ORAL PRESENTATION

SKILLS
A PRACTICAL GUIDE
C. STORZ and the English language teachers of the Institut national de
tlcommunications, EVRY FRANCE.
2
Carl Storz et al. Oral Presentation Skills Aot 2002
Preface
This text, the result of years of experience and research, is intended to be an aid for
anyone wishing to speak in public to fellow students, colleagues or other interested groups.
This text provides the essential elements and some tips on preparing and organizing a
successful oral presentation in English or any other language. The same structure can also be
used to some extent in the context of a written text, i.e. dividing the text into three parts
introduction, development and conclusion. !ther useful elements for the written text include
expressions to indicate lists, narrative, links and examples. In return, we would ask you the reader
and practitioner to send any comments, corrections or "uestions to make about this document to
#arl.$torz%intevry.fr.
This short paper is divided into several sections, each one being based on a particular point
which is important to think about in preparing for and giving an oral presentation. The first one
deals with preparation and planning, the most important stage. The second one deals with the
structure of the speech and necessary language. The third speaks about visuals and how to
make the best use of them. The fourth discusses how to create interest and establish and
maintain a relationship with the audience. The fifth deals with body language and finally, the sixth
contains a few comments on using the voice and correct pronunciation. &ctual language used to
express the above is given in italics. #omments and "uestions you could ask yourself in
preparing each part are also included. &t the end, you will find a bibliography of materials
available in the 'esource #enter of the (epartment of )anguages and *umanities at the I+T for
further work on oral presentations or listening practice.
It is also important to remember that there are perhaps several formulae for an oral
presentation, this being ,ust one.
-
&re you explaining a procedure, trying to convince or
persuade, give information or outline possible courses of action. /hat you are trying to do in
your presentation should have a bearing on how you present. There are also cultural aspects to
take into consideration in that different communities will react differently to the same presentation0
Englishspeaking as against a 1renchspeaking audience, a scientific forum, a literary group or an
assembly of business managers. Each one will expect and react in various ways according to the
linguistic, scientific, academic or business culture it is familiar with. (ifferent people speak in
different ways in different languages and different conventions depending on to whom, where,
when and why they are speaking. &ll of these "uestions are, of course, vital to take into
consideration during the preparation.
'emember anyone can give a good presentation. (on2t worry if you are not naturally extrovert.
3reparation and practice can be the keys to success4
3
Carl Storz et al. Oral Presentation Skills Aot 2002
1
Most companies probably offer some kind of training in presenting. Some een !ae specific g"idelines or style
s!eet for slides. Also oer time yo" #ill deelop yo"r o#n personal style.
I. PREPARATION AND PLANNING
I.1 ESSENTIAL PREPARATION AND PLANNING
CHECKLIST
This is a checklist of the essential elements to
consider in preparing and planning an oral
presentation. Use it yourself by filling in the boes on
the right under !"y #deas$.
QUESTIONS TO ASK
YOURSELF
EXAMPLES MY IDEAS
%. &hat is the aim' 5 to buy my product
5 to adopt my
recommendations
5 to (oin the club
5 to gi)e me a (ob
*. &hat is my title' 5 The ne+ "okia *,,%
5 -o+ to reduce production
costs
5 The #.T Chess Club
/. &ho am # speaking to' 5 &hat are the benefits to
the audience of my
product0report0speech'
5 1re these people the
decision makers'
5 &hat do they kno+ of the
sub(ect'
5 -o+ does this change my
approach'
5 &hat sort of 2uestions +ill
they ask me' &hat are
the ans+ers'
5 &hat aspects +ill they be
interested in'
3. &hat are the main points
# +ant to make'
%4 *4 /5 first4 second4 third5
point a4 point b4 point c
6. &hat do # +ant the
audience to do after listening
to my presentation'
&e must in)ite them7
5 to buy my product
5 to accept my findings
5 to (oin the club
5 to gi)e me a (ob
I.2 Other !e"t#$%" &$%&er%#%' (h)"#&*+ *"(e&t".
&ho is the audience'
-o+ many people +ill there be in the audience'
Check beforehand4 if you can4 the place +here you are going to make your
presentation.
&here +ill it take place'
-o+ big is the room'
&hat e2uipment is there in the room' &hat e2uipment do #
need'
8oes the e2uipment +ork'
1re you going to need a black or +hiteboard'
-a)e you got chalk and 0 or a felt tip pen'
8o you need an o)erhead pro(ector or a screen'
1re they in place' #s there a podium' &here are you going to
put your notes 0papers 0transparencies'
8o you need an adapter or etension lead'
Can the information be seen'
Can you present the information and not get in the +ay'
8o you need a pointer'
&ill you need to dim the lights or dra+ the curtains'
1re you going to need handouts or any other documents' -o+ many' 8o they
present a good image of you and your company'
,he%-
&hat time of day is it' &hat day is it' &ill the audience be more or less
recepti)e +hen listening'
H$. +$%'-
#n relation to +hat the audience kno+s or time constraints4 +hat can # eliminate if
necessary'
Other
1m # dressed appropriately' Shoes polished' 1re my hands and fingernails clean'
Experienced presenters are able to improvise and adapt to changing circumstances
but you may have only one chance to present your information, so be prepared.
II. STRUCTURE OF AN ORAL PRESENTATION
1 good oral presentation is +ell structured5 this makes it
easier for the listener to follo+.
9asically there are three parts to a typical presentation7 the
beginning4 the middle and the end :or introduction4 body and
conclusion;. &e are going to look at each part in turn and present
the language needed to epress both the structure and the
content.
II.1 THE /EGINNING OR THE INTRODUCTION
The beginning of a presentation is the most important part. #t is +hen you establish
a rapport +ith the audience and +hen you ha)e its attention. "ore detailed
techni2ues can be found in part #<.
II.1.A Get the *!0#e%&e1" *tte%t#$% *%0 "#'%*+ the 2e'#%%#%'.
Right. Well. OK. Erm. Let's begin.
Good. Fine. Great. Can we start?
Shall we start? Let's get the ball rolling.
Let's get down to business.
#n English=speaking countries it is not uncommon for the speaker to begin +ith a
(oke4 an anecdote4 a statement made to surprise or pro)oke in order to gain the
audience>s attention4 to make people +ant to listen4 to feel relaed and e)en to
introduce the sub(ect. This may or may not be appropriate in your country5 you are
probably the best (udge. Certainly humour is difficult to con)ey and +ould not be
appropriate in all contets.
1 good techni2ue is to try to get your audience in)ol)ed in your talk either by
asking direct or rhetorical 2uestions. 1sk for a sho+ of hands for eample4 in response
to a 2uestion or4 present information in such a +ay that the audience can identify +ith
it. ?ou can gi)e an anecdote4 unusual or surprising facts4 or an illustration from real
life could be employed here.
II.1./ Greet *!0#e%&e.
#t is important to greet the audience by saying something like7
Hello ladies and gentlemen.
Good morning members o the !ur".
Good aternoon esteemed guests
Good e#ening members o the board
Fellow $olleagues %r. Chairman&Chairwoman
'han( "ou or "our (ind introdu$tion
II.1.C I%tr$0!&e $%e"e+3, 4%*5e, ($"#t#$%, *%0 &$5(*%)6
8o this not only to gi)e important information so people can identify you but also
to establish your authority on the sub(ect and to allo+ the audience to see your point
of )ie+ on the sub(ect :you are a student4 researcher4 responsible for4 director of4
neophyte4 layman;.
*
Good aternoon ladies and gentlemen) let me introdu$e m"sel.
2
$t is a good idea to p"t yo"r name% company&s name% company logo% title and date of t!e presentation on all t!e
transparencies or !ando"ts.
Good morning e#er"one) *'d li(e to start b" introdu$ing m"sel.
%" name is...
* am a student at the *+'
* am a do$toral $andidate)
* am ,. -. rom . Com. *'m the manager o/
* am a resear$her rom / *'#e been wor(ing on the sub!e$t now or , "ears...
*'#e had wide e01erien$e in the ield o ...
Good morning) m" name is Lawren$e Couder$. * am a student at the *+' and *
would li(e to tal( to "ou toda" about some o m" indings in a stud" * did on/
Sometimes4 especially +hen in)ited to speak4 the host introduces the guest4
gi)es the same information as abo)e and then gi)es the floor to
the guest speaker.
* am #er" 1leased and 1roud to introdu$e /who is/. He&she is
(nown or/
+ow *'ll turn the loor o#er to toda"'s s1ea(er. 2to ta(e the loor)
to ha#e the loor) to gi#e the loor to someone.3
II.1.D G#7e t#t+e *%0 #%tr$0!&e "!28e&t
&hat eactly are you going to speak about' Situate the sub(ect in time and
place4 in relation to the audience and0or its importance. @i)e a rough idea or a
+orking definition of the sub(ect.
* 1lan to s1ea( about...
'oda" *'m going to tal( about...
'he sub!e$t o m" 1resentation is...
'he theme o m" tal( is...
*'#e been as(ed to gi#e "ou an o#er#iew o...
Cultural aspects may be important here5 scientists +ant to demonstrate their
+ork and findings +hile managers and humanities people +ant to share ideas and
reflections +ith their audience. #t may be the result of a desire to persuade and
con)ince. #t may be comparison of t+o or more products4 plans or proposals.
&hy are you going to speak about it'
* ha#e $hosen to s1ea( about this be$ause...
* was as(ed to s1ea( about , be$ause...
-a)e you set any limits on the scope of your talk' &hat +on>t you speak
about' #t may be )ery useful to eliminate certain areas before you start so as to
a)oid confusion or de)iation from your main task. #t also protects you from criticism
later for not co)ering certain aspects or issues.
-a)e you estimated the time it +ill take'
/
#t is useful to gi)e the listeners
some idea of ho+ long you +ill speak so as to maintain their attention
better.
* will not s1ea( about...
* ha#e limited m" s1ee$h to
%" tal( will last about 45 minutes
'
Concerning time% professional people are ery often pressed for time. (!e aerage person&s attention span is also
ery% ery s!ort. Concl"sion) t!e s!orter t!e better*
* will s1ea( or 45 minutes.
?ou may +ant to gi)e ackno+ledgements here too. #f you ha)e been sponsored4
supported or encouraged by a particular firm4 organiAation4 professor4 etc. you may
+ant to recognise their contribution. ?our research and paper may ha)e been the
+ork of a collaborati)e effort and you should ackno+ledge this too gi)ing the names
of all the participants.
1t some point you should ask a 2uestion or someho+ try to determine the
attitude and kno+ledge of the audience. -o+ do they feel about the sub(ect' ?ou +ill
then ha)e to modify the contents4 as you ne)er kno+ eactly +hat to epect.
Ha#e "ou e#er heard o...?
-ou ma" alread" (now/
* eel sure that some o "ou/
E#er" da" "ou en$ounter...
To get the audience>s attention and perhaps to find out +here they are you could
introduce the sub(ect by saying7
Ha#e "ou e#er heard o&seen ,?
-ou'#e 1robabl" seen $ountless times...
-ou ma" ha#e wondered...
II.1.E G#7e )$!r $28e&t#7e" 4(!r($"e, *#5, '$*+"6
The main purpose of an informati)e speech is to ha)e the
audience understand and remember a certain amount of
information. ?ou should therefore ha)e t+o purposes7 a general
purpose and a specific one. The former is to inform7 to gi)e an
o)er)ie+4 to present4 to summariAe4 to outline5 to discuss the
current situation or to eplain ho+ to do something or ho+
something is done. The latter is +hat you +ant the audience to take
a+ay +ith them after listening to you4 +hat you +ant them to do4 +hat
they should remember.
%" 1ur1ose in doing this 1a1er is to gi#e "ou a solid ba$(ground on the sub!e$t o
oral 1resentation s(ills so that in the uture) at the *+' or elsewhere) "ou $an deli#er
a su$$essul s1ee$h in ront o a grou1.
What * would li(e to do toda" is to e01lain
to illustrate...
to gi#e "ou the essential ba$(ground inormation on...
to outline...
to ha#e a loo( at...
What * want m" listeners to get out o m" s1ee$h is...
* there is one thing *'d li(e to get a$ross to "ou toda" it is that/
Once you ha)e established your specific ob(ecti)es you may go on to formulate
your content.
3
II.1.F A%%$!%&e )$!r $!t+#%e.
?ou +ant to keep the outline simple so * or / main points are usually enough.
Concerning grammar the headings of the outline should be of the same grammatical
form.
* ha#e bro(en m" s1ee$h down&u1 into , 1arts.
* ha#e di#ided m" 1resentation 2u13 into - 1arts.
+
C!ange t!e p"rpose of t!e speec! ,or t!e time% place and a"dience- to see !o# t!e o"tline c!anges.
*n the irst 1art * gi#e a ew basi$ deinitions.
*n the ne0t se$tion * will e01lain
*n 1art three) * am going to show...
*n the last 1art * would li(e&want to gi#e a 1ra$ti$al e0am1le...
6
II.1. G Q!e"t#$%" *%0 &$55e%t" 3r$5 the *!0#e%&e.
?ou should also let the audience kno+ at some point in the introduction +hen
and +hether they may ask 2uestions.
*'d as( "ou to sa#e "our 6uestions or the end.
'here will be 1lent" o time at the end o m" s1ee$h or a dis$ussion.
-ou ma" interru1t me at an" moment to as( 6uestions or ma(e $omments.
7lease sto1 me i "ou don't understand an" thing * sa" but $ould "ou (ee1 an"
s1e$ii$ 6uestions until ater *'#e inished.
II.1.H M*9e * tr*%"#t#$% 2et.ee% the #%tr$0!&t#$% *%0 the 2$0).
?ou should refer to your transparency or outline.
+ow let us turn to 1oint one.
Let us now mo#e on to the se$ond 1art) whi$h is) as * said earlier/.
If you are giving a technical presentation a glossary might be useful and avoid unecessary
interuptions. &lways explain abbreviations and say acronyms giving their full name when
you first mention them and be especially careful with the pronunciation.
.
/otice t!e ariety of #ays of indicating parts ,in t!e first part% section% part t!ree% t!e last place- and ariety of
grammar% i.e. erbal forms t!at follo#.
One st"dent act"ally began #it! definitions of key tec!nical #ords t!at #o"ld come "p in t!e speec!. 0!at do yo"
t!ink of t!at idea1
2epending on t!e conte3t or specific c"lt"ral enironment yo" may or may not #ant to "se a transparency. 4or
e3ample% in a professional corporate conte3t it may look a bit sc!olastic to pro5ect an o"tline. 6o#eer% in giing a
paper% since t!e ob5ectie is didactic yo" co"ld p"t it on a transparency and refer back to it from time to time.
II.2 THE MIDDLE OR THE /ODY
II.2.A C$%te%t.
&hat information should you gi)e in your speech' 1ll your information should
support your purpose. #n most cases you +ill ha)e to limit the content4 as time is
usually preciousB
II.2./ Q!*%t#t)
-o+ much information should you gi)e' Enough to clearly de)elop your ideas.
8onCt forget to illustrate through eamples.
II.2.C Se!e%&#%' )$!r #0e*".
-ere are a fe+ possibilities for organiAing your ideas7 logi$al5 $hronologi$al
order5 rom general to s1e$ii$5 rom (nown to un(nown5 rom a$$e1ted to
$ontro#ersial5 $ause&ee$t5 1roblem&solution. &hate)er se2uencing you choose4 the
headings should be all of the same grammatical form.
II.2.D Kee(#%' the *!0#e%&e1" *tte%t#$%
The beginning and the end or the first and last parts of a talk are +hat
listeners +ill remember best. Think of +ays you can keep the audience>s attention
throughout the rest of the speech. :See part #<.;
II.2. E S#'%($"t#%' $r "#'%*+#%' .here )$! *re.
Dust as +hen you are dri)ing along a road that you don>t
kno+ )ery +ell4 you depend on signs to guide you4 you need to
guide the listener by using epressions to tell him0her +here you
are going. That is to say4 first announce +hat you are going to
say :gi)e an eample4 reformulate etc.; and then say +hat you
+ant to say. This is )ery like )erbal punctuation. #ndicate +hen
you ha)e finished one point and then go on to the net one. #t is
redundant in tet but )ery useful in oral presentations.
Eperienced presenters +ill also clearly pause4 change their stance and the pitch of
their )oice as they mo)e from one part of a presentation to another.
L#"t#%' #%3$r5*t#$%
Eists are often a necessary e)il. <ary your language +hene)er possible and a)oid
reading directly.
'here are three things we ha#e to $onsider8 one) two) and three.
9) :) C.
+ow let us loo( at the irst as1e$t whi$h is...
First o all)/
*n the irst 1la$e/
;
L#%9#%' #0e*", "e&t#$%":5*9#%' tr*%"#t#$%"
#ndicate the end of one section and the beginning of the net.
'hat's all * would li(e to sa" about... 2sub!e$t o 1art 93 and now let us turn to ....
+ow that we'#e seen... let us turn to/
7
Do not "se% in a first time% at first% at last% firstable.
O!t+#%#%' $(t#$%". #f there are alternati)e +ays of looking at a topic or proposal4
outline them to sho+ you are familiar +ith the different +ays of dealing +ith a
situation.
'here seem to be two 1ossible wa"s o dealing with this...
We'#e loo(ed at this rom the 1oint o #iew o the manua$turer but what about i
we were to...
9 number o o1tions 1resent themsel#es at this 1oint....
#f +hat you are dealing +ith demands a comparison of strengths and +eaknesses
indicate clearly the different aspects and underline the points you feel are important
or secondary.
What e0a$tl" are the beneits?
On the 1lus side we $an add...
'his is not the onl" wea(ness o the 1lan...
We $annot ignore the 1roblems that su$h an a$tion would $reate...
We do not need to $on$ern oursel#es with/
O lesser interest are/
T$ 2e &+e*r *%0 &$%&rete. Use eamples4 rephrasing4 summaries etc.7
T$ '#7e *% e;*5(+e<
+ow let's ta(e an e0am1le.
9n e0am1le o this $an be ound...
'o illustrate this/
Let's see this through an e0am1le.
For e0am1le)
For instan$e)
e.g.
T$ re(hr*"e<
Let me re1hrase that)
*n other words
9nother wa" o sa"ing the same
thing is
'hat is to sa"
i.e.
T$ "!55*r#=e<
'o summari<e
'o sum u1)
Let me summari<e b" sa"ing
So that $on$ludes m" o#er#iew
*n $on$lusion
:riel" said
*n short)
What *'#e tried to show in this 1art...
'o re$a1 what we'#e seen so ar...
T$ e5(h*"#=e
What is #er" signii$ant is...
What is im1ortant to remember...
*'d li(e to em1hasi<e the a$t that...
*=d li(e to stress the im1ortan$e o...
to highlight...
to underline...
What * tried to bring out...
What we need to o$us on...
T$ re3er t$ .h*t )$! h*7e "*#0
(re7#$!"+)<
9s * ha#e alread" said earlier...
9s we saw in 1art one...
'o re1eat what *'#e said alread"/
T$ re3er t$ .h*t )$! .#++ "*)<
We will see this a little
later on.
'his will be the sub!e$t o
1art ..
We will go into more
detail on that later.
For now) sui$e to sa"...
T$ re3er t$ .h*t *%
e;(ert "*)"<
* 6uote the words o ...
*n the words o/
9$$ording to...
Here *'d li(e to 6uote/
9s %r. , sa"s in his boo(...
'here is a amous 6uotation that
goes...
T$ re3er t$ &$55$% 9%$.+e0'e<
9s "ou all ma" well (now...
*t is generall" a$$e1ted that...
9s "ou are 1robabl" aware 2o3...
II.> THE END OR CONCLUSION
The end of a talk should ne)er come as a surprise to an audience5 it needs
special consideration.
II.>.A C$%te%t
The end or the conclusion of your talk should include four parts7 a
brief reminder of +hat you tried to sho+ in your speech and ho+ you tried
to do so4 a short conclusion4 thanks to the audience for listening4 and an
in)itation to ask 2uestions4 make comments or open a discussion.
F
1t the end you should briefly summariAe your speech in a fe+ lines to make
sure the audience has retained the main points. 1lternati)es are7 to state the
point of the speech5 gi)e the essential message to retain5 list the main points
and +hat you +ant the audience to remember5 re)ie+ informally or indirectly by
using a 2uote4 a comparison or eample.
Then you should gi)e some kind of conclusion. That is to say you should
gi)e a message that logically comes out of the ideas de)eloped in your speech.
This could be a commentary4 the lessons learned4 some recommendations4 or the
net steps. ?ou could also make a call to action5 the audience should ha)e to do
something.
Thirdly4 thank the audience for being there.
Ginally4 ask for 2uestions and comments or in)ite a discussion. #f you
choose the former4 you put yourself in a superior position compared to the
audience and should be considered as an epert. ?ou +ill need to be )ery
prepared intellectually and psychologically to transfer control to the audience and
be able to ans+er any 2uestions. -o+e)er4 in the case of the latter4 you put
yourself more or less on e2ual terms +ith the audience and do not ha)e to be
the epert +ith all the ans+ersB The audience may ha)e some clear ideas or
some practical kno+ledge about the sub(ect themsel)esB
.aturally you need to signpost the end of your talk. This may take the form of
a recapitulation of the main points.
*'d li(e to summari<e&sum u1
9t this stage * would li(e to run through&o#er the main 1oints...
So) as we ha#e seen toda"....
9s * ha#e tried to e01lain this morning :' inds itsel in....
Or there may be recommendations or proposals that you +ish to make5
9s a result we suggest that/
*n the light o what we ha#e seen toda" * suggest that...
%" irst 1ro1osal is...
1bo)e all +hen you conclude do not do it abruptly or as if surprised to get
to the end of your talk.
*n $on$lusion * would li(e to sa" that...
%" inal $omments $on$ern...
* would li(e to inish b" reminding e#er"one that...
8
2o not introd"ce ne# information.
?ou may at this point +ish to distribute a )ocabulary list or more detailed
information that you +ish to make a)ailable.
*'#e 1re1ared a slim older o the 1ro1osals...
*n the sheets that are now being distributed "ou will ind a brea(down o
the...
1nd finally you may +ell ha)e to deal +ith 2uestions.
*'d be ha11" to answer an" 6uestions....
* there are an" 6uestions 1lease eel ree to as(.
'han( "ou #er" mu$h or "our attention and i there are an" suggestions or
$omments
?
II.>./ De*+#%' .#th 0#33#&!+t !e"t#$%"
%. "ake sure you understand the 2uestion.
6 1sk a 2uestion to see if you understand
6 Repeat the 2uestion in your o+n +ords to check that you ha)e
understood.
6 if not4 ask the 2uestioner to repeat
*. #n ans+ering7
6 delay the ans+er :ask for time and0or repeat the 2uestion;
>ust a minute 1lease. What is a...?
How $an * 1ut it?
*'m glad "ou as(ed that 6uestion.
'hat's a good 6uestion&1oint&remar(.
Can * answer that 6uestion later?
6 admit that you are not responsible.
* saw that in the wor( o/
6 agree but gi)e an alternati)e point of )ie+
* agree with "ou but there is another wa" o loo(ing at it.
II.@ SUMMARY OF PART II
To gi)e a successful presentation and at the same time a good image of yourself
or your firm4 careful preparation and organiAation are re2uired. ?ou need to take into
consideration +ho you are speaking to4 +hen4 +here4 and +hy4 as all of these details
+ill ha)e an impact on your structure and content. 1 +ell=structured speech +ith a
step=by=step approach is one that is easy to follo+. 9esides structure4 it is also
necessary to be relati)ely repetiti)e. 1 good >rule> is announce +hat you are going to
say4 say it and finally4 say +hat you>)e said.
9e careful +ith the figures. Hronunciation :proper names4 cognates4 numbers;
and presentation are important4 practice beforehandB This is e2ually important for the
key +ords of your presentation. #t is particularly annoying for the audience to hear the
same +ord mispronounced repeatedly.
#n addition to careful preparation = good structure and )ocabulary I and
organiAation4 a message passes in other +ays. 1ccording to eperts 66J of the
message is non=)erbal. Using images :)isuals;5 body language and )oice are etremely
important and +ill be eamined in the follo+ing sections.
9
Palmer is ery good on tactics to employ in dealing #it! diffic"lt :"estions. ,See bibliograp!y-
K
III. VISUALS
,h*t *re 7#"!*+"-
6 graphs charts
6 maps photos
6 dra+ings images
6 models )ideo0film
6 ob(ects
,h*t 5e0#* *re !"e0-
6 transparencies0slides
%,
6
Ho+er Hoint

slides
6 )ideo pro(ection0pro(ector
6 handouts
#t is often a good idea to gi)e out a paper copy4 called a handout4 an
outline4 a glossary of key +ords4 sources4 any other )isuals you plan to use4
so people can take them a+ay4 not +aste time in taking notes on key
concepts.
,h*t #" the 7$&*2!+*r) $3 the e!#(5e%t !"e0-
6 blackboard4 +hiteboard4
paperboard
6 chalk4 felt tip pen or marker4
eraser
6 podium4 lectern4 o)erhead4
6 o)erhead pro(ector system :O-H;
6 screen
6 pointer
6 microphone4 mike
6 opa2ue pro(ector
,h*t "h$!+0 )$! (!t $% * 7#"!*+-
6 key +ords
6 technical +ords
6 lists
6 eamples
6 diagrams
6 charts
V$&*2!+*r) $3 'r*(h":&h*rt
6 line graph :algorithmic4 linear
cur)e4 line;
6 bar chart
6 flip chart
6 diagram
6 pie chart :segment4 slice of the
pie;
6 flo+ chart
6 organiAation chart
9
0e !ae tried to gie an oerie# of is"als !ere. 4or more information on describing is"als% especially
grap!s and t!e moement of t!e c"re on a grap!% see Simon S#eeney in bibliograp!y.
10
(!ere is some resistance to t!e "se of Po#erpoint; eery#!ere. Criticism incl"des t!e pre<formatting%
"bi:"ity% b"lleted ideas% boredom% lack of personal style and so on. ,See Parker% $an. =Absol"te Po#erpoint>.
(!e /e# ?orker% May 29% 2001% pp. 87<9'.-
,h) !"e 7#"!*+"-
6 to focus the audience>s attention
6 to illustrate points easier to understand in )isual form but difficult in a )erbal form
:e.g. statistics;
6 to reinforce ideas
6 to change focus from aural0oral to )isual
6 to in)ol)e and moti)ate the audience
6 to in)ol)e all the senses
6 to ser)e as logical proof
6 to sa)e time and a)oid putting information on a board
6 to a)oid turning your back to the audience +hen +riting on a board
6 to help the speaker
Te;t t$ (!t $% * 7#"!*+
6 name4 conference0company and company logo4 date4 title of presentation. Try to
do this consistantly but not to the detriment of a table or image.
6 full sentences are not to be used4 unless a 2uote is gi)en4 gi)e round figures
6 ..9. keep tet to a minimum
S#=e, +*)$!t, 3$%t 4t)(e3*&e6 *%0 "#=e, &$+$r".
6 SiAe = 13
6 Eayout should be pleasant and easy to read7 horiAontal0landscape layout is
preferable.
6 Gonts7 1riel4 -el)etica4 Times .e+ Roman4 Gutura4 Optima4 <erdana4 .e+ Century4
Schoolbook and Courier. Some companies impose a particular style.
6 Gont siAe = maybe *, or more depending on the siAe of the room you +ill be
speaking in. 1 good idea is to use different siAes for different types of tet7 i.e.
*, for main headings4 %L for subheadings4 %3 for other tet.
6 Use C1H#T1E EETTERS4 2$+0 3*&e4 itali$s4 underlining4 re)erse :+hite on black;
or shading to highlight.
6 #f possible4 use color transparencies :unless you are (ust sho+ing tet;.
H$. 5*%)-
One e)ery t+o minutes is sufficient. To sho+ too many slides is +orse than none at
all.
Ge%er*+ *%0 5#"&e++*%e$!" t#(".
-a)e the slides ready and in order.
Check to see if the O-H is plugged in4 in +orking order and in focus.
Test the )isual to see if people at the back of the room can see it.
Stand to the side of the screen and face the audience.
"ask to re)eal only +hat you +ant the audience to see.
Use a pointer or a pen to dra+ attention to a specific point.
<isuals should be ad(usted to the audience.
<isuals should supplement the spoken message.
Earge enough for e)eryone to see. :@ood idea to gi)e out a paper copy4 i.e. a handout4
not at the same time though4 as the audience may not look at you;
8on>t display too much information4 too many colors or typefaces.
8oes the layout +ork'
1re there any spelling mistakes or grammatical errors' Remember they are going to
be in plain )ie+ all the time of your )isual.
H$. "h$!+0 )$! (re"e%t * 7#"!*+ #% * (re"e%t*t#$%-
#t is not sufficient (ust to put up a transparency on the screen and epect the
audience to turn its attention to it4 to understand it and make the link +ith +hat you
are saying. :See Gi#ing 7resentations Unit. 3; &e +ould suggest the follo+ing
strategy7
#t is important to prepare your audience for +hat they are going to see. This
keeps the audience on their toes and gi)es you the opportunity to position your
)isual correctly.
Let's loo( at the $urrent distribution o the mar(et) as "ou $an see...
*'m going to show "ou now the most re$ent igures a#ailable...
%" ne0t slide $on$erns the method b" whi$h...
Remember to dra+ the attention of the audience to the points that you +ish to
highlight but a)oid redundancy by describing e)erything that is in the )isualB
9s "ou $an see....
'he irst line o igures is the most re#ealing...
+oti$e&obser#e how the in$rease has had an ee$t on the...
What is im1ortant here is the wa" that...
?ou can also try to rephrase your point to gi)e it emphasis4 gi)ing the audience
time to absorb the information.
*n other words the number o em1lo"ees has a dire$t ee$t on the...
Or to loo( at it in another wa" e#er" time "ou...
'hat is to sa" no matter what te$hni6ue is used) the results remain
IV. CREATING INTEREST AND ESTA/LISHING A RELATIONSHIP ,ITH THE
AUDIENCE
8o not assume the audience +ill be interested in +hat you ha)e to
say. E)en if they are4 minds +ander and get distracted. Grom the )ery
beginning you need to create interest and continue doing so throughout
your speech. ?ou need to put e)erything on your side to promote
kno+ledge ac2uisition. #n informing an audience you ha)e to ad(ust to
+hat people think4 to constraints4 maintain a dialogue :and not a
monologue; and use attracti)e supporting materials. -o+ can you do this'
6 1rouse listeners> interest from the beginning. #n the introduction sho+ ho+ your
sub(ect or +hat you are going to say affects or may affect their li)es. #n other
+ords4 make it personal.
6 Other techni2ues are7
@i)e an unusual fact or statistic.
Use +ords like "ou) we) us) our.
#llustrate +ith a real life story or anecdote.
1sk the audience to do something. MRaise your hands if you kno+.M
1sk the audience direct or rhetorical 2uestions. :See belo+;
6 Other tips7
9e brief and clear in gi)ing the sub(ect and purpose.
The speakerCs attitude is important = kno+ledge4 personality4 openness. 9e
li)ely and enthusiastic.
Use a )ariety of media sources.
Rhet$r#&*+ !e"t#$%"
&hat is a rhetorical 2uestion' 1 2uestion that you ask +ithout epecting it to be
ans+ered. &hy use such a 2uestion' #n using such a 2uestion the speaker appears to
be ha)ing a dialogue +ith the listeners. #t also should catch their attention.
Ha#e "ou e#er seen&heard&e01erien$ed...?
How $an we e01lain this?
What does that mean?
What $an be done about that?
What does this im1l" or "ou) as a $onsumer?
E5(h*"#=#%':h#'h+#'ht#%'
6 Say something is important.
'he im1ortant thing to remember is...
'he essential element is...
6 Stress )erbs +ith your )oice.
We e01erimented with the $on$e1t o#er a 1eriod o three "ears.
6 1dd auiliary )erbs for emphasis.
We did see a noti$eable dieren$e.
6 Change the +ord order
What *'d li(e to show toda" is the dieren$e between the two 1rodu$ts.
Good it ma" be) eas" it isn't.
6 Repetition
9s *'#e said beore...
Let me re1eat
6 Tripling4 chunking and other techni2ues of +ord play and emphasis should be used
%%
as you become more fluent and confident.
'his method is $learer) $hea1er and more $onsistent.
?ualit" is not something that ae$ts the bottom line) it is the bottom line.
11
4or more of t!is see Mark Po#ell in bibliograp!y.
V. /ODY LANGUAGE
The golden rule is M9e natural and relaBM
,h*t #" 2$0) +*%'!*'e-
Eye contact4 facial epressions4 posture4 mo)ements4
gestures.
,h) #" #t !"e3!+-
#t is a natural part of communication7
6 to clarify meaning5 it is )ery )isual
6 to )ent ner)ousness
6 to maintain interest
6 to emphasiAe and regulate
9elo+ are (ust a fe+ eamples of both positi)e and negati)e body language7
P$"#t#7e 2$0) +*%'!*'e
6 eye contact to keep audiences> attention :1sian audience might feel aggressed.;
6 facial epressions should be natural and friendly. 8on>t forget to smile.
raise eyebro+s to sho+ surprise
open eyes +ide
s2uint your eyes
knit your eyebro+s to sho+ consternation or puAAlement
6 posture I stand straight but relaed :do not slouch or lean;
6 mo)ement = to indicate a change of focus4 keep the audience>s attention
mo)e for+ard to emphasiAe
mo)e to one side to indicate a transition
6 gesture
up and do+n head motion or other mo)ements to indicate importance
pen or pointer to indicate a part4 a place :on a transparency;.
shrug of the shoulders to indicate M# don>t kno+BM
hands = back and forth N t+o possibilities4 more or
less arm = mo)ement back4 forth
Ne'*t#7e 2$0) +*%'!*'e
6 loss of eye contact7 looking at notes4 looking at screen4 at the board4 at the
floor
6 don>t stare4 or look blankly into people>s eyes
6 s+aying back and forth like a pendulum
6 back turned to the audience
6 ner)ous ticks
6 hands in pockets
VI. VOICE AND PRONUNCIATION
Correct pronunciation is important if one is to be understood correctly. #ncorrect
pronunciation is perhaps the first cause of communication breakdo+n. #f the listener is
not accustomed to the speakerCs nati)e language4 he0she +ill not understand a
mispronounced +ord. "ispronunciation also tires the listenerCs ear and he0she +ill
perhaps e)en stop trying to understand the speaker if it becomes too difficult.
VI.1 ,h*t #" (r$%!%&#*t#$%-
There are t+o important aspects of pronunciation of
indi)idual +ords4 +ord stress and the indi)idual sounds
themsel)es called MphonemesM.
%*
1 suggestion7 make
sure you kno+ ho+ to correctly pronounce at least the key
technical +ords or +ords that your repeat o)er and o)er
again in your speech.
Dust as in the case of indi)idual +ords in English a
particular syllable recei)es stress4 so do particular +ords in
a sentence. Sentence stress concerns stressing particular +ords in a sentence usually
at regular inter)als.
%/
English speakers stress +ords that are important for meaning
such as7 nouns4 )erbs4 ad(ecti)es4 ad)erbs4 negati)es4 demonstrati)es and
interrogati)es. Unstressed ones include articles4 auiliary )erbs4 prepositions4 and
con(unctions.
L#%9#%' = :as in Grench; bet+een a consonant and the follo+ing )o+el and grouping
+ords into th$!'ht 'r$!(" = needs to be practiced.
%3
#n the area of pronunciation4 the basic problems of Grenc h speakers are7
%. &ord and sentence stress = not all syllables in a +ord or in a sentence are
stressed e2ually.
*. #n unstressed syllables the )o+el often becomes shorter :sch+a7 e.g. man in
@erman;.
/. Eong English sounds are much longer than corresponding Grench sounds and the
short sounds of English are shorter than Grench short sounds.
3. The )oice is used to indicate meaning4 and intonation is higher or more glided in
English.
VI.2 V$#&e
The )oice4 or more precisely the 2ualities of the )oice4 should be used to its0their
fullest.
%6
Oualities include loudness4 speed :fast or slo+;4 )ariety4 pitch :high or lo+;4
silent moments or pauses. The )oice is important7
6 to indicate importance4 meaning
6 to create atmosphere and to a)oid sounding monotonous and putting the audience
to sleepB
12
See Carl Storz. @nglis! Pron"nciation /otebook for (elecomm"nications St"dent s . @ry) $/(% 1AA'.
13
4or e3cellent practice #ork in t!e conte3t of eeryday e3pressions% see Carolyn Bra!am.Small (alk Cazz C!ant s .
O3ford) ODP% 1A97
14
See C"dy E. Bilbert. Clear Speec !. Cambridge) CDP% 1A9+.
15
See (ony Fync!. St"dy Fistenin g . Fondon) CDP% 1A97.
19
Carl Storz et al. Oral Presentation Skills Aot 2002
VII. /I/LIOGRAPHY
Gor etra practice in preparing for an oral presentation :or English in general; +e
ha)e used and +ould suggest the follo+ing titles4 many of +hich are all a)ailable in
the Eanguage Resource Center. :E%,/;
O% $r*+ (re"e%t*t#$%<
C$!r"e 5*ter#*+" 3$r +e*r%er" $3 E%'+#"h<
Comfort4 Deremy and 8erek Utley. :?ork 1ssociates; Ee$ti#e 7resentations. Oford7
OUH7 %KKL.
Ellis4 "ark P .ina O> 8riscoll. Gi#ing 7resentations. -arlo+7 Eongman4 %KK*.
-o+e4 9rian. @isitron) the Language o 7resentations. -arlo+7 Eongman4 %KQ6.
Eynch4 Tony. Stud" Listening. Eondon7 CUH4 %KQL.
Ho+ell4 "ark. 7resenting in English. -o)e7 ETH4 %KKL.
S+eeney4 Simon. English or :usiness Communi$ation. Cambridge7 CUH4 %KKF.
Other 2$$9" $% $r*+ (re"e%t*t#$%
@lickstein4 Eee. :e Heard +owA .e+ ?ork7 9road+ay 9ooks4 %KKQ.
-endricks4 8r. &illiam et al. Se$rets o 7ower 7resentations. Granklin Eakes4 ..D.7
Career Hress4 %KKL.
Slutsky4 Deff and 1un4 "ichael. 'he 'oastmasters *nternational Guide to Su$$essul
S1ea(ing. Chicago7 8earborn Ginancial Hublishing4 %KKF.
&ilder Claudyne and Dennifer Rotondo. 7oint) Cli$( B WowA 9 ?ui$( Guide to :rilliant
La1to1 7resentations. *nd Edition. -oboken4 ..D.7 Dossey=9ass4 *,,*.
O% (r$%!%&#*t#$% *%0 the 7$#&e<
@ilbert4 Dudy 9. Clear S1ee$h. *
nd
Edition Cambridge7 CUH4 %KK/.
@raham4 Carolyn. Small 'al( >a<< Chants. Oford7 OUH4 %KQL.
Ho+ell4 "ark. 7resenting in English. -o)e7 ETH4 %KKL. See !Using ?our <oice$ :Section
/;
Rodenburg4 Hatsy. 'he Right to S1ea(8 wor(ing with the #oi$e. Eondon7 "ethuen4
%KK*.
StorA4 Carl. English 7ronun$iation +oteboo( or 'ele$ommuni$ations Students. E)ry7
#.T4 %KK/.
"any &eb sites :mostly gi)e more or less the same information; :checked K0*,,*;
http700+eb.mit.edu0+riting0&ritingRTypes0oral.html
http700fbo.)t.edu0eng0mech0+riting7+orkbooks0)isuals.html
:on )isuals;
http700rpi.edu0dept0llc0+ritecenter0+eb0presentation.html
http700+riting.colostate.edu0references0speaking.cfm
http700business.englishclub.com0presentations.htm
F*5$!" "(ee&he"
= Speech 1rchi)es M-ear the &ords that Changed the &orldM =. ?ou can listen to
important speeches in :especially US; history.
P$"ter "e""#$%" :1 poster is a particular type of presentation and not (sut a )isual.;
http700+riting.colostate.edu0references0speaking.cfm0posters0
http700+++.gmu.edu0departments0+ritingcenter0ppt0inde.htm
O% 2$0) +*%'!*'e
9aylon C. et S. "ignot. La $ommuni$ation. Haris7 Gernand .ahan4 %KK3. <oir
spTciallement <. !Communication U courte et U longue portTe$. :#.T K.3K*;
9ou)et4 8anielle. La dimension $or1orelle de la 1arole. Haris7 Heeters4 *,,%.
9ull4 Heter. !&hat does gesture and to the spoken +ord' #n 9arlo+4 -. et al. *mages
and Cnderstanding. Cambridge7 CUH4 %KK,. :#.T K.63;
Cabin4 Hhilippe. La Communi$ation. Etat des sa#oirs. Haris HUG4 %KKQ. :#.T K.3K*
C19;.