Communicate with Confidence/Project Report

              COMMUNICA TE WITH CONFIDENCE
PROJECT REPORT
For
Alberta Agriculture Food and Ruiai Development
Rural Development Division
Albeita Agricultural Initiatives Program
Alberta Women's Institutes
//• 220- 10403 - 172 Street
Edmonton, Alberta
T5S 1K9
I elephor. e/' Fax 780- 488- 5282
Jane, 1990
TABLE OF CONTENTS
Executive Summary
1 Introduction
1
2
Background Information
2 1 The Art of Public Speaking 2
2.2 Project Rationale and Goals
2 3 Project Design and Delivery
2.3.1 Project Material
Project Format 4
.3 Project Coordinators and Facilitators 4
4 Project Participation 4
5 Project Administration
6 Project Evaluation Responses 5
6
7
2
2.3
2
3 Discussion
4 References
t
APPENDICES
Appendix " A" Project Proposal 8
Appendix " B " Project Funding Approval 9
Appendix " C " Communicate with Confidence Handbook 10
Appendix " D " Location of Courses 11
Appendix " E " Facilitators Report Form 12
Appendix " F " Evaluation Form 13
Appendix " G" Certificate of Completion 14
LIST OF TABLES
Table 1 Percentage otXlasses Covering Course Content
Executive Summary
The Communicate with Confidence " project was designed to teach skills and techniques
unique to public speaking The target audience was older rural Albertans who ma> have had less
opportunity to develop public speaking skills Project designers acknowledged that public speaking
skills are important because they enhance personal growth and develop skills that are essential to
enable participation in public discussion and debate
The overall project goals were to improve public speaking ability to develop the leadership
skills, and to build the self- confidence of participants The project designers developed a handbook
containing eight sections Twenty courses were offered throughout the Province with a total of 165
people attending " Basic Speaking Techniques" and " How to Present a Form' Speech" were the
most popular topics covered 100 percent and 81 percent of the classes covered these class sections
respectively
Personal growlh and an opportunity to meet other community members contributed to the
o\ erall success of the classes offered In addition, the course was designed to be sensitive to the
needs of participants by providing a non- threatening learning environment i
2. Background Information
2.1 The Art of Public Speaking
The importance of public speaking or oral communication has been recognised for thousands
of years Aristotle is acknowledged as the most important theorist to write about oral
communication His Rhetoric is acknowledged as one of the more influential books written on this
subject Students of oral communication have described this book, composed of three sections as
the book of the speaker, the book of the audience and the book of speech
Oral communication was so important in the Greek civilization that it was a corner stone of
their curnculums These ancient people believed that oral communication and leadership training
were s\ nonvmous In these ancient times, oral communication skills consisted of the organization
of information, effectiveness of language, critical decision making and the analysis of logic
( McCroskey, 1968).
Toda\, oral communication is ] ust as important as it was to the ancient Greeks First public
speaking skills often separate whose who are successful in their careers from those who are not.
secondly, public speaking enhances personal growth, and finally public speaking develops skills that
are essential to the democratic process ( Rodman and Adler, 1997)
Just as our knowledge about technology and science has expanded, so has our understanding
and awareness about communication techniques Now, the knowledge of public speaking has
expanded to include more than the basics of organization and delivery Public speaking has e v o k ed
and expanded to include knowledge about the ethics of speech making the theory of public speaking,
the choice of language the cultural context of the speech and nonverbal communication associated
with delivering the message ( Beebe et al, 1997)
1. Introduction
Alberta Women's Institutes ( AWI), on April 4, 1995, submitted a proposal to the Agricultural
Initiatives Program, for a proiect title " Communicate with Confidence " The pro] ect was designed
to teach skills and techniques unique to public speaking The original proiect grant applied for was
$ 33,750.00 ( Appendix " A") On November 9, 1995, the Agricultural Initiatives Program approved
funding for this pro] ect for $ 17,600 00 ( Appendix " B")
2.2 Project Rationale and Goals
The Communicate with Confidence project was an endeavour to teach public speaking to
senior people living in rural areas Project designers identified this population because they belie\ ed
that senior people were unsure not only of their ability to speak, but also of their ability to articulate
their thoughts and ideas at meetings and social events The project designers believed that mam older
men and women raised in rural communities received few opportunities to express themselves
verbally Moreover, project designers built into the project a mentoring component by which
facilitators could provide support, encouragement and assurance to participants
The overall project goals were as follows
1 To improve public speaking ability
2 To develop leadership skills
3 To build self- confidence
2.3 Project Design and Delivery
2.3.1 Project Material
The project designers developed a handbook ( Appendix " C") This handbook included eight
sections as follows 1) Basic Speaking Techniques, 2) Writing the Speech, 3) Duties of the Program
Organizer, 4) Promoting your Organization, 5) How to Present " Form" Speeches, 6) Responsibilities
of Elected Positions, 7) Master of Ceremonies, and 8) Publicity for Your Organisation 1
These sections were developed from material collected from several sources including
Alberta Agriculture, Food and Rural Development, Rural Development Division, information sheets;
" Take a Seat" presentation by District Home Economists of Nova Scotia, " Notes of Effective
Speaking" by the Canada Jaycees, " Celling Your Point Across" by Communication Training in 4- H
" The Wedding M f . " by Brian C Lee, " How to be a Great M. CC by Alex Mair, and ' Working
Wonders u ith Words. " by Wilfred Womersley
2.3.2. Project Format
The presentation of the material was based upon a ten- hour format Fi\ e hours were devoted
to basic speaking that included impromptu speeches, use of a microphone and hints on beginning and
ending speeches The remaining five hours offered information on preparing a formal speech or
presentation, planning a conference, revitalizing membership and encouraging leadership, protocol
and etiquette of speeches and being a Master of Ceremonies
t
2.3.3 Project Coordinators and Facilitators
Three AWI members acted as proiect coordinators, with sixteen members acting as facilitators
for the courses The project c o o r d i n a t o r trained the facilitators These facilitators came from all
areas of the Province
2.3.4 Project Participation
One training course was held at Red Deer Alberta on January 22, 1997, two pilot projects
were held one on January 31 and February 1, 1997 at Olds College Olds Alberta with ten
participants, and one on February 7 and 8 1997 at Duffield, Alberta with nine attendees Twenty
courses were offered throughout the Province with a total of 165 participants or an average of eight
attendees per course ( Appendix " D")
Of the twentv courses offered detailed data were retained on sixteen sessions Listed below
are a percentage of the sessions covered
TABLE 1: PERCENTAGE OF CLASSES COVERING COURSE CONTENT
Course Content % of Classes
Basic Speaking Techniques
How to Present ' F o rm Speeches
Writing the Speech
Promoting your Organization
Master of Ceremonies
Publicity for Your Organisation
Responsibilities of Elected Positions
Duties of the Progiam Organizer
loo
81
so
so
44
31
2S
19
Source: Original Data, N = 16
The most popular section of the course was " Basic Speaking Techniques" with 100 percent
of the classes c o \ e n n g this session, and " How to Present a " Form" Speech" with 81 peicent of the
classes covering this section The least popular aspect of the course was " Publicity for Your
Organization", " Responsibilities of Elected Positions" and " Duties of the Program Organizer "
Family and Community Social Services in the local communities hosted courses The course
participants came from diverse backgrounds namely farmers, school bus drivers, nuises, senior
community leaders, plus local Chamber of Commerce members, 4- H Leaders and librarians
2.3.5 Project Administration
The AWI provided proiect administration Two facilitators delivered each course The
facilitators were required to complete a Facilitator's Report ( Appendix " E"). Each participant was
encouraged to complete an evaluation form ( Appendix " F"). Each facilitator teceived an
Honouranum of $ 125.00 per session plus room, meals, mileage and cost of supplies A'modest fee
of $ 10.00 was charged to each participant At the completion of the class, a Certificate of
Completion was presented to each participant, signed by the piesiding facilitators ( Appendix ' G ').
2.3.6 Project Evaluation Responses
Overall the evaluations provided positive response for course facilitators and designers This
form was designed for qualitative responses The responses indicated that the attendees gained
confidence in speaking and indicated that this gave more confidence should they wish to pursue a
public office Other comments included the positive focus on learning by doing "
Facilitator comments showed that the participants were eager to participate and that overall
participants were attentive For several facilitators, the training session was too short Therefore,
facilitator s needed to do additional preparation before teaching the classes
Several areas jeopardised the success of this initiative Public addiess systems often worked
poorly, with some facilities lacking screens for oveihead pro| ectois While the course had 16^
participants some facilitators suggested that classes were difficult to fill and many individuals weie
pressured to participate Other people, who were approached weie not interested
3. Discussion
(' ommiinicate with (' onfidence had three goals namely to improve public speaking ability, to
develop the leadership skills and to build the self- confidence of participants The project met these
goals In addition for those individuals who participated in the initiative, the proiect provided a
personal growth opportunity along with an opportunity to interact with other community members
The course was designed to be personally considerate and benevolent to the participants This
component was accomplished and evidenced by the participants comments such as " the presenter was
warm and welcoming" or " presenters were very good, involved the whole group in a pleasant, non
threatening way." The project was originally conceived to target a senior audience The
demographic make up of the participants could not be determined from the evaluation forms
While those individuals who participated in the Communicate with Confidence appeared to
enjoy and learn from the experience, it must be recognized (' ommiinicate with Confidence competed
with a plethora of similar classes, programs and initiatives These classes, programs and initiatives
range from self- help public speaking literature in bookstores and on the Internet, to Toastmasters
and diploma and certificate programs offered by Community Colleges and Universities These
courses are designed and taught by professional speakeis and trainers who include in then classes
a sophisticated array of topics such as gesturing, facial expression, cultural content or ethics
" Speech preparation means digging something out of y o u r s e l f ( Laskowski, 1997) The
basis of (' ommiinicate with (' onfidence was to help participants find something unique to say, about
themselves, about their community and about their world in an organized and professional manner
Thus, the project designers believe that those people who participated in the course will be able to
more fully participate in organizational and professional endeavours within their communities
4. References
Beebe, S Et al ( 1997) Interpersonal Communication Relating to Others Scarborough, ON:
Allyn and Bacon Canada
Laskowski, L ( 1997) Speech Preparation As A Process LJL Seminars: http:// vvww ljlseminars com
McCroskey. J , ( 1968) An Introduction to Rhetorical Communication: The Theory and Practice
of Public Speaking. Englewood Cliffs, New Jersey Prentice- Hall, Inc.
Rodman, G and R Adler, ( 1997) The New Public Speaker. Fort Worth, TX: Harcourt Brace &
Company
APPENDIX " A"
PROJECT PROPOSAL
GRANT APPLICATION
TO
ALBERTA AGRICULTURE, FOOD AND RURAL DEVELOPMENT
AGRICULTURAL INITIATIVES PROGRAM
ANDY MCPHEE
HEAD, COMMUNITY SERVICES SECTION
EDMONTON
ALBERTA
ALBERTA WOMEN'S INSTITUTES
6604 82 STREET
EDMONTON AB T6B 0E7
PHONE/ FAX 403, 469 - 1254
HISTORY OF ORGANIZATION:
Alberta Women's Institutes was founded in 1909. The
organization was incorporated under the Women's Institutes
Act in 1916, which was updated in 1922, 1942, and 1955.
Alberta Women's Institutes is a volunteer, non- profit,
educational organization. It is non- partisan, non- racial,
and non- sectarian. Any woman over the age of 16 can be a
member. A. W. I. has a membership of 1600, with 120 branches
in Alberta. Our membership consists of 1100 rural and 500
urban women ( approximately). A. W. I, is affiliated with the
Federated Women's Institutes of Canada, ( 36,000 members
approx.) and the Associated Country Women of the World ( with
member societies in 72 countries.)
THE WOMEN'S INSTITUTES MOVEMENT WAS FOUNDED IN ONTARIO IN
1897, AND WILL BE CELEBRATING ITS 100TH ANNIVERSARY IN 1997.
The Women's Institutes movement is truely a Canadian idea. It
was founded in Canada and the movement was then taken to
other countries.
The aims of the organization are:
To encourage women both rural and urban to organize
groups within their own communitites.
To create improved social and educational conditions in
their communities, the province, across Canada, and
throughout the world.
To welcome with help and understanding any new citizen
moving into their community.
To accommodate these aims Alberta Women's Institutes has set
up Educational Convenerships on the local and provincial
levels to distribute learning material, and to report back
to the organization of such learning.
The educational convenerships are:
Agriculture and Canadian Industries
Education and Cultural Activities
Environmental Conservation
Health, Home Economics, and Social Services
International Affairs.
VOLUNTEER COMPONENT
To serve Home & Country by working together to improve
social and educational conditions within the community, the
province, nationally and internationally. Alberta Women's
Institutes is affiliated with the Federated Women's
Institutes of Canada, and the Associated Country Women of the
World.
1600 volunteers, 120 branches, 28 constituencies, 5 districts
Alberta Women's Institutes does not keep a record of the
volunteer hours, however basing it on an average of 10 hours
per month X 1600 X 12, approxomate hours logged would be
192,000 per year. This is a low estimate as many of our
women work much more than 10 volunteer hours per month.
The officers and volunteers of our organization are paid out
of pocket expenses only. There is one full time paid person
who works out of the Provincial office in Edmonton.
GOALS & OBJECTIVES
THIS PROJECT has been used throughout the province, AS A
PILOT PROJECT and was received in an extremely favourable
manner. It was found during the pilot project that women,
especially seniors in rural areas, were the most in need and
men, despite having been in the workforce, were unsure of
their ability to speak in public or voice an opinion at
meetings. Statistics have shown that people are facing the
last years of their life alone, not by choice but by being
left or widowed. They are lacking in self esteem, and are
in need of confidence building in order to be able to stand
up and speak for themselves or at a community meeting. Many
of these people have excellent ideas and knowledge, but are
unable to communicate because of the lack of the skill to
gather their ideas into a manner where they may be
understood.
THIS VERY UNIQUE PROJECT " COMMUNICATE WITH CONFIDENCE" gives
people the ability to put forward their knowledge and ideas
and relate them in a confident manner.
A great number of men and women in rural areas have been
brought up in an age where they were not given the
opportunity to express themselves, and because of this,
remain silent. COMMUNICATE WITH CONFIDENCE is a program
designed to encourage participation, teachers are instructed
to give support, encouragement, and instill a feeling of
confidence in the participants.
Participants will be required to pay a small registration fee
of $ 10.00. This is only a token fee, but it is a commitment
made by the participant. With the downturn in the economy, it
is felt that people will take the course because the
registration fee, is within their reach.
2
PROJECT FUNDING
$ 33,750 .00
PROPOSED BUDGET
See attached Appendix # 1
PROJECT: COMMUNICATE WITH CONFIDENCE
LEADERSHIP TRAINING: priority: PUBLIC SPEAKING
LEVEL 1 & 2
Over the years Alberta Women's Institutes has been
hosting with Alberta Agriculture Home Economics Branch,
Leadership Workshops throughout the province. From these
workshops, one remark that was repeated many times was the
need for public speaking courses in rural areas. Men and
women, especially seniors who live in the rural areas had
very little if any access to this type of training. People
in urban areas said there are groups that did have this type
of training, but to access the Public Speaking part of these
programs you had to take " positions" within the group ( such
as secretary, treasurer, ways and means committee, president)
and this meant more work to be fitted into their volunteer
hours.
ALTHOUGH THIS PROJECT IS BEING ADDRESSED BY A WOMEN'S
ORGANIZATION, THE COURSES ARE OPEN TO THE PUBLIC, AND
EVERYONE CAN PARTICIPATE AND ARE MOST WELCOME.
The goals of our project are:
TO ADDRESS THE NEEDS OF RURAL AND URBAN PEOPLE
WHO OVER THE YEARS HAVE HAD NO ACCESS TO:
PUBLIC SPEAKING - LEADERSHIP SKILLS - SELF CONFIDENCE,
AND TO PROVIDE A SECOND LEVEL PROGRAM AS THE EVALUATION
SHEETS FROM THE PILOT PROJECT INDICATED.
PROJECT TIME TABLE
Beginning October 1995 and be completed June 1997.
FUNDING DATE
September 1995
PROPOSED BUDGET FOR ALBERTA WOMEN'S INSTITUTES
PUBLIC SPEAKING COURSES
LEVEL 1 & 2
TEACHERS: 5 areas
2 teachers per area
40 courses $ 250.00 per course $ 10,000.00
( each course 10 hours long)
TRAVEL AND ACCOMMODATION, MEALS
40 courses $ 250.00 per course $ 10,000.00
ADMINISTRATION STAFF: $ 2,000.00
EVALUATION: On going evaluations during
2 year project 2,000.00
ELECTRONIC MATERIAL:
Microphone/ Stand/ Small amplifier 750.00
PRINTED MATERIAL:
classroom material, workbooks,
3 ring binders to hold information. 6,750.00
TYPING: 100 hours @ $ 15.00 per hour 750.00
MISCELLANEOUS:
space rental for courses
phone, postage etc.,. 1,500.00
TOTAL FUNDING REQUEST: $ 33,750.00
THE PROJECT WAS TO BE FUNDED BY HEALTH AND WELFARE CANADA BUT
DUE TO A TOTAL CHANGE OF GOVERNMENTAL CRITERIA, IT NO LONGER
QUALIFIED.
ALBERTA WOMEN'S INSTITUTES
2 YEAR WORK PLAN:
PROJECT: COMMUNICATE WITH CONFIDENCE
Phase 1:
Establish a task force to come from the 5 areas targeted
with a maximum of 10 women / 2 women per area.
President of Alberta Women's Institutes would chair the
task force.
Divide task force into Sub committees.
Program Committee
Teacher training committee
Budget committee
Material and Equipment committee
Area Programming committee
Sub Committees:
PROGRAM COMMITTEE: Establish guidelines, length of
courses, materials necessary for courses and teachers, number
of participants per course.
TEACHER TRAINING COMMITTEE: To select course leaders for
Phase 1, to set up a training program for the course leaders,
establish fee for the program to be charged to the
participants ( nominal charge will be established - it is a
know fact that to give the courses free, they are not
regarded with the respect that they should command.) Once
Phase 1 is implemented they will continue to establish phases
2 and 3.
BUDGET COMMITTEE: To establish a budget for all phases
of the project. Guidelines for travel allowances, room and
board, material costs, printing costs, course room rentals,
task force committee administration costs etc.,
MATERIAL & EQUIPMENT COMMITTEE: Map out the materials
required for the courses, cost out material and equipment
necessary for the project. Produce the necessary material and
equipment required.
AREA PROGRAMMING COMMITTEE: Start up the program in
first area suggested by the Task Force committee. Set up
schedules, arrange for teachers, set up classes as requested
by the Alberta Women's Institutes branches or the public at
1arge.
PHASE 1: Once the classes have been started, they will be
evaluated by the Task Force Committee on a continuing basis,
Any changes or problems will be addressed. Phase 1 will last
6 months. During this 6 months new teachers will be trained
in preparation for Phases 2 and 3.
PHASE 2: Two more areas will be added to the program, making
three areas of Alberta covered by the program. Evaluations
will again be done on an ongoing basis.
PHASE 3: The last two areas will now be added to complete
the coverage of Alberta.
Each area will have a contact person who will be one of the
Task Force Committee. Any problems or difficulties can be
addressed to this contact person at any time during Phase 1,
2 , or 3.
Teachers will be solicited from the membership of Alberta
Women's Institutes. They will be required to have
demonstrated leadership, good public speaking habits, and the
ability to motivate and encourage women to build their self
confidence. Teachers who were used in the Pilot Project will
also be trained to teach Level two.
Program will be designed to be used by the Alberta Women's
Institutes local branches or held open to the public.
Goal of the Project is to:
Improve Public Speaking Ability
Develop Leadership Skills
Build Self Confidence
Alberta Women's Institutes
Executive and Council Members
PRESIDENT;
Elizabeth Rushton
PRESIDENT ELECT;
Doris Northey
VICE PRESIDENT;
Hazel Swainson
5017 47 Ave Stony Plain AB T7Z 1L6
R. R. I, Red Deer, T4N 5E1
Box 424, Sedgewick TOB 4C0
District 1 Director:
Zella Pimm Box 314, Grimshaw TOH 1W0
District 2 Director:
Marilee Kosik Box 150, Wabamun TOE 2K0
District 3 Director:
Grace Grover
District 4 Director:
Lillian Dangerfield
District 5 Director:
Gerri Shadlock
Box 365, Blackfalds TOM 0J0
R. R. I, Coutts TOK 0N0
Box 829, Rosedale TOJ 2V0
GRANT APPLICATION CONTACT:
Alberta Women's Institutes Head Office:
6604 82 Avenue
Edmonton. AB. T6B OE7. Phone / Fax 469 1254
Provincial Executive Secretary
Janet Halberg.
ENCLOSURES:
ALBERTA WOMEN'S INSTITUTES REPORT BOOK
FINANCIAL STATEMENT PAGE 2 6
ALBERTA WOMEN'S INSTITUTES HANDBOOK 2
WOMEN'S INSTITUTES ACT
ALBERTA WOMEN'S INSTITUTES MAGAZINE 4
HOME AND COUNTRY
ALBERTA WOMEN'S INSTITUTES BROCHURES 5
Funds we have available for the project
• Local cash available $ IO. OOO. OO
• Expected money from fundraising 5,150.00
( if applicable)
• Value of volunteer labour
Total volunteer hours: 1300
X Rate per hour S1 2 - 0 0 = S 1 5 » 6 0 0
• Value of donated equipment $ 1 ' 0 0 0 - 0 0
• Value of donated materials $ 1 >°°° - 0 0
• Government grants received:
from $
$
$
Other grants applied for:
from Status of Women « 1,000.00
$
$
Total S 33 , 750.00
Your total here must equal the total given In the project cost section.
Project Management ( Who Is the Owner/ Operator)
Alberta Women's Institutes' Council
Project Timetable:
Project Start Date:
Project Completion Date:
October / 95
June / 97
We may need more information or documentation before we can consider
your application.
As a condition of accepting financial assistance from Alberta Lotteries, you
must allow Alberta Agriculture, Food and Rural Development to examine all b o o ks
and records having any connection with this project. We may need to ascertain
whether or not these funds were spent for the purpose intended.
Declaration
I declare that the information contained In this application Is true and accu­rate.
I am a duly authorized representative according to our bylaws with financial
signing authority for this application. I agree to provide a report which outlines how
both the grant funds and the matching funds were spent on this project, and which
indicates that we complied with all conditions of the grant. I also declare that if a
grant Is awarded we will use it solely for the purposes outlined in this application.
This must be signed by two officers of your organization.
^ ttc^ d^ ex^^ IAV QX* K£ r~
Signature
President
Title
Y ^ UJ/ bc l e v
Signature
Prov. Executive Secretary
Title
ELIZABETH RUSHTON
Print Name
JANET HALBERG
Print Name
A U G U S T U IQQS
Date
Submit Your Applications to:
Honourable Walter Paszkowski
Minister of Agriculture, Food and Rural Development
Room 208 Legislature Building
EDMONTON AB T5K 2B6
For More Information, Contact:
Andy McPhee, Head, Community Services Section
Alberta Agriculture, Food and Rural Development
Phone: 427- 2171 Fax: 438- 3362
1
APPENDIX " B"
PROJECT FUNDING APPROVAL
ALBERTA
MINISTER OF AGRICULTURE, FOOD AND RURAL DEVELOPMENT
MLA Grande Prairie - Smoky
NOV - 9 t9S5
Ms. Elizabeth Rushton, President
Alberta Women's Institutes
c/ o 6604 - 82 Avenue
EDMONTON AB T6B OE7
Dear Ms. Rushton:
I am pleased to inform you that I have approved funding for the Alberta Women's Institutes,
through the Agricultural Initiatives Program of Alberta Agriculture, Food and Rural
Development. Enclosed is a cheque in the amount of $ 17,600 for program initiatives.
The Auditor General requires that the receipt attached to the cheque be signed by a
responsible officer of your organization. It should then be returned, within 30 days of
receiving the funds, to the address on the bottom of the receipt.
This funding reflects my strong commitment to providing support for local initiatives through
the Alberta Lottery Fund. Please convey my compliments to the members of your
organization.
I wish you all the best in your future activities.
Walter Paszkowski
Minister
Enc # 015556
208 Legislature Building, Edmonton, Alberta, Canada T5K 2B6 Telephone 403/ 427- 2137, Fax 403/ 422- 6035
Northern Alberta Railway Station, Box 329, Sexsmith, Alberta, Canada T0H 3C0 Telephone 403/ 568- 2560, Fax 403/ 568- 3099
Sincerely,
O Printed on recycled paper
APPENDIX " C"
Communicate with Confidence HANDBOOK
ALBERTA WOMEN'S
INSTITUTES
1> R£ S£ NTS
COMMUNICATE WITH
CONFIDENCE'
C o m m u n i c a t i o n is t h e k e y t o s u c c e ss
i n b u s i n e s s , l e a d e r s h i p , p e r s o n a l r e l a t i o n s h i p s,
a n d e v e n w o r l d p e a ce
BE PREPARED
CHAPTER 1
BASIC SPEAKING
THE IMPROMPTU SPEECH
PURPOSE: To express an opinion, ask a question, share
information, influence a decision and/ or communicate an
idea.
GENERAL PREPARATION:
Practice being alert and listening.
Leam to organise your ideas
Learn to use microphone
Be aware of etiquette/ protocol
Know the structure of a speech
Study & practice speech delivery techniques
( see " Communication Power Tools" in this section)
Practice ' reading' an audience ( to plan how to
approach them)
Keep a file of quips, quotes, etc. to use as ' ad- libs'
Listen to and watch other speakers ( T. V, Seminars
and meetings) to pick up techniques.
Practice impromptu speaking regularly ( at home,
in the car, etc.)
Keep informed on many subjects, ( in books,
papers. conversation, T/ V., radio)
IMPROMPTU SPEAKING WILL....
Help you leam to maintain your poise in spur of
the moment situations.
Allow you to use/ share your storehouse of
information and experience
Instil self confidence, control nerves.
REMEMBER... Relax.
a) The audience usually knows less about the
subject than you..
b) They will be sympathetic. ( After all, it might be
one of them who had to get up and speak.)
c) If they hadn't been interested to hear what you
are saying, they wouldn't have asked/ allowed you to speak.
POISE & CONFIDENCE
When asked the most common fear of speaking,
people say " fear of crowds and fear of ridicule". We've all
experienced the symptoms fast pulse, weak muscles, dry
mouth, cold hands, sweaty hands, tight nerves and
butterflies in the stomach. The bad news is that even
experienced speakers never completely get over them. The
good news is that, with practice and the proper ' tools', we
can train the butterflies to fly in formation.
Of course, what you say is of utmost importance,
but the message can be enhanced ( or diminished) by how
the audience hears it, what they see, and their perceptions of
you. If the words were all that was needed, you could pass it
around on paper, or mail it in. The power of the spoken word
is the presence of the speaker.
We use our eyes, body, voice, expression,
appearance, and humour to make our speech stronger, more
interesting and more memorable. These are all skills that
can be learned, and improved with practice.
Practice every day using the structure guidelines
given in this chapter. If you hear a debate on the radio or
TV, mentally plan how you would speak to the topic. Then
give the speech, out loud, using the ' Power Tools" section.
Listen to other speakers. Watch how they handle
different situations. Copy what works for you.
We feel and look most confident when we are in a
comfortable situation. Practice speaking at every chance.
Practice using a microphone. With repetition, these things
become familiar.
Practice and familiarity breed poise and
confidence!
BE FRIENDLY,
BE NATURAL,
BE ENTHUSIASTIC,
aad SHARE YOURSELF WITH YOUR AUDIENCE!
STRUCTURE OF AN IMPROMPTU SPEECH
When we think of ' impromptu' we might assume
that it is just ' off the top of your head', and therefore there is
no structure to it. Although there is minimum preparation
time, structure is still important.... even if the speech is
only three or four sentences.
If we just start rambling, the audience may miss
the point and ignore the rest. To avoid this... we must have a
strong opening statement We call this...
" THE HOOK". To capture the attention of the audience
immediately, your first words should make them sit up and
listen. In an impromptu speech, one line or, maybe two, is
sufficient. Here are some suggestions. Be sure they are
appropriate to the subject.
... ask for a show of hands
... ask a question
... use an unusual or shocking statistic
... make a strong, startling or controversial statement
.. a relevant quote.
... a visual aid
... use humour... i. e^ n ad- lib or one- liner
... make a strong, startling or controversial statement
.. a relevant quote.
... a visual aid
... use humour... i. e. an ad- lib or one- liner
Now that you have their attention, go on with...
" THE BODY". This is the bulk of the speech where you
give the information, background, description, facts and
figures, etc. Try to keep it precise and in some order, ( ie:
make points in chronological order or order of importance.
In most cases, you make the point, then give the ' proof
( backup, argument, description, etc.) However, if each
' point' has a common proof, give all points then the
common denominator, ( ie: " Therefore ").
Now , in one sentence or two, go to...
" THE CONCLUSION". This is your chance to leave a
final thought with the audience. It may be an appeal or
suggestion; ( ie: " With these points I have made, I urge [ or
encourage] you to '), a final statement or argument;
( ie: " I believe that I have proven "), or an overall
conclusion: ( ie: ' This is the information I was asked to
research"). Only when you have the actual speech can you
determine the exact conclusion it needs. This sentence is
the one that will be most remembered, so be sure it is
powerful.
WAKE UP!!!
( Hook)
THIS IS MY STORY ( Body)
REMEMBER THIS!
( Conclusion)
A BAKER'S DOZEN OF HINTS
1. ALWAYS STAND UP... Even in a small group or for a
short statement. Your voice is stronger and clearer when
standing. The audience will pay more attention if they can
see you. You can see and read' them, [ do they understand?
do they have questions?, etc.] It shows you have the floor
[ prevents interruptions]
2. ALWAYS FACE THE AUDIENCE... If you are
speaking from the floor, face as much of the audience as
possible. It's best to speak from the front of the room.
3. U S E MICROPHONE If there's a microphone
available. use it. We have all heard a speaker who asks ( in a
loud voice) " Can you hear me?" We agree. Then he proceeds
with his speech, slowly losing volume.. and his audience. If
the audience has to struggle to hear you, they'll probably
quit listening.
4. ETIQUETTE.... The Chairperson has given you
permission to speak, whether verbally or by a nod of the
head, so always start by recognising him/ her, then turning
to the audience and addressing them. NOTE: If someone has
introduced you to speak, you start by thanking that person,
then addressing the Chair and audience. If there is a head
table and/ or special guests, use this order.. . Thank
introducer.. Recognise Chair, Head Table Guests, Special
Guests, Audience.
5. SPEAK SLOWLY, CLEARLY & CONCISELY
... When we are nervous, we tend to speak quickly. The
audience has to have time to assimilate what you are saying.
Use short sentences: long wandering sentences often just
lose the audience. ( They have to remember from the
beginning.) Don't wander off subject or get into
unnecessary details. The audience has offered you this time
and attention to make a point. make it! Use language that
everyone will understand.
6. AVOID ' VERBAL' PUNCTUATION... Wetendtouse
' a h h \ ' errr'. ' heh', etc. when we are nervous or thinking of
what to say next. Train yourself just to pause. A moment of
silence as you frame your thoughts is less irritating to the
listener than meaningless sounds.
7. INFLECTION:... Be careful not to make your
statements sound like questions. The inflection at the end of
a sentence, when it is not really a question, indicates that
you are unsure about your facts and about yourself. ( You're
not asking... you're telling.)
8. VISUAL AIDS.. Although it is unusual to use visual
aids in an impromptu speech, you may need to
illustrate. chart, or make notes on a flip chart or blackboard.
OR, you may have a chart, picture, diagram with you that
you wish to share with the audience. Have the blackboard or
flip chart positioned so that you do not need to turn your
back completely to the audience. [ If you are right handed,
have the board/ chart to your left. As you write on it, you can
look over your right shoulder to the audience]. Write big, so
that all can see. Vary colours to separate points, ideas,
sections, etc. When using pictures, etc. be sure they are
large enough for all to see. If not, pass them around.
[ FOR MORE INFO on all forms of visual aids, see related
materia] in Chapter2]
8. D O N ' T APOLOGISE:... Don't make apology'
statements; ( ie: " I'm not a very good speaker", or " I'm not
really prepared"). Simply address the appropriate
people .. pause, then go directly to the ' hook'
9. DON'T THANK THE AUDIENCE... Thank only the
introducer or chair at the beginning. Finish with your
strong closing statement. pause while making eye contact
one more time, then sit down.
10. REPEAT QUESTIONS:.. If a question is asked from
the floor, repeat it into the mike before answering. If the
audience didn't hear the question, the answer will mean
nothing to them
_ 2_
11. BE HONEST:... If you don't know the answer to a
question, admit it. You can ( if you wish) offer to find out and
get the information back, either to the meeting or to the
individual Remember to follow through on the offer,
ASAP.
12. START STRONG:... If you were introduced, that
person should have announced your title or topic If you
stand up cold' to speak, there is still no need to announce
that, " I am going to speak about " Your first two
sentences will make the topic obvious so, as soon as you
have addressed the assembly, go directly into your strong
opening sentence
13. DON'T LET THEM SEE YOU SWEAT.... Of course
you're nervous Every speaker is. The difference between
them and you is they don't let it show remind yourself.
" You are in control .. you have the information they
need you are doing them a favour"
THE MICROPHONE
Fear of using a mike is easily overcome by
becoming familiar with it. During the Communicate with
Confidence Course, or during breaks, we urge you to handle
it, test it, adjust it. become comfortable with it Using a
microphone improves your speech, because it allows you to
be heard without straining your voice to an unnatural pitch
and allows the audience to hear without straining their ears.
It also ensures that the audience doesn't miss some key word
or statement
... Try to check the mike before you use it. If this is not
feasible, watch the previous speakers and note how close
they must hold it. Usually, 10 to 15 inches from your mouth
is optimum. Test by asking if you can be heard
When testing the mike, don't blow into it, tap on it or
whistle. This can damage the equipment. Simply speak a
couple of words in your normal tone of voice. ( After all, you
are testing it to speak into, not blow into)
... Try to keep a constant distance from the mike while
speaking. Leaning into or away will cause your volume to
waver Be careful not to move your hand around when using
a hand- held mike Don't leave the mike, or if necessary to
do so, don't speak while you're away from it ( It's a good
idea to say, " Excuse me for a moment while I ".)
... If you are using notes, keep the mike slightly below your
mouth, as it will pick up better as you look down
Be careful what you mutter. Mike' is a blabber mouth!
... Use a natural tone of voice However, don't hesitate to
raise and lower the pitch of your voice, as you would without
a mike A monotone is boring
Don't wear ' noisy' jewellery ( Bangle bracelets, for
instance) or make irritating noises ( rattle paper, tap fingers
or pens) near the mike as it will pick these up
Feedback is caused by the mike pointing at the speaker
We all fear that high- pitched squeal. It seldom occurs in a
stationary mike, but may happen if you are moving around
Simply turn the mike to point in a different direction Try
to locate the speaker and keep away from it. If all else fails,
turn off the mike until the problem can be solved.
Be aware that your voice will sound strange to you Don't
let it bother you. To be comfortable on a mike, try
practising on a tape recorder the recording will sound
much like your voice over a microphone. Laughter can
sound very strange over a mike so try to control and
modulate your laughter.
. Sometimes, particularly in a large hall, you will find
' delay' You will hear your voice over the speakers a second
or two after you have said the word. Don't let this throw
you. Try to ignore it and simply continue with the speech at
your pace
There is a switch on the side of the mike Be sure it is on
when you are speaking, but you may want it off while
moving or adjusting the mike stand.
... Mike etiquette suggests that when someone turns a
microphone over to you they should adjust it for you before
leaving. However, in case this isn't done, be aware of how
to raise and lower it Murphy's Law says that the person
who last used it will be much taller or shorter than you.
Audience Involvement
How to get People Involved in your Presentation
Introduction
Involving your audience will make your presentation.
Participants may see your presentation as dull if you
don't involve them. Your role is to facilitate learning -
not to preach, teach or lecture. You can involve people
by appealing to their senses, and by using style, content
and group interaction. This can grab your a u d i e n c e ' s
attention and get your message across.
Read on to find out what and how to d o i t
Why involve an andience?
You can:
* share the success of your presentation with your
audience
* grab your audience's attention
* help participants get involved with one another
* make participants feel more committed to learning
because they feel included
* help individuals learn more when they're actively
involved in their learning
* add variety and liveliness to your presentation
* stimulate personal growth and discovery for
participants
* use the wealth of knowledge of the entire group
The presenter's role
the presenter creates a learning environment
that encourages and enhances learning. It's up
to you to design a presentation that achieves this
objective within an atmosphere in which
participants feel safe to respond and interact.
Once you've set the stage, the audience will
respond by becoming involved, even if they are
only listening.
handout £ y_
How to involve the audience
There are three main ways to involve your audience:
through your interaction with them, your presentation
style and the content of your message.
Your interaction with them
Be careful to interact with the group and not the
subject matter. Watch that you talk to them and not
to your material ( notes, overheads and chalkboards). Let
your audience know that you a re there to lead and guide
them and not to play the ' know- it- all'. You are there to
plant the seeds of growth which they will experience.
Sometimes learning is really relearning.
Get involved with your audience and get them
involved with one another by using a variety of learning
methods. Your message will be more effective if you use
more than one technique.
Here are some techniques with possible applications:
* presentation techniques - short lectures, displays,
demonstrations
* audience participation activities - question and answer
period, buzz groups, audience role playing,
games, case studies, structured experiences
* group discussion activities - case discussions
( analysing a given case or situation), group
centred discussions where the group is asked to
offer examples
* skill- practice activities - an example is; if participants
want to become better at communicating, you
can involve them in an exercize that has them
practising paraphrasing; in groups of two have
the other partner paraphrase the situation
* As the saying goes;
I hear, I forget
1 see, I remember
I do, I understand
Presentation style
How you come across to the audience will affect
group members' involvement, develop an effective
presentation style by telling your audience at the
beginning of your presentation how you want them to
take part, asking for a show of hands to a number of
questions gets participants involved too. Effective
pauses, silence, body movement, stance, eye contact and
visual aids encourage people to get involved.
Presentation content
The content of your speech is another way to involve
your audience. Humour draws people to you. listeners
open up to speakers who are enthusiastic, cheerful,
positive, considerate and interested in their topic. Use a
sense of humour to attract the group to what you say.
Share personal anecdotes, exaggerate to make a point,
say something witty, or poke fun at yourself to put your
audience at ease.
Keep these in mind:
* involving your audience takes planning time
* get to know the group participants
* learn their names and call them by their names
* arrive at least one half hour before the session and
stick around afterwards
* appeal to their visual sense
Conclusion
Use a personal style that forms a closer relationship
between you and your group, draw group members closer
to you by using a sense of humour. Finally, interact
with the group and get participants to work with one
another. I t ' s your responsibility to create an atmosphere
in which participants feel they can take part. Your
presentation will be more exciting the more you involve
your audience.
CHAPTER TWO
FROM INVITATION TO
OVATION
So you've been asked to make a presentation ... now what 7
There are steps and time frames that will help you arrive on stage not only with
a great speech but, prepared, confident and comfortable, with little chance of hidden
surprises'.
To guide you on this journey, we have prepared this " Ladder of Success".
OVATION
Final Check
Learnt Practice
Ice Th; Cake
Refine Speech
Write Speech pcem
Jnvitatien Organ ze Data
Focu s Topic
Resea ch Audience
Resea ch Topic to
Claatien!
Five W's
INVITATION
AtUtti lUvmm'l Uttitit*
Let's follow the steps
THE LADDER OF SUCCESS
Step One: The 5 W's
When you are originally contacted, you should ask the
following questions.
- When do they wish you to speak?
- Where?
- T o who?
- Why are they asking you?
- What do they want you to speak about?
AND..
- How long do they want you to speak?
The person who originally contacts you is your
contact with the group you will be addressing. Be sure to
get a name and phone number where he/ she can be
reached for further questions.
Step Two: Research Audience
To prepare a presentation that will meet the
needs of the audience ( make you a ' h i t ' ) you must first
assess just what those needs are. What do they expect or
want from your p r e s e n t a t i o n ? . . . . I n f o r m a t i o n ? ..
Entertainment?.. Plan of Action? etc
Read " Discover the Needs of Your Group", this
chapter.
Why is this ' Needs Assessment' important to
you?
- so your speech will be pertinent to the conference
theme
- to determine types of humour, graphics, visual
aids, handouts and language ( technical?) that will be
most effective and appropriate when speaking to them
What do you need to know?
- about their club/ organization common
goals, concerns & interests
- Reason for gathering... Social, Business,
Convention, Training?
- Conference Theme... and copy of the agenda
including who other speakers will be, their topics, and
where you fit.
- What part you play.. part of panel? dinner ?
only speaker?
How do you find out?
- The contact person should be able to answer these
questions
- Ask to be sent brochures about the organization and
the conference ( gathering) and agenda
- Ask them to send you a map ( to find the location.)
ALSO, at this time
Research the Facility.
... is there a mike?
... is there a stage?
... podium?
... equipment for visuals?
NOTE: This is a good time to prepare ( if you d o n ' t
already have it done) your personal information and send
it to the contact. The group may need it for advertising,
and your introducer will need it in advance of the
occasion. [ See information on Preparing a Resume,
this chapter].
Step Three: Research Topic
It is important to start this research as early as
possible. Use as many sources as possible; library,
personal knowledge, interviews, etc. Be sure all sources
are reliable. Be sure facts are TRUE and U P TO DATE.
Unreliable facts will lose your credibility.
Do use your own knowledge. We know more
than we realize about many things. If the original data is
your own, then the speech will more easily evolve in
your style. A great method of dredging up personal
knowledge is called ' Mind mapping" [ this chapter]
It is important to collect more than you'll ever
need for the speech. The more background you know
about this subject, even if not used in the speech, the
more comfortable and confident you will be. If you a sk
for questions in the presentation, all this ' other'
information will be valuable. However, do keep subject
in mind; don't wander into other topics.
To prove or support your intended points, try to
use specific examples, statistics, and actual quotes. Hard
facts have more impact than weak insinuations. If you
use quotes, give name or originator and quote precisely.
Giving the source of statistics is, usually, more
effective.
Now, study all information until you feel
knowledgeable about and comfortable with the whole
subject.
Step Four: Focus Topic
The subject of a speech can be very general. For
instance, if you were asked to speak on " Environment",
you would have many topics within that general theme;
saving it? using it? enjoying it? studying it? etc.
If you decided on " Saving the Environment",
you would then need to decide what part of the
environment; Water? Air? Soil? Forests? Wildlife? etc.
Refined to " W i l d l i f e " still leaves Animals, Fish,
Birds.... and then maybe to a specific species.
Even when you determine this specific, for
instance " The Bald Eagle", you must still determine the
actual focus you wish to address; an awareness speech on
the threats to its' existence? a plea to the audience to
help? information about individuals and organizations
who are involved? ( or maybe a combination of these).
R e m e m b e r . . . . T h e shorter the s p e e c h . . . t he
narrower you should refine the focus.
THERE ARE THREE BASIC " TYPES" OF SPEECH:
Informative ( or Instructional),
Entertaining
Persuasive.
Now, go through all your research notes and set
aside everything that does not bear directly on the focus
you have chosen.
The audience research will help you determine
the actual focus they want to have addressed. You may
also be influenced by what you want to say about the
subject.. but not at the expense of their wishes.
Step Five: Organize Data
List the points you wish to make. Generally it
is best to stick with one main point
and up to four related ones. This is the basis to a clear
concise statement in your speech. More ' cluttered' may
be confusing.
Now, below each point, list all examples, statistics,
quotes that will support or explain that point.
Roughly pencil in any visual aids that might
help make a point or support your facts, ( charts,
illustrations, maps, etc,)
Step Six: Write the Speech
First make an outline.
Write down what overall message you want to
convey.
Determine in what sequence you wish to place
your points. There should be some ' o r d e r ' in
this... chronological, order of importance, etc.
Then decide how many " supports' ( verbal and
visual) each will get. There should be a balance here,
too... don't overload one and make another seem weak by
comparison.
Refine outline.
Make sure that each point and i t ' s supports
relate DIRECTLY to the message you wish to leave
with the audience.
If points are in order of importance, should they
be from least to most important or the reverse of that.
Try both to j u d g e effectiveness. Sometimes the best
point first grabs the audience, sometimes it is better to
increase importance, therefore attention, as you go
along. Chronological is usually best in normal sequence,
but reverse has been used effectively in some cases.
Now check it one last time... Is this what you
want to say? Is it what they want to hear?
Wnte the speech.
Following the guidelines, under " Parts of
Speech" [ this chapter], write the speech. ( Double
space to allow changes and refinements.)
Many speakers find it best to w n t e the body
first, then write the intro and conclusion to fit.
IDEAS: Decide what ' slant' you want.
Are you ' f o r ' or ' against'. Sometimes you can
play ' d e v i l ' s advocate'... appearing to be ' f o r ' , then being
strongly opposed in conclusion. In the ' B a l d Eagle'
speech, it might be effective to speak as the eagle. Think
about different techniques.... but be careful not to be too
' c u t e ' . For more, see " Learning Objectives", this
chapter.
Step Seven: Refine Speech
To refine your speech, you must ask the
following questions.
- is it clear?
- is it appropriate ( to audience research)
- does the introduction capture interest?
- are the facts and examples varied?
current? verified?
- do the facts and examples directly
support the points?
- is the speech organized... does it flow
in a natural sequence?
- does the conclusion achieve the
purpose? ( ie: does it indicate the
reason for the speech?)
Refer to " Review you Speech's
Content" this chapter.
Further Refinements:
As you go over this speech ( out loud is best)
you should be constantly fine tuning it. Ask yourself the
following questions:
- are the words and sentences understandable and
pronounceable? Don't make pronunciation ' traps' for
yourself. T o be readily understood, sentences in
speeches should be shorter than written compositions.
Long, compound sentences can lose the audience. Short,
concise statements are more effective and memorable.
- do you believe in what you are saying? Can
you be enthusiastic about it? Are you comfortable with
your overall knowledge about this subject?
- is the language clear and simple? Will it be
readily understood by the audience? If technical terms are
used... define them. If abbreviations are used, give full
name and indicate that the abbreviation will be used from
now on.
Remember that you must speak this. Keep it in a speech
manner that suits you. Complete sentences are not.
always, necessary. Use slang only sparingly or for
special effect.
MOST IMPORTANT... check the time. Don't try to
cram more into it than time easily allows... you will
have to speak so quickly that the audience will not
absorb the message. If it is too long, throw out the least
important point, or reduce the number of example/ facts
in each point, or combine two points.
When considering time, remember
- the introduction will eat up a few
minutes,
- protocol opening will take time
- the visuals you include will take time,
- will there be a question period?
- leave time for pauses ( to change
subject, to emphasize point....
Step Eight: Ice the Cake
- come up with a ' Hook'... that first line, quote,
etc. that makes the audience sit up and ' s n a p t o ' . ( See
" Hook" this chapter.)
- prepare all your visual aids and insert them in
the speech. See " Visual Aids", and related info, this
chapter.
- add touches of humour where [ if] appropriate.
- decide on an " Icebreaker" or " Opener". In a
short speech, the Hook may be sufficient if you use
question, show of hands, etc.
See " Icebreakers and Openers" this chapter
- prepare an " Energizer" if presentation is more
than an hour.
See " Energizers" this chapter.
- pencil in your ' protocol' ( see Etiquette,
chapter 1)
- prepare handouts. Be sure you make enough
for each person!
It is good to have handouts, because:
- the audience can pay attention to you
rather than wnte notes
- they have some reminder of your
message to take with them.
- decide on a great exit line to leave the
audience involved... and thinking.
REMEMBER: Leave them laughing...
Leave them crying..
Leave them shocked...
BUT don't leave them apathetic!!!!!
Step Nine: Learn & Practice
Practice.... over and over and over and over! ( and
over again).
- use mirror, tape recorder, video camera,
family, friends
• check for time... stay in limits... refine or
shave if necessary. Leave time for questions.
- learn smooth handling of machines, notes,
visuals, etc.
- keep refining as you practice. If something
doesn't ' flow' or if you stumble ... change it.
- make good notes on cards and practice with
them
Keep reducing notes. When you know your speech
sufficiently, you should only require ' key' words on
notes.
NOTE: Number your note cards!!! If you drop them
( and it happens) they can be quickly regrouped if
numbered.
NOTE: If you have allowed time for questions, have a
' filler' bit of information in case no questions are asked.
See " Q u e s t i o n s " this chapter
NOTE: Keep a short conclusion ( including your
dynamite closing line) till after the questions. The jasj.
thing you do is to give that ' l i n e ' . . . l o o k at the
audience... smile... step down, ( but stay near podium unul
you are thanked). If a gift is presented ( not cash), say
thanks and open it to show audience.
Step Ten: Final Checks
Two or three days before the engagement, if you have
not been contacted ( to confirm) you should call them
- confirm time, location, etc.
- confirm that equipment you will need is
available ( overhead projector, flipchart. slide
projector, podium, etc.)
- ask for info on venue... name of person who
will introduce you.... is there a head table?... names of
dignitaries and special guests.
The da\ before: Pack your briefcase.
- the speech ( notes)
- your visuals
- overhead transparency pens ( if needed)
- flipchart markers ( if needed)
- handouts
Prepare clothing, remembering the guidelines in
" D r e s s & A p p e a r a n c e " , chapter 1
G< i cariv
- Have time to get nd of your coal, freshen up.
etc
- Reconfirm ( with ' g r c e t c r ' ) . the name of vour
introducer. Have special guests and dignitaries pointed out
and idcnufied to vou Pencil names on > our notes so \ ou
won't forget. Double check pronunciation of all names
- Case the facilities where is the puiium'' how
do you get on the s t a g e 9 Is the equipment there'' Is it in
convenient posiUons? If you will need lights turned on
and off. ask grceter to arrange this Watch speaker with
the m i k c . h ow far from face seems most effective'' ( all
are somewhat different) Is there water'' ( ask for some Io
be placed in podium area if vou wish it)
- Does the audience look Ured. bored- ' If so it
might be an idea to start with a short energizer ( ic get up
and ' shake out the cobwebs' (. NOTE alter ' protocol'
but before ' Hook'.
- Sit close to stage to be quicklv available when
introduced.
You're o n ' " using " Power Tools"
( chapter 1) knock their socks off!
PREPARING YOUR RESUME
A speaker is introduced to the audience to promote friendly rapport with the group and
explain why the speaker has been asked to speak on this subject ( and qualifications) When well
done, it really paves the way for the speaker. Audience involvement is a powerful tool and a good
introduction does that. If feel they ' know' you they're more receptive to what you will say.
The introducer will need your resume, preferably in advance. [ Beware of introducers who
are going to ' wing it': it's better if you have control over what they might say.] The organizers ot
the program may also need your information to use in advertising. Below is an outline of what
should appear. ( Type it for clarity)
Your Name:
and title... ( Doctor, Reverend, Program Director, PTA President etc,
Occupation:
( volunteer or paid) especially as related to subject of the speech
Related Experience:
volunteer work in that field, extra duties, committee involvement, training, studies, degrees, etc.
Brief Personal Info:
Occupation, if not related to subject
Other volunteer work
Family
Where you live ( particularly if you are from out of town)
History
if it might interest this group...
ie: they are all immigrants and so are you;
they have ties to another province.. you grew up there;
they are managers of a grocery chain where you used to be a bagboy;
they belong to the Italian Club... your grandmother was Italian;
Lions Club?... your father belonged, or your family was helped by Lions;
( NOTE: If you have this kind of info about the audience, you may include your connection in your
resume OR you may choose to use it as ' Audience Involvement' or ' Humour' in your presentation.
Don't use it both ways.
Title of Speech
The title is more dynamic than just the subject.
Some speakers keep a full resume ( qualifications on all subjects the present). It is still best if you
' tool' your resume to this one particular event/ presentation.
Alberta ~ rfomen s Insrurure
Communicate Kith Confidence
The Hook
Capture the attention of your audience immediately. Your first words should make them sit
up and take notice. This is called ' The Hook' and is a very effective tool. Be sure, however, that it
is appropriate to the subject of the speech. In an impromptu speech, try to think of a ' hook' as the
opening line.
Suggestion Your idea
1. Tell a related anecdote or story
2. Ask for a show of hands
3. Ask a question .
4. Use an unusual or shocking statistic
5. Make a promise . ___
6. Make a startling or controversial statement
7. Use a relevant quote
8. Use a visual aid
9. A ' mystery' introduction of your topic
10. Get them laughing... a related joke
.. a planned ' ad lib'
.. visual humour
Now you have them hooked
Your speech should reel them in.
AND... your conclusion should
land them in your boat!
Alberta Women V Institute
Communicate with Confidence
Review Your
Question
1. The purpose of my speech is clear and
appropriate.
2. My topic is suitable for the audience
and the situation
3. My introduction made the audience
want to listen
4. I used many different and up to
date sources ( including myself)
for my information
5. I developed my main points in a
logical way so people could
understand ( and remember).
6. My facts are accurate and support
my points.
7. My materia] is organized ( intro-body
- conclusion)
8. I have shown the audience how
the topic may affect them
9. I achieved the specific purpose of
my speech ( made the point and
left a message)
10. My humour, visuals, openers
all relate well to the topic, are
appropriate to the venue, and I
can operate them smoothly.
11. My vocabulary is understandable
to all. ( technical terms, slang,
abbreviations, etc.)
12. I feel ( and appear) confident and
comfortable with the composition,
grammar and overall subject.
13. My ' Hook' and concluding
statement are dynamic
Speech's Content
I did this well Needs Improvement
Mind mapping
An effective tool, at the very beginning of a speech plan, is called Mind Mapping. Known
by many other names, it is simply a way of, 1) dredging up everything you know about a subject
( sometimes you sub- consciously know more than you thought you did), ie: observations, facts,
questions, thoughts about.... and, 2) helping you to focus on topic, determine what message you
want to convey, organize facts, and discover in what area you need more information.
Take a blank sheet of paper.... place the name of the subject on it now, scribble down
every single thing that enters your mind. Don't worry about neatness, penmanship, spelling,
sentences, or even if it matters. Just let the subconscious part of your brain take over.
After you have completely run out of things to note, take coloured hi- liters and group
related words, thoughts, questions and points. NOTE: You may find that the original ' subject' was
too general on which to focus a speech. If so, take one topic word from the most interesting
' group', and mind map it as often as needed to develop a focused outline.
Eventually, you will see it taking shape... you will have a topic and related groups of
points.
Now you can come up with a speech plan. You know what you want to talk about. You
can decide on the points you wish to discuss and you know what further information you need to
research.
Parts of a Speech
DO! REMEMBER!!
INTRODUCTION:
Tell them what you're going to say!
- what you'll prove/ convince them of
- general overview
- make them want to listen.
Don't introduce any points here.
- Just speak to general theme and
indicate you will expand on it.
BODY:
Say it!
- Introduce points in sequence.
- Support points.
Body should be 2/ 3 of the speech.
- Offer points & supporting data
- Be sure each point relates directly to
topic
CONCLUSION:
Summarize!
- Remind them what you said
- Leave your message!
Never introduce new points in
conclusion
You may repeat points ( for effect) if
you wish-
Be sure to summarize ( wrap it up)
Make it clear what your purpose was
in presenting the speech.
After all, this was the whole reason
Alberta Women 1 Institute
Communicate with Conjuience
for all this work, so be sure it
is ' heard.'
Never thank the audience for listening
to you.
Learning Objectives
What do you want in the end? This is a logical
place to start planning a presentation. Writing clear
learning objectives which state your intended outcome or
results will help you work out where you're going. The more
you use learning objectives the easier they are to write and
the more you benefit in planning. Objectives become your
detailed travel itinerary for programs of any length.
Contrary to popular belief, writing learning objectives is a
skill anyone can develop. To discover the what, why and
how of learning objectives, read on!
What are learning objectives?
* sometimes called educational or instructional
objectives
* describes what learners will know, feel or do differently
at end of presentation
* action oriented
* lets people know what is to happen
* useful to presenters who care about the learners
* describes observable behaviour where possible
Why should von state them?
* assist you in planning your presentation
* help you decide a logical sequence for your
presentation
* give clues to choice of techniques: for example, lecture
or demonstration
* indicate the amount of time you'll need
» guide your evaluation of learner progress and instructor
effectiveness
How do von state learning objectives?
Start by asking what you want the learners to
know, do or feel differently as a result of your presentation.
With this fact sheet, for example, we intend to assist people
to write objectives, people need the ability to write
descriptions of observable behaviour, to identify parts of an
objective and to list reasons for writing objectives.
Intended outcome ^
learning objectives are action oriented. Consider
the words you use to describe an action.
Acceptable performance
tLikuutouikf...
Attvita. A< yuaMt* »
Once you decide what participants will be able to
do, consider how well they should do it. You can define the
acceptable level of performance in several ways, for
example, percentage of correct answers, frequency of doing
something, or number of times learners do it within a set
time.
Conditions
Under what conditions do you expect learners to
display the intended behaviour? Ask yourself, what aids will
you allow learners to use, or not use? Examples include:
Given a list of.....
Given a standard set of tools
Without the aid of references...
Putting it together
Once you have all three elements, you've written
your learning objective. Two examples are:
* Given a list of bank transactions, participants will
identify debits and credits with 80 percent accuracy.
* Using resource materials, participants will write an agenda
which contains a minimum of three elements within ten
minutes.
A common problem
Broad objectives are often listed as learning
objectives, for example, to make people more farm safety
conscious or to appreciate the benefits of farm record
keeping. As learning objectives, these lack the specifics
that make them useful in planning a presentation and
measuring results. You can break these down, however to
more specific objectives. Ask yourself how people will
achieve them.
Example: How will people become farm safety conscious?
They'll be able to:
* identify dangerous situations on the farm
* purchase clothing for protection from pesticides
* compare methods of repairing machinery
action words
to name
to write
to identify
to compare
to list
non- descriptive words Summary
to be aware of
to understand
to feel
to know
to appreciate
Learning objectives become easier to write with practice.
Soon you'll find they're your best friend in planning a
presentation
QUESTIONS, PLEASE!
encourage more questions.
* You don't have to answer every question yourself. You can
toss it back to the group.
* Treat irrelevant questions graciously by inviting the
questioner to see you at break because everyone might not
be interested in that topic.
* If you can't answer a question, admit it. Offer to get the
answer later. Don't forget.
* relate a question to your audiences point of reference and
background.
* Try to get questions from as many different participants as
possible.
A v o i d
* being unresponsive even if someone asks too many
questions.
* ridiculing a question or the person who asked. ( Even if it is a
stupid question)
* diverting the question; try to answer now instead of saying,
" I'll get to that later". If you must divert, list them on a flipchart
so they will be addressed, for sure.
* getting off on a personal tangent
* treating a question as if you'd already answered. If it had
been clearly answered, they wouldn't ask.
A s k i n g q u e s t i o n s:
* By asking questions, you serve as role model for
participants to ask questions in return.
* Plan where in the presentation you will use questions. Plan
questions into your speech content.
" Pause after asking to allow participants to think and
respond.
* Clarify early as to where in the presentation you will accept
questions.
' Keep questions short & clear.
* after answering, ask the group, " Can anyone add to that?"
* Pose a question first to the group, then to an individual.
Always ask if he/ she would like to respond and be gracious if
they decline.
A v o i d
* questions that only ask for yes or no answer.
* questions that simply tax their memory banks.
" answering your own question before the audience has a
chance.
* asking, cross examination' questions,
" interrupting a person in the middle of an answer.
* suggesting the answer is wrong. ( A question with a definite
right or wrong answer is a poor choice.)
S u m m a r y
Your question and answer period gives you an
excellent source of information. You can find out what group
members think and how well you've met your objectives.
Questions get participants actively involved and reinforce
learning. A well- handled question and answer period can give
variety to your presentation.
The question period ot your presentation is a
valuable part of the learning process. You can make it lively
and stimulating for the audience and yourself. Schedule it at
the start, in the middle, or throughout the presentation. It
may be formal or informal. Either you or the participants can
ask the questions.
Q u e s t i o n s offer a c h a n c e t o:
* invite participation and two- way communication
* correct misunderstandings or misconceptions
* learn ot knowledge gaps that need attention
* learn of possible resistance to learning
* check that your material met objectives
* discuss and apply new learning
* make a summary
* provide opinions
Life's good times usually result from careful
planning and effort. So it is with a question and answer
period. Many adults have inhibitions about asking or being
asked a question. Be aware of these fears in yourself and
your participants.
Mv fear of a s k i n g q u e s t i o n s:
* I don't ask questions of strangers
* I don't ask questions that challenge an authority
* I don't want to ask a stupid question
* I can't put my questions into words
* I don't want to be embarrassed
My fear of b e i n g a s k e d may h i d e t he
t h o u g h t s :
* I'll sound ignorant if I answer incorrectly
* I may not know the answer
* I can't organize my thoughts quickly enough to answer
* I resent people who waste time by asking questions
A n s w e r i n g q u e s t i o ns
* Show people that you want questions by leaving enough
time. Better yet, ask for questions throughout your
presentation.
" Give participants three by five inch index cards to help
them formulate questions. You can collect these for
answering.
* Ask small groups to generate questions.
" Listen to the intention and content of th^ » question. What is
the subject? With what feelings or emotion is it expressed?
* Worthwhile questions provoke thought; encouraging
participants to evaluate, compare and apply your
information.
* If you're unsure of the question, clarify without being
defensive.
" Probe to encourage the questioner to expand or clarify.
* If it's possible that everyone in the audience did not hear
the question, repeat it over the mike before answering. ( Also
gives you time to think)
* Answer completely, accurately and to the point. Check that
the questioner is satisfied by the answer.
* When possible, respond to a questioner by name.
" Positive comments like, " I'm glad you asked that,"
Icebreakers And Openers
To get and keep an audience's attention, you must
give people some active involvement within the first 20
minutes of your program. Icebreakers and openers
encourage group involvement. As a presenter, you're
responsible for creating a positive atmosphere that
encourages people to participate. Icebreakers and
openers do this by relaxing the audience and preparing
them to participate.
Icebreakers are unrelated to your subject matter.
Their purpose is to help people get to know each other.
Use t h em if it is important for participants to get to talk to
each other.
Openers are more content oriented. They may act
as part of your introduction to the subject matter, and
help focus audience attention. They may also help give
you a better idea of audience concerns.
Benefits
• set the climate, tone and pace of program
• help put you at ease as you get to know people in the
group and as they accept some responsibility for
program success
• allow participants to become acquainted, not just to
I hear each other's names
• involve shy people
• relax the group and make people more spontaneous
• achieve instant involvement
• help build group identity and cohesiveness
• help energize the group
• focus audience attention on the here and now.
• develop your credibility as a learning facilitator, not a
lecturer
• help people fulfil social needs of learning
Choosing and using Icebreakers and
openers
• Choose an activity appropriate to people's know­ledge
of each other, and their sense of adventure.
• Decide how long to spend, ^ consider your total pro­gram
length.
• Search your objectives for clues to how much inter­action
you need for each topic
• Choose an exercise you can explain quickly and
easily. Many adults are nervous about interacting
with strangers in an educational setting. Their private
thoughts may block learning.
• Give written instructions along with a verbal descrip­tion,
it possible. Consider openers and icebreakers
with an element of competition to motivate the group
" First to the coffee" could be the prize.
• Gam group support for an activity by inviting people
to participate. Be honest about why you feel the activ­ity
is important Say about an icebreaker, for example,
" I'd like to take a little time to get to know you and
allow you to get to know each other. " For an opener
say something like " This is a big topic and I want to be
sure I'm spending my time in your areas of interest
Use the following chart for evaluating an ice­breaker
or opener.
Element Low Moderate High
1. time required
2. threat potential
3. possible group dissatisfaction
4. novelty
5. fun and excitement
6. creativity
Forming groups
• People tend not to feel threatened about an activity if
they work as part of a group.
• Consider how you'll form groups:
• You can number people off and ask all the " ones,"
" twos" and so on to form groups.
• You can hand people color coded papers or pictures
as they come in, then ask them to regroup by color
• You can ask people to select their own groups. This
method has both pros and cons It can make adults
more comfortable but it usually takes more time.
Examples of Icebreakers
Round table introduction In this popular opener,
people introduce themselves by name and offer informa­tion
such as their occupation, type of farm and family size
This works well with groups of 12 people or fewer If most of
the people are not at ease with public speaking, private
thoughts such as " What will I say?" may reduce the ice­breaker's
effectiveness.
Interview palre Ask people to form pairs and interview
each other for five minutes. Each person then introduces
his or her partner to the whole group, if it's a moderate size
In a large group, they can p i n another pair and make their
introductions in quartets
Puzzles Word and picture puzzles are both excellent for
groups.
word puzzle A farmer dies and leaves his three children
a herd of 17 cows with instructions that the oldest is to
get half, the middle one a third, and the youngest a
ninth. The children can't come up with a solution!
They ask the help of a wise old woman on a mountain
top She says, " Come back in 17 days and I'll have a
solution for you. " How does the old woman solve the
problem? If after a few minutes no group has a solu­tion
offer this hint: " To help solve the problem the old
woman lends the children one of her cows."
answer Eighteen cows divide easily to fulfil the
father's request. Nine ( half) go to the oldest; six ( a
third) to the middle one; and two ( a ninth) to the
youngest. Nine and six and two add up to 17, so the
children can then return the borrowed cow.
Know your a i g n Post signs around the room bearing
opposite personality traits: adventuresome, cautious,
theatrical, practical, industrious, fun- loving Have partic­ipants
choose a sign they identify with, then discuss
their reasons with others who chose the same sign.
Note: If some people are alone in choosing a sign, they
can elect to join another group with more members.
Scavenger hunt lists Provide each participant with a
list of 15 to 20 things or questions. Give them five to 10
minutes to locate people whose experience represents
each category. Try scavenger hunt lists based on: popu­lar
hobbies ( gardening, golfing, gourmet cooking); pref­erences
( city, soup, TV program); travel ( I've been to
Calgary, Vancouver, England); general information ( I
have three children, raise chickens, have a birthday in
March).
Four facts Put people into groups. Have each person
write down four " f a c t s " that are not obvious about him­self
or herself. Three should be true and one false. Ask
each person to guess which statement is untrue of each
other group member, and why. Keep the answers secret
for now! Then each person in turn reveals the untrue
" f a c t " to his or her group, and why. Participants learn
about each other, and also get a subtle lesson about
preconceptions.
Preferences
Pass out a worksheet listing categories of prefer­ences:
favorite food, color, movie actor, sport or world
city ( see appendix). Af; er participants^ vrite an answer in
each blank, ask them to share their preferences with
another person or small group Repeat the sharing pro­cess
if time permits.
Examples of openers
Goal s e t t i n g In small groups participants suggest their
goals for the session. List these on a flipchart and post
them for the total group. Refer to the goals throughout!
the program.
Goal a n a l y s i s This offers an alternative to goal setting.
Mark each goal as R for realistic or U for unattainable.
During the course, provide ideas for followup to achieve
unattainable goals. Also, let people know when they've
achieved their realistic goals.
Start w i t h a g a m e A topic related game is effective to
get the group thinking about concepts. It may start lively
discussion, which helps set a group atmosphere. This
method also give people a common base of experience.
My personal s h i e l d Ask participants to draw a shield
divided into six boxes, then answer these questions:
1. the best time I ever had
2. my greatest accomplishment
3. my most prized possession
4. what I would do if I had one year to live
5. t he two descriptive words I would most want on my
tombstone
6. the two descriptive words I would least want on my
tombstone
Participants then stand and form pairs to discuss
their shields for about five minutes. Repeat this with new
partners if time permits.
I m p o r t a n t values To stimulate " instant i n t e r a c t i o n '^
give participants a list of 10 values, for example:
• satisfying family life
• job success
• fun, excitement, adventure
• satisfying friendships
• personal growth
• being a good neighbor
• financial achievement
• community contribution
• health
• professional achievement
Give participants five minutes alone to drop three
values. Then have them meet in small groups for 10
minutes to agree on the seven most significant values.
Note: Expect some groups to have difficulty agreeing.
The opener's importance is that people get to know
each other below the surface.
Liberia
AGRICULTURE
October, 198f
Discover the Needs o f y o u r Group
Introduction
Every- person in an audience is tuned to radio station
WII- FM - " What's in it for me?" This means speakers
must tune into their a u d i e n c e ' s needs. Successful
presenters always prepare their message with audience
needs in mind.
Doing a needs assessment is a continuous process,
people have different needs at different times in different
situations. How in- depth your presentation is ( one hour
versus one day) will determine whether you will conduct
a simple or thorough needs assessment You' 11 also need
to consider when to d o a needs assessment.
People who ask you to be a guest speaker are often
not clear about what they want you to do. This is one
reason for doing a needs assessment I t ' s important to
start finding out the needs and interests of your audience
as soon as you agree to d o a presentation. Find out the
g r o u p ' s needs and learning characteristics. It is up to
you, the presenter, to take the initiative in doing a needs
assessment. The sponsoring agency, however, shares the
responsibility for the success of your presentation. This
starts the shared process.
If people feel that you're meeting their needs they're
usually better motivated to learn. Get started and stop
spinning your wheels; learn about your a u d i e n c e ' s
present status so you'll know what you want to achieve,
learn to design teaching activities related to their needs.
D o n ' t forget that you, as a speaker, have the most to
lose by not meeting the needs of your group.
What is a need?
A need is a gap that exists between " what is" and
" what ought to be". It's important to look at needs from
the audience's perspective - not the presenter's. Where
they think they " ought to b e " may be different from
where you think they " ought to be".
Muiamiuififn
Why a needs assessment?
For the presenter, a needs assessment:
* helps you find the group's level of understanding
* points out what issues are of concern
* helps you to focus on participants' needs
* lets you check out your own views and those of the
group
* allows you to use your time more effectively in
planning and with the group during your
presentation.
* enhances your credibility and that of your department
because it demonstrates that you care.
* keeps people coming back
* increases your satisfaction
For the audience, a needs assessment:
* makes the presentation a personal learning experience
* gives shared responsibility for their learning
* encourages them to watch for personal concerns and
interests to be discussed
* helps them assess what they have learned
* helps people to be clear on the learning possibilities
* shows the presenter cares about the audience.
What do yon need to know?
Consider the following questions when you do a
needs assessment. Sometimes you may not know who
will attend. A sample of participants likely to attend can
answer these questions.
* how large is the group?
* is this group made up of men, women or both?
* what is the age range of the group?
* did the participants come voluntarily or because " they
had to"?
* why are the participants interested in attending your
presentation?
* what are the participants learning needs and interests?
* what arc the attitudes, beliefs, and values of the
participants' 1
* what do the parucipants expect from the presentation' 1
* how well do they know each o t h e r 0
* is there a fee or is it free?
Flow to do a needs assessment
A needs assessment helps you find out the needs of
your group. Collect information about the group before
or dunng your presentation. Conducting a needs
assessment beforehand helps you establish your
audience's level of understanding. You might want to do
a needs assessment during your time together to find out
how your presentation is working for the group. A needs
assessment after your presentation helps you to see how
it went for both you and your group.
Key individuals, community groups, public sources
like television, radio and newspaper, and organizational
records are good sources of information on your group.
You can tap these sources in several ways. The ideal way
to find out a group's needs is to talk to each member.
This would give you the most accurate information to
focus on the needs of each participant. But in most cases
this isn't possible. Let's look at some alternate ways to
collect information:
Interviewing key individuals
- talking in person or by telephone to some
participants, co- ordinators, community leaders, and
executives.
Group interview
- talking with a group of three to six participants: may
also include conference calls
Questionnaire
- mailing out questions to a sample of the group or to
the enure group
Brainstorming
- verbalising as many needs or new program ideas
within a given period of time; the grfeup then evaluates
the ideas and picks the most important ones
Focus group
- choosing a select group of eight to twelve individuals
from different populations, meeting with a moderator to
discuss and give feedback on specific subjects.
Observations
- watching what's going on with participants and the
community they live in.
Evaluations
- assessing earlier presentations' the success and/ or
failure of a presentation provides important information.
This information tells von
Analyse the informauon you've collected to determine
the group's needs. You need to review, classify,
interpret, and evaluate the information. Look for gaps
between " what is", and " what ought to be". The size of
the gap will determine the importance of the need. Look
for gaps by:
* using scales from one to five, for example, one being
poor and five being excellent, that show how
participants feel about information in your presentation
* having participants tell you how important a skill,
attitude or need is relative to their skills attitudes and
needs
* asking the group to reach consensus on an issue, or
rank its importance or state group needs.
Once you have done this you can decide what
activities will best sansfy the participants' needs.
Common pit falls in deciding
participant needs
You can sidestep pitfalls when you conduct a needs
assessment.
Avoid
* hearing only what you want to hear
* using only one information- collecting technique to
determine your group's needs; use several
methods to get the best representative sample
* identifying and deciding on the presentation's content
by yourself; several people [ participants, the
sponsoring agency, key community members]
should have a say in deciding the group's
needs and the content of your presentation.
* making hasty decisions on group needs because you're
out of time
Summary
Tap several sources for information about the needs of
your group. Collect information using different methods.
Analyze what information you have come up with,
locate the gap.
It's up to you to initiate the needs assessment, but other
individuals like specialists, sponsoring agencies and
group leaders share the responsibility. Your presentation
will be a hit if you care enough to find out your group" s
needs.
ENERGIZERS
Uu- i luuutout itf...
Introduction
" I'm thinking so hard my brain hurts1 '"
Many participants may be thinking this during
your presentation As soon as they have this thought,
people often simph stop listening Outward symptoms of
this problem include wiggling in chairs, drooping eyelids,
stifled yawns, excessive doodling or outright snoring The
cure is an encrgizer1
Every group needs energizing Create energy by
changing pace, introducing a novel idea or by providing a
controlled break Energizers provide a change in pace to
give our minds a break from absorbing information
Hints for Use
* Keep a supph of ideas on hand Energizers should be
seven minutes or shorter
* Cboose an acuvity that seems suitable for the group
* After the eoergizer, you'll need to bring the group back on
task. This offers you a chance to insert a mid- point summary
of the topic Recap your main points many people may
have missed points just before the energizer; spend a bit
more time on these Your goal, when you return to your
content is to get everyone starting at the
same point
* Practice giving energizer directions to others They
should be short, to the point and easy to follow
Samples
Fantasy games
Legalized daydreaming is one description of
fantasy games Participants close their eyes and the
instructor helps them dream a fantasy my dream trip, how
I'd spend a million dollars, or a walk through the
mountains In a soft voice, encourage people to visualize
and experience ihe sights, sounds, emotions, textures and
smells of the fantasy Fantasy games demand preplanning
and willing, adventurous ancfcreative participants.
Isometric exercizes
These exercizes consist of muscle contractions
made by exerting steady pressure They require little space,
and people don't sweat while doing isometrics. Background
music is a good addition to energizing exercizes. As a
leader, you should demonstrate and do exercizes along with
the group Several books are available on isometric
exercizes here are a few samples to get you started You can
do each either standing or sitting, unless otherwise stated
- mirror circle- Partners exert equal resistance palm
against palm; raise hands above head with a circular
movement, then out to sides and back to starting position
in one smooth continuous movement
- head clasp- Clasp hands across back of head; press back
and press hands forward.
- chair shrug- Sit straight on chair, grip chair seat sides;
keep feet flat on floor, knees slightly apart and body
straight; take a deep breath and try to shrug shoulders.
- muscle retraction- Standing, exhale fully, draw back
abdominal wall, contract buttocks; hold five to six seconds;
release, breathe and repeat.
- t a b l e press- Place hands on top of table and press down,
or place hands under table and press up
Simon says
This child's game can be fun and an exciting
energizer Most people are familiar with the game so keep
explanation short and simple As an energizer, you're not
trying to eliminate people, but to keep everyone involved.
Rules Participants must do only what Simon' says.
Choose from two possible formats.
• You're leader If someone is caught not doing as Simon
says or doing an order not proceeded by the words, " Simon
says," they move to the back of the room
' Divide participants into two groups facing each other.
Each selects a captain who gives orders for 30 seconds of
each round. As a leader, you keep track of the number of
people caught, to determine the winning team
Relaxation exercize
This quiet sitting energizer is useful during an
intense presentation You may also hear it called a stress
reduction exercize It is similar to a fantasy game but less
threatening Participants close eyes and concentrate on
tensing and relaxing exercizes You can verbally lead the
exercize or use a pre- taped program. You might say. " Tense
your feet by curling your toes ( allow people to hold this for
a couple seconds) Now relax your feet tense your leg
muscles, relax them...." Go on through stomach, arms,
chest, neck, shoulders and face. Allow participants to hold
final relaxed position quietly for 30 to 60 seconds. Then
instruct them to slowly open their eyes This exercise is
best followed by a coffee break
Imagination sports
Divide your group into teams and have them play
an imaginary game of volleyball, ping pong, golf ( or
another acuve sport) Have some laughs with this
Aerobic exercise
These are good energizers because they get the
blood flowing and rejuvenate participants Use them with
care, though Consider
* your knowledge of safe fitness procedures
' participants' varying fitness levels
* participants' clothing
* available space
* your ability to lead exercizes.
C u p s
Divide participants into groups of at least four
Ask each group to form a circle, standing close to each other
and facing inward. Give each group a styrofoam cup with the
bottom punched out Their task is to toss the cup from one
person to another without letung it drop to the floor. You
can add variety by having people toss the cup counter­clockwise
with one hand behind their backs
Massage
Ask the group to form a circle, standing shoulder
to shoulder and facing inward. Have the group turn to the
nght Each person puts his or her hands on the shoulders of
the person in front and massages the shoulders They can
also massage necks, scratch backs and pat shoulders have
the group turn in the other direction and repeat the
procedure Use this energizer only after the participants
have gotten to know each other
Summary
There is no ' nght' place to have an energizer in
your presentation or workshop be aware of your group Ask
people if they need a break, or be sensitive to their energy
level. As a presenter or group leader you can control the
energizers. A coffee break is an uncontrolled energizer
Make sure you plan a vanety of breaks.
Appropriate Use o f Humour in a
Presentation
Introduction
" A little levity will save many a speech from sinking",
English poet Samuel Butler once said. Humour can
make the difference between an average and an
outstanding presentation. Laughter is the enthusiasm
valve that helps establish and maintain a good
relationship between you and your group.
Humour can lighten serious messages, thus making
them more effective. People learn better when they
relax, and humour relaxes them. Laughter can work for
you: getting your audience to laugh benefits both you
and them.
What is Humour?
Humour can be t unmness in the form of:
* anecdotes from personal experience and others'
stories
* poetry
* puns and other word play
* limericks
* funny quotations
* telling striking dramatic statistics
* gestures
* vocal variations
* smiling
Why Use Humour?
Participants come to your presentation to learn. If
they enjoy the learning, they will be motivated to team.
I t ' s useful at the beginning of a presentation to break
down barriers between you and your audience, making
your work easier. But, humour also has several purposes
in the body of a presentation to:
* make a point and focus your purpose
* let the group see your human side, making it easier
for them to relate to you
* help pace and lighten your presentation
* let you present in a relaxed, natural manner
* increase participant listening and attention span,
which in turn increase the participants' comfort level.
* enhances self- confidence of the participants
* build empathy among people
* make it easier to get the group talking
Humour puts people in a good mood, making your
presentation go more smoothly. It helps prepare the
audience for your message.
Tips for using Humour
Several techniques help to introduce humour more
successfully and put your audience at ease:
* set up a display board filled with cartoons, amusing
photos, or silly quotations related to the theme
of your presentation
* share a personal anecdote or funny example related to
the subject of your presentation; for example, if
your presentation is intended to improve
participant communication, tell a story to
illustrate the result of poor communication.
* ask participants to share funny experiences
* use humorous exercises to help participants
develop skills or learn new information; for
example, if the group wants to focus on setting
goals have them write their objectives on toilet
paper.
* exaggerate to make a point
* poke fun at yourself or some ridiculous occurrence;
laugh with them, not at them
* identify yourself with the audience while introducing
your subject; for example if your subject is
about dealing with teenagers, tell them about
your experiences with your 14- year- old
* Say something witty and appropriate that lets your
audience know that you're not a stuffed shirt
* stay ' light' when you mess up
Humour can be tricky, so keep these points in mind:
* use humour as an aid to help build a point
* use humour with good judgment and good taste -
don't use humour that might offend your
audience; for example, avoid making racist or
sexist remarks or using foul language.
* be warm and gentle, always reflecting respect for
others
* fit your humour lo your audience
* choose matenaJ thai suits your ability to deliver
humour, your style and your personality
* know your joke well: say the punch line clearly and
distinctly, and watch your timing - not too
fast. not too slow
* remember that people are funny: pick out one or two
in your audience and use them if you can
iwith their permission)
Sources of humour
Examine day- to- day experiences in your life or others'
lives for stones to tell. You may also want to read
periodicals like Reader's Digest that feature good
humour Books that supply jokes, anecdotes and
quotations can also offer fresh ideas.
There are many books in the library to help you get
started.
Conclusion
Humour can gTab and hold your audience's attention. It
can also help you get your message across. By helping
your audience realize the benefits of incorporating more
humour and laughter into their lives you help extend
their learning into their personal lives. Knowing why
humour is important, how to introduce it, and when it is
more appropriate will improve any presentation. Using
humour effectively helps to bridge the gap between you
and your audience. Harold Toss, the founder of the New
Yorker, once said, " If you can't be funny, be
interesting."
Visual Aids
Visual aids help people retain information, research
shows. Their effectiveness is related to their quality and
suitability to content. Visual aids support oral presenta­tion.
They may take the form of overheads, flipcharts,
models, films, slides or videotapes. You can often keep
direct control of production.
Why bother?
Visual aids offer advantages to you as a speaker
and to your audience.
" A Picture Is Worth A Thousand Words"
Advantages to you
• reinforce and help achieve objectives.
• simplify a complicated explanation.
• share the stage, so eyes are not always on you ( may
reduce nervousness).
• can become a transition from one topic to another.
Advantages to your audience
• offer variety and interest.
• reinforce the message.
• increase retention or learning.
Tips for preparation
L e t t e r i ng
• use bold letters for better readability.
• allow plenty of space between letters and words.
• use capitals for emphasis only; mixed upper and
lower case letters are easier to read than upper case
letters alone.
• dark letters on a light background are the most vis­ible;
black on yellow makes a good combination;
green, red, blue or black on white are also acceptable.
• fill in stencils to avoid fragmented look.
• keep number of letters and words to a minimum.
• S
T
A
C
K
S ARE FOR BALES NOT LETTERS. English is most
readable when printed horizontally from left to right.
Pictures a n d I l l u s t r a t i o ns
• keep them simple and uncluttered
• use humor where appropriate
• may become outdated
• sources include clip art, cartoons, magazines ( with
permission)
• computer graphics are the newfist source of illustra­tions
• line drawings are quick and easy.
C h a r t s a n d graphs
• excellent alternative to a table of information
• choose appropriate type of graph to suit material and
purpose
• should reveal the relationship at a glance
• only one idea on each chart
• keep lettering and symbols simple
• leave out details ( include these in your talk or a
handout)
• computer designed charts and graphs provide easy
preparation
• round off figures for better comprehension
• if you need a title, keep it short
Types of graph
L i n e graphs show trends. Many people have difficulty
understanding line graphs. More than one line can show
a comparison, such as the price of grain and price of
bread over a 10 year period More than three lines on
one graph confuse audiences.
Bar graphs show quantity comparisons A horizontal
format works best for projection. Place labels on or near
the bars. Symbols or pictures, rather than a solid bar,
can add interest and offer quick interpretation.
Pie charts show quantities as they relate to a whole.
They are easy to understand. Be sure to clearly define
each segment with a solid line or color. You needn't
always complete 360 degrees of a pie chart. Use only
portions suitable to your talk
F l ow c h a r t s show procedures and sequencing Often
they make use ot symbols and arrows Organizational
flow charts can show the relationship of parts to a whole
" Use Audio Visuals To Supplement Your Presentation."
T i p s f o r U s i n g V i s u a ls
• Visual aids reinforce your talk People want to hear
you speak, not read along or try to guess the point
you're making.
• Keep visuals simple Your audience should focus on
your message, not waste energy figuring out compli­cated
or obscure visuals. A picture is worth a thou­sand
words.
• Visuals must be visible to your whole audience
Choose a medium appropriate to audience size. Set
up in advance and check the view from various loca­tions
in the room
• Choose visuals to suit your presentation style. Visu­als
are only as good as the operator 1 You need to
become " best buddies" with any visual aid and
equipment you plan to use. Be prepared with an
alternate plan if equipment doesn't work!
• Plan appropriate pacing and sequencing. Be sure to
give the audience time to absorb a visual message
before you begin speaking. Old visuals don't die, they
just kill the show.
• Don't let visual activity take over your show. When
you use more than one visual aid, plan logical move­ment
from one to the next.
• Make use of color whenever possible.
• Update your visuals often.
Summary
Visual aids add excitement to your presentations. A
little careful thought and planning is all that you need to
design effective visual aids. This fact sheet offers
general guidelines; for more specific information see
sheets on overheads, flipcharts, slides, and films and
videos.
Abcfia
AGRICULTURE
Films And Video Tapes
troductlon
Most of us associate films and video with enter­tainment.
They can be a powerful learning tool, if you
use them properly. A film or video seldom stands on its
own. It needs an introduction and follow up to be effec­tive.
Films and video are best used to stimulate discus­sion,
as an introduction to a topic, or as a summary to a
topic or an entire program.
Features
• suitable for large audiences
• bring life and movement to a presentation
• can offer emotional appeal
• add a professional touch if the film is good
• entertaining and familiar to many people
• videotapes allow instant replay
Limitations
• require heavy equipment
• need electricity
• videotape television screen size limits audience size
• calls for darkened room
• people tend to seek entertainment, sometimes miss
educational component
Selection
• Always preview a film to be sure it's appropriate to
your objective. Don't rely on a film catalogue descrip­tion
alone.
• Use personal discretion in deciding if a film makes
the best use of your time. If it introduces a number of
sub categories you don't intend to cover, it may con­fuse
your participants.
• Don't use a film that has a poor soundtrack or image
projection, no matter how good its message.
• Television only suits small audiences. For large
audiences, use a video projector and a large screen,
or several television sets.
• Use the operator's manual to become familiar with
operation of the machine.
• Have the film or videotape in start position with focus
and volume set before your presentation.
Tips on effective use
• Always introduce a film to help participants focus
their attention on key points.
• Make the film an active participation medium. Draw
the audiences attention to the main points of the film.
Summary
Five ways to use film in your presentation:
• Use them to motivate or introduce a topic. This is
particularly useful for a topic such as goal setting.
Your film could show a family setting goals; discus­sion
following can focus on this family.
• As a summary, a film can tie together many general
ideas about a topic.
• A film can reinforce the major points of your presenta­tion.
With this method, it is always best to develop
questions to help people understand the main points.
Share the questions before the film to get people
thinking and involved.
• Many films provide an introduction for discussion
groups. Some films are designed to present an issue,
then some solutions. In this type of presentation you
can stop the film, direct discussion groups, then view
the rest of the film for another viewpoint on the issue.
• Some films are designed to give comic relief. They're
best used after you've presented the information or
when you want to change topics or change pace.
/ dberrCJ
... AGBrCAATUPE
October, 1986
Flipcharts
Flipcharts have been popular for years as an audio
visual aid. They can still be effective even in this age of
electronic technology. Flipchart stands are now better
than ever; look for models with sturdy aluminum fold- up
legs. Flipchart backing is now made from magnetic
board, blackboard or whiteboard so you can use it more
than one way. Double width flip charts hold two pads of
paper, offering more versatility.
Features
• inexpensive
• easy to carry
• useful in a variety of locations
• allows audience participation
• reusable material
• can write on during presentation
• good for group reporting
Limitations
• suitable only for small audiences, up to 30 people
• lose eye contact with audience when you write dur­ing
presentation
• flipcharts don't stand up to numerous uses
• call for legible handwriting
• can have problems flipping the pages
Tips for preparation
• Make your lettering a minimum of 25mm ( one inch) to
75mm ( three inches) high, depending on distance
from the audience.
• Limit yourself to six lines on each page. Remember,
the lower you go on the flipchart' the less the back
row of the audience will benefit f r om the visual. Also,
paper often curls at the bottom.
• Use a wide point water base felt marker. Water based
markers won't bleed through to the next page. Leave
a blank sheet between each page to help cover
material.
c
• Use an overhead projector to enlarge and copy draw­ings
to transfer to flipcharts before the presentation.
• Use non copyright cartoon pictures: they may be
suitable for more than one presentation.
' Prepare In Advance"
Tips on effective use
• Write lists and points in advance if you're a sloppy
writer.
• Use the flipchart to present major topics in order.
• Use words and pictures.
• Lightly pencil lines on the paper to help you print
legibly and straight.
• Place the flipchart where you won't trip over it or
stand in front of it during your presentation. If you're
right handed, place the flipchart off centre to t he nynt
of your audience. Then you are in a position to write.
• When you record audience comments, repeat the point
to make sure you've heard it; this also reinforces the
point for others who may not have heard.
• Use alternate contrasting colors for e a c h point on the
flipchart when making flipcharts in advance or when
recording points f r om the audience. It makes the flip-chart
easier to read and separates one point from
another.
Summary
Flipcharts may be old technology, but they're i
the most effective audio visual aid for many situat/
Use them!
Slides
Introduction
Slides add realism to your presentation. Production
techniques vary, and can make for an interesting visual
presentation. Quality slide presentations take planning
and preparation. Slide presentations are like other vis­ual
aids in sharing the stage with you, the presenter.
They don't replace the human element.
Features
• easy to carry and store
• allow you to use color and real life situations
• easy to rearrange for future presentations
• can magnify details
• can synchronize with audio tape for a professional
flow, and to free the presenter
• suitable for any size of audience
Limitations
• needs electricity
• normally calls for darkened room
• speaker may block the screen by pointing out details
• lacks flexibility during presentation
" The First Step In Taking Good Pictures Is To
Hold Your Camera Firmly"
Producing slides
Hold your camera steady! That's the first step in
taking good pictures.
• A good slide is not an accident. Before you snap,
know how you'll use a picture and what you want it to
communicate.
• Keep the picture simple and get as close as you can
to your subject.
• The human eye moves towards a photo's lightest
area. Try to keep good lighting on your centre of
interest.
• Your centre of interest needn't be in the centre of
your picture. Try mentally dividing your camera view-finder
into thirds; compose your picture so the centre
of interest falls at the intersection of two lines.
r r
• You can easily make slides from magazine pictures
or photographs, with permission.
• If you show text, limit yourself to 25 characters
( including spaces) on each line, and six lines on each
slide.
• Slides are mounted in frames of several kinds:
c a r d b o a r d — inexpensive, easy to mark with felt
pen, easy to bend, film may buckle if you project a
slide for too many minutes.
p l a s t i c — rigid, don't bend, easy to mount, more
difficult to mark, film may shift in frame,
glass — maximum protection, heavy, expensive,
may break if dropped, may not fit some slide trays,
prevents buckling and loss of focus.
Selecting slides
• Choose only the best slide available. If the picture
isn't clear or doesn't help you tell your story, don't use
it.
• Take full advantage of color and contrast. For exam­ple,
try a simple graph superimposed on a natural
background.
• Sources of slides include: personal collections, film
libraries, department collections of stock slides,
commercial graphics producers.
• Decide on your format: horizontal, vertical or a mix­ture.
It will affect screen size and projected image
size. Use horizontal format normally; people are used
to viewing information horizontally, and are less likely
to miss part of an image.
• Be sure a slide doesn't contain too much visual
information The audience may miss the message.
• Make sure slides are clean.
• Three criteria can help you judge a slide:
g o o d • e p a r a t l o n of adjacent tones lets you distin­guish
greys, whites and blacks; otherwise faces may
look washed out.
sharp f o c u s gives the clearest image.
accurate c o l o r for t h e subject or a wide range of
greys in black and white
" Preview Slides Before Using"
Tips for effective use
• Preview slides to be sure you have the right se­quence.
Project all slides and make sure people will
be able to see them from the back row.
• While previewing, check for upside down or back­wards
images. Remove slides that drop poorly be­cause
of crimped corners, and remount. Once you
work out all the kinks, replace the lock or seal ring on
the tray.
• Your first and last slides should be " black slides" so
you don't subject your audience to the blinding glare
of a blank screen.
• Place your projector at a distance so the image is as
large as possible.
• Place the projector at about the same height as the
screen to prevent distortion. For best viewing, project
onto the top of the screen
• Be sure your entire audience can see the screen.
• Focus your first slide before your presentation. If you
need to move equipment, mark the floor with a piece
of tape. *
• Use a remote control to change slides if possible, y
Otherwise, use pre- arranged signals to the projector
operator. Avoid repeating, " Next slide, next slide."
• If slides make up most of your presentation, start and
end with lights on so your audience can identify with
you.
• Use a dimly lit room if possible, not a completely dark
room. Always check the room lighting system's
capabilities first.
• Don't feel frequent slide changes are necessary, but
don't leave people sitting in the dark with the same
old picture. Your pace will depend on a picture or
graph's complexity, slide interest and your narration.
As a general rule allow a minimum of four seconds
and a maximum of 10 seconds for each slide.
• Use an outline with key points in logical order rather
than a prepared script. It allows you to sound more
natural.
• If you feel better with a script, practise being natural.
To avoid monotony, highlight key words for empha­sis.
Practise sounding enthusiastic. Avoid talking
down at the script.
• You rarely need phrases like " This is a view o f . . . " It
suggests that you're supporting slides with idle talk
when they could easily stand on their own. Let slides
illustrate your talk with comments like " Irrigation of K
hay fields increases returns by 75 per cent," when
your image is a split screen projection of irrigated and
unirrigated hay fields.
• Stand in front of the group and to the left side of the
screen. Talk to the audience, not to the screen.
• A novel way to use a slide presentation is as an
introduction, motivator or summary of a section of
your presentation. Prepare a synchronized slide
presentation with music to appeal to more senses.
Summary
The effective slide presentation is a talk illustrated
by slides, not slides supported by a talk. Select slides
with quality and content in mind. To get stock slides or
help in preparing slides from photographs, call the
a u d i o - v i s u a l t e c h n i c i a n at Alberta Agriculture in
Edmonton.
Liberia AGRICULTURE
October, 1986
Overheads
Overhead transparencies are versatile, accessible
to most people and easy to produce. They project a
large, brilliant picture. Transparencies can visually
present concepts, processes, facts, outlines and sum­maries
to an audience of any size. Like any other
instructional medium, they call for systematic planning
and preparation.
Features
• speaker maintains eye contact with audience
• suitable for use in a lighted room
• good for any size of audience
• many ways to use them
• allow for color
• allow for flexibility during the presentation ( you can
can omit part at any time)
Limitations
• setting screen properly takes time
• projector fan may be noisy for people sitting near
• needs electricity
Production materials
Many new transparency materials are now on the
market to let you create exciting and effective over­heads.
New " write o n " transparencies allow you to use
brilliant color. Other new products are opaque except
when you use a special marker; this eliminates the
screen glare you get with clear transparencies.
Transparencies
1. Plain paper copier
There are many types of transparency film that
will produce transparencies by using your office
paper copier. Check with your 3M distributor or the
Alberta Government Office Supply catalogue.
2. Thermo fax or infra red copiers
There are several transparency films available
that produce a variety of transparencies. They in­clude:
° Black image on clear background
— order 3M type 574
0 Black image on light blue background
— order 3M type 134
0 Black image on a clear or color background
— order 3M type 174
0 Color image on clear background
— order 3M type 888
° Yellow on blue, green, purple, or red
— order 3M type 210
° Clear image on black, red. or blue background
— order 3M type 520 reverse image film
° Retrophane - opaque film that gives clear on black
image
— see below for supplier
° Write on film
— 3M write- on film — use a special yellow pen
that comes with the film which gives you a bright
yellow image on a blue background
— retrophane — a film which is opaque. Use
special brilliant color markers to make colorful write-on
transparencies.
— creativcolor — blue transparency you can
write on using a variety of creativcolor markers.
Retrophane and Creativcolor material available
from:
Resources for Organization Ltd.
6440 Flying Cloud Drive, Suite 120
Eden Prairie, MN 55344
U. S. A.
( 612) 829- 1954
Markers and L e t t e r i ng
grease pencils: projects black, easy to use. doesn't
make a fine line, may smear; erase with a dry cloth.
markers: may be permanent or non- permanent, quick
and easy, can produce thin to bold lines, variety of
colors available, may dry out from heat of projector
during presentation.
d r y t r a n s f e r letters: available in a variety of sizes and
type styles, time consuming; remove mistakes with
masking tape.
l e t t e r i n g templates: uniform lettering size, variety of
template sizes, time consuming.
l e t t e r i n g machines: Kroy. 3M and Gestetner all make
lettering machines capable of producing letters of var­ious
sizes and type styles. Words are spelled out on
clear adhesive tape, then placed on plain paper and run
through a copier; cost $ 800.00 to $ 1000.00.
c o l o r adhesive tape: translucent adhesive celluloid in
several colors; place on clear transparency and cut to
size and shape with exacto knife: good for adding color
to charts and graphs: variety of colors, widths and patt­erns;
pressure- sensitive.
Frames
Frame overhead transparencies to prevent the
bright projection light from shining on the screen at the
perimeter. Cardboard frames are popular. Tape the
transparency to the underside of the frame. On flip
frames, your transparency fits into a clear plastic enve­lope.
An o p a q u e pieatlc frame folds inward; they're also
punched for easy storage in three ring binders.
" Writing On Overheads Can Be Effective
Preparation
" Hand- made" transparencies are inexpensive and
you c a n make them at the last minute. Use any of the
above markers on a clear or colored acetate suitable
for direct transfer. Place graph paper under acetate
for neat freehand lettering.
Avoid putting material closer than one cm from the
frame. A rectangle with a height- to- width ratio of 4 to
5 is best.
Limit each transparency to one topic or concept
Keep visuals as simple as possible. Elaborate dia­grams
compete with your message. Use a maximum
of six lines of text on each transparency, with six
words to the line.
Always test marker and transparency combinations
for maximum projection quality.
Letters should be a minimum of six mm (% inch) in
height. Typewritten copy is usually too small and too
crowded for your audience to see.
Use a combination of upper and lower case letters.
Position material in the upper portion of the transpar­ency.
Use a horizontal format for maximum visibility.
Make use of color by using colored adhesive, rain­bow
colors, colored markers or color on clear
transparencies.
• Leave space to add things during presentation. Use a
non- permanent marker so you can re- use transpar­ency,
or use tape on clear transparency.
• Mount transparencies in cardboard frames for easy
handling and less risk of damage.
Tlpa on effective use
• Place the screen in the corner of the room. If you're
right- handed, use the corner to your right as you face
the audience. This way you'll block fewer people's
vision.
• Place the projector on a low table and project upward
at an angle onto the screen.
• Keystoning is a common problem. It occurs when
any part of the screen is farther away from the projec­tor
than any other part. Prevent horizontal keystoning
by squaring the projector with the screen or lining the
screen and the projector up in parallel positions. Ver­tical
keystoning is best eliminated by using a screen
with a built- in " keystone eliminator." This device
allows you to tip the top of the screen forward. If your
screen doesn't have this feature, put blocks under
the front of the projector.
• Try to get someone to help you find your best stand­ing
position in relation to the screen and projector. If
you see heads bobbing in the audience, you're prob­ably
blocking the screen.
• Avoid using the projector as a podium or leaning post.
Keep your hands off the projector stage.
• Resist the temptation to read from the screen. This
defeats the major advantage of an overhead, eye
c o n t a c t Check the alignment occasionally, but not
on every visual.
• Use a pointer or pencil on the projector stage to
highlight. Don't point to the screen.
• On or off? When and how often to turn the overhead
projector off as you change transparencies is hotly
debated. Consider these to decide what works best
for your presentation style:
• with no visual in place, the bright light of the projec­tor
can be blinding.
• if your breaks between transparencies are short,
cover the stage with a piece of paper.
• when you use a sequence of transparencies, place
the next acetate on top of the one you've just used
and quickly remove the old acetate from the bottom;
this prevents light glare, and switching the machine
on and off; it takes practice to look professional.
• Overlay transparencies to visually tell a story; gradu­ally
add to the message with three or four separate
transparency films. This is good for explaining com­plicated
but logical sequences. To design, make a
sketch of your total content. Decide which elements
should form the base ( projected first), then which
elements will form each overlay. Make separate mas­ters
for each of these. Mount the base transparency
to the underside of the cardboard frame and mount
the overlays to its face. Limit overlays to three or four
to prevent loss of base image.
Place a piece of paper between the stage and the
transparency to gradually expose a message. A vari­ation
is to lift cardboard segments which you've
secured to the frame like pieces of a jigsaw puzzle.
• You can place three- dimensional objects on the
stage of the projector. If the object is opaque it will
appear in silhouette. If the object is of transparent
colored plastic it will appear in color.
Summary
The overhead projector is a versatile visual aid.
Use your imagination to create visual variety. Be
adventurous! Combine color and techniques for a
memorable visual supplement to your first class
presentation.
Abcna AGRICULTURE
October. 1986
O V E R H E A D S L I D ES
Divide space in an
interesting way
Leave lots of white space
1 1 — - TH/\- - A
Keep it organized Keep it simple
Create a path for the eye Don't write a complete text
Create interest with colour
WE MUST
ACT NOW 1
WE MUST ACT
N O W !
Make something dominant
' BEHIND THE SCENES HOST
P l a n n i n g a conference, forum or training seminar
Planning a large meeting of people depends,
somewhat, on what function it will be.
A convention or conference is made up of a group
of delegates gathered to discuss business and hold
elections. It may ( but not necessarily) include speakers and
workshops. Entertainment is usual, but optional.
A forum or symposium may be any group of
people, associates or ' strangers', who have gathered
because of interest in the theme offered. The focus of the
speakers may be information, awareness and/ or persuasion.
The speakers will address a specific theme, and no business
will be conducted. It is optional as to whether you provide
entertainment.
A training seminar can be organized by a club or
business for their own members, or it could be open to the
public. Again, it will be on a theme or topic, and the focus
of speakers will be on information, education and training.
Entertainment is not usual.
Whatever the function, however, there is a
sequence of tasks involved.
Setting a date
This may sound simple, but there are
considerations. The date must be the most convenient to
those you hope will attend.
Check for conflicting events, in the community and in
your target audience. This might include such things as
' harvest' ( if a rural target) , other conferences, festivals and
events, interference with holidays or other commitments.
Sometimes it is advantageous, however, to hold it right
after or before a similarly themed event, to benefit from
publicity, enthusiasm and the fact that many interested
people will already be coming to the area. If there is a
declared ' week of...' or ' month of... ' ( your theme) you
would want to look at the free publicity that date would
offer.
You might want to take advantage of ' off season'
rates to reduce facility and travel costs.
Consider probable weather if guests must travel.
Custom may dictate a specific date ( annual
convention?), but is that tradition really the best or would a
change be considered?
Deciding length and times of the event
Usually, in any organization, club or business
situation, the length is dictated by the board or council: it is
seldom the decision of the program director.
In some cases, such as a public seminar or forum, you may
have to make this call. Your decision should be based on the
following:
* costs ie: extra nights, extra meals etc.
* information or business that you wish to present
* distance audience will come ( if they have to fly in, they
may wish a few days length).
* initial costs ( set up, advertising, displays, etc.) It would
not be a wise use of money to spend enormous
amounts on these things, then have only a one
day seminar.
To determine times of starting and ending , the following