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Wake em Up Other Educational Materials by Tom Antion
VIDEOTAPES Wake 'em Up Video Professional Speaking System http://www.antion.com/speakervideo.htm
AUDIOTAPES Make em Laugh:How to Use Humor in Presentations Business Lite For Human Resource Professionals Business Lite For Women Only
Wake em Up
How to Use Humor and Other
Professional Techniques to Create
Alarmingly Good Business
Presentations
by
Tom Antion
Your A to Y Guide (No ZZZZZs
Allowed) to More Interesting, Fun
and Memorable Programs
Anchor Publishing
Copyright 1998 Tom Antion
All rights reserved. No portion of this book may be reproduced
mechanically, electronically, or by any other means, including photocopying
without written permission of the publisher.
ISBN: 0-926395-12-2
Anchor Publishing Box 2630 Landover Hills, MD 20784 (301) 459-0738 (301) 552-0225 Fax tom@antion.com tomantion@aol.com tomantion@compuserve.com www.antion.com
Electronic Clip art by Corel Corporation
Edited by Janet Novotny
Cover by Vicki Flores, Optima Design
Printed in the United States of America
First Edition
Library of Congress Cataloging in Publication Data
(Data block not completed yet)Dedication pageCartoon Page with ZZZZZs presenter.
He is not only dull himself, but the cause of dullness in others.
Samuel Foote
ACKNOWLEDGMENTS
(OK. I know you won't read this, but they will.)
Thanks to: Mom and Dad who have supported me in everything I have ever done (except the time I ran away from home and tried to survive on grass soup and hot dogs that lasted about three hours). Janice Stevens for her NO ZZZZZs idea at our brainstorming session and her tireless late night editing. Bonnie Davies for sticking with me through all the ups and downs. Chris Davies for keeping my computer running and being such a good friend. Art Gliner for his overall assistance especially on the international section and for always coming through whenever I needed a list of something. Sheila Feigelson for her wonderful name tag ideas, female presenter segment, and proofreading and editing. Paul Radde, Ph.D., Director of the Audience CenteredTM Seating Institute for being such a great mentor and teaching me all about State of the Art Seating and the trick to keep my tie straight. Dottie Walters, Lilly Walters, Michael Walters, and the Cowboy my "left coast" family, plus all their fine support staff. Carol Krugman for all around support for me, "the fence man," and for being such a great leader of all my MPI net buddies. Janet Novotny for being such a top-notch editor or is it editriss? Joan Eisenstodt for sharing her precious time and vast experience with me and also for getting me on MPI network. Cindy Butler and Andrea Scott and the rest of my "MPI Net buddies" for their title suggestions. Larry Tracy for his section on hostile audiences. Wendy Zhorne for her tireless page and a half of editing (Ha-ha).Vicki Flores at Optima Design for her excellent cover work (take another look at the beautiful work she does). Wolfe Rinke for being a great business mentor and for contributing to the involvement section. Sally Walton for keeping me up on diversity issues. Bob Lunsford who was always there when I would get into some weird computer problem. Dan Poynter who got me started writing and publishing many years ago and who is always ready with a good joke. Marie Betts-Johnson and Mary Murray Bosrock two fine protocol experts that helped me on the international section. Maggie Bedrosian who keeps trying to teach me that Life is More Than [My] To Do List (For those of you that don't know that is the title of her latest book). Steve Hardiman for his WordPerfect tips. Pat Carlyle for her videoconferencing tips. David Rich for his sales and marketing tips and also for being a great roommate at Meeting World. Gene Perret and Linda Perret two famous and funny people for their manuscript review. Bob Lucas for his help on the body language section. Lizz Curtis Higgs, Patricia Fripp, Hope Mihalap, Nancy Rosen, Denise Koepke, Barbara Sanfillippo, Joyce Saltman, Marianna Nunes, and Lola Gillebaard, for their contributions to Chapter 19. Mike Rounds, Doug Fox and Vern Hoven for their contributions to Chapter 17.
and to my idol
Charlie Jarvis, (folks there's not a funnier man on earth), for the countless
hours he spent on the phone with me talking about humor.
If I forgot anyone out there, it's only because it's three o'clock in the morning
and I'm desperately trying to get the last words typed on this manuscript.
Please forgive me and watch for your name in the next printing.
Table of Contents Foreward Backword Preface Introduction
PART I The Basics
Chapter 1 Why Use Humor
Chapter 2 Audience
Pre-Program Questionnaire
All Male/All Female
Size
Outdoors
Time of Day
International
In Fun
Nametags
Handouts
Alcohol
Connecting with the Audience
Chapter 3 Room Setup
Equipment
Atmosphere
Seating
Sound System
Music
Visuals
Climate
Distractions
Chapter 4 Introductions
Self Introductions
Openings
Starting Off
Response to Introduction
Localized/Personalized Comments
Bonus Material
Chapter 5 Body
Maintaining Interest Level
Attention Gaining Devices
How much humor is right?
How to Make a Point With Humor
Bits AKA Chunks, Series
Transitions
Chapter 6 Closings
Bonus Material
Chapter 7 Selection of Material
Appropriate Targets
Humor to Avoid
Touchy Subjects
Chapter 8 Delivery
Stage Fright Strategies
I Can't Heeeeere You!
Joke Telling
The Punch Line
Rule of Three
Callbacks
To Laugh or Not to Laugh...That is the Question
Timing
Types of Pauses
Humor Placement
Dynamic Range
Dynamic Range Quick Fixes
The WOW Factor
Other Important Tips
Extra Special Genius Technique
Chapter 9 Bombproofing
Theory of Relevance
Humor Risk
Saver Lines
Pre-Planned Ad-Libs
Emergency Situations
Acknowledgments to Tough Situations
Watch Your Clock So They Don't Watch Theirs
Chapter 10 Movement and Appearance
Stand Up and Be Counted
Stage Positioning
Bad Habits
Clothing
Is Anybody Out There?
Bonus Tips
Chapter 11 Involvement and Interplay
Axe the Lectern
Standing Ovation
I Won! I Won!
May I Help You?
Old Yeller
Mental Involvement
I Get So Emotional
I Could Do Without Some Emotional Audiences
Interplay
Chapter 12 How to Practice
Do It Alone
Use Your Friends . . . Carefully
Record Your Presentations
Get Coaching
PART II Types of Humor
Chapter 13 Thirty-Four Ways to Be Funny
Acronyms and Abbreviations
Advertisements
Alliteration
Anachronisms
Asides
Audience Gags
Bloopers
Caricature
Cartoons and Comic Strips
Comic Verse
Costumes
Definitions
Exaggeration
Fake Facts and Statistics
Jokes
Juxtaposition
Oxymorons
Pleonasms
Letters
Fake Surveys
Magic
Malaprops and Usage Blunders
One-Liners
Parody
Props
Proverbs and Fortune Cookie Humor
Question and Answer Sessions
Quotations
Roast Humor and Insults
Self-Effacing
Signs
Simile
Toasts
Words and Sounds, Places, Food, and Numbers
Chapter 14 Storytelling
Enthusiasm
What to Do After Identifying a Story
Do's
Don'ts
Tricks
Extra Special Bonus Genius Technique
PART III Sources, Organization, A/V and Computers
Chapter 15 Sources and Organization of Material
Sources for Speakers
What About Specific Industries?
I Like Humor. Where Can I Find It?
Old Humor is Good Humor
Organization
Chapter 16 Audio/Visual Equipment and Computers
Why Visuals are Effective
Overhead Projection
Projection Setup
Projection Screen
Proper Overhead Use
Slide Projection
Flip Charts
Video
Computers (Pre-Program)
Internet
Multimedia
Computers (Post-Program)
Five Tips to Be Funny with A/V
Overhead/Slide Design Tips
Bonus Tips
Chapter 17 Technical and Financial Presentations
Creating a Favorable Learning Situation
Participant Introductions
Characteristics of a Good Technical Program
Length of Program
Team Presentations
Chapter 18 Sales Presentations
Getting the Sale
Following-Up
Product Related Stories
Tips Galore
One-on-One Presentations
Large Presentations
More Sales Tips
Chapter 19 Women, Humor and Business Presentations
Nance Rosen Corporate Executive
Denise Koepke Trainer
Barbara Sanfillippo Speaker
Lilly Walters Speakers Bureau Owner
Hope Mihalap Humorist
Sheila Feigelson Speaker/Humor Consultant
Lola Gillebaard Speaker
Patricia Fripp Speaker
Joyce M. Saltman Humorist, Professor, Therapist
Marianna Nunes Speaker
Appendix
Action Plan to Improve Your Use of Humor
Addresses
Audio and Video Tapes
Books
Book Search Services
Computer Programs
Exercises, Brainteasers, Activities, Icebreakers
International Resources
Music Licensing
Newsletters
Professional Joke Services
Props
Speaker Services
Speaking Organizations
Speech Writing and Research Services
Tips for Television, Videotape, and Videoconferencing
Worldwide Video Color Systems
Room Setup Checklist
Tom's Banquet/Luncheon Tips
Selected Bibliography
Wake em Up Glossary
Index FOREWORD
(Author to be determined) BACKWORD
(Reference here to person who writes Foreword)
When Tom Antion asked me to write the backword for his new book, I
thought he was kidding. As I thought about it more, I realized that much of the
success he has enjoyed came from his willingness to push the limits of
convention. As I've watched him grow into a polished and exciting keynote
speaker, I'm reminded of other top speakers who have been so successful for
Walters International Speakers Bureau over the years. One of the traits these
speakers had in common was their ability to make their audiences laugh in the
right amount, at the right times, and for the right purposes. Tom's book is an
excellent resource for teaching executives, managers, speakers, trainers, and
salespeople how to impart their valuable information with just the right
amount of excitement, levity, and laughter. Mastering these skills will virtually
guarantee that you will always be in demand.
Dottie Walters, President
Walters International Speakers Bureau, Glendora, CA
Author of Speak and Grow Rich
PREFACE
If you let your hair down, you might be surprised what you find in it.
Balki Bartokomous, Perfect Strangers
Image is important in today's business world. Every time you speak you are
representing yourself and your business. If you are an effective and dynamic
communicator, you will cast a favorable light on virtually all your business
endeavors. This means you will be more valuable and less likely to be
sacrificed if your company's business climate gets tough. If you are the leader
of your organization, you have the power to create the entire image of your
company. You have the power to motivate your employees or your clients to
act. You must take it upon yourself to move them so you can sell more of your
ideas, products, and services.
To get your message across you must Wake Up! your audience. You must
command their attention so that your message can get through. This book is
dedicated to giving you the professional tools and specific techniques to
command that attention. More than that, it will show you how to set the stage
so the audience desires and enjoys listening to you. Imagine that!
This book slants heavily toward the use of appropriate humor as one of the
most effective tools in waking up your audience. It also covers the entire range
of skills needed to be a NO ZZZZZs presenter. For even if you focus
exclusively on humor, you still need many other skills to make you a polished
presenter. I know you might be apprehensive about using humor. Many people
are, until they see the tremendous benefits that await them with relatively little
risk if the humor is done right. This book teaches you how to do it right. It
will also give you many other tools and tricks of the trade that I am certain you
will not see in your average presentation skills book. I will take you far past
the beginners level, even if you are a beginner.
Being an effective communicator is a learned skill. Anyone, yes, I said
anyone can improve upon this skill. My guarantee to you is that if you
implement as little as 10 percent of what you learn here, you will double your
effectiveness as a business presenter. I don't know how to measure this, so I'll
just refund your money if you swear to the following: 1. You read the entire
book; 2. you tried to use at least 10 of the hundreds of tips included; and 3.
you don't feel this book made you a better business presenter.
If all of these are true, I don't want your money. C'mon. Let your hair down.
Tom Antion, Lanham, MD
INTRODUCTION
Why in the world would people get up at an ungodly hour of the morning and
drive hundreds of miles to attend a Humor in Presentations seminar? I'll tell
you why. It's because the value of humor and excitement is now being
recognized as a legitimate tool for making your business and personal life
better. Numerous benefits are associated with the appropriate use of humor in
both business and social settings. This book focuses on a specific use of
humor; that is, humor used to make business presentations more effective.
You will also find in this book literally hundreds of advanced presentation
techniques that professionals use to create highly polished programs. They are
broken down into easy-to-understand segments that anyone (even a beginner)
can learn. With a little practice you will be doing things in your presentations
that will blow away your competition, amaze your colleagues, and get you the
results you want.
What exactly is a presentation? One of Webster's many definitions is "to
bring before the mind." So, a presentation can be delivered to an audience of
one, assuming that person has a mind. It can be delivered to 5 people in an
informal meeting, to 30 people in a small audience, to 250 people in a
medium-sized audience, to 1600 in a large audience, or to 100,000 in a super
large audience in a football stadium or any number in between. The word
presentation usually denotes a formal setting, but I want you to think of a
presentation as anytime you try to bring your ideas before the mind of a
listener.
Most people use the term audience only after their listeners reach more than
a few in number. That is not really accurate, so for the rest of this book I will
use the word audience even if you are presenting to only one person.
The main rule to keep in mind as you read this book is that there are no
rules. All the principles you will learn are violated regularly by a top presenter
somewhere. I'm going to give you generally accepted principles and tell you
about the exceptions too. I want you to think about how these principles and
the exceptions can be applied to your presentations.
Some of you may be apprehensive about your ability to use humor. You may
have had one or more bad experiences in your attempts to use humor. I
personally guarantee that anyone can use humor effectively and appropriately.
You may not be a joke-a-minute presenter but, in most cases, you wouldn't
want that reputation anyway. You don't have to be a nut to get your point
across. That will cause you to lose credibility.
To make good use of humor in your presentations, all you have to do is
choose appropriate humor from existing sources, make sure it is relevant to the
points you are trying to make, and practice enough so your delivery is smooth.
I'm going to show you how to do all that and more so that you create
excitement and interest in your topic. You will truly be a NO ZZZZZs
presenter.
To be a humorous and effective presenter it doesn't even matter if you can't
tell a joke to save your dog's life. Actually, you will find very little mention of
jokes in this entire book. Also, you don't have to worry about writing your
own humor. This book will teach you how you can adapt easily found generic
humor to your presentation needs. Believe me, when you start looking around,
you will find that humor literally surrounds you. You have a tremendous advantage if you are
not a comedian or humorist.
People will come to your presentations to get the information they need and
won't expect to be entertained. They will expect to snooze through at least part
of your presentation. Any humor you use will be considered to be a big bonus.
You could very likely be the hit of the convention or meeting. You don't even
need to elicit a big belly laugh to be a hit because you are using humor to make
your points.
In addition to being a teaching instrument, this book is a source of some
instantly usable humorous material even though it's not a joke book. Feel free
to use or adapt the ideas and material in this book to suit your needs. Keep in
mind though that when I say instantly usable, I mean instantly usable after
you practice and test. I never encourage my clients to try out or test material
in presentations that really count. That's plain risky.
You will see throughout this book a mixture of the serious and the
humorous. I believe, and I have proven to many business people, that this is
a winning combination. I also feel that rigid structure and absolute
organization are counterproductive. That's why, when you least expect it, I'll
change up on you and do something different.
I want you to push your limits, but don't do anything that is not you. You
will look affected and probably do worse than if you just delivered your
normal routine. I'm known for my sometimes outrageous style; if you tried to
copy me, you would likely fall flat just as I would if I tried to copy your
style.
You will also
notice a
disdain I have
for boring
presenters. I
call them all
kinds of names
like breathing
sleeping pills
and hammock
heads. Don't
worry. These names don't apply to you even if you know you are boring right
now. The fact that you are trying to improve by reading this book makes you
OK by me.
Many of the tips offered will help you improve your regular presentation
skills in addition to your humor skills. This book will even change your
nationality. After you apply the ideas and techniques in this book you will be
an honorary citizen of NO Z Land. (I hate puns. Don't ever use them.)
To get you started on the path to effective, memorable, and NO ZZZZZs
presentations you must have a firm grasp of the basics.
Part I The Basics
Chapter One will teach you, if you don't know, and remind you, if you do, of all the good reasons to use appropriate humor in presentations.
Chapter Two will discuss all the audience information you should have to increase your chances of success. Emphasis will be placed on the audience rather than on you. To be successful, you must always think of your audience's needs. Chapter Three will teach you how to take control of the logistics of your presentation even if you don't think you have much control over seating arrangements, sound systems, and other room parameters.
Chapters Four, Five, and Six will take you through a standard presentation, beginning with your prepared introduction and concluding with your final comments.
Chapter Seven will help you choose appropriate jokes, stories, and one-liners and tell you the types of humor you should absolutely avoid.
Chapter Eight will show you how to deliver your punchlines and teach you the importance of timing. The best, most highly targeted, and funniest humor will fall flat if you don't know how to deliver it and milk it for all it's worth.
Chapter Nine will teach you how to bombproof your humor and give you all the details on what to do when a humorous comment fails. You won't need to avoid humor because you are afraid of bombing.
Chapter Ten will teach you to make your gestures and body language add to your presentation. You will learn what to watch for.
Chapter Eleven will give you eight ways to let the audience participate in your presentation. Modern audiences want to be involved.
Chapter Twelve will show you how to practice, on whom to practice, and what to expect if you hire a speaking coach or attend small group practice sessions. Perfect practice makes perfect punchlines. The only way you can be assured of delivering humor effectively is by practicing.
Part II Types of Humor
Chapter Thirteen will give you thirty four simple forms of humor you can easily add to any presentation.
Chapter Fourteen will help you learn how to tell stories. Because of their importance in making points, stories get their own chapter. A good storyteller is hard to find. You can become one by practicing the techniques in this chapter.
Part III Sources, Organization, Audio/Visual Equipment & Computers
Chapter Fifteen will tell you where to find and organize immediately usable humor. It also discusses why old humor is good humor.
Chapter Sixteen will show you how your computer can create humor and how to properly use slide projectors, overhead projectors, and flipcharts and make them funny.
Bonus Chapters
In Chapter Seventeen technical and financial presenters will get their wake up call on the hows and whys of adding spice to facts and figures.
Chapter Eighteen focuses specifically on the art of humor in sales. We all sell, but some folks are known as sales professionals. This chapter is for them.
Chapter Nineteen saves the best for last. It highlights women and humor.
You'll hear from some of the most effective women presenters in the country
and how they do their thing with humor.
In short, or long, whichever you prefer, I'm going to give you all you ever
wanted to know about using humor and advanced presentation techniques. In
addition, I'm going to give you insiders' tips and tricks that the pros use to
create insomniacs out of their audiences, i.e., the audience is so excited they
couldn't go to sleep if they wanted to. You must decide what fits you and add
it to your presentations slowly. Start with one technique at a time. You will not
become a humorous Wake em Up presenter overnight. With practice you will
evolve into a more lively and fun presenter. If you already use humor
effectively, take the information you learn here and use it to fine tune your
technique and take yourself to the next level.
The ideas and techniques you will find in this book can be adapted and
applied to one-on-one sales presentations or to major keynotes in front of
thousands of people. You might ask, Why should I know about large
audiences if I only present to a few people at a time? The reason is that when
you become a NO ZZZZZs presenter, people will notice and you will be asked
to present to larger groups. The same question might be asked in reverse by
a major keynoter, executive, or political figure. Why should I bother knowing
about small audience settings? I already present to large groups. You need
to know that the humor and stories that are successful in large groups do not
necessarily translate to small group settings. Without this knowledge you
might fall flat when talking to five CEO's in a boardroom setting.
A bigger answer waits for both of these presenters. I know it's a clich‚, but
it doesn't matter how good you are now, there is always room for
improvement. An old coal miner friend of mine who is one of the smartest men
I know says, "The schoolhouse door is always open." I believe him, so let's go
right in.Part I The Basics The Sandman is your biggest competitor.
Elmer Wheeler
Why use humor?
Why should I bother using humor in my presentations? Can't I just deliver my information and sit down? You sure can and that's what most people do. The problem is that most people are not effective presenters. They are nighty nite, snooze inducing, say your prayers, hit the sack, unlicensed hypnotists. They are ZZZZZs presenters. They might be experts in their field and be able to recite hours and hours of information on their topic, but is that effective? No. An effective presentation is one that achieves its purpose, whatever that may be. I don't think that most presenters define their purpose clearly even to themselves. As part of being a NO ZZZZZs presenter you must ask yourself: Why am I here? What do I want to accomplish? Am I here to sell something? Am I here to motivate? Am I here to persuade? Am I here to get votes? What do I want the audience to take home with them when I'm done? Once you've answered these questions I can tell you how and why humor and many other professional techniques will help you achieve your goals. But if you don't even know why you are there, then I can't help you. According to Bob Orben, Special Assistant to President Gerald Ford and Former Director of the White House Speech writing Department, "Business executives and political leaders have embraced humor because humor works. Humor has gone from being an admirable part of a leader's character to a mandatory one." I know you are a leader because you picked up this book. You recognized there is a higher level waiting for you and developing outstanding presentation skills will help you reach it. A survey of top executives who earned more than $250,000 per year was conducted by a large executive search firm. The survey found that these executives believed their communication skills were the number one factor that carried them to the top. Mastering the use of humor and other high-explosion techniques puts a fine polish on those skills which can help propel you to the top more quickly. The ZZZZZs people may make their slow progression up the corporate ladder (nowadays only if they're lucky), but the NO ZZZZZs people shoot off the top of the ladder holding onto a rocket. Like these NO ZZZZZs presenters, there are many benefits you can derive from using humor in your presentations. Keep in mind that these benefits only help you reach your ultimate purpose for making the presentation. They are not purposes themselves unless, of course, you are only interested in entertaining. Using humor does the following for you:
HELPS YOU CONNECT WITH THE AUDIENCE. What audience is going to listen to you if they don't feel you are one of them?
MAKES YOU MORE LIKEABLE. The more an audience likes you, the more they will be likely to agree with your ideas.
AROUSES INTEREST. Many of you speak to audiences that don't even want to be there. Humor can help you gain their interest.
KEEPS ATTENTION. Grabbing interest at the beginning of a presentation is not enough to carry you to the end. You must keep the attention of the audience all the way. Unfortunately our audience's attention spans are becoming shorter and shorter. They are becoming more of the MTV generation where the average time a shot is on the screen is just a few seconds. According to Ron Hoff in his presentation skills book, I Can See You Naked "If corporate managers ever saw their own meetings on TV, they would pick up their remote controls and zap themselves into oblivion in the flick of an eyelash." We are competing with movies that have 100 million dollars in special effects. We must be prepared to deliver a fast-paced program that surprises members of the audience. At times we need to knock them in the head to make sure they are present. Humor and other presentation devices placed appropriately will help you do this.
HELPS EMPHASIZE POINTS AND IDEAS. Anyone who has ever taken a simple speaking course knows that you must hit your audience on the head with your point over and over before they get it. Humor is one of the hammers you can use.
DISARMS HOSTILITY. Nonfrivolous humor can be used to take the edge off audiences that are clearly against you.
REDUCES RELATIVE STATUS. Many of you are what I call the "big-shots" of your organization. Your position as boss creates a big barrier to listening. Don't forget, "BOSS" spelled backwards is double-SOB and that's the way your audience will look at you if lord your status over them. Making a little fun of yourself (self-effacing humor) will do wonders for opening lines of communication.
OVERCOMES OVERLY FLATTERING INTRODUCTIONS. Introducers come in all quality levels. If you get one that makes you sound like God, it will create expectations in the audience that you couldn't possibly live up to. Humor can neutralize that problem instantly.
GETS YOUR POINT ACROSS WITHOUT CREATING HOSTILITY. Sometimes you have to deliver tough negative messages. The careful use of humor can help you do your dastardly deed without creating unnecessary anger.
HELPS RELATE FACTS AND FIGURES. A friend of mine says, "I don't
want to bore you with sadistics (see Malaprops )." Technical and financial
presenters must be especially careful to spice-up long lists of numbers and
generally dry material. You must keep in mind that most people in your
audience are not as passionate about your subject as you are or they would be
up in front of the group. Think from the audience's point of view and do
whatever it takes to break up boring material so you don't lose your audience
totally.
Joan Eisenstodt, from Eisenstodt Associates, and former MPI Meeting
Planner of the Year says, "High content, informational speakers almost always
fall flat if they don't use some humor. I equate appropriate humor with warmth
and audiences respond to warmth." She also notes, "After twenty-five years
watching audiences and presenters, I know that even subtle humor can help the
audience respond positively to information that could be considered boring."
MAKES A POSITIVE IMPRESSION. Laughter and good humor create bonds. Even if the audience members don't like you, they will like you better if you can make them laugh or smile and they will leave with better thoughts of you.
SHOWS THAT YOU DON'T TAKE YOURSELF TOO SERIOUSLY. The old saying goes, "If you take yourself too seriously, no one else will." You don't want to be known as a stuffed shirt. If you can laugh a little bit at yourself at the right times, your audience can laugh with you and not at you.
HELPS PAINT PICTURES IN THE AUDIENCE'S MIND. The pictures humorous storytellers can paint are what people remember, not the words.
MAKES INFORMATION MORE MEMORABLE. Joyce Saltman, a college professor and well-known speaker in the health care field, did exhaustive research for her 1995 doctoral dissertation Humor in Adult Learning. She concluded that "Most researchers agreed that humor generally aided in the retention of materials as well as to the enjoyment of the presentation of the information."
LIGHTENS UP HEAVY MATERIAL. Appropriate humor added to heavy, serious material gives the audience a few seconds to relax. Even Shakespeare employed this device, called "comic relief," extensively to provide distraction or offer respite from the serious events of a tragedy.
TOM'S LIST
YOU WILL BE ASKED BACK. If you succeed in your original purpose for making your presentation, you may be asked back. If you also make the audience feel really good by entertaining them at the same time, your chances of being asked back will be much higher.
YOU WILL GET HIGHER EVALUATIONS OR MORE SALES. If you make the audience feel good, they will like you better and reflect that in your evaluation scores or buy more and more often from you.
YOU WILL MAKE MORE MONEY. If you are a professional presenter, you will be booked more and your fees will rise. If you present as part of your job, then read the next item carefully.
YOU WILL BE MORE PROMOTABLE. Having and conveying a sense of humor is on virtually everyone's list of top leadership skills. A humorous and engaging presentation style will push you up the ladder where good communications skills are a must.
IF IT'S GOOD ENOUGH FOR POPES AND PRESIDENTS, IT'S GOOD ENOUGH FOR ME. I don't know about the pope, but I do know that all modern-day presidents are coached extensively on the use of appropriate humor for many of the reasons stated above.
YOU WILL MAKE PEOPLE HAPPY. This is my favorite benefit. I get
great satisfaction from knowing that I have brightened someone else's life. I
had an executive come up to me after one of my humor seminars and say,
"You opened up a whole new world for me." I almost cried right on the spot.
I'll never forget it.
When on earth, do as the earthlings.
Mork
Audience
You can't catch many fish by using food you like for the bait. You must give
them what they like. You must absolutely, positively know your audience.
You should know what the members of the audience have in common
(interests, enemies, competitors, etc.). You should know what the hot topic of
conversation is, but be sure they are joking about it themselves. It may be too
hot. You should know the restaurants where they eat, the name of their
newsletter, how much money they make, the name and record of the local
sports teams, etc., etc., etc. The more you know about the audience, the better
job you will do. Your goal should be to make that audience know that the
presentation they are witnessing was created specifically for them.
If you don't present to the same audience all the time, you must have a
method for getting this information. Most NO ZZZZZs presenters use some
form of pre-program questionnaire which is sent out well in advance of their
program. I got the basis for mine from Dottie Walters at Walters International
Speakers Bureau. I made some slight changes to suit my presentation style and
I keep adding and deleting questions to tweak it to perfection.
Your conversations with the program coordinator will give you some of the
information you need. You should fill in as many of the blanks as you can
before you send out the questionnaire to save the program coordinator some
work. This also proves you were paying attention to what he or she said. PRE-PROGRAM QUESTIONNAIRE
This pre-program questionnaire is for Thomas Antion's presentation to ____________________________________ on / / .
These questions are designed to help my staff and I prepare a program specifically suited to the needs of your group. Please take a moment to answer all the questions fully and return the form to my office. We have already answered some of the questions based on our initial conversation. Please double check these answers and make additions and corrections.
We would also appreciate receiving any printed information on your group that may help us with background information (e.g., corporate reports, news items, in-house publications, products, services, employees, etc.). Thank you for your help!
Please return this questionnaire to: THOMAS ANTION
Box 2630
Landover Hills, MD 20784
No later than: / / . E-mail tomantion@AOL.com
CompuServe 74117,226
If you have any questions please call: (800) 468-6280 (USA Only)
(301) 459-0738
FAX (301) 552-0225,
THE PRESENTATION
Presentation Title: Time Frame? Start Time ________ End Time ________ Any breaks? Y N What is on the program just before I speak? __________________________________________________________
What happens on the program right after I speak?
__________________________________________________________
Appropriate dress for presentation? __________________________________________________________
Conference title and theme? __________________________________________________________
Specific purpose of this meeting/session (e.g., awards banquet, annual meeting, etc.)? __________________________________________________________
Specific objectives for my presentation? __________________________________________________________
Sensitive issues that should be avoided? __________________________________________________________
Introducer's name?
Introducer's Phone Wk. __________________ Hm. ________________
Is there any publicity work I can help you with while I am at your event? Y N Radio ___ Television ___ Other ___ Type ____________________
Who are the other speakers on the program?
Speaker__________________ Topic _____________________________
Speaker__________________Topic ____________________________
What speakers have you used in the past that covered topics related to the material I will be presenting for you? ____________________________
What did you like and/or dislike? Withhold their names if you like, but do
comment on the material they used! _____________________________
__________________________________________________________
Please share any "local color" you may know of relating to the location where my program will be held. _________________________________ __________________________________________________________
Please share any "industry color" related to your organization or industry. __________________________________________________________
What comments or suggestions do you have that will help me make this presentation the best your audience has ever had? __________________ __________________________________________________________
THE AUDIENCE
Total number attending? ________ Spouses attending? Y N
Percentage male/female ____________ Average age? _____________
Average annual income ______________
Educational background ______________________________________
Major job responsibilities of audience ____________________________
Will there be any "special guests?" Please explain. __________________ __________________________________________________________
Why is your group attending this meeting (voluntary, mandatory, etc.)? _____________________________________________________
How will they be notified? _____________________________________
What is their overall opinion regarding the subject of my presentation, (favorable, hostile, etc.)? ______________________________________ Please provide the names and positions of three main "movers and shakers" in your organization that will be in the audience, who are well known and well liked. I may joke with them or call on them if the need arises. My staff or I may also want to contact them for more research information on your group (with your permission, of course).
Name ________________________ phone ______________________
Name ________________________ phone ______________________
Name ________________________ phone ______________________
DETAILS ABOUT YOUR AUDIENCE
Problems? _________________________________________________
Challenges? ________________________________________________
Breakthroughs? _____________________________________________
What separates your high-performance people from others? __________ __________________________________________________________
Are there any hearing or sight-impaired audience members? Y N
If yes, please provide names and contact information ________________ __________________________________________________________
TELL ME ABOUT YOUR INDUSTRY/PROFESSION
Problems? __________________________________________________
Challenges? _________________________________________________
Breakthroughs? ______________________________________________
TELL ME ABOUT YOUR ORGANIZATION
Problems? __________________________________________________
Challenges? _________________________________________________
Breakthroughs? ______________________________________________
Significant events? Mergers? Relocations? ________________________ ___________________________________________________________
TRAVEL INFORMATION
Location of presentation and venue name _________________________ ___________________________________________________________
Address _____________________________ Phone _________________
Location at the site ( room-name, etc.) _____________________________
Airport to arrive at ___________________________________________
How will I be transported from the airport to your site? Taxi? _____ Rental Car? _____ Driver? _____
Driver's Name _______________________ Phone _________________
If an emergency occurs on the way to the site, who would be an alternate contact if you are unavailable?
Name ______________________________________________________
Business phone _________________ Home Phone __________________
Thank you for taking the time to provide this information. I will use it to
prepare an outstanding presentation for your group.
That's a lot of information, isn't it? Well, that is only the beginning for me. I
call as many people in the company or association I can, to get to the heart of
what is really going on in their organization. Sometimes these people will
virtually write much of the humor used in a presentation. They know what is
funny to them. Remember, you are there to give them what they want.
If you are addressing a general, unrelated audience with few common
denominators, base your humor on general subjects or specifically relate it to
the points you are trying to make. Many people are married. Many have kids.
Almost everyone goes to a doctor. They have car problems, etc. There are
plenty of general subjects to fit any audience.
Get acquainted with any regional differences. If you are speaking in a small
town located in a rural area, you wouldn't crack cab driver jokes. They
couldn't be expected to relate. If you are from a large metropolitan area and
you are speaking in a rural area, you may comment on how you appreciate
their calmer way of life and make fun of your rat race way of life. You
certainly wouldn't want to say anything that insulted their way of life. The
safest target to joke about is you (see Self-effacing Humor).
All Male/All Female
There is nothing I like better than an all female audience. All female audiences
tend to laugh more easily and louder than all male audiences.
All-male audiences are the toughest because the male ego gets in the way of
laughter. They look around to see if anyone else is laughing before they laugh,
and they won't laugh as loud because they think they will look less powerful.
If you present to an all-male audience it is more critical to bond and be "one
of the guys" especially if you are a female presenter. I'm not being sexist here.
I don't believe in sexist language. I'm just giving you the thoughts to keep in
mind if you are a female presenter and you want to be successful in front of a
general all-male audience. You must realize: not all males out there in the
business world are as sensitive as me (send all big hugs to me in care of the
publisher). If your all-male audience is a general audience not from the same
company or field, stick to sports, business, and money to best connect with
them.
One of the hardest audiences to deal with consists of a group of executives
from the same company when the CEO is present. If you say something funny,
the executives will start to laugh, but they choke it off until they check to see
if the CEO is laughing. If he or she is laughing, then they go ahead and laugh.
This kind of audience will create timing nightmares for you. If you are the
CEO and you are in the audience for a presentation, it is your obligation to
laugh and at least act like you're having a good time to "give permission" to
everyone else to laugh. As a NO ZZZZZs presenter, you can sometimes take
it upon yourself to gently explain to the CEO how everyone will look to him
or her for approval.
Audiences that consist of more than 50 percent women are good too. The
presence of the females provides a good buffer and makes it OK for the men
to laugh, since so many other people are laughing.
Size
The size of your audience has a direct effect on the types of humor which are
most appropriate, the expected audience response and the timing of the
presentation.
Members of very small business groups tend to be too self-conscious to
laugh much. Use short one-liners. Be brief and informal with your humor;
don't use any long stories or jokes.
In small groups laughter will come more quickly. It's now OK to stretch to
jokes and short stories. Your presentation will take less time to deliver than to
a large group.
A presentation to very large crowds in enormous rooms or venues such as
stadiums will take longer to deliver because laughter comes in waves. The
portion of the audience right in front of you will laugh first. Then most of the
rest of the crowd will laugh. The third wave will come when those slower to
get the joke finally do, and when those who laugh because everyone else is
laughing kick in. You must allow time for this phenomenon to occur. In large
crowds you must play to the back of the room. These people are hardest to
reach.
Outdoors Outdoor presentations are really tough. They are usually full of distractions. The sound systems are inadequate. It is virtually impossible to use overheads or slides. You must weight down flipcharts so they don't blow over. If you are presenting outdoors, I recommend you cut down on the overall amount of humor. When you do use humor, be more animated and forceful and concentrate on hammering out the punch lines.
Time of day
The first speaker of the day for an early morning (7:00 a.m. to 9:00 a.m.)
program should not expect hearty laughter. People are not conditioned to laugh
a great deal in the early morning. Many won't even be awake yet. Use more
information and less humor. I was asked by a sales speaker to open up an early
morning seminar. He said, "I just want you to get them laughing before I go
on." I told him that it was not a good idea, but he insisted. I opened up the
seminar with some sure-fire humor to test their responsiveness and got little
response. I cut my material and brought the speaker on stage. He couldn't get
them laughing either. I sat in the audience and watched. By 10:15 a.m. they
were laughing at just about anything.
It's important for you to know when NOT to expect hearty laughter. It
would be a waste of time to use your best material at a time when laughter
normally wouldn't be expected. If you didn't know that early morning
programs aren't the best for laughter, you might have your confidence shaken
so badly that the rest of your presentation might slide into Z-land. Also, keep
in mind that I am giving you general principles. You might run into a lively
group sometime just don't expect it.
Many consider brunch to be the best time of day to expect a responsive
audience. It is late enough that the folks who sleep late are now awake, but not
so late in the day that early risers are starting to get tired.
Lunch is generally a time for good response for the same reasons as brunch.
In the afternoon people are starting to get tired. Audience members will
retain less because they are not listening as closely as they did in the morning.
You can use more humor and less hard information, but don't expect laughter
to be as intense.
The last speaker of a long afternoon or evening program should not expect
a great response, again because folks are too worn out. Keep your presentation
short and crisp and acknowledge the lateness so that the audience knows you
care about them. One time I was the last speaker on a long program in
Baltimore, Maryland, for a food service management company. I was being
introduced at 8:35 p.m. on a Monday night in the fall. What do you think the
mostly male audience was thinking at 8:35 p.m. on a Monday night in the Fall?
Of course! MONDAY NIGHT FOOTBALL! I got up and said:
There are three things I would never want to be: 1. a javelin catcher; 2. the scoop man at a Donkey Basketball game; and 3. the last speaker on a long program. (I looked at my watch.) It's now 8:40 p.m. I'm going to limit my remarks to 15 minutes. I guarantee you will be in the hospitality suite in time for the kickoff. I kept my promise.
Do you think I had more of their attention than if I had not made the comment? You bet I did! Even though it had been a long day, they all had a good laugh during my talk. A little care for your audience will go a long way.
International Audiences in the United States are becoming more and more diverse. It is your responsibility as a presenter to be aware of and acknowledge significant portions of the audience that come from differing backgrounds. If you are presenting in a different country, it is up to you to find out about local customs and types of humor that are appreciated. The response to humor is quite different and normally much more subdued for cultures outside the U.S. Paying close attention to this fact will give you a greater chance of connecting with international audiences in and out of the U.S. You will also be more aware of etiquette and customs that will make you a welcome NO ZZZZZs presenter anywhere you go.
Get the facts first
If you are not familiar with your intended audience, you might ask in your pre-program research,
or questionnaire How diverse is your group? What are
some of the characteristics of the members from each of the countries
represented? The answers to these questions will help you plan your strategy
for connecting with a particular audience.
When I was doing my planning for a presentation in Washington, D.C., I
found out that 25 percent of the audience was Asian Indian. I knew very little
about the Indian culture and didn't have long to plan. What I did know was
that the Dunkin' Donuts store located near my home was owned and operated
by Indians. That was a good excuse to stop in, down a few eclairs, and do
some research. I told the proprietor what I was trying to accomplish and he
was glad to help. Out of all the information he gave me about humor in India,
I only used one line. That was all it took to connect. The line was, I want to
tell all my new Indian friends I'm sorry Johnny Lever couldn't make it.
Johnny Lever was one of the top comedians in India. They lit up and I went on
with the program.
If your local donut shop isn't run by the appropriate nationality for your next
presentation, don't worry. There are other sure-fire methods to get the
information you need. If you are presenting out of the country, get the opinion
of local people before you attempt to use humor. If you are presenting in the
U.S., seek out members of the nationality to whom you are presenting. If you
don't happen to know any, you can always call their embassy. I've called our
State Department, The World Bank and even Voice of America for
information. Just tell the receptionist you want to speak to someone from the
country of interest. Don't forget to tell them you want to converse in English.
Know what NOT to do
When presenting to foreign audiences you must check all your comments,
especially those intended to be humorous, carefully so you don't accidentally
offend someone. Customs are quite different around the world. It is easy to
make mistakes when you are in a totally new environment. In some countries
you may hear open joking on television about subjects that would be taboo in
the U.S. That doesn't mean you can attempt to joke about the same subjects
in your presentation.You'll never get the audience to connect with you or laugh
if you accidentally say or do something offensive. A good resource that gives
you a fun look at customs in other countries is the book by Roger Axtell,
Gestures: The Do's and Taboos of Body Language Around the World. I'll
talk more about the science of gestures in Chapter 10, but Roger Axtell's book
gives lots of useful information on things to do, as well as NOT to do, when
in a foreign country.
Here are just a few serious mistakes that could easily be made during a
presentation:
In Colombia, if you wanted to show the height of an animal, you would
hold your arm out palm down and raise it to the appropriate height. If you
are trying to show the height of a person you do the same thing, but your
palm is vertical. So, if you meant to show the height of a person, but you
did it palm down as we normally would in the U.S., you would have either
insulted the person by treating him or her like an animal, or you would have
confused your audience because they would now think that you were
actually talking about an animal that had the name of a person. See how
crazy this can get?
I've got another animal problem for you. In Hong Kong, Indonesia, and
Australia you would never beckon someone by putting your hand out and
curling your index finger back and forth (The way you might to coax
someone on stage with you). This gesture is used to call animals and/or
ladies-of-the-night and would be offensive to your audience.
In Latin America and the Middle East, people stand much closer together
when they converse. If you were interacting with a person from one of these
cultures and maintained a distance considered to be a normal U.S. personal
space, you would be sending a very unfriendly message. Asians, however,
typically stand farther apart than North Americans. Your understanding of
this will keep you from chasing them all over the stage. Keep this in mind,
too, if you go into the audience to interact with them. Since they are seated,
you control the distance for
interpersonal space. Also,
NEVER TOUCH AN
ASIAN PERSON AND
NEVER TOUCH ANYONE,
INCLUDING AN ASIAN
CHILD ON THE HEAD.
The spirit is thought to reside
there and it is considered
sacred.
Fortunately, sometimes your
mistakes will be considered funny.
Hermine Hilton, the well-known
memory expert, tells of a
presentation in Nigeria where she
tried to pronounce the names of
members of the audience and
innocently added a sexual innuendo. She said everyone was falling on the floor
with laughter. Most foreign audiences do appreciate your effort to speak their
language, even if innocent mistakes are committed.
However, it is always wise to verify the meaning of foreign words or
phrases that you are taught, prior to using them. Carol Krugman, veteran
international meeting planner, told me of how some Hispanic friends taught
her a toast in Spanish, many years before she actually learned the language.
Early in her career, at a luncheon following a sales pitch, she thought she
would impress the potential clients by offering the toast, which she thought
meant, "Health, money and good luck in your life." After a split second of
stunned silence, the Mexican gentlemen at the table burst out laughing, raised
their glasses to her and downed their tequilas in one gulp. In fact, what Carol
had wished them was "Health, money and power behind their zippers!" P.S.
She got the job and learned Spanish shortly afterward!
Here's a few more international tips I've run across:
If you might think you are putting your audience to sleep in Japan, don't
worry. In Japan it is common to show one's concentration and attentiveness
by closing the eyes and nodding the head up and down slightly. Then again,
maybe you really are a speaking sleeping pill. Let's assume the former.
You won't get questions from Asians because questions are considered a
form of criticism. Asians believe it would be rude to ask you a question
because it means that you didn't explain your subject well enough. Or, they
may not wish to appear unintelligent because they didn't understand you
(saving face). Use visuals and written materials liberally with these
audiences.
Applause is accepted as a form of approval in most areas of the world. In
the United States the applause is sometimes accompanied by whistling. If
you hear those whistles in many parts of Europe, you better run. It is a
signal for disapproval.
If you were finishing a presentation in Argentina, and you waved goodbye
U.S. style, the members of the audience might all turn around and come
back to sit down. To them the wave means, "Hey! Come back." In other
parts of Latin American and in Europe, the same wave means "no."
Another handy and inexpensive source of international background
information is the Culturgram published by the David M. Kennedy Center for
International Studies, which is part of Brigham Young University, Provo,
Utah. Each Culturgram is a four-page newsletter, updated every August, that
gives you an easy-to-understand overview of the country of your choice. It
includes customs and common courtesies, along with information about the
people and their lifestyle. References are also included for additional
resources. Currently Culturgrams are available for 142 countries (see
appendix).
By far the most comprehensive source of international customs I know of,
other than taking live protocol training, is the Put Your Best Foot Forward
Series by Mary Murray Bosrock. This four-volume series covering Asia,
Europe, Mexico/Canada, and Russia is an indispensable tool for anyone with
an interest in the global community. It is a must for presenters who want to put
that "fine polish" on their international presentations and actions when visiting
a foreign land. I especially liked the "Letters" from the people of the individual
regions. These personal letters give a great insight into how to act when
dealing with the inhabitants of the region. Make this a must purchase when
you are leaving the country (see appendix).
Here Are Just a Few Tips of the Hundreds
Included in Each Volume:
Put Your Best Foot Forward Russia
Do not expect a lively reaction after you have made a presentation at a
seminar or a conference. If nobody approached you, it is not a sign that the
audience was not impressed.
To a Russian, joviality and cheerfulness may be interpreted as light-mindedness and might
even be seen as impolite. After a meeting, however,
joviality and relaxed interaction go a long way toward developing trust.
Never refer to a Russian as "Comrade."
Put Your Best Foot Forward Mexico/Canada
Do not call Mexicans by their first name until invited to do so.
Mexicans hold a handshake, squeeze of the arm, or a hug longer than
people from the United States and Canada do.
Do not give a knife or a letter opener as a gift. This symbolizes the severing
of friendship.
In Canada, do not take sides in debates about contentious national issues
such as the place of English and French languages in Canadian society.
If going to Quebec, have business cards printed on one side in English and
the other side in French.
Realize that Canadians get down to business quickly. Meetings are well
organized and extraneous discussion is kept to a minimum.
Put Your Best Foot Forward Europe
Humor is everpresent in English life. It is normally self-effacing, sarcastic,
and sexist. (This doesn't mean that you, as an outsider, can joke about what
they joke about.)
In France, never violate the French sense of privacy! Never ask personal
questions such as income, address, job, etc.
In Germany, men rise when a woman enters the room, except at a business
meeting.
Put Your Best Foot Forward Asia
Never wink at anyone in Hong Kong. This is considered a very rude
gesture.
In Singapore, do not chew gum.
In Taiwan, pace yourself. Drinking and toasting can go on for hours.
Until I studied this series of books, I never realized how much positive impact
you can create for yourself just by knowing simple tips about the culture you
are addressing.
Another really handy resource when doing business globally is The
International Business Communications Desk Reference by Susan H.
Munger. This concise manual covers all the things you need to know about
currencies, exchange rates, time zones, business holidays, metric conversions,
postal stuff, customs regulations, and lots more. It also has a section on how
to handle written and spoken translations, which will help you avoid
miscommunication.
Visual
Regardless of one's nationality and culture, cartoons and comic strips (see
Cartoons) are the most universally accepted format for humor. These pieces
of visual humor are seen in newspapers and magazines in most areas of the
world. They may be found in newsstands in large cities or in large libraries. It
might be fun to collect cartoons and comic strips when you travel so you have
a ready supply when you need one for a presentation. Be careful to avoid
cartoons that have political overtones. If you are presenting to a small group,
you can show the periodical or pass it around. If you want to use the cartoon
or comic strip in a visual, you may need permission from the artist or
copyright owner. Always read the caption for a foreign audience and give them
time to mentally translate what you say. It may take what seems to be forever
(4-6 seconds) for the idea to sink in. Another good resource for cartoons is
Witty World International Cartoon Magazine by Creators Syndicate (see
appendix).
Other forms of visual humor that transcend most cultural barriers are
juggling and magic. Good resource materials are available on both topics.
Speaking With Magic is a book by Michael Jeffreys that not only teaches you
simple tricks, but gives you the points you can relate to the trick. Two good
magic videos for speakers by master magician Tom Ogden are Teaching and
Training with Magic and The Magic of Creativity. I got Michael's book and
the two videos from Royal Publishing (see appendix). For juggling and other
magic books, call or write for a Morris Costume's Catalog (also see
appendix). There is a small charge for the catalog, but it's worth it.
Words
Terminology is different in most areas of the world even if the language is
English. Highly tested humor that would work anywhere in the U.S. may fall
flat in another country simply because the audience doesn't understand one of
the words. For example, in Australia, "breakout sessions" are called
"syndicates." If you were making a joke in Australia that used the word
syndicate, you might totally confuse the audience and they wouldn't laugh.
People from most other countries will not relate easily if you mention
measurement units such as miles per gallon or miles per hour. You should
avoid talking about seasons of the year, which may not be the same, sports
figures or celebrities that don't have world-wide name recognition. Rethink all
the humor you normally use and try to identify problematic words. This is
difficult to do by yourself. Try to find a person familiar with the local culture
to help you.
When using translators, humor is tougher because timing and word play
don't translate well. You might have to slow down considerably because of
interpretation. Some speakers use half sentences to keep up the pace. This is
very difficult and requires practice.
Speakers have been known to have fun with interpreters (of course, I would
never do this). An unnamed speaker I know purposely mumbled to his
interpreter to see what would happen. The interpreter mumbled back. Then the
speaker mumbled again. It was hilarious.
Even when the audience speaks English, they may not be able to understand
your accent. Avoid idioms and slang and check with local residents to see if
you can be easily understood. You may have to adjust your normal rate of
delivery and style.
Art Gliner, a longtime humor trainer, gave me this tip: He learns how to say
"Happy New Year" in the different languages represented in his audience.
That technique always gets a laugh and the further it is from New Years, the
better it works. Art also tells me a word of welcome given in the native
language works well too.
Difficulties may also arise in question and answer sessions if the presenter
cannot understand the questioner. Try to speak with as many local residents
as possible before the program so you can get a feel for their accent.
A few other tips from around the world:
In general, Asians do NOT tend to show excitement. This is rapidly
changing. In Malaysia, Singapore, and Indonesia, humor has recently been
introduced in business seminars and was well-received by standing room
only crowds. Humor is well accepted in Thailand. Thais really want to have
fun when they learn. Take lots of small gifts when you travel to Asia to
give out and be prepared to receive some too. Research the perfect gift, the
appropriate wrapping, the timing of the presentation, the value of the gift,
presentation etiquette, and any taboos that might be involved.
Do not expect standing ovations in Australia. It doesn't seem to be part of
their culture.
Many logistical parameters can be different in foreign countries and you
should be prepared. Many countries have different standard paper sizes and
use two hole punches instead of three. Any video you plan to use must be
converted to the appropriate standard for that country (see appendix). You
may need an electrical converter to operate equipment you bring with you.
Outside U.S. borders don't refer to yourself as an American. We must
remember that we are not the only ones. There are North Americans,
Central Americans, and South Americans.
In Japan you should never use self-effacing humor that is normally well
received in North American culture. Actually, the Japanese don't like
humor in seminars at all. They do appreciate a high degree of humility, so
feel free to apologize profusely for your lack of linguistic capability and
anything else you can think of to show you are not arrogant.
Unlike the Japanese, Australians love humor. Plan to use it liberally. But,
as always, do your research.
What to Do Before You Go International by international protocol expert Marie Betts-Johnson
Do your homework. When researching your potential audience, inquire
about the age of the attendees. Many Asians, Latin Americans, and Middle
Easterners have been educated in the U.S. Such audiences will feel
perfectly comfortable with U.S. humor and communication styles. On the
other hand, if your audience members are a mix of all ages, it is best to err
on the safe side and use well-researched humor, avoiding political
statements and in some instances, such as in Japan, avoid humor altogether.
In the U.S., speakers connect with their audience through eye contact. This
is not the case in many other parts of the world. Asians will not wish to
make eye contact with you as a sign of respect. Middle Easterners and
Latin Americans may indulge in a penetrating stare toward male presenters
that may make you want to run for cover. Like the Asians, these people
may not make eye contact with a woman out of respect for her.
To North Americans, eye contact is the connection from your heart to the
hearts of your audience members. Be prepared to feel a sense of isolation
when addressing an international audience. I once felt as if I was stranded
on a desert island when speaking to an international group of doctors. The
Northern Europeans, who are unaccustomed to showing emotion,
maintained very stiff countenances. The Koreans had deadpan expressions.
The Middle Eastern contingent did not look at me. But, I kept on going,
determined to do the best job possible. At the end, the applause was
controlled and I ended my presentation feeling as if I had not done a good
job. The president of the organization approached me and told me that my
luncheon speech was the highlight of the entire event and the information
they received warranted an editorial in their international professional
publication.
As a speaker in a foreign land, your actions before and after your speech
could determine your ultimate success. Understand greeting rituals and the
order of introductions, handshaking, and bowing. Bow to your audience in
front of the lectern in Japan before you begin your speech. Always
apologize for your lack of linguistic ability and whenever possible, learn
some phrases in their language. Do not be afraid to make mistakes. Use the
effort to add to your audience's enjoyment! Your attempt to please them
will be greatly appreciated.
Before or after your speech, you may be invited to dine with your hosts.
Understand their dining rituals and be prepared with an eloquent toast in
their language. Be prepared to be a good conversationalist. Watch your
voice volume in Asia: the lower the tone, the higher the rank. It is best to
ask many questions and show your respect by discussing their culture and
rich history. Their style of dining may be very different from what you are
accustomed to, such as the use of chopsticks, continental style (using both
knife and fork), or using the right hand only (not the left one) in the Middle
East.
If you have a sensitive constitution, do not ask about the food. You may
not like the answer. For instance, in Baghdad, I was once served sheep's
testicles, which are considered a delicacy. I realized I would have felt better
had I not asked. Take something to soothe your stomach and try everything
that is offered. Eat slowly in Asia. You do not want to finish before your
hosts. In the Middle East, accept seconds if possible to demonstrate how
much you are enjoying yourself.
Bring many small gifts that are wrapped appropriately. If you are going to
China, wrap your gifts after clearing customs, as they will wish to inspect
them. There is a myriad of gift giving rituals for each country you visit. In
Asia, the manner in which a gift is presented adds to the overall
significance of your gift.
Dress well and be conservative. This is especially true for women. There
are many precautions a woman should take in Asia, Latin America, and the
Middle East. Women in the U.S., in general, tend to be outgoing and
friendly. These traits may be misconstrued in many other parts of the
world. Be careful not to damage your credibility.
In summary, every culture has unique likes and dislikes when it comes to
humor. They also have customs that can be very different from our own. Your
knowledge of these differences will help you create a connection with your
international audience. You must do your homework, but it is worth it since a
laugh sounds the same and produces the same good feelings in any language.
In Fun
Sigmund Freud wrote:
"The most favorable condition for comic pleasure is a generally
happy disposition in which one is in the mood for laughter. In
happy toxic states almost everything seems comic. We laugh at the
expectation of laughing, at the appearance of one who is
presenting the comic material (sometimes even before he [she]
attempts to make us laugh), and finally, we laugh at the
recollection of having laughed."
This concept has been termed "in fun" by people that study humor. If you want
your audience to laugh, they must be in fun. You, the speaker, must be in fun.
The emcee or program coordinator must be in fun. The whole program should
be designed in fun.
Don't do anything to take them out of in fun. Don't discuss controversial
subjects like religion or politics and don't make unfriendly comments to
audience members. If a problem occurs which must be dealt with, find an in
fun way of doing so. For instance, if I'm at a presentation and someone asks
me who I voted for I say, "I voted for the USA." That's a cute way to say that
I really don't want to talk about it.
Dr. Charles Jarvis, one of the greatest humorists of all time, told me about
a friend of his who was an excellent speaker, but lost his audience when he
forced someone to turn off a tape recorder. He was so nasty about the way he
said it that the in fun audience totally turned against him.
An in fun audience is more critical for the speaker who is there to entertain,
but the concept should be in the back of every NO ZZZZZs presenter's mind.
Your material may be controversial by nature, but that doesn't mean that you
should go out of your way to do or say things that will take the audience
further out of in fun.
Also, pay close attention to the total program. One friend of mine had to
present comical material just after a passionate plea went out to the audience
to collect funds for starving babies. He came on stage just after the teary eyed
audience had seen slides of emaciated children. If you ever get caught in this
situation, DON'T start right in with your humorous material. Start out gently
with a sincere reference to what the audience has just seen. Cut most of your
early humor and get to your subject to ease the audience's transition to your
more lighthearted topic.
How do you put in fun into practice? One time I had a ventriloquist
introduce me at an early morning meeting to wake up everyone and get them
in fun. You could pass out fun snacks to the audience or put balloons on their
chairs. Meeting announcements and agendas can be decorated with cartoon
characters. Funny props (see "Props") are great for putting people in fun. Do
anything you can
to be sure your
audience knows
that it's OK to
laugh.
Name Tags
According to
Sheila Feigelson
from Happy
Associates, Ann
Arbor, Michigan,
there are many
ways to encourage people to laugh with each other and get them in fun
WITHOUT being an entertainer. Sheila says, "There is always a certain
amount of tension when people get together. They're thinking about things
like: Who's here? How long will the meeting last? What's this going to
obligate me to? Is it going to be any fun? How will my opinions and ideas be
accepted? Some lighthearted humor and shared laughter help to reduce the
natural tension and put people at ease. It can have an energizing effect, and
perhaps most important, it can create the kind of climate that invites
participation."
Sheila makes creative use of name tags to help get her audiences in fun. She
says when name tags are being used, they can serve as wonderful icebreaker
by including more than the participants' name and title. At one meeting, Sheila
got tired of the old standby name tag "Hello, My Name Is . . ." so she
instructed participants as they arrived to write their own name and the name
of someone they are NOT. People looked quizzical at first, and then they got
into the spirit and started laughing. Since there are so many people that each
of us are not, our choices are almost limitless. During the introductions, people
told who they were and who they weren't! It was fascinating. One person said,
"My name is not Mary. She's my sister, and everyone gets us mixed up." And
that led to another person volunteering, "I'm not Robert Redford . . . but no
one ever confuses us!!!"
Another name tag idea is to have people write their name and three
significant numbers. After all, what do people say after they read your name?
It's hardly an invitation to conversation, let alone smiles and laughter. So, on
one occasion, Sheila wrote down three numbers that just came into her head:
3, 1, and 10. As she greeted old friends and new acquaintances, they looked at
her name tag and asked about the numbers. She replied, "I have three sons, one
husband, and ten years ago is when I think I last cleaned out my kitchen junk
drawer!" She noticed that several people returned to the registration table and
added numbers to THEIR name tags as well! The conversations became more
animated and personalized.
Another great conversation stimulator is to write your name and something
that people in the room probably don't know about you. One of Sheila's
reluctant participants insisted, "No one here knows me at all. I don't know
what to write." "Perfect!" She said. "It's wide open for you!" This also works
well for groups where people DO know each other pretty well. After all, no
one knows everything about everyone else!
Other additions to name tags include the name of someone who makes you
laugh, a childhood toy or game, a favorite funny TV show, or old radio
program. It's hard to think about funny things without smiling and laughing
out loud! This affects the tone of the meeting and helps people connect in
positive ways immediately even as they are creating their name tags. Sheila
once asked a large group who work in the same company to think about their
job title. Since many job titles tell little about what a person actually does, she
suggested that they rename their jobs to reflect their daily tasks and to put that
on their name tag. People were delighted with this and they laughed
uproariously!
I sometimes use colored name tags or you can use specially printed ribbons
to hang from name tags. I've even had participants put their name tags in the
middle of their backs or wear them upside down.
From a simply practical standpoint, name tags allow you to call the
audience members by name, which helps build rapport. Your audience
members love it when you call them by name.
Office supply stores sell several different types of badge kits. Some have
alligator clips and some have safety pins to hold the name tag to the
participants' clothing. Some people don't like the safety pin method because
it puts a hole in their clothes. The cheapest way is to buy the ones that stick on
like labels. Also, laser printer name tags and software make making
professional looking name tags easy.
Handouts
Handouts are multipurpose tools that enhance most presentations. They are
also another way to get audience members in fun.
I provide handouts for virtually every presentation I do. One of the reasons
is that audience members really enjoy being able to take something home with
them. For me, it is also a way to make sure they have easy access to my name
and phone number in case they have questions or if they want to hire me.
Computer programs make it very easy to create totally customized handouts
for your presentations. These are valued by the participants and meeting
planners much more than generic ones. I always make a customized cover that
is printed on colored paper and that uses some type of graphic that pertains to
the group. For instance, if I am speaking to the printing industry, I go to my
electronic clipart collection and find something that pertains to printing. In this
case I located a large roll of printing paper (Illustration 2-1). If I don't have
any clipart that pertains to the industry, I'll put a cartoon of myself standing
on a map of their state (Illustration 2-2). Don't be afraid to be creative. If it is
customized to them, they will love it.
Most of the time I customize the inside of the handout too. I only use modules
that I know will pertain to their group and many times I include quotes that I
got from the actual attendees during my pre-program interviews (Illustration
2-3).
I always try to put something fun in the handout. In Illustration 2-4, I
simply pulled out on-file humor that pertained to the group and gave it to
them. This virtually insured that the handout would not be thrown away. In
Illustration 2-5, I gave the attendees a reason for using the handout when they
got back to their offices. The stress reducer exercise is lots of fun and again
gives my handout a longer life. For space reasons I didn't put my name and
address on each page in these examples. But when I am actually preparing
handouts all my information goes at the bottom of each page.
Some presenters believe that you should not give out handouts until the end
of your presentation. They think the attendees will read ahead and not pay
attention to you. That could be a valid concern if you could not give them out
very far in advance of the presentation. I give mine out early enough so the
attendees can look through them to satisfy their curiosity before I start. Plus,
I have built in elements like the stress reducer, take home funnies, and
sometimes a custom crossword puzzle to encourage them to get in fun before
I start.
I also use my handout as an involvement technique and memory jogger for
me. I recruit audience members to follow along with the handout to make sure
I'm on track. It gives them something to do and it substitutes for my notes. As
soon as the audience member tells me the next topic, I start talking without
notes because I've practiced each section thoroughly (see "Bits, chunks,
series").
Another way to use the handout for involvement is to make an outline, but
leave blank spaces for key words. The audience members must fill in the
blanks. Example: It takes only 4 seconds for a telephone customer to
decide whether they like you or not.
Alcohol
An audience that has been at a cocktail event of one hour or longer usually
means you will have some boisterous audience members to deal with. You could
be faced with hecklers, disruptive and loud people, loud snoring sleepers, etc.
Unless you are a comic who is very good at mild insult humor, you SHOULD
NOT use heckler lines like: Hey, buddy. There's only one Mic. and I've got it.
Or, If I'm going to make an ass of myself up here, I want to do it myself.
When you suspect you may have a problem because of a long cocktail hour,
let the meeting planner know in advance that he or she should be prepared to tell
the heckler that there is a phone call waiting. This gets the person out of the
room where the meeting planner can try to calm them.
Request in advance that the bar be shut down when you are speaking, or
people who really like to drink will be getting up and down during your
presentation distracting everyone.
Many professional speakers guarantee their work EXCEPT when the
audience is drunk or too tired. Patricia Fripp, C.P.A.E, told me about a time she
was booked to speak to a vegetable company. They had the meeting in a winery.
The entire group including the president were pickled. The meeting planner
forced her to go on. Patricia said, "Half the crowd missed me completely and the
other half saw two of me. I guess it evened out."
Remember, you are the one standing up there looking foolish. Take every
precaution you can when alcohol is flowing.
Connecting with the audience
Audience members assimilate information in three different ways. Some people
hear the information, some see the information, and some feel the information.
Although most individuals switch their emphasis frequently, one style usually
predominates for a given individual. The styles of information transfer are called
respectively auditory, visual, and kinesthetic.
For you to connect with the most audience members, you should include
information throughout your program that appeals to all three of these styles.
People that are primarily visual assimilators may be daydreaming throughout the
portions of your presentation where you are using only words to convey your
information. They will perk-up when you use a visual aid such as an overhead,
flipchart, or prop.
People that are kinesthetically oriented are looking for those words that
describe feelings and that evoke emotions. They will also wake up and come to
attention if you have them come up on stage with you and you shake hands with
them or put your hand on their shoulder (not in Asia). Auditory assimilators
might just love to hear you talk or they might like to hear a recording of JFK or
some type of music.
When you plan your program so that auditory, kinesthetic, and visual
elements are interspersed throughout, this will increase your chances of
connecting with all the audience members and decrease the chance that old Mr.
Sandman will come knocking on their heads.
Always enter a strange hotel room with extreme
caution.
Magnum, P.I.
Room setup
The arrangement of chairs, the sound system, the lighting, and the overall climate of the room can make a big difference in the way a presentation is received. You may not think you have much control over these items; but think again, because you do.
Equipment
If you have prior access to the room where your presentation will be held, you
should always get there as early as possible. I have never had a presentation
where everything about the room setup was perfect. There is ALWAYS
something amiss. Expect minor problems to be the norm.
The first time I gave the full day seminar associated with this book I had a
few MINOR problems. The sound man who had the mixing board, wireless
microphone, and tape deck didn't show up. The videographer was delayed with
a speeding ticket and showed up 10 minutes before the program was to start.
That caused a 40-minute delay.
So what did I do? I dug into my NO ZZZZZs bag of tricks. I had a back-up,
hand-held microphone with a long cord with me so I plugged it into the meeting
room's sound system. One of the other presenters had a portable cassette player
so we played the opening music on the cassette player and put the microphone
in front of the speaker. It wasn't the best sound, but it got the job done. I had a
good quality home-grade video camera there that was supposed to shoot
secondary footage. It was just being moved to the main camera position when
the video technician showed up.
Fifteen minutes into the program the video projector, an integral part of the
program, conked-out. Since the projector was to be used throughout the day,
something had to be done and done quickly. So what did I do this time? I did just
as any really polished, unshakable, NO ZZZZZs presenter would do. . . . I told
the audience to take a break and started scrambling to check out the projector.
I determined that it was nothing that I could fix fast, so I made plans to bring in
several monitors arranged as back-up. This was not as good as an 8-foot by 8-foot screen, but it
would have to do. While I was checking out the video
projector, one of the seminar participants was watching and overheard my
decision to bring in the monitors. He said, "Listen, I've got a video projector at
my office. I can go get it and have it set up in 20 minutes." He did, and I gave
him a $90 audio tape album for his thoughtfulness.
These were obviously more than minor problems, but being prepared with
back-up equipment and being in the room early enough to do something about
the problems saved the day. A little help from a friendly participant didn't hurt
either.
Create an Atmosphere Conducive to
Laughter and Interaction
Unless you are using slides or video projection, you want the room lights at
maximum intensity for normal business presentations. This could change if you
want a comedy club atmosphere where the presenter is extremely well lit and the
audience is in relative darkness. Darkened seating allows the audience members
to laugh as loud as they want without feeling like everyone is looking at them.
Half of your effectiveness with humor is realized because the audience can
see you. The audience wants to see your face. They want to see your
expressions. They want to see your body language. It is easier to establish a
bond when the speaker and the audience can see each other, which is one good
reason to avoid reading your presentation from behind a lectern. I attended a
presentation in Washington, D.C., by a "big name" author. I'll call him Mr.
Sleeping Bag or SB for short. Before the presentation Mr. SB was in the room
with 300 people with a bored, nasty look on his face. I tried to make eye contact
with him when he
walked by me and
he stared right
through me. He
conducted a three-hour slide show
with no breaks.
Oh, no!! Better
start handing out
the kerchiefs and
caps because the
audience was just
settling down for a
long winter's nap.
He was totally "in the dark" behind a lectern. I am an audience watcher, so I
know he never connected with the audience. Besides being in the dark, the man
made several other inexcusable mistakes that indicated little regard for his
audience. Three hours is too long to go without a break. Starting at the one-and-one-half hour
mark people were constantly getting up to go to the restroom or
getting refreshments.
What could this sleepytime presenter have done to dramatically increase the
effectiveness of his presentation? Since I'm supposed to be talking about
lighting right now, I will. All he had to do was place a soft light on himself that
lit him or at least lit his face. A low intensity light placed properly would not
have affected the visibility of the projection screen at all, but would have helped
him connect with the audience. They would have been able to see his face. As
it was, all they heard was a voice coming from the darkness.
The other problems I mentioned were not lighting related, but I'll tell you
how to fix them now anyway. TAKE CARE OF YOUR AUDIENCE'S BASIC
NEEDS. Three hours with no break is ridiculous. Schedule a short break and
you won't have audience members interrupting the presentation every few
minutes. I never go more than one hour and fifteen minutes between breaks. Tell
them exactly when to return so people aren't wandering around wondering when
10 minutes is up. A good trick to get them back is to build anticipation of what
they will get when they return. You could say something like, When you return
from the break I'm going to show you never-before-seen video footage of our
newest super improved widget.
If you are nervous or scared or bored before a presentation, don't let the
audience know. Old SB would have been better off hiding from the audience
than alienating them with his sourpuss face. If you're nervous or scared, go out
and greet audience members. It will make both of you feel better. If you can't do
that, stay hidden until it is time to start.
It was a shame this guy had no basic presentation skills because his content
was excellent. I'm sure his book sales suffered at that event.
Seating
Seating arrangements are a critical part of any successful presentation and are
especially important for humorous presentations. The best situation is when you
have total control over the seating style and setup of the room. As a professional
NO ZZZZZs presenter, you must consider not only interaction, but safety and
comfort as well. (For this discussion I'll be using laughter and interaction
synonymously.)
By far the best seating arrangement for laughter is semicircular. When
audience members are seated close together on a curve, they can look to their left
or right and see the faces of each person in the row. This togetherness allows
laughter to pass immediately from one person to the other. You will even see
audience members elbowing and slapping their immediate neighbor on the knee.
In a straight-row theater style, when an audience member looks left or right, all
he or she sees is the ear of the next person in the row. If that next person is not
laughing, the other audience member is less likely to laugh. According to
researchers A.M. Rankin and P.J. Philip, laughter is contagious. They suggest
that one of the most prominent aspects of laughter is its ability to cause
imitation in other individuals, i.e., many people will laugh just because they see
others laughing. Another researcher, Antony Chapman, reported an experiment
that supports the findings of Rankin and Philip. He found that laughter can be
a "socially facilitated" phenomena. Under the right conditions, the person(s)
laughing don't even have to understand the humor. If you use a semicircular
seating arrangement where each audience member can see everyone's face in the
row, you will create a much greater likelihood of people seeing someone else
laughing. You, the presenter, will have a much better chance of having your
audience enjoying laughter using the semicircular set.
There are several other advantages to semicircular (Illustration 3-1) over
straight row seating for the humorous presentation, notes Paul O. Radde, Ph.D,
Director of the Audience Centered SeatingTM Institute. Most notable is comfort
and line of sight, accomplished when each chair is set facing the presenter
directly. In straight row sets, audience members seated toward the outside of the
rows must turn their heads sharply just to see the presentation. This creates great
discomfort in the neck and lower back. In addition, a sharply turned neck
reduces blood flow to the brain. So, those on the outside of a seating section are
less able to think clearly and participate wholeheartedly. An uncomfortable
audience member is less likely to laugh and more likely to tune out all together.
You may as well turn out the lights cause the party's over . . . at least for them.
In consideration of the comfort of your entire audience, circle the seating.
Line of sight is essential for humor, Dr. Radde says, "If they can't see you,
they can't hear you." Many audience members read lips to understand what is
said, yet don't know that they rely on their lip reading. When visibility is poor,
they are a distance from the presentation, the presenter is not visible, or is poorly
lighted, they find that they cannot understand what is being said. And for the
humorist who relies heavily on gestures and facial expressions, it is essential
that he or she be well-lighted to the audience.
If the bulk of the presentation consists of looking at a screen, you could point
all the chairs at the screen instead of where the presenter will be standing
(Illustration 3-2). Do whatever it takes to keep your audience comfortable.
Always attempt to be as close as you can to the first row in whatever seating
arrangement you have. Distance between you and the audience is a definite
barrier to interaction. Don't use a riser unless it is absolutely necessary for you
to be seen.
You may get some resistance from room setup personnel who are not used
to semicircular seating arrangements, but don't give up. If you get to the
presentation site early, you can usually make changes yourself. Remember you
are the one who will look bad if the presentation doesn't go well. No one will
ever blame the setup crew if the audience goes off to dreamland.
Sometimes changing seating arrangements will not be possible. This could be
because other presentations are scheduled before yours or you could have union
restrictions about moving the seats yourself. Shoot for the best when you can
and be persistent. On the other hand, don't be distracted if you end up with a
poor seating arrangement. If you are prepared and have a powerful message, you
will still do a good job.
If you have to present in a situation where the seats are fixed, don't despair
(Illustration 3-3). If the seats can't move, you can. Be more animated and move
around! This will cause the audience to move their heads to see you, thus
creating more interaction and increasing the chance they will see another face
that is laughing. It will also give them a chance to relieve some of the tension in
their necks.
Another trick you can use if you're stuck with fixed seating is to ask the
audience to choose a new seat after they come back from a break. Anytime you
use this technique you must tell the audience why you are doing it and you must
give the instructions before they take a break. American audiences have a
"homing instinct" for the same seat they started with and they will be upset if
you snatch it away for no reason.
For example, tell them that part of the reason to come to a presentation is to
meet and interact with new people and changing seats will help accomplish this
goal. In addition to making the audience more comfortable, this is a good
technique to add networking value to your presentations.
Do watch out for a situation where seating arrangements in an organization
have been established over a long period of time. If you come in as the "new kid
on the block" and try to make drastic changes, you may upset many "old
timers." Make changes slowly and always tell your audience why.
Still, it's best to be able to arrange the seating optimally. Let's take a look
at standard seating arrangements and see how effective they are and what you
can do to make them better if necessary.
Standard Seating Arrangements
Board Room Rectangular Table
(Illustration 3-4)
Disadvantage: Participants can't see the
faces of people seated on the same side of the
table.
Possible Changes: 1. Ask people seated on
the long sides to bow their chairs back away
from the table (helpful if chairs have rollers)
since this makes extensive writing difficult
unless you give them hardback tablets. 2.
Present from a corner of the table (X1). 3.
Present from the middle of the long side of
the table (those next to you will naturally fan
out so they can see you).
Board Room Oval Table
This setup is good because seats are already
bowed and people can still be close to the
table to take notes.
Classroom Rectangular Tables
(Illustration 3-5)
Disadvantage: Participants can't see faces
of people seated on the same side of the
table.
Possible Change: Create two aisles and chevron the tables to approximate a
semicircle.
Classroom U-shaped
(Illustration 3-6)
Disadvantage: Participants can't see faces of people seated on the same side
of the table.
Possible Change: Move tables slightly to create a horseshoe.
Straight Theater Style with Movable Seats
Advantage: Audience members close.
Disadvantages: 1. Audience members cannot see the faces of other audience
members in the same row. 2. Audience members near ends of rows must turn
heads sharply to see presentation.
Possible Change: Move chairs into a semicircular pattern.
Straight Theater Style with Fixed Seats
Advantage: Closeness of audience members
Disadvantages: 1. Audience members cannot see the faces of other audience
members in the same row. 2. Audience members near the end of rows must turn
heads sharply to see presentation.
Possible Change: The presenter should move more than usual.
Banquet Round Tables (see "Tom's Banquet/Luncheon Tips" appendix)
Disadvantages: 1. Audience members are spaced far apart. 2. Audience
members must turn chairs in all different directions with relation to the table to
see the presentation.
Possible Changes: Leave the setup alone. Ask program coordinator or
introducer to invite participants to turn their chairs toward the front and get
comfortable before the presentation begins. If program coordinator or introducer
forgets to do this, you do it. Another option would be to seat only five or six
people at the half of the round table facing the presentation.
Also, try to make sure the area where you are speaking does not have service
doors near it. If possible have the room set so the service doors are behind the
audience as they look toward you. You don't want any extra competition from
busboys and waitresses.
Troubleshooting Set or troubleshoot any meeting room setup using one or more of these Audience Centered SeatingTM practices advocated by Dr. Radde.
When possible set the presentation toward the long wall of the room to draw
all audience members closer to the presenter and A/V surfaces. Long narrow
bowling alley-type sets place the back row as much as 135 feet from the
presenter.
Circle the seating and face each chair directly toward the presentation and
audio visual surfaces.
Set for ease of access and exit no row more than 13 seats, so no one
crosses over more than six to get seated. Cut single chair access lanes in
large seating sections to provide more aisle seats and easier access.
Additional Seating Tips:
People prefer to sit by aisles. Avoid chairs next to walls. Audience members
will feel trapped.
Aisles should get bigger as they get nearer the exits because they must
accommodate more people.
Seat for least distraction and best focus on presentation. Turn off wall
sconces behind the presentation. Set away from open windows, clocks, and
entry doors.
Even after you have pre-set the seats perfectly, suggest to audience members,
that they adjust their seating slightly for comfort.
Encourage seating in the front of the room by cordoning off back rows with
masking tape, rope, or string, or placing reserved signs on back tables.
Avoid reserving seats through tipping chairs up against tables. The jutting
legs tend to bruise shin bones and trip audience members.
Trick: Only put out 50-75 percent of the chairs for the expected number of participants and you will almost always have a packed house. Stack the rest of the chairs in the back corner of the room for easy access if needed.
Trick: When you have a choice, opt for a smaller room. This again gives you a better chance for a packed house.
Get a Sound Sound System
If it is hard to hear, people won't listen. As a humorous NO ZZZZZs presenter
you must have an excellent sound system because some of the time you will be
talking while your audience is laughing. Stand-up comics need good sound too,
but they are a little different because they tell a joke, then people laugh (they
hope). They tell another joke, then people laugh. A humorous presenter will be
rolling right along making points, showing product features, telling stories, and
dropping one-liners and must be heard all the while.
A humorous presentation demands a better sound system than a serious talk.
In a serious talk, words can be missed and the main message can still be very
clear. In humor it doesn't work that way. If key words are missed in a joke or
story, it will ruin the humor. No one will laugh and you will look like a giant
goober (it will, however, give you a good chance to use a saver line from
Chapter 9 that they won't hear either).
This need for a thorough sound check is another good reason to be in the
room early. You need to check the microphone to make sure it works. You need
to check to see how far your mouth should be from the microphone. You need
to know how loudly you should talk. Realize that during your check the audio
level should be very loud. People will absorb the sound once they get into the
room.
Make sure the sound system is carrying to all parts of the room. If someone
speaks prior to you, try to go to the back of the room to see how he or she is
coming across. If you have someone at the presentation with you, have them
signal from the back of the room if changes are needed after you have started.
If the amplifier controls aren't handy after you have started, you can adjust
the sound by changing the distance between your mouth and the microphone
and/or increasing or decreasing the loudness of your voice. Try not to use the
latter method too often so you don't strain your vocal mechanism.
Music
Background music playing when participants enter a room is a great way to set
the mood for a NO ZZZZZs meeting or event. It also makes you look like a
more polished presenter. The proper selection of music gets people in the right
mood and adds a touch of drama to the presentation. You can also use music
when the participants are leaving to give them a pleasant atmosphere as they
exit. Avoid turning music on or off suddenly. It should always fade in and fade
out slowly.
When selecting music, generally you would pick upbeat music for upbeat
presentations and slower music for more serious ones. This is very subjective,
but not usually too critical unless you're the type who would play loud rock
music at a retirement home. If you have no clue how to pick music, get some
expert help or buy music designed for presentations from a training supply
company that has labels that tell you when to use it.
If you are on a tight budget and can't arrange for professional sound
equipment, don't worry. In small rooms a decent boom box will suffice. If you
are in a larger room, you can put the microphone that will be used for the
presentation in front of the speaker of the boom box. This will send the music
through the room's sound system.
BIG WARNING: DO NOT PLAY COPYRIGHTED MUSIC WITHOUT
THE PROPER LICENSING OR YOU WILL BE SORRY. THE MUSIC
POLICE WILL GET YOU. Don't worry though, I'll explain below how you can
still use music without the threat of a lawsuit.
As this book is being written, lawsuits abound between meeting planners and
Broadcast Music Incorporated (BMI) and The American Society of Composers,
Authors, and Publishers (ASCAP). If you want to use copyrighted music, make
sure you tell your meeting planner. At the time of this writing, the sponsoring
organization is ultimately responsible for the proper licensing of music played
at an event. However, the real life story says that you should clear your use of
music with the sponsoring organization well in advance of the program. If you
don't, you may be the one responsible for a lawsuit against the organization that
hired you. Better hang up your laser pointer because you won't last long as a
speaker pulling those kinds of stunts.
How to get licensing
If you are doing your own public seminars and you want to use copyrighted
music, you must obtain your own license. Call BMI or ASCAP (see appendix)
for details.
The way to get around this hassle is to play copyright free music which, for
use as background music, is just as good. This music is available through
production music houses or you can get prepackaged music for meetings from
a company called Resources for Organizations (see appendix).
I say again, if you are going to use music, don't forget to tell your meeting
planner (if you have one) so he or she will not be surprised. You don't want the
meeting planner or chair of the meeting getting all upset because of the threat of
a lawsuit.
VISUALS-Hey look at that!
Some type of visual in the room as the participants enter is a good way to signal
them that your presentation will be different. It could be an interesting picture
or funny quotation on the overhead screen or a nicely done color flipchart page.
It could be anything that makes the participants take notice. It will build their
anticipation of your presentation.
Climate
Uncomfortable people will not listen to you. The unwritten rule is that meeting
rooms are always too hot or too cold, so you'll have to do your best.
When setting air-conditioning levels, the room should be cooler than you
think it should be. The body heat of the audience will bring the room to the
comfort level. Make sure it does, and be ready to make adjustments as you go.
If you can't get the right temperature, make sure you acknowledge the
audience's discomfort and encourage them to make the best of it. Your care for
them will automatically make things a little better.
Distractions It is up to you to keep room distractions to a minimum. The meeting planner and everyone else are usually too busy to think about all the little details that can make your presentation a success.
Doors
One of the biggest sources of distraction has to do with something every meeting
room has and that is a door. Doors squeak, they slam shut, and they allow
people to walk in the audience's line of sight. According to Tom's Law of
Presentations, these three things are only allowed to happen at the exact moment
of your best punch line or most dramatic statement.
Doors are very easy to deal with if you can gain access to the room early. The
first thing I do is check to see if the doors squeak. If they do, I call maintenance
or find a little oil can and oil the hinges. If it's an old hotel, this probably hasn't
been done in 30 or 40 years. Then I let the door swing shut on its own. This tests
the closing mechanism. If it is hopelessly weak and allows the door to slam shut,
I either ask for it to be adjusted (which no one ever knows how to do) or I have
someone stand at the door to open and close it for latecomers. The latch of the
door can make lots of noise to, so you simply tape the catch mechanism shut.
Door location can also be a pesky problem. Sometimes the room is set so
there is a door behind or very close to the stage area. If someone would enter this
door during your presentation, it would be very distracting. You can usually tape
up a "Please Use Other Door" sign to help with this. When you know you have
any kind of door problem, try to alert the planner or recruit people from the
organization to police the doors for you.
Stage
The stage background can be a distraction. If possible, I try to find out what my
background will be so I don't blend right in. If I have a blue curtain and I wear
a blue suit, it will be harder for the audience to separate me from the
background. Wall sconces directly behind the stage can be a distraction. I try to
have them turned off or I remove the bulbs. Lighting from behind is aptly called
backlighting. Unplanned backlighting usually causes the front of you to darken
considerably. However, planned backlighting from above is OK because it is
used to put a halo effect around your head which makes you stand out from your
background. I beg for this all the time because it's the only way a guy like me
is ever going to get a halo.
Also check to see that any risers and stairs to the risers don't squeak and are
sturdy. You may fall down on purpose some time for fun, but you don't want to
accidentally fall if you can help it. If you do fall, use a pre-planned ad-lib from
Chapter 9 like Give me an inch and I'll take a fall.
A good beginning makes a good ending
English Proverb
Introductions
Introductions are a time to bring a speaker and audience together so that the
speaker can deliver a message to an audience who has been made receptive. You
must take control of your introductions if at all possible!
One way to do it is to let your introducer know well in advance how
important the role is and why it is important. The following sample letter shows
you how to do this.
Paragraph one tells the introducer the importance of a good introduction.
Paragraph two makes mention of personalization. If the introducer can handle
it, a personalized comment helps to connect the speaker with the group.
Hopefully the introducer has gotten to know you a little personally. A comment
that reveals that fact helps the audience accept you. Use paragraph three to give
any tips that will help the presentation go smoothly.
Short introductions are always best for several reasons: 1. An introduction
that is too flowery builds resistance in the audience which you will have to
overcome; 2. If you keep expectations low, the audience will be pleasantly
surprised that you are dynamic and funny and they will laugh more easily; 3.
When your introducer is terrible, less damage will be done.
Always write your own introduction, double space it, and print it in a large,
easily readable typestyle. Send it to your introducer well in advance and bring
extra copies with you to the presentation.
When preparing an introduction, use your name several times and also name
your subject. Give a reason for you being chosen as the speaker and a few things
about you that will cause the audience to feel you are qualified to speak. Make
sure benefits to the audience are apparent so they know there is something to be
gained from listening. Don't build resistance by telling them how great you are.
Limit your qualifications to two or three items and use only the ones that pertain
to that group. I always like to insert a simple joke for the introducer that teases
me a little and gets the audience primed to laugh. If possible, I use the same
"test" humor each time I am introduced. The amount of laughter I hear in
response to this joke acts as a gauge to tell me the degree to which the audience
is in fun. Here's a sample of a typical introduction I use.
INTRODUCTION
THOMAS ANTION
Here with us today to talk about a lighter way to do business is 1{Tom
Antion}. Tom is the 2{author} of six books and is now working on his
seventh which is titled Business Lite: Humor, Effectiveness & The Bottom
Line.
Tom brings to us a 3{great depth of small business experience. He owned
an apartment rental business and a hotel before he graduated from college. He
currently owns four small businesses}. 4,5{His consulting firm Antion &
Associates helps companies & individuals realize the great benefits
associated with enthusiasm and lightheartedness in the workplace}.
6{Tom is a frequent keynote speaker before all types of business & civic
groups}. 7{The last time he spoke, the audience was glued to their seats. . . .
Tom did this to make sure no one left}.
8,9{Here to help us discover a lighter and more profitable way to manage
our businesses} is Tom Antion 10{(lead enthusiastic applause)}
1. Name mentioned several times. 2. The word author means credibility. 3. Business experience means credibility. 4. Mentions availability to consult, plus establishes in the audience's mind that you help other companies. 5. Benefits to audience. 6. Shows availability for other talks. 7. Easily delivered joke (gives them hope that NO ZZZZZs are forthcoming). 8. Subject. 9. Benefits to audience. 10. Reminds them to applaud.
Nothing in this introduction underscores the fact that I'm going to be really
funny. Had I put in the introduction that this will be the funniest presentation
you have ever heard, I would have built an instant resistance. The audience
would dig in and say to themselves, "Yeah, let's see how funny this guy really
is." It makes it much easier on you to sneak up on them. Here's another benefit
for you. If you don't turn out to be all that funny, you will not have bombed
because you still delivered your serious message. If you advance bill yourself as
funny, the exact same presentation could be considered a bomb.
Self Introductions
If you have no introducer, you'll have to do it yourself. Then you have no excuse
for a bad introduction. Keep it extra short and be careful to eliminate most of
your "big brag" items. It's OK if someone else reads or tells about how great
you are, but it sounds really bad if you do it.
You can slip in your brag items later as the talk progresses. For example, if
you wanted the audience to know you are a consultant, you might say something
about it during the body of your talk like, A couple weeks ago I was doing some
consulting for . . . and I found blah, blah, blah. Always make a point when you
throw in brag lines and don't do too many or you'll sound like a name-dropper.
To make my self-introduction funny I might say, A couple months ago I was
consulting with Saddam Hussein on customer service techniques for the
nineties.
Openings Eventually, after all the hoopla of pre-program questionnaires, room setups, and introductions, you will go on. Here are three major parts to an effective opening. 1. Small Talk or unique/challenging statement 2. Response to introduction 3. Localized/personalized comments
Starting off
You would think that starting off would be a critical time in the presentation
wouldn't you? In fact, it's not at all. You can say virtually anything in the
opening moments because no one will absorb what you are saying. You can
recall your last visit to the city. You can compliment the group. You can talk
about the weather. It really doesn't matter.
If we take our example from the theater, you will note that nothing of
significance happens until the audience is ready to settle down to the business
of listening. When you go to a play, the curtain rises and the maid is dusting or
the butler is picking lint o