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Better Brainstorming
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Product # 7541
Introduction
This collection of articles from the pages of HMCL offers time-tested tips from the
experts on how to minimize your discomfort and maximize your impact when giving
a presentation. Youll be able to put these insights and practical suggestions to work
immediately. Whether it is getting the most from presentation software, or beginning
a presentation with sizzle, or using theatrical techniques to bring energy to your talks,
youll find a host of useful ideas in these pages.
Good luck with your next presentation.
Nick Morgan
Editor
Harvard Management Communication Letter
Copyright 2000 by the President and Fellows of Harvard College. All rights reserved.
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Copyright 1998 by the President and Fellows of Harvard College. All rights reserved.
H A R VA R D M A N A G E M E N T C O M M U N I C AT I O N L E T T E R D E C E M B E R 1 9 9 8
H A R VA R D M A N A G E M E N T C O M M U N I C AT I O N L E T T E R D E C E M B E R 1 9 9 8
Further Reading:
Aesops Fables, illustrated by Charles Santore
(1997,Random House,$20.00,
Tel.800-726-0600 or 212-572-6117)
Bright Air,Brilliant Fire:On the Matter of the Mind
by Gerald M.Edelman (1993,Basic Books,304 pp.,$18.00,
Tel.800-242-7737 or 212-207-7000)
DescartesError:Emotion,Reason,and the Human Brain
by Antonio Damasio (1995,Avon Books,
$13.50,Tel.800-223-0690)
How to Write and Give a Good Speech:A Practical Guide for
Executives,PR People,Managers,Fund-Raisers,Politicians,
Educators,and Anyone Who Has to Make Every Word Count
Web sites:
Two practitioner Web sites are:
www.joandetz.com and www.speechwriting.com.
Both will help you write those speeches
for which you want an expert touch.
Another Web resource is
www.executive-speaker.com.
This site is both a clearinghouse and a library
containing more than 5,700 executive speeches,
indexed and cross-referenced by keyword and subject.
In addition,the site has links to speech writers and
to newsletters specializing in speechmaking.
H A R VA R D M A N A G E M E N T C O M M U N I C AT I O N L E T T E R N O V E M B E R 1 9 9 9
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Why?
Copyright 1999 by the President and Fellows of Harvard College. All rights reserved.
11
Next,the argument
Heres where you present the proofs, or
supporting logic for your point. This
section is probably the most important
part of the speech for bringing your
audience around to your point of view.
Remember that audiences can recall
very little of what they hear, so keep
your factual evidence to the necessary
minimum, and your main arguments to
three or four at most. More than that
will actually weaken your case, because
your audience will become exasperated
with you, and begin to believe that you
are trying to bolster a weak argument
with every point you can think of.
It is helpful to provide transitional
comments throughout this section in
order to help guide your audience
through your arguments. There are
three reasons for the great increase in
12
Finally,the finale
The conclusion should focus not on
summing up your arguments or your
speech, but rather on an appeal to the
listeners for their understanding, their
action, their approvalwhatever it is
you want them to do or think as a result
of hearing your talk. The Greeks were
very clear that a summary was not wanted here. Dont fall into the trap of telling
your audience what you said. Your audi-
Remember Corax?
Armed with the Greek model, you are
ready to take on any presentationor
even lawsuitthat the modern age can
throw your way. Corax apparently took
his own advice, and ended up in court.
A teacher of rhetoric, he guaranteed
results if his pupils used his Techne and
took his course to the end. One of his
students, Tisias,
was unhappy
with the results
and refused to
pay. Corax took
him to court.
The essence
of the
narrative is
a story. Here,
you must get
to the heart
of the matter.
H A R VA R D M A N A G E M E N T C O M M U N I C AT I O N L E T T E R J A N U A R Y 1 9 9 9
Further Reading:
Classical Communication for the Contemporary
Communicator by Halford R.Ryan (1992,MayfieId
Publishing,244 pp.,$35.95,Tel.800-433-1279)
Lend Me Your Ears:Great Speeches in History
edited by William Safire (1997,W.W.Norton,
1,056 pp.,$39.95,Tel.800-233-4830)
Triads The Greeks noticed early on that people are attracted to lists of three
items. Call it the Fairy Tale Rule of Threes or simply a triad, a group of
three seems to our minds complete and satisfying. No one is quite sure why.
The end of Martin Luther Kings famous I have a dream speech (August 23,
1963) illustrates the point: When we let freedom ring, when we let it ring
from every village and every hamlet, from every state and every city, we will
be able to speed up that day when all of Gods children, black men and white
men, Jews and Gentiles, Protestants and Catholics, will be able to join hands
and sing in the words of the old Negro spiritual, Free at last! Free at last!
Thank God Almighty, we are free at last!
Antithesis Antithesis is unfortunately underused today. Yet it is a particularly
elegant form of expression, and one which people remember vividly. Consider the ending of President Kennedys Inaugural address, January 20, 1961
(the entire speech is laced with antithesis, but the ending has particular potency because it talks directly to the audience): And so, my fellow Americans, ask not what your country can do for you; ask what you can do for your
country.
Rhetorical Question Rhetorical questions draw listeners in to your topic, because
they call for answers, even if they are not uttered out loud. Consider the peroration of Patrick Henrys famous speech of March 23, 1775, a speech that literally ignited a revolution as the Virginia delegates assembled that day voted
after hearing it to join the patriot cause: It is in vain, sir, to extenuate the matter. Gentlemen may cry, Peace! Peace!but there is no peace. The war is
actually begun! The next gale that sweeps from the north will bring to our ears
the clash of resounding arms! Our brethren are already in the field! Why stand
we here idle? What is it that gentlemen wish? What would they have? Is life so
dear, or peace so sweet, as to be purchased at the price of chains and slavery?
Forbid it, Almighty God! I know not what course others may take, but as for
me, give me liberty, or give me death!
H A R VA R D M A N A G E M E N T C O M M U N I C AT I O N L E T T E R J A N U A R Y 1 9 9 9
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Handling Q&A:
The Five Kinds of Listening
15
Handling Q&A:
The Five Kinds of Listening
F OR MANY SPEAKERS , the most frightening part of the presentation is the
unscripted part: the question and
answer session at the end. While some
thrive on the improvisatory challenge,
others fear the nightmare possibilities.
What if someone asks you a question
you cant answer? What if someone
turns hostile? What if someone wipes
out the memory of all your hard work
by monopolizing the Q&A with a long
disquisition on some other topic?
Well give you specific suggestions for
each of those situations, but first lets
consider the reason you gave the
speech in the first place. Most likely,
you were asked to speak to a particular
audience. You wrestled with the topic,
did your homework, calmed your
nerves as best you could, and set off to
find the podium. So far, its all been
about you. But as soon as you arrive in
the room to face the crowd, something
changes. The speech is no longer about
you. Its about them. Once the speech
starts, you need your listeners more
than they need you. Without them, its
just a rehearsal.
Fast forward to the end of the talk.
Its time for Q&A. Now, youll find
out how well you did. Did you in
fact communicate?
The only way to know is to listen. Handling Q&A successfully depends on
good listening. Good listening is a skill
that can be developed, and one that is
poorly understood by most speakers.
There are five levels of listening: feedback, paraphrasing, clarification,
empathy, and active listening. Most of
us are adept only at the first level.
Developing your skills at the other levels will greatly increase the comfort
and ease with which you handle question-and-answer time.
Giving feedback
Feedback is fundamentally a reaction.
The other person says something, and
you say something back, giving your
attitude toward or evaluation of what
was said.
Youre a senior manager, and you are
responsible for developing a new software product that is late to market and
way over budget. Youve been asked to
rally the troops and give them some
hope, a way forward, assurance that the
proverbial light at the end of the betaversion tunnel isnt the Microsoft train.
You finish your talk with some stirring
words about pioneers and landing on
the moon that you hope didnt sound
too goofy under the circumstances, and
its time for Q&A. The first question
comes from a quiet looking guy in
the back.
Like I said, were committed to getting you more people. Were frankly
struggling to hire as many people as we
need. We can use your helptell your
friends. As for the rest of it, we just
dont have more money to throw at the
project now. And wed like to think
weve gotten as much of the bureaucracy out of the way as we can. After all,
we set you up in a separate building to
get away from the stuff that goes on
around here. Next question?
Copyright 1999 by the President and Fellows of Harvard College. All rights reserved.
17
Empathetic listening
The fourth level, listening with empathy, means showing that you understand the feelings of the questioner. The
empathetic listener finds similar emotions within his or her own experience
and shares them with the questioner.
Lets see how that would work in
this example.
You know, Ive been there, too. Dont
forget I worked in a start-up in 92, one
that was strapped for people and
drowning in red tape too. I know what
youre going through.
Empathy has the inestimable advantage
over the first three levels of listening in
that it shows the other person that you
understand his situation. Even if you
cant offer much help, at least youve
aligned yourself with the questioner.
That in itself can go a long way to
defusing hostile questions and reassuring nervous audience members.
The danger with empathy is that your
own expression of solidarity can overwhelm the questioners words. He may
end up feeling upstaged. Take care that
your empathetic response doesnt last
longer than the question that triggered
it, or your answer may sound insincere.
The fifth and final level of listening
avoids this trap.
Active listening
With active listening, you identify the
underlying emotions in the questioners
words. This is potentially the most powerful listening response, because it is
usually emotion behind the phrases that
prompted the question in the first place.
When you respond to the real reason
that the questioner spoke up, you get to
the heart of the issueeven if you never
provide any concrete answer. Lets see
what the active listener would say in
our example.
It sounds like you feel really alone out
there, without much support. Youre
18
H A R VA R D M A N A G E M E N T C O M M U N I C AT I O N L E T T E R F E B R U A R Y 1 9 9 9
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Copyright 1999 by the President and Fellows of Harvard College. All rights reserved.
Further Reading
Lend Me Your Ears:Great Speeches in History
edited by William Safire (1997,W.W.Norton & Company,
1056 pp.,$39.95,Tel.800-233-4830)
21
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23
Edward R.Tufte, The Visual Display of Quantitative Information (Cheshire, Connecticut: Graphics Press, 1983)
25
Edward R.Tufte, The Visual Display of Quantitative Information (Cheshire, Connecticut: Graphics Press, 1983)
Charles Minards map shows the shrinking size of Napoleons army en route to Moscowand its disastrous return.
Napoleons army as it marched across
Russia (see above). The map, which
Tufte believes may be the best statistical graphic ever drawn, shows a line
that narrows in proportion to the thinning of the troops. It also plots the
bone-numbing temperatures of the
march day by day, showing the
weathers toll on Napoleons men.
Yet many graphics fail to have such
impact. While todays personal computer software packages, with their doit-yourself graphics and programs to
manipulate images, have put graphics
capabilities into many peoples hands,
these capabilities are often misused.
26
H A R VA R D M A N A G E M E N T C O M M U N I C AT I O N L E T T E R A P R I L 1 9 9 9
Further Reading
Envisioning Information by Edward Tufte
(1990,Graphics Press,126 pp.,$48.00,
Tel.800-822-2454 or 203-272-9187)
The Visual Display of Quantitative Information
by Edward Tufte (1983,Graphics Press,197 pp.,$40.00,
Tel.800-822-2454 or 203-272-9187)
Visual Explanations:Images and Quantities,
Evidence and Narrative by Edward Tufte
(1997,Graphics Press,156 pp.,$45.00,
Tel.800-822-2454 or 203-272-9187)
27
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29
Kathy Lubar
But knowing
who you are
and what you
stand
for
Belle Linda Halpern
helps to give
you presence and credibility in any situation.
Copyright 1999 by the President and Fellows of Harvard College. All rights reserved.
31
Presence, continued
32
H A R VA R D M A N A G E M E N T C O M M U N I C AT I O N L E T T E R M AY 1 9 9 9
Presence, continued
H A R VA R D M A N A G E M E N T C O M M U N I C AT I O N L E T T E R M AY 1 9 9 9
33
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35
Preparation is critical
Know your audience and setting.
Successful speakers know it is critical
to acquaint themselves with both
the audience and the setting before
making a presentation. Talk to a few
people who will be in the audience. Ask
who else will be attending and what
interests them. Find out what audience
members know about the topic. Discover ways this audience is similar to,
and different from, other groups you
have addressed.
Just as important, look over the setting
before your presentation. Find out
Copyright 1999 by the President and Fellows of Harvard College. All rights reserved.
37
38
20 Strategies for
Reducing Stagefright
Understand that your listeners want
you to do well.
Believe you know more than your
audience.
Familiarize yourself with the setting.
Get to know some members of the
audience before you speak.
Choose topics you know something
about.
Prepare your message; indeed,
overprepare.
Imagine questions that might be asked.
Memorize the first and last minutes
of your presentation.
Focus on your audience, not on yourself.
Dont practice in front of a mirror.
Never tell the audience you are nervous.
Label your physiological excitement as
positive rather than negative.
Talk positively about your presentation
to yourself.
Turn your energy into something
positive.
Get rid of your "rigid" rules about
speaking.
Be flexible and adaptive during your
presentation.
Understand that no presentation is
"that important."
Remember that you are not a good
judge of how nervous you appear.
Believe compliments on your
presentation.
Think! Plan ahead to avoid problems.
H A R VA R D M A N A G E M E N T C O M M U N I C AT I O N L E T T E R J U N E 1 9 9 9
Further Reading
Avoiding Communication:Shyness,Reticence,
and Communication Apprehension, edited by John A.Daly,
James C.McCroskey,Joe Ayres,and Timothy Hopf
(1997,Hampton Press,528 pp.,$32.00,Tel.800-894-8955)
Conquer Your Speechfright:Learn How to Overcome
the Nervousness of Public Speaking by Karen Kangas Dwyer
(1998,Harcourt Brace College Publishers,112 pp.,
$21.00,Tel.800-544-6678)
Overcoming Your Fear of Public Speaking:A Proven Method
by Michael T. Motley (1997,Houghton Mifflin,140 pp.,
$14.76,Tel.800-225-1464 or 978-661-1300)
Never Be Nervous Again by Dorothy Sarnoff with
Gaylen Moore (1987,Fawcett Columbine,216 pp.,
$11.00, available through local and online bookstores)
H A R VA R D M A N A G E M E N T C O M M U N I C AT I O N L E T T E R J U N E 1 9 9 9
39
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41
Units
350
300
Acme
250
Model X
200
150
Model Y
Co. B
Co. C
Co. D
Co. E
100
Model Z
50
Units
94
95
96
97
98
1992
1993
1994
1995
1996
1997
All figures from Power Pitches:How to Produce Winning Presentations Using Charts,Slides,Video & Multimedia by Alan Brown. Copyright 1997 by The McGraw-Hill Companies.Reprinted by permission of the
McGraw-Hill Companies.
Copyright 1999 by the President and Fellows of Harvard College. All rights reserved.
43
44
to take away a concept, support it visually with pictures. If you want someone
to follow directions, give them the
words with strong, active action verbs
so that they get the point.
Designing a good,
clear presentation
isnt rocket science,
says Lin Kroeger,
People who know
how to put together a
strong logical argument can put together
a good presentation.
A little bit of pruninggoing through and saying, If I
deleted this, would I lose anything?
always helps. The more you strip stuff
out, the more you make the presentation an interactive dynamic, which is
the ideal.
Further Reading:
The Complete Idiots Guide to Successful Business
Presentations (Complete Idiot's Guide) by Lin Kroeger
(1997,Alpha Books,352 pp.,$16.95,available
through local and online bookstores)
Power Pitches:How to Produce Winning Presentations
Using Charts,Slides,Video & Multimedia
by Alan L.Brown (1997,McGraw-Hill,185 pp.,$39.95,
Tel.800-722-4726 or 212-512-2000)
H A R VA R D M A N A G E M E N T C O M M U N I C AT I O N L E T T E R J U N E 1 9 9 9
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45
The Ten
Commandments
of Presentations
YOUVE JUST BEEN promoted. Congratulations. You gave yourself a weekend
to enjoy the feeling, and now Monday
has arrived with its new responsibilities. You have to address your new
team. Public speaking has always been
nerve-wracking for you, but this time is
special. You really want to make a good
impression right out of the starting
gate, and the team needs to be charged
up for the race ahead. For the first time
in your career, the stakes are beginning
to seem high.
Its time to learn what really makes a
successful presentation. Forget the
rules you learned in high-school debate
or college communication classes. Its
time for the rubber to hit the public
speaking road. Its time for the Ten
Commandments of Presentations.
whats
on
their mind
in the context
of the presentation. Take
their temperature. Move
in close to
selected parts of the audience, as close
as four feet. Youll get them back.
Copyright 1999 by the President and Fellows of Harvard College. All rights reserved.
47
Thou shalt neither read nor memorize a speech word for word.
The fastest way to kill an audience is to
read to them from a text at a podium.
Both the text and the podium separate
48
H A R VA R D M A N A G E M E N T C O M M U N I C AT I O N L E T T E R J U LY 1 9 9 9
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Better Brainstorming
BY REBECCA M. SAUNDERS
49
Better Brainstorming
The experts show how to breathe new life
into a familiar technique.
YOU HAVE BROUGHT together a group
of co-workers to come up with a new
software product to challenge Microsoft. Ideas flow readily at the start of
your brainstorming session, but then the
group seems to dry up. Worse, as you
look at the flip-chart of ideas, you dont
see any aha thoughts. What can you
do to recharge the group? Are there creative problem-solving and innovation
techniques that you can use to stimulate
new thinking? What did you do wrong
to wind up in this spot, anyway?
Here, brainstorming experts share with
us a few ways to keep ideas flowing and
make your brainstorming sessions
more productiveboth in quantity and
quality of ideas.
Invite innovative thinkers to your
meeting. Bryan Mattimore, author of
99% Inspiration and president of The
Mattimore Group in Stamford, Conn.,
admits it may be easier to facilitate a
group of people with whom you work
regularly, but he also points out that
that method could produce stale ideas.
Instead, assemble your firms superstars. While it may require more work
to manage the egos in the room, the
new perspectives they bring will make
it worthwhile. Arthur B. VanGundy,
author of Idea Power and head of the
creativity consulting firm VanGundy &
Associates (Santa Barbara, Calif.),
refers to these outsiders as brainboosters, and he suggests you might not
want to limit your selection to those
within your organization. To spark
group thinking, he proposes bringing in
people from outside the organization.
But try not to have more than five to
seven people in the room. If you do
have a large group, break it down into
smaller groups to work, then come
together to share ideas.
Dont allow good ideas to be discounted if they have flaws. Jack Ricchiuto, author of Collaborative Creativity and a creativity consultant in
Cleveland, points out that some good
ideas dont get the consideration they
deserve. They are flawed, or come with
baggage, perhaps. To ensure all ideas
make it to the flip-chart, Ricchiuto suggests beginning the session by telling
participants not to worry about implementation. The group can engage in
secondary problem solving once it has
identified a worthwhile solution to its
initial problem. Says Ricchiuto, Even
the most attractive idea has some
secondary problem. Participants
should be told to look at these simply as
opportunities to evolve good ideas into
great ones.
Copyright 1999 by the President and Fellows of Harvard College. All rights reserved.
51
52
Further Reading:
99% Inspiration:Tips,Tales,and Techniques for Liberating
Your Business Creativity by Bryan Mattimore (1993,
AMACOM,180 pp.,$17.95,Tel.800-262-9699 or
518-891-1500)
AHA! Ten Ways to Free your Creative Spirit and Find Your
Great Ideas by Jordan E.Ayan (1997,Crown Publishing,
256 pp.,$15.00,available through local and
online bookstores)
Collaborative Creativity:Unleashing the Power of
Shared Thinking by Jack Ricchiuto (1996,Oak Hill Press,
$12.95,available through local and
online bookstores)
Idea Power:Techniques & Resources to Unleash
the Creativity in Your Organization by Arthur B.VanGundy
(1992,AMACOM,246 pp.,$24.95,Tel.800-262-9699
or 518-891-1500)
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53
Broadway Meets
Wall Street
Theatre training for better business presentations
B L A M E I T O N rapid-fire MTV-style
television or the ever-faster barrage of
advertisements, e-mails, and telephone
calls, but business communicators need
more than words to vie for space in
their audiences clogged attention
spans. Increasingly, presenters are
embracing the idea of communication
as performance, and they are turning to
a logical source for guidance and inspirationthe theatre.
Most people who enter into theatrebased training will, sooner or later,
decide that they are being asked to
unlearn everything they ever thought
about presentations. Thats pretty close
to true, says Paul Basile, director of
marketing communications for the
Boston Consulting Group, who first
sought out theatrical training 10 years
ago and often recommends it to clients.
Any business conference is, or should
be, theatrical in the most positive sense.
It should be entertaining, compelling,
professional, memorable, and personal,
and its first concern should be for the
audience. Business presentations typically lack most of those attributes.
Martha Burgess, an actress and founder
of the Atlanta-based consulting company Theatre Techniques for Business
People, often encounters resistance
when businesspeople are introduced to
the concept. Wont they appear inappropriately melodramatic if they act
in the business setting? No, says
Burgess. Great actors feel real, honest
emotion. We businesspeople must
come from the same honest place
whether we are communicating on verbal or nonverbal levels. Melodrama
occurs when there is a detachment from
true feelings, when people put on
what they think they should be feeling.
Copyright 1999 by the President and Fellows of Harvard College. All rights reserved.
55
Dont hide
Actors are taught on Day One not to
commit the cardinal sin of turning their
backs on the audience. There is sound
reasoning behind this conventional
wisdom: if youre not facing the audience, it is impossible to maintain the
open communication channel on which
effective presenting depends. You need
to see the audience; the audience needs
to see you. Though perhaps less obvious, covering the midsection of the
body by crossing the arms or legs is
another form of hiding, Burgess notes.
Uncovering might heighten the feeling
of vulnerability, but it is crucial to connecting with an audience.
Technology has brought ever-fancier
ways of hiding. PowerPoint is a
killer, says Gifford Booth, a director at
the Actors Institute. One client had
been giving these hour-long presentations with 60 or 70 slides. They were
basically just reading the text that
appeared on the screen. No relationship
was formed with the audience. What
56
Be passionate
Passion is something one expects from
a performer of music or drama, but
from a business presenter? Absolutely,
says Booth. It doesnt mean you need to
shout and weep or leap about the
podium. It means communicating the
material with conviction, emotion, and
a natural level of animation. None of
that is possible without what Booth
terms a relationship with the materialbelieving in what youre saying.
Much of his coaching involves helping
executives find an approach to the subject that stokes their passion.
Case in point: Booth once worked with
a utilities executive who had to speak to
his companys union members about
safety rules, a seemingly mind-numbing subject. But Booth helped him find
an angle that aroused his passion; the
executives father had been a union
member, and because of that, he had a
real affinity for the rank-and-file and a
genuine concern for their well-being on
the job. He was able to turn a boring
lecture into an uplifting acknowledgment of the workers and their contribution to the company. All of a sudden, it
became his personal expression,
Booth says, and when an audience
hears someones personal expression,
theyre going to feel their time was
well-spent.
Rehearse
Rare is the theatre company that goes
into opening night without the director
running the cast through weeks and
weeks of rehearsals. The actors have
mastered their lines, places, and cues
H A R VA R D M A N A G E M E N T C O M M U N I C AT I O N L E T T E R D E C E M B E R 1 9 9 9
H A R VA R D M A N A G E M E N T C O M M U N I C AT I O N L E T T E R D E C E M B E R 1 9 9 9
Further Reading:
Fearless Presenting:A Self-Help Workbook for Anyone
Who Speaks,Sells,or Performs in Public by Eric Maisel
(1997,WatsonGuptill Publications,176 pp.,$16.95,
available through local and online bookstores)
57
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Public Speaking
According to the Experts
59
Public Speaking
According to the Experts
The latest word on successful speechmaking
A study of executives has revealed
that their number-one fear is public
speaking. Three experts recently
focused on different aspects of this difficult art, proposing several methods
for reducing fear and increasing success. Taken together, they offer a quick
course in a task that demands achievement on a number of different fronts
simultaneously.
Copyright 2000 by the President and Fellows of Harvard College. All rights reserved.
61
Further Reading:
How to Be a Great Communicator:In Person,on Paper,
and on the Podium by Nido R.Qubein (1997,John Wiley
& Sons,249 pp.,$16.95,Tel.800-225-5945)
Knockout Presentations:How to Deliver Your Message
with Power,Punch,and Pizzazz by Diane DiResta
(1998,Chandler House Press,300 pp.,$15.95,
available through local and online bookstores)
Wooing & Winning Business:The Foolproof Formula
for Making Persuasive Business Presentations
by Spring Asher and Wicke Chambers (1997,John Wiley
& Sons,224 pp.,$16.95,Tel.800-225-5945)
62
How should you deliver your masterpiece? Dowis advises making eye contact, pausing powerfully, and pronouncing words
correctly. Above all, dont forget to rehearse in front of someone
who will be reasonably honest about how youre doing. Many a
great written speech failed to have much impact because it was
poorly delivered.
Beginning with Dowis sensible advice will allow you to start
and end well. Isnt it worth the effort?
The Lost Art of the Great Speech: How to Write One, How to
Deliver It by Richard Dowis (1999, AMACOM, 272 pp.,
$14.95, Tel. 800-262-9699)
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