In this week's New Yorker, Alex Ross writes about Marlboro Music, an elite summer music program at Marlboro college in Vermont "where artists could forget about commerce and escape into a purely musical realm."
The summer seems to give the musicians a formative and utopian musical experience that carries them through the year:
"One musician after another says the same thing: from September to May, when they sit down to play in an antiseptic postwar performing arts center after an hour or two of rehearsal, they close their eyes and think of Marlboro."
Take a moment and think of a memory, an experience, a place where you felt in the zone. It could be a moment from childhood or an experience you had this week; an athletic or artistic or travel experience - just a moment when you were at your best and everything seemed to click.
Think of a word, a mantra, a motion that represents that experience for you and use it each time before you get up to speak.
I call this the Green Room Trigger. For the musicians in Ross's piece, their summer at Marlboro is that trigger - a memory that enables them to feel present and in the zone - even at potentially disheartening and unfulfilling moments.
From the Green Room: Find your Green Room Trigger - a word, mantra or motion that takes you back to a moment in your life where you were fully present. Then use this trigger before you get up to speak. Over time, this exercise will help you get in zone and be at your best each time you speak.
Saturday, June 27, 2009
Monday, June 22, 2009
Today's Vocal Assignment: Read the Three Little Pigs
Recently, I was trying to help a client get his voice "out of the box." I gave him a copy of the Three Little Pigs, and we practiced reading it. This is an especially good story for vocal training.
Here are a few reasons why:
1. The story has different voices. When you read it, try using a different voice and focus for each of the three pigs - and especially for the wolf!
2. The story builds. As the wolf moves from house to house on his rampage of huffing and puffing, practice building from low to high (energy, volume, tempo, etc.).
3. The story has several tone changes. In just a couple of minutes, tones may range from lazy (the first pig) to terror (enter the wolf) to triumph (the third pig's victory). Try exaggerating these tone changes. The more you exaggerate, the more flexibility you will have with your voice.
From the Green Room: Read childrens' books. It's a wonderful way to get your voice "out of the box" and experiment with the full range of your vocal ability.
Here are a few reasons why:
1. The story has different voices. When you read it, try using a different voice and focus for each of the three pigs - and especially for the wolf!
2. The story builds. As the wolf moves from house to house on his rampage of huffing and puffing, practice building from low to high (energy, volume, tempo, etc.).
3. The story has several tone changes. In just a couple of minutes, tones may range from lazy (the first pig) to terror (enter the wolf) to triumph (the third pig's victory). Try exaggerating these tone changes. The more you exaggerate, the more flexibility you will have with your voice.
From the Green Room: Read childrens' books. It's a wonderful way to get your voice "out of the box" and experiment with the full range of your vocal ability.
Wednesday, June 17, 2009
If You Must Read...
One of the greatest speaking challenges is being able to connect to the audience while reading a prepared script.
Great speakers seem as though they are in conversation with their audience. It is very difficult to do this if you are reading your remarks word for word.
When possible, I recommend using notes or an outline, rather than a script. But of course there are times and occasions when this is simply not possible.
So what is a speaker to do?
Try writing your speech as if you are writing a personal letter to the audience - and read it that way, too.
You might even start your speech, "Dear (audience),"
While you won't actually read that part aloud, writing in a letter format encourages you to be fully present with your audience - and they will respond in kind.
From the Green Room: Need to read from a script? Try writing - and reading - a letter written just for your particular audience. Make eye contact with the individual people you are "writing" to. This will enable you to be present with the people in the room - even if you prepare each word in advance.
Great speakers seem as though they are in conversation with their audience. It is very difficult to do this if you are reading your remarks word for word.
When possible, I recommend using notes or an outline, rather than a script. But of course there are times and occasions when this is simply not possible.
So what is a speaker to do?
Try writing your speech as if you are writing a personal letter to the audience - and read it that way, too.
You might even start your speech, "Dear (audience),"
While you won't actually read that part aloud, writing in a letter format encourages you to be fully present with your audience - and they will respond in kind.
From the Green Room: Need to read from a script? Try writing - and reading - a letter written just for your particular audience. Make eye contact with the individual people you are "writing" to. This will enable you to be present with the people in the room - even if you prepare each word in advance.
Wednesday, June 3, 2009
When Giving a Short Presentation....
Today I gave a 30-minute presention at the Jewish Communal Service Association's annual conference. The topic? Fearless Public Speaking.
Now how in the world can you possibly hope to teach public speaking in 30 minutes?
A colleague, Barry Bainton gave me some invaluable advice:
Barry suggested that the goal of a short training is not to teach a skill, but rather to persuade the audience that the skill is one worth learning.
There is no way to teach public speaking in such a short amount of time. But in under thirty minutes, I was able to make a clear and compelling case for learning how to be present in front of an audience.
I got great feedback. Thank you, Barry.
From the Green Room: Don't attempt too much in a short amount of time. Set a focused and realistic goal, and stick to it.
Now how in the world can you possibly hope to teach public speaking in 30 minutes?
A colleague, Barry Bainton gave me some invaluable advice:
Barry suggested that the goal of a short training is not to teach a skill, but rather to persuade the audience that the skill is one worth learning.
There is no way to teach public speaking in such a short amount of time. But in under thirty minutes, I was able to make a clear and compelling case for learning how to be present in front of an audience.
I got great feedback. Thank you, Barry.
From the Green Room: Don't attempt too much in a short amount of time. Set a focused and realistic goal, and stick to it.
Monday, June 1, 2009
Avoiding Panel Hell
Why are panel discussions often so dreadfully boring?
After all, isn't it more exciting to listen to four different voices than one?
Potentially.
But most of the time, if it's true that less is more, it's also true that more is less.
Most of the time, the panelists speak for far too long, never engage each other, and (perhaps because they share the spotlight) are not able to engage the audience.
The solution?
Unify.
Suggest that the moderator bring the panelists together during the planning process so that each can prepare his/her presentation knowing fully what the others are talking about.
In other words, see the panel discussion as one presentation - with four different parts. This will help the audience put it all together and stay focused.
From the Green Room: End panel hell. Bring the presenters together to coordinate an exciting, unified program that flows smoothly from start to finish.
After all, isn't it more exciting to listen to four different voices than one?
Potentially.
But most of the time, if it's true that less is more, it's also true that more is less.
Most of the time, the panelists speak for far too long, never engage each other, and (perhaps because they share the spotlight) are not able to engage the audience.
The solution?
Unify.
Suggest that the moderator bring the panelists together during the planning process so that each can prepare his/her presentation knowing fully what the others are talking about.
In other words, see the panel discussion as one presentation - with four different parts. This will help the audience put it all together and stay focused.
From the Green Room: End panel hell. Bring the presenters together to coordinate an exciting, unified program that flows smoothly from start to finish.
Thursday, May 28, 2009
For more on conference calls
Check out this great list of conference call tips from the blog Bad Pitch:
http://badpitch.blogspot.com/2009/04/conference-call-primer-bad-pitch.html
Enjoy!
http://badpitch.blogspot.com/2009/04/conference-call-primer-bad-pitch.html
Enjoy!
Conference Call 911
Yesterday I gave a presentation to the Washington Area Legal Recruitment Administrators Association. (WALRAA) I asked two volunteers to tell a story to each other - at the same time. The goal for each was to distract the other.
The first time, I had them tell the story only with their voice.
The second time, I encouraged them to use movement.
It was remarkable to see the contast. The ability to move around dramatically increased the power of their voices. Somehow the physical motion set their voices free.
This is a particularly useful point to remember when you are speaking on a conference call. Stand up. Move around the room. Your voice will sound all the more animated and expressive.
From the Green Room: Move around. And set your voice free.
The first time, I had them tell the story only with their voice.
The second time, I encouraged them to use movement.
It was remarkable to see the contast. The ability to move around dramatically increased the power of their voices. Somehow the physical motion set their voices free.
This is a particularly useful point to remember when you are speaking on a conference call. Stand up. Move around the room. Your voice will sound all the more animated and expressive.
From the Green Room: Move around. And set your voice free.
Sunday, May 24, 2009
Focus on What Not to Do
Today's NYT Business Section profiles business guru Jim Collins. The article explains that one of his keys to success is his hyper-focused, minimalist approach to his work:
"...a willingness to say no and focus on what not to do as much as what to do...Therefore, in Jim Collins' world, small is beautiful."
This is a critical - and often missed - step of speech preparation. Often we are so busy trying to figure what to say, that we don't spend enough time and energy thinking about what not to say. So many rambling, long-winded presentations are the sad result of forgetting this step.
From the Green Room: When honing your subject, remember that small is beautiful and less is more. So ask yourself - "What is my speech not about?" This process of elimination will help focus your content.
"...a willingness to say no and focus on what not to do as much as what to do...Therefore, in Jim Collins' world, small is beautiful."
This is a critical - and often missed - step of speech preparation. Often we are so busy trying to figure what to say, that we don't spend enough time and energy thinking about what not to say. So many rambling, long-winded presentations are the sad result of forgetting this step.
From the Green Room: When honing your subject, remember that small is beautiful and less is more. So ask yourself - "What is my speech not about?" This process of elimination will help focus your content.
Wednesday, May 20, 2009
Dangers of Being Overly Enthusiastic
A great speech coach once gave me the advice to "punch the operative words." If you want to emphasize something, punch it with your voice.
Kara Dioguardi, this year's new judge on American Idol takes this advice to the extreme. She punches everything! Each statement she makes is one big sock in the gut.
Kara speaks in a monotone of "incredibly enthusiastic:"
"You were amazing!"
"You are a musical GODDESS!"
"You were terrible!"
"You were pretty average!"
"You were unmemorable!"
"I didn't listen to you sing because I was in the ladies room!"
You get the point.
Kara often has very intelligent and insightful critiques of the performers, but her enthusiastic monotone makes all her comments blend together into one big PUNCH.
The listener is left feeling exhausted.
From the Green Room: Speak with passion. But vary your emotional intensity.
Kara Dioguardi, this year's new judge on American Idol takes this advice to the extreme. She punches everything! Each statement she makes is one big sock in the gut.
Kara speaks in a monotone of "incredibly enthusiastic:"
"You were amazing!"
"You are a musical GODDESS!"
"You were terrible!"
"You were pretty average!"
"You were unmemorable!"
"I didn't listen to you sing because I was in the ladies room!"
You get the point.
Kara often has very intelligent and insightful critiques of the performers, but her enthusiastic monotone makes all her comments blend together into one big PUNCH.
The listener is left feeling exhausted.
From the Green Room: Speak with passion. But vary your emotional intensity.
Thursday, May 14, 2009
Speaking to Music
Listen to this inspiring talk on TED.com by artist Bill Strickland, who journeyed from being an at-risk youth to the recipient of a MacArthur Genius Award in 1996.
Notice how the music does not distract from Strickland's story, but rather enhances it. The jazz piano gives his voice a rhythm and his intensifies the power of his words so it sounds as almost as though he is reciting poetry.
Next time you are preparing to give a speech, try practicing it with music in the background. Choose a piece that moves you. Something without words that reflects the tone of your presentation.
Now give your speech. As you practice, pay attention to how your voice changes when you speak to music. Practicing with music can add a layer of depth to your presentation style and bring out the underlying rhythm of your text - and your voice.
Notice how the music does not distract from Strickland's story, but rather enhances it. The jazz piano gives his voice a rhythm and his intensifies the power of his words so it sounds as almost as though he is reciting poetry.
Next time you are preparing to give a speech, try practicing it with music in the background. Choose a piece that moves you. Something without words that reflects the tone of your presentation.
Now give your speech. As you practice, pay attention to how your voice changes when you speak to music. Practicing with music can add a layer of depth to your presentation style and bring out the underlying rhythm of your text - and your voice.
Monday, April 27, 2009
Listen to the POP to Know When to STOP
Who knew great speaking lessons could be found in the instructions for making Orville Redenbacher microwave popcorn?
Instructions:
1. Microwave ovens vary. Cooking time may need to be adjusted.
How true. A speech that works brilliantly in one setting may "scorch and burn" in another. Temperature, lighting, room set up, time of day, etc. These are all variables that impact your audience.
2. Stay by microwave and listen.
In normal cooking, we set a oven timer and walk away. We know it will be done in 30 minutes. Perhaps we check once to make sure, but we don't stand there listening the whole time.
When you speak, follow the popcorn method of cooking. Listen. Pay attention to the audience's reactions and read their cues. And if you sense they are "done," try to end swiftly.
3. Open bag carefully.
Once the popcorn stops popping and the speech is done, don't end too abruptly. Take a moment to wind down and look at your audience before walking off stage. While you don't want to drag this out and let the popcorn get cold, the audience does need a moment digest what you've just told them and process your exit.
From the Green Room: Don't forget the most important instruction on the package. Enjoy! (Your popcorn and your audience.)
Instructions:
1. Microwave ovens vary. Cooking time may need to be adjusted.
How true. A speech that works brilliantly in one setting may "scorch and burn" in another. Temperature, lighting, room set up, time of day, etc. These are all variables that impact your audience.
2. Stay by microwave and listen.
In normal cooking, we set a oven timer and walk away. We know it will be done in 30 minutes. Perhaps we check once to make sure, but we don't stand there listening the whole time.
When you speak, follow the popcorn method of cooking. Listen. Pay attention to the audience's reactions and read their cues. And if you sense they are "done," try to end swiftly.
3. Open bag carefully.
Once the popcorn stops popping and the speech is done, don't end too abruptly. Take a moment to wind down and look at your audience before walking off stage. While you don't want to drag this out and let the popcorn get cold, the audience does need a moment digest what you've just told them and process your exit.
From the Green Room: Don't forget the most important instruction on the package. Enjoy! (Your popcorn and your audience.)
Thursday, April 23, 2009
Matching the Internals and Externals
I recently published a short piece in the Wexner Foundation community newsletter.
I tried to pick the Torah portion of the week that would seem to have the least obvious connection to public speaking!
I tried to pick the Torah portion of the week that would seem to have the least obvious connection to public speaking!
The Wexner Foundation Electronic Beit Midrash Tazria-Metzora
Tazria-Metsora and the Lessons of Public Speaking
By Sarah Gershman
What can leprocy teach us about how to be a better speaker?
In this week's reading, we learn about the mysterious skin condition called tsaarat. Often mistranslated as "leprosy," tsaarat is traditionally understood as a physical manifestation of a spiritual malady, such as haughtiness or excessive pride.
The Torah seems to be describing a condition where the body is deeply in tune with the soul. When the soul is infected, you can see it on the skin.
The physical manifestation of tsaarat reveals a much deeper internal problem. Perhaps the physical manifestation served to raise greater awareness of the spiritual problem. Indeed, many of us are visual learners - when we see something, particularly something on our own skin, it registers much more immediately. And once the condition is diagnosed, the physical symptoms can be healed only by working on the internal spiritual malady.
So what does this have to do with public speaking?
Like tsaarat, speaking effectively depends on your ability to match internals—the content—with externals—the delivery.
Here are three ways to make that happen:
1. Diagnose your own public speaking "tsaarat." We all have external speaking mannerisms that reflect something internal. Some of us "um" and "uh." Others over-gesticulate. Others shift back and forth. Whatever your speaking tick is, chances are it is a symptom of an inner anxiety or struggle. For example, we tend to use filler words such as "umm" and "uh" when we do not feel confident about the content. Identify the external symptom, diagnose the underlying issue, and focus on resolving that rather than on fixing the tick.
2. Own your message. Make certain you truly understand the essential message you want to communicate to this particular audience. If you take the time to clarify your content, it is much more likely that your delivery will be strong. Often it is when our message is unfocused that our voice shakes and we stumble over our words. Just like tsaarat, the external reflects the internal.
3. Synthesize content, voice and body language. The audience will pay attention, when what they hear is also what they see. Here are a few suggestions:
Move purposefully. If you change directions in your content, turn and walk the other way on stage. If you are taking a moment to address the audience more personally, step away from the podium and move towards them.
Vary Tones. Mine your content for emotional shifts. Perhaps in your opening remarks, you want the audience to feel intrigued. Later on, you want them to feel frustrated. At the end, you hope to inspire. Let your voice express these contrasting emotions. Speak with feeling and let the feelings reflect the substance.
Speak to Individuals. You've worked hard to craft your message for your audience's needs and interests. Now, use your eyes to strengthen your connection to each individual in the room. Make eye contact with one person at a time - the general rule is one person per thought.
One final thought: The Talmud also explains tsaarat as a physical manifestation of lashon harah, the sin of harmful speech.
How compelling it must have been to see physical proof of the damage caused by hurtful speech! Tsaarat is a reminder to each of us of the power of the spoken word. May each of us continue to learn how to use our words to inspire the changes we seek.
Monday, April 20, 2009
Rachael Ray and the Art of Public Speaking
From this week's NYT Sunday Styles:
Jonathan Rosen, the agent to Food Network stars, describes how he knew that Rachael Ray would succeed:
"I told her I felt like her personality translated directly across the screen and made you feel like she was in the room with you."
Truthfully, when I first watched 30 Minute Meals, I said to myself, "What makes her special? I could totally do that!"
And now I realize that this is her secret weapon.
Rachael Ray's slip-ups, cutesy expressions, and goofy laugh make her seem not like some celebrity chef, but like your fun (and albeit sometimes annoying) girlfriend. She's not giving a cooking demo - she's chatting it up with her buddies.
We can all learn from this.
The next time you get up in front of an audience, try saying to yourself, "I am not giving a speech. I am having a conversation with people I care about." You don't have to be best friends - or even know the people in order to find sometime about them you care about - even if it's just, "I care that they understand what I am trying to say because it will be helpful to them."
You will connect with an audience, when you speak to them as if you are having a one-on-one conversation with each person in the room.
From the Green Room: To master the art of public speaking, don't just give a speech to an audience. Have a conversation with the audience.
Jonathan Rosen, the agent to Food Network stars, describes how he knew that Rachael Ray would succeed:
"I told her I felt like her personality translated directly across the screen and made you feel like she was in the room with you."
Truthfully, when I first watched 30 Minute Meals, I said to myself, "What makes her special? I could totally do that!"
And now I realize that this is her secret weapon.
Rachael Ray's slip-ups, cutesy expressions, and goofy laugh make her seem not like some celebrity chef, but like your fun (and albeit sometimes annoying) girlfriend. She's not giving a cooking demo - she's chatting it up with her buddies.
We can all learn from this.
The next time you get up in front of an audience, try saying to yourself, "I am not giving a speech. I am having a conversation with people I care about." You don't have to be best friends - or even know the people in order to find sometime about them you care about - even if it's just, "I care that they understand what I am trying to say because it will be helpful to them."
You will connect with an audience, when you speak to them as if you are having a one-on-one conversation with each person in the room.
From the Green Room: To master the art of public speaking, don't just give a speech to an audience. Have a conversation with the audience.
Sunday, April 19, 2009
Adapting to the Audience
Recently, I worked with a rabbi to help him prepare a pre-Passover sermon. He worked hard to prepare and practice a meaningful and powerful message. The rabbi tended to need to write everything down beforehand and was working on developing a more conversational, spontaneous style.
Little did we know how far he would take that.
The morning of the sermon, he says in his own words, "I looked out and saw - the audience for the drash (teaching) we worked on was just not there. In its place were two families in shiva, two or three people out of work, a few dealing with illnesses. Hurting people."
So this rabbi did something quite courageous. He adapted the speech at the last minute to make it a sermon about hope.
He told himself, "If I really am committed to what I have to say, and to my relationship to the audience, I will be able to speak without the notes."
Which he did.
Afterwards, one person said, "Great drash." Another said, "I don't know if you worked on this a lot or just winged it, but it meant a lot to me."
Indeed. This rabbi went beyond simply giving a great sermon. He connected directly to the individuals he was speaking with.
From the Green Room: Prepare. Then, when necessary, trust yourself to be able adapt your speech to the audience when necessary. The connection you make with the people in the audience will be worth it.
Little did we know how far he would take that.
The morning of the sermon, he says in his own words, "I looked out and saw - the audience for the drash (teaching) we worked on was just not there. In its place were two families in shiva, two or three people out of work, a few dealing with illnesses. Hurting people."
So this rabbi did something quite courageous. He adapted the speech at the last minute to make it a sermon about hope.
He told himself, "If I really am committed to what I have to say, and to my relationship to the audience, I will be able to speak without the notes."
Which he did.
Afterwards, one person said, "Great drash." Another said, "I don't know if you worked on this a lot or just winged it, but it meant a lot to me."
Indeed. This rabbi went beyond simply giving a great sermon. He connected directly to the individuals he was speaking with.
From the Green Room: Prepare. Then, when necessary, trust yourself to be able adapt your speech to the audience when necessary. The connection you make with the people in the audience will be worth it.
Saturday, April 4, 2009
How to Give an Acceptance Speech: The Top 5 Things My Dad Did Right
Last Friday, I had the privilege of hearing my father speak at a ceremony honoring his 25 years of service as the first and only president of his organization.
My dad knows I'm his biggest critic - but that day, I was his biggest fan.
Not only was I tremendously proud of his accomplishments, but of the (dare I say) perfect thank you speech he gave.
Here are 5 things he did just right:
1. He kept it brief.
2. He spoke with genuine emotion.
3. He did not spend a long time listing people to thank, but rather expressed gratitude for the honor itself - for the privilege of having served a cause he is passionate about.
4. Rather than thanking the audience for helping him reach this day, he thanked them for helping him serve the organization all these years. We all felt part of the journey.
5. He brought everything back to the essential mission of the organization - and thus made those around feel inspired to continue the effort.
Great job, Dad.
My dad knows I'm his biggest critic - but that day, I was his biggest fan.
Not only was I tremendously proud of his accomplishments, but of the (dare I say) perfect thank you speech he gave.
Here are 5 things he did just right:
1. He kept it brief.
2. He spoke with genuine emotion.
3. He did not spend a long time listing people to thank, but rather expressed gratitude for the honor itself - for the privilege of having served a cause he is passionate about.
4. Rather than thanking the audience for helping him reach this day, he thanked them for helping him serve the organization all these years. We all felt part of the journey.
5. He brought everything back to the essential mission of the organization - and thus made those around feel inspired to continue the effort.
Great job, Dad.
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