "ouse or ke#.oard unnecessaril#.
Al-a#s use a -ireless re"ote N "ouse.
Shield co"puter .acks and "ess# -ires -ith drapes.
6et co"+orta.le -ith the technolog# through practice
%1
'IN$(
P!P$!$TIONS
%$
'IN$( P!P$!$TIONS
So +ar, -e have de+ined e<actl# -h# -e are speaking, o.tained and selected our "aterial,
and chosen and prepared our aids. )-o i"portant steps re"ain .e+ore -e take the stage, and
-e
-ill look at each toda# /
Speaker8s notes
'ehearsal
Speaker0s notes
6ood notes are one o+ the strongest supports an# speaker can have. )he# give con+idence and
can do a great deal to "ini"i0e nerves. )he +or"at o+ notes is personal to each speaker, and a
la#out -hich suits one "a# not suit another. o-ever, there are +our .asic approaches, and it
is -orth looking at the strengths and -eaknesses o+ each /
Four approaches to speaker8s notes
no notes at all
use o+ visual aids as notes
a +ull, ver.ati" script
pro"pt cards or sheets
!ehearsal
'ehearsal o+ a presentation o++ers "an# .ene+its /
!ehearsal
reduces nerves
i"proves per+or"ance
helps 3udge ti"ing
"a# help to re+ine the content
2espite these, rehearsal is not al-a#s necessar# and so"eti"es -e 3ust do not have the
opportunit#. But there are circu"stances in -hich it is particularl# i"portant.
2hen rehearsal is essential
+or tea" presentations
+or particularl# i"portant presentations
i+ -e plan to use un+a"iliar aids
i+ -e have unusual an<iet#
%%
'$CIN)
N!,S
%&
N!,S
Nerves are the .iggest pro.le" +or "ost unpractised speakers. )here is no cure, .ut "an#
help+ul things can .e said.
)etting the better o% ner.es
:h# .other a.out the" >
Facing our +ears
Nerve D reducing tricks
Setting out our stall
2hy bother abo*t them 4
)he great da# has da-ned. :e +eel petri+ied and are considering ringing up the organiser to
sa# that -e have contracted the a serious diseases and are on the point o+ death. o-ever,
this -ould .e sad a+ter all the -ork -e have put in, and -ould cause great disappoint"ent to
the "an# people -ho have .een looking +or-ard to hearing us +or so long.
.eryone %eels them
)o +eel nerves is co"pletel# nor"al. All good speakers are tense .e+ore giving a presentation
and the sa"e is true o+ actors, instru"entalists, singers and other per+or"ers. o-ever
e<perienced and success+ul, al"ost all -ill ad"it to nerves .e+ore going 7 on stage 8.
%4
Ner.es are help%*l
)he sense o+ tension and anticipation ensures that our adrenalin is +lo-ing and this, in turn,
-ill ke# us up +or "a<i"u" per+or"ance. )here is a +ar greater risk o+ +ailing i+ -e +eel no
nerves at all than i+ the desire to succeed gets us ke#ed up.
They 3on0t notice
Since our +eelings are so o.vious to us, -e assu"e that ever#one else "ust kno- a.out the".
But it is hard to guess -hat is going on in so"eone else8s head at the .est o+ ti"es, and at a
distance o+ t-ent# +eet in a cro-ded roo" it is nearl# i"possi.le. Mnless -e tell the", or do
so"ething to give the ga"e a-a# such as holding a shea+ o+ papers in a violentl# tre".ling
hand, the chances are the# -ill never notice.
They 3ant *s to s*cceed
I+ a speaker or other per+or"er gets into di++iculties, the audience usuall# +eels "ore
e".arrass"ent than the person "aking the speech. For this reason, the audience -ill
nor"all# do -hatever the# can to give a speaker an# help he or she needs. )he# -ill -ait
patientl#, suggest -ords, point out the page o+ notes -hich has .een dropped or the elusive
s-itch on the ohp. *nl# i+ -e have done so"ething to o++end the audience, "ight help not .e
+orthco"ing.
%;
The ,al*e o% preparation
I+ -e have -orked care+ull# +ro" the start, our task toda# D +acing our audience at last D -ill
.e +ar less stress+ul.
In particular, -ell D prepared notes prove their -orth at this point, availa.le as a sort o+
li+e D 3acket i+ the -aters get stor"#. I+ -e have also rehearsed care+ull# this -ill do "uch to
strengthen our con+idence.
'acing o*r %ears
As -ith all irrational +ear, it helps to +ace the" s?uarel# and ask 7 :hat e<actl# a" I a+raid o+
>T In the case o+ speakers8 nerves , there are several co""on ans-ers /
:hat speakers +ear
Not co"ing up to the audience8s e<pectations
Making a +ool o+ "# sel+
2r#ing up
Not +inding the right -ord
Ner.e < red*cing tricks
So"e speakers have their o-n nerve D reducing re"edies. :hilst these "a# not -ork +or
ever#one, there "a# .e one -hich can help us in ti"e o+ need.
!ela5ation
People -ho have e<perience o+ rela<ation techni?ues in other conte<ts "a# -ish to tr# the"
.e+ore speaking. )he easiest +or general use are deep .reathing or sitting in a co"+orta.le
chair reading a gripping #arn. I+ -e kno- a.out #oga, so"e o+ its techni?ues "a# help. I+
there is access to a hot .ath that "ight 3ust do the trick.
Pict*ring s*ccess
So"e athletes, such as long or high 3u"pers, go to great lengths to visualise success .e+ore
starting. )o i"agine in detail the sensations o+ "aking a .rilliant presentation -hile -aiting
to start has helped so"e.
%=
Sharp ob-ects
At least one authorit# reco""ends holding so"e sharp o.3ect so tightl# -hile speaking that
it hurts. )he idea is that the slight pain provides a +ocus +or our an<iet# and thus +rees us +ro"
other "ore na"eless +ears. Suita.le o.3ects "ight .e a .unch o+ ke#s or the sharp edge o+ the
lectern or ohp.
Pict*re them in the n*de
An#thing -hich helps us to realise that our audience is "ade up o+ ordinar# hu"an .eings
-ill help to eli"inate unnecessar# +ear. )o i"agine the audience unclothed helps so"e
speakers to do this.
"*tch co*rage
As -ith driving, alcohol "akes us +eel .etter .ut per+or" -orse. :e should never resort to it
as a cure +or nervesE rather, -e should "ake sure -e avoid it, especiall# i+ -e are "aking an
a+ter dinner speech. )here is, o+ course, no o.3ection to cele.rating our success a+ter-ards
.
Setting o*t o*r stall
Be+ore getting under -a#, -e should give ourselves as long as it takes to set out our stall
properl#. In large and +or"al presentations, such as a "a3or con+erence speech, other people
-ill help. But -e should never .e rushed into starting until -e are satis+ied ever#thing is in
order. In particular, -e "ust al-a#s check, .e+ore -e start, that all the e?uip"ent -e need is
read#.
=*ipment m*st be
availa.le
in the right place
-orking properl#
understanda.le and controlla.le
%@
P!SNT$TION
%F
P!SNT$TION
:e are on our +eet at last and nerves, -hilst still "aking their presence +elt, are under control.
Seven +actors -ill contri.ute to our success during the presentation. )hese are /
The %actors o% s*ccess
)he start
Mood
)he voice
)he .od#
)i"ing
)he conclusion
The start
As -ith other activities, "ore than hal+ the .attle is getting o++ to a good start. )here are a
nu".er o+ clues to success.
"on0t apologise
o-ever -e +eel, it is -rong to start -ith an apolog#. I+ -e e<pect people to give us their
ti"e and attention B and -e "ust C our opening state"ent "ust "ean 7 1isten to "e. I have
so"ething o+ interest and i"portance to #ou L 8 :e "ust never use -ords -hich conve# the
+eeling 7 I8" not reall# sure -hether I a" -orth listening to, or -hether ever#thing is as it
should .e, .ut perhaps #ou -ill .e prepared to give "e a chance 8.
)his does not "ean -e should sound .rash or over-eening, 3ust con+ident.
Sel% introd*ction
I+ -e have one, it -ill .e the 3o. o+ the Chair to introduce us. *ur responsi.ilit# -ill .e to
ensure that -e talk to -hoever is in the chair .e+ore the start to agree ho- he or she should
do it and -hat should B and should not C .e said a.out us.
I+ -e do not have a Chair, -e "ust decide -hether it is necessar# to introduce #oursel+.
I+ -e are kno-n to all or "ost o+ our audience, there is no point in taking ti"e and .lunting
the i"pact o+ our start .# indulging in sel+ D introduction.
&G
Mood
mpathy and a*dience contact
As the presentation "oves +or-ard, -e -ill need to "ake and keep, contact -ith our
audience, and
to "ould, understand and respond to their "ood. Facial e<pression, glances e<changed,
shu++ling o+ +eet, looking at -atches, rustling o+ papers or +re?uent shi+ting o+ position all tell
a tale.:hilst the e<act "ood -e -ant -ill depend on our o.3ectives, so"e +actors are
i"portant to ever# presentation.
)he# include/
The right mood
pro+essionalis"
the right degree o+ +or"alit#
controlled enthusias"
pace and drive
good use o+ hu"our
$,OI"
arrogance
Pro%essionalism
:hatever our other o.3ectives, -e -ill -ant to create a +eeling o+ co"petence and
pro+essionalis" in our audience. I+ -e have prepared -ell, this should appear naturall#, .ut
our "anner should rein+orce our "atter -ith apparent con+idence and control.
The right degree o% %ormality
*ur audience anal#sis suggested the degree o+ +or"alit# re?uired. No- -e are actuall# there,
-e -ill ?uickl# learn ho- correct this assess"ent -as and ad3ust accordingl# . Most
audiences toda# pre+er a +riendl# and in+or"al .ut not undul# +a"iliar st#le. Mnless there are
contrar# indications, this should .e our ai".
Controlled enth*siasm
I+ -e -ant others to .e enthusiastic, -e "ust .e enthusiastic oursel+. o-ever, it is possi.le
to overdo itE e<hi.it controlled enthusias".
Pace and dri.e
As the speaker, -e are the loco"otive o+ the presentation E -e "ust keep it "oving +or-ard.
*n the other hand, -e "ust not ga..le and rush too +ast.
&1
H*mo*r
Natural hu"orists have a head start as pu.lic speakers. (++ective use o+ hu"our strengthens
rapport .et-een speaker and audience, adds en3o#"ent, "akes a presentation "e"ora.le,
and can disar" tension and disagree"ent. )he -itticis"s o+ the cleverest speakers have gone
do-n in histor#. )here are +e- su.3ects -hich cannot .ene+it +ro" a touch o+ hu"our. I+ -e
have the gi+t -e should use it.
o-ever, ine<pert hu"our -ill have the opposite e++ect. *ld, .adl# D told or un+unn# 3okes
create a .arrier .et-een speaker and audience, cause e".arrass"ent and tension, and destro#
con+idence in the speaker. )here is the danger o+ o++ending individuals or groups -ithin the
audience, particularl# in "atters o+ race, religion or politics .# including an#thing -hich the#
interpret as critical o+ the"selves o+ a group to -hich the# .elong.
:e "ust there+ore kno- our o-n a.ilit# as a hu"orist and avoid stretching it too +ar.
$rrogance
Speakers "ust respect their audience and "ake it clear that the# do so. Fe- things put
people8s .ack up "ore ?uickl# than the +eeling that the person addressing the" is talking
do-n to the".
(ven though the# "a# have co"e to learn, the "ore courtes# and respect -e sho- our
audience, the "ore courtes# and respect the# -ill sho- to us.
&$
The ,oice
)he voice is the speaker8s "ain -eapon Balthough not the onl# one E -ell D chosen and -ell D
used aids -ill together have at least as "uch i"pact C. :e "ust use it -ith skill.
$*dibility
)he +irst ai", o+ course is to .e clearl# audi.leE -ithout this all is lost. )he use o+ PA
e?uip"ent has .een "entioned i+ it is availa.le -e should use it and use it correctl#. I+ there
is none, -e "ust pro3ect our voice as clearl# and loudl# as necessar#.
)o pro3ect -ithout shouting or strain takes practice. ints include /
,oice pro-ection
keep #our head up
open #our "outh -ider than in nor"al speech
use clear consonants
speak "ore slo-l#
Interest and meaning
:e "ust consciousl# e"phasis the interest and "eaning o+ -hat -e are sa#ing. :e should
ai" to 7 put a shine in our voice 8. Meaning is conve#ed .# using variet# o+ pace, pitch and
volu"e.
Pace is the speed o+ speaking. :e should speed up or slo- do-n as the "eaning re?uires.
Fast speaking conve#s enthusias" and urgenc#, .ut .eco"es tireso"e i+ overdone. Slo-
speaking gives e"phasis, .ut loses attention i+ used too "uch. *ccasional silence can .e ver#
e++ective to e"phasise a point.
Pitch is the "usical tone o+ the voice. )his has "uch the sa"e e++ect as speed -ith the high
notes conve#ing urgenc# and the lo- notes e"phasis.
,ol*me is the loudness. :e "ust .e audi.le .ut avoid shouting. )o drop the voice can add
signi+icance, i+ not done too o+ten.
In all three, -e "ust avoid an# purel# regular variations D over an# length o+ ti"e sing D
song rh#th"s -ill send the audience to sleep "ore surel# than an#thing else. 1ike an actor,
-e "ust choose -hich -ords to 7 hit 8 D to e"phasise D and -hich -e can 7 thro- a-a# 8.
A good e<ercise is to record a short passage o+ a top radio announcer or .roadcaster, -rite
out -hat he or she has said, and speak it .ack into the tape recorder. )his -ill give us a
graphic de"onstration o+ the skill -ith -hich a pro+essional can conve# interest and "eaning
.# the in+lections o+ his voice. )he .est can "ake a page o+ the telephone director# sound
like a gripping tale o+ intrigue, "urder and lust.
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The body
)he .od# can help or hinder a presentation. Ine<perienced speakers +eel their .od# is a
pro.le" and .eco"e sel+A conscious a.out it. Co""on di++iculties include /
Positioning
:e "ust .ear several needs in "ind, -hen choosing -here to position oursel+ /
:e "ust .e at a place /
visi.le to all
convenient +or our notes
convenient +or control o+ our aids
-ell placed +or the "icrophone B i+ used C
I+ there is a lectern, it is usuall# .est to use it. It provides a convenient stand +or our notes,
and "a# have a light, controls +or the aids and even a clock. Failing this, the natural place to
stand is near the "iddle o+ the plat+or" or speaker8s area, -ith notes on the ta.le. o-ever,
i+ a screen or +lipchart is centrall# placed, -e "ust stand to one side -hilst using the" and
"a# have to carr# our notes. For right D handed speakers, the le+t side ena.les the" to use a
pointer and change +oils "ore easil#.
It is usuall# .etter to stand, even -hen addressing a s"all audience. It is easier to see and .e
seen and heard, and sho-s respect +or the audience and the i"portance o+ -hat -e are doing.
Sitting is appropriate i+ our ai" is "a<i"u" in+or"alit# and audience participation. :ith
such o.3ectives, -e "ight chose to sit on or in +ront o+ the speaker8s ta.le.
Timing
)he +eeling that a speaker is unconscious o+ the passing o+ ti"e rapidl# s-itches an audience
o++, especiall# i+ there are trains to catch or another speaker is -aiting. *n the other hand, a
speaker -ho "akes clear that he or she -ill keep to the allotted ti"e inspires con+idence.
So"e speakers start .# taking their -atch o++ and placing it .eside their notes. )his allo-s
the" to consult it unnoticed, -hilst also indicating to all that the# intend to control their
ti"ekeeping.
The Concl*sion
)he end o+ a presentation is second onl# to the start in i"portance.
Not 3ith a 3himper b*t a bang
It is al-a#s right to go out on a high note, and al-a#s -rong to tail o++ into silence or end
suddenl# and une<pectedl#. :hat ever else, -e should leave no dou.t that -e have, in +act,
co"e to an end.
&&
H$N"(
:#STIONS
&4
H$N"(IN) :#STIONS
1et us look at ho- to deal -ith ?uestions and end -ith a su""ar#.
No presentation B e<cept a ser"on C is co"plete until the speaker has handled ?uestions +ro"
the audience. For so"e, this is the "ost +rightening part o+ all, -hilst +or others it is the part
the# look +or-ard to "ost, -hen the# can at least rela< and .ehave naturall#.
'ight at the start o+ the presentation, -e should in+or" the audience -hen -e -ould pre+er to
ans-er ?uestions /
as the# arise
a+ter each section
at the end
2hen =*estions come
listen care+ull# D right to the end
i+ necessar#, repeat or paraphrase
decide -h# the ?uestion has .een asked
.e-are o+ assu"ptions
separate the stands
keep cool under the +ire
never put the ?uestioner do-n
don8t +eel #ou "ust ans-er
don8t go along too long
$lternati.es to a direct ans3er
Ask +or +urther e<planation +ro" the ?uestioner
)hro- the ?uestion to the audience
)hro- the ?uestion to a colleague or ackno-ledged e<pert -ho "a#
.e present
)hro- the ?uestion to the ?uestioner
Ad"it ignorance B and sa# -e -ill +ind out C
Sa# the ans-er -ill co"e out later in the presentation
Ans-er a di++erent B and easier C ?uestion gives clues to help the
?uestioner ans-er the ?uestion
'e+use to ans-er B on grounds o+ co""ercial con+identialit#, national
securit# or -hateverC
)urn the situation into a 3oke
Carr# on as i+ -e haven8t heard
Feign sickness
&;
:hilst it is not suggested that an# or all o+ these are suita.le +or general use, it is
i"portant to re"e".er that there are al-a#s alternatives to a direct ans-er.
S#MM$!7
Complete basic preparation
Pro+ile occasion, audience and location
2e+ine ai" and o.3ectives
Prod*ce the content and str*ct*re
6ather "aterial
Select "aterial
Structure the presentation
Choose and prepare presentation aids
Choose aids
Prepare aids
(nsure the roo", e?uip"ent and +urniture are suita.le
Make %inal Preparations
Produce speaker8s notes
'ehearse
'ace o*r ner.es
Mnderstand that ever#one +eels nerves
Face up to an# irrational +ears
Set out our stall .e+ore starting
Presentation
6et o++ to a good start
Set the right "ood
Mse the voice e++ectivel#
Mse the .od# -ell, including good e#e contact
Mse the aids properl#
:atch and control ti"ing
&=
Make a good conclusion
Handle =*estions and disc*ssion
Anticipate ?uestions
Make clear ho- and -hen #ou -ill take the"
Mse good techni?ue in handling ?uestions
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