Professional Documents
Culture Documents
Contents
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ACKNOWLEDGEMENTS 9
INTRODUCTION 11
CHAPTER 1 13
My Father, My Hero
Woody Woodaman
CHAPTER 2 19
Reflections on the Inclusion of Women in Clinical Trials
Jean L. Fourcroy
CHAPTER 3 29
If you STILL don’t know what you want to be when you grow up…
Mona Homyk
CHAPTER 4 35
Teach to Learn
Edyta Frackiewicz
CHAPTER 5 41
How to Add Muscle to Patient Adherence Program Measurement
and Results
Andree K. Bates
CHAPTER 6 51
The ABCs of Effective Communication: Three Simple Principles
to Apply in Any Circumstance
Marie H. Tartaglio
CHAPTER 7 63
How to Deliver a Sensational Scientific Talk
Janet B. W. Williams
CHAPTER 8 77
Trial Drift Phenomena
Al O. Pacino II
CHAPTER 9 85
A Case Study in Preventing “Trial Drift”
TL Clarkgerman
CHAPTER 10 93
Regulatory, Clinical Trials and Welsh Farmers!
Elias Nyberg
CHAPTER 11 101
Climbing the Ladder with a Chronic Illness
Vaira Altergott
CHAPTER 12 107
Embracing Change
Susie Szembek
CHAPTER 13 113
You work from home ~ I am so jealous!
Mary Elizabeth Roarke
CHAPTER 14 123
Got OCD?
Christina Atwood
CHAPTER 15 129
It’s all about the Attitudes and the Relationships!
Nadina C. Jose
CHAPTER 16 135
Clinical Trials Marketing
Roger Rignack
CHAPTER 17 145
Terrorists Can’t Open Ziploc® Bags…and Other Amusing Travel Stories
With Relevance To The Clinical Trials Industry
David Vulcano
CHAPTER 18 165
Travel Tips for the Road Warriors
Jack Minster
CHAPTER 19 169
The Road to Pharmacopolis
Alison Macpherson
CHAPTER 20 179
There’s always potential to grow
Luis Torres
CHAPTER 21 185
Blonde Ambition
Kelly Clonan
CHAPTER 22 191
So, you want to start your own Biotech Company?
Sandy Putirka
CHAPTER 23 199
Tomorrow’s Landscape Can Be a Dramatic Change from
Today’s Garden
Charlene Dark
CHAPTER 24 209
Downsized But Not Down-and-out!
Jaz Whittington
CHAPTER 25 215
Uncles Make the World Go-round
Leah Brown
C H A P T E R 7
HOW TO DELIVER
A SENSATIONAL
SCIENTIFIC TALK
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JANET B. WILLIAMS, DSW
“Lectures were once necessary, but now when all can read, and books
are numerous, lectures are unnecessary.”
- S J
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POTLUCK WISDOM FOR THE PHARMACEUTICAL PROFESSIONAL
The title of your talk, publicized in the program, is the first ex-
posure the audience has to you. It will influence how large your
audience will be and how you will eventually be received, so it
should be catchy yet informative. A glance through the pro-
gram of any meeting, paying attention to the titles that “grab”
you, should give you some ideas. A good title is well worth the
amount of time devoted to its development.
Before pen is put to paper, an essential task involves thinking about
the audience. Typically, audiences at research meetings are mixed pro-
fessionally. You should ask yourself how familiar they are likely to be
with your topic, and, given that, what will be of most interest to them
— not to you. The failure of many talks to hit home with an audience
is due to the fact that the speaker did not gear the talk to the interests
and background of that audience.
Once these points have been thought through, you can establish
the scope of your talk by outlining the main ideas you want to cover.
Initially these can be listed as broad statements, not necessarily yet in
logical order. Once this list is completed, however, it is usually neces-
sary to cut the number of ideas in half, and limit yourself to only part
of what you think might be included. The biggest mistake beginning
public speakers make is to overload their talks with too many main
ideas. Once the final list of ideas is developed, they should be put in a
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POTLUCK WISDOM FOR THE PHARMACEUTICAL PROFESSIONAL
ST YLE OF DELIVERY
To read or not to read. Your style of delivery is one of the most crucial
factors in determining how well your talk will be received. Most
audiences prefer to listen to a spoken talk than one that is read in any
form. When reading a paper the speaker keeps his or her eyes cast
down and is not free to make gestures with the arms and hands, since
they must be ready to turn pages. Contrast this style with one in which
the speaker can make frequent eye contact with the audience, look-
ing at each of the listeners one by one, and can make communicative
facial expressions and body gestures to emphasize key points. Thus,
the “speaker” (rather than the “reader”) can use eyes, arms and hands,
and torso, as tools for effective communication, in addition to voice
inflection. In addition, the speaker who is not tied to a sheaf of papers
is free to move out from behind the podium to be in closer contact
with the audience.
Because the speaker must be actively thinking through the ideas
in order to present them coherently, there will be natural pauses (often
sorely lacking in read presentations) between main ideas as both the
audience and the speaker absorb the point and prepare for the next
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