David Scully School of Business Algonquin College scullydalgonquincollegecom I became a good speaker as other men become good skaters by making a fool of myself until I got used to it George Bernard Shaw ID: 361891
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Slide1
The Power of Public Speaking
David Scully, School of Business, Algonquin College
scullyd@algonquincollege.comSlide2
“I became a good speaker as other men become good skaters: by making a fool of myself until I got used to it.”
George Bernard ShawSlide3
Fight or Flight? Role of Persona
A “mask” that you put on to deliver something to an audienceYour social role or character when performing
(speaking
publicly)
Characteristics and
behaviours
you adopt to create a unique “you”Slide4
Maslow’s Hierarchy of NeedsSlide5
Communication really begins at level 3 (love/belonging)Our
interest in other people helps us with social and esteem needs, and lets us focus on the still higher needsHow is a presentation going to enhance
others’
lives?
Can
a speaker appeal to a variety of needs up the pyramid? (
physiology,
safety, love/belonging, esteem, self-
actualisation
)
Need
to think about the diversity within
the audience
as wellSlide6
What you should never do to an audience
Never simply read your material.
Yes, be
organised
, but unless you
know
people
will hang off every word you say, you’ll lose
your audience.Slide7
Be aware of the paralinguistic, or non-verbal, side of communicationA classic UCLA study (Mehrabian, 1971) found that messages received often depend little upon the words spokenSlide8
How we take in information
depends
on how our brains work:
i.e., on our hemispheres
Left hemisphere
Math
Words, concepts
Deductive reasoning
Precise thought
Logic
C
onscious
Right hemisphere
Art
Images, sounds
Inductive reasoning
Abstract thoughtAnalogy Unconscious
You need to communicate to both sides of your listeners’ brains – speak the other languageSlide9
Pay attention to these factors in non-verbal communication:
BodyProximity
Posture
Eye contact
Hands
Platform
Voice
Volume
Speaking rates
Pausing
Articulation
PitchSlide10
ProximityIntimate: 3” (side) 20” (front/back)
Voicing: whisper > soft voicingSocial: 20” 5 ft.
Voicing: soft > conversational
Public: 5 ft. +
Voicing: semi-full > loud
Work with a variety of proximities, where possibleSlide11
PostureBe relaxed, but physically alert (see “karate balance”)Good posture enables good circulation, breathingAllows for better vocal projection
Shows confidenceSlide12
Eye ContactImportance of the “scan pause”
Keep distributed, meaningfulWatch for questioning facesSpeakers rated as “sincere” make three times more eye contact than those rated “insincere”
“Smiling eyes”Slide13
HandsUse hands deliberatelyUse for emphasis, imagery
Avoid holding anything, if possibleSlide14
HandsConsider effective uses Counting
Finger pauseDrawing inShaking offWaving away
Pointing to a “scene”, “place”Slide15
PlatformResist the urge to stay in one place (or to pace
)Note all the space for movement – use itUse movement deliberatelySlide16
PlatformShould be linked to content; don’t move just for the sake of moving
Remember: standing still is boring! Slide17
VolumeUse a strong base volume to establish credibility and confidence
Be aware of the furthest people away in the room – reach them first
Vary volumes as much as
possible
Aim to “hit” key
wordsSlide18
Speaking RatesConsider the difference, in words per minute, between thinking and speaking
thinking: about 800 wpmspeaking: 140-180 wpmAllow pauses
for body language
Speaking too quickly affects other non-verbal communication
Aim
for a slower rate for complex or significant
informationSlide19
PausingPausing leaves space for non-verbal communicationMake
time to scan-pauseInclude alsoMajor pauses – before new material
Dramatic pauses
– to
emphasise
pointsSlide20
PausingBenefits of effective pausing:
helps avoid fillers (um, like, ah, er, you know, basically, stuff-like-that…)shows confidence, self-respect
provides speaker with time to think, regroup, transition
provides audience with clues and opportunity to
absorb informationSlide21
Articulation≠ pronunciation
clarity, precision of speech
Speak clearly, crisply, dramatically
Exaggerate every syllable, if necessary, for key words or ideasSlide22
Articulation Errors
Errors of OmissionFebuary
,
libary
,
wanna
,
goin
’, dint, an’,
coulda
…
Errors of
Addition
Acrost
,
hice
,
haudit, filum…Errors of SubstitutionLemme, didja, swedder, thum, genelmen, ax, dis…Slide23
Practice!
Three free throws.Knapsack straps.
Sam's shop stocks short spotted socks.
Lesser leather never weathered wetter weather better.Slide24
PitchEvery person has a natural pitch level
Pitch range for humans: 3-4 octavesVibrant speech: 1 full octaveProfessional performers: 2 octaves +Inflection: changing pitch on words, or even syllables
Monotone speakers are limited – too focused on left-brain communication
♫
♫Slide25
PitchCadence: the use of tone to indicate the close of a phrase (sentence, thought)
Be careful with uptalk – an unconscious non-verbal
Friedrich Nietzsche: “In conversation, we are sometimes confused by the tone of our own voice, and misled to make assertions that do not at all correspond to our opinions.”
♫
♫Slide26
Organising ContentMemorise
only your outlineUse verbal signpostingPreviewingSummarising
Changing direction
Remember your non-verbal signposts – pauses, hands, pitch (esp. cadence)Slide27
Remember the “rule of three” Three words, phrases, images…Slide28
Using NotesNever read your notes!Cue cards? These are distracting, and keep your hands from communicating
Use “trigger sheets” – pages with minimal information that you can leave in front of you to look down on if you get stuckSlide29Slide30
END