JUST FOR LAUGHS - Making Humor a Part of Your Speaking

Humor is just another defense
against the universe.
— Mel Brooks, famous funny person.

Here are some quick tips on using humor in your speeches.

• Don't presume you are incapable of being funny. You can learn to be funny and incorporate humor in your speeches. This is a skill like any others you need to speak.
• Feel free to be funny.Let yourself go. A confident relaxed attitude is the first thing you need to master. Injecting the right humor at the right moment can capture your audience’s attention.
• No need to be Louis C.K. or Jerry Seinfeld. You’re not trying to be a famous comedian. All you want to do is share a funny, positive moment with your audience.
• Find your unique style of humor. It will take time and you will need to be patient, but find out what works for you. As with most other things in this world, everyone’s sense of humor is unique. Look at Jim Carrey vs. Charlie Chaplin vs. Groucho Marx vs. Steven Wright. All of them make us laugh. Do they do it the same way?No. Neither will you!
• No joke works 100 percent of the time. If your humor doesn’t work, don’t draw attention to it; just keep going. People will think it was part of your speech anyway. (BTW, if your joke doesn’t work SEVERAL times, you should think about cutting it!)
• Humor should never exclude. True humor is fun. It does not put down, kid or mock. It makes people feel wonderful, not separate, different, or cut off. The best humor the same underlying truth — that we are all in this together. This also applies to political humor.
• Any of the tips above will backfire on you at one time or another. I guarantee it! Instead, learn from the following quote:

“…The humorist makes fun of himself, but in so doing, he identifies himself with people — that is, people everywhere, not for the purpose of taking them apart, but simply revealing their true nature.” - James Thurber

Moldy Words or Molded Words?

Out of curiosity today, I picked up a 40-year-old American Heritage dictionary to see the definition of pundit. The first entry defined it as "A Brahmanic scholar." ("Brahman" refers to a "highly cultured person."). The second definition was "a learned person" (from the Hindu word pandit).

 Compare this to a more current definition from the website dictionary.com. The first definition also calls a pundit "a learned person, expert, or authority." But the second definition is "a person who makes comments or judgments, especially in an authoritative manner; critic or commentator." It is that second definition that most people attach to "pundit" today, and it is not meant to be flattering. So much changed for this simple word over those decades.

Forty years ago, "elite" was defined as "the best or most skilled members of a given social group," which to my mind is a status worth aspiring to. Today, many use it as a pejorative, synonymous with exclusionary. Do you have an education, and did you take the time to actually study something before you offered an opinion on it? Well then, you are an elite; you're not one of us.

Today many people use adjectives recklessly to discredit ideas so that they are essentially dead on arrival. A proposal may be discarded out-of-hand simply by branding it as "conservative" or "liberal"  without taking the time to examine the content of the idea. (Those two words have been so overused and poorly employed that I am not sure they have any meaningful value except to elicit a knee-jerk reaction.) "Racist,""bigoted," "politically correct" -- all are terms hurled indiscriminately, though I would not say thoughtlessly. Actually, these words are used quite strategically to kill a reasonable discussion before one has even begun. It is easier to win an argument with emotion rather than the inconvenience of facts.

It is good to choose one's own words carefully so that a conversation remains rational rather than reactionary. On the other hand, we can also be on guard against those who would willingly highjack an analysis with the weapon of words. But I will also admit that this is easier said than done, as incendiary words can set a policy discussion ablaze before we know what has hit us. 
 
And now on to the campaign commercials! ;-)

So What's Your Question?

I met with a friend today who is much younger than I am and facing a "decade" birthday. He asked my advice on dealing with age. I talked about maintaining your health, getting regular check-ups, determining the conditions you can control and those you cannot, and more.
He told me, with much sadness, about a friend of his  — the proverbial "picture of health" — who died suddenly of esophageal cancer, leaving behind a wife and two kids. It was then that I realized he was talking philosophically about mortality and not about the aging process.
When we are speaking with each other, it is important to know the real question behind the question, the subtext of what we are being asked. If someone asks the question, "Who are you," they could be asking your name, what is your essence or what you stand for.
I usually dig into the questions I am asked and did not do so today. It wasn't fatal or even damaging, but it sure wasted a little of our time.

Academy Awards remind us: Stories Still Key to Reaching People

An aging film star falls only to rise again. A boy connects with the father he lost on September 11. A baseball manager makes his team more competitive in the most counter-intuitive way. And African American working women illuminate their lives simply by telling their stories.
Those are the stories of, respectively, The Artist, Extremely Loud & Incredibly Close, The Help and Moneyball – all films that were nominated as Best Picture at the 84th Annual Academy Awards, and they remind us how much we learn and remember from stories.

Of course, intuitively, we all know the importance of stories. After all, don’t we ask for stories when we are children? And when many summers pass, we are happy to share stories with children and others. We revel in stories, as they make facts and theories more personal, more relatable. We often tell of success through rags to riches tales. Also, think back to Hurricane Katrina. Most of us were not interested in how fast the winds were blowing at that time or the hour when the levees broke. No, we paid most of our attention to the individual accounts of how everyday people were affected by the storm.

We also want a story to unspool, with a beginning, a middle and an end that ties it together. Ernest Hemingway once famously wrote the story with just six words: “For sale: baby shoes, never worn.” It is said that Hemingway declared it his best work. But really, are we satisfied with that? Where are the characters, the setting, the plot line?

Whether we are speaking to large groups, a smaller department of only a few people, or one on one with a direct report, we can use stories to our advantage if we follow these tips:

• Maintain your audiences’ curiosity. The most-popular books and movies have stories that keep us wanting more. Your first step is NOT to start with the phrase, “I’m going to tell you a story.” That can be an instant turn-off. Instead, lead your listeners into it sneakily. Similarly, don’t telegraph the endings with an obvious outcome (e.g., the hero gets the girl, the disease is miraculously cured), or else your listeners will quit on you before you are finished.
• Know what you want your audience to feel in the end. It is said that we can evoke certain specific responses: think, feel, do (something!), persuade, inspire or entertain. Before you either craft or use a story, understand which of these responses you wish to evoke.
• Do not make yourself the hero of your story. Too self serving, and therefore, very off-putting.
• Don’t tell your audience, take them. Use your body, your place on the stage and your voice to bring your audience into the story. As a Toastmaster colleague once advised me, “BE the speech!”
• Make sure there is a point in the end. Psychologists tells us that the process behind the concocting of narratives is similar to that of learning. Create a payoff.

In this video, Story Time, to a group of fellow speakers, I incorporated the elements above.  Take a moment to view it to understand how they all worked together.

After the Oscars have been handed out, think back to how this year’s winners got their awards. Also, remember the past winners. When you think back to the tales of a down-and-out Philadelphia boxer, a stuttering monarch, a doomed luxury liner, or the decades of a mobster family, you will remember that the story is paramount.

What Speakers Can Learn from Show Biz Veterans

Recently, I have read a couple of memoirs from the world of show business, specifically comedians. One is Growing Up Laughing: My Story and The Story of Funny by Marlo Thomas, her remembrances of growing up in show business, mostly as the daughter of the great comic and actor Danny Thomas. The other book is by my idol, Dick Van Dyke, titled My Lucky Life In and Out of Show Business. I have been more influenced by professional comedians, TV stars and comic actors in my own speaking career than by any other single group of role models. Even though the two books are ostensibly "light reading," I took some worthwhile points from them:

• There is no substitute for rehearsal. Marlo talks about how her dad would go over his material ad nauseum until he had all the timing and nuances down. In his day, Danny Thomas was one of the most preeminent and successful storytellers in entertainment, probably comparable to Jerry Seinfeld in a way. This was why: He left nothing to chance.
• Play to your strengths. Thomas profiles 20 different comics and actors in her book, and they are each unique. Steven Wright depends on wordplay. Don Rickles is successful in his 80s as a master of the putdown. Both George Lopez and Chris Rock make their ethnicity relevant to their entire audience. Conversely, Jay Leno gently plays "Everyman." Dick Van Dyke made his talent for physical comedy the tent pole of his career. As a speaker, find your brand and stick to it rather than adjusting your style to the latest fashions.
• Build on those strengths. Van Dyke talks about how a friend arranged an audition for the Broadway classic musical, Bye Bye Birdie. When he auditioned for the show's director, Gower Champion, Van Dyke did a little soft shoe and a song. Champion told him on the spot that he got the job, but Van Dyke admitted that he could not dance. Champion -- a great musical director -- assured him that all was okay. This was because Champion saw how Van Dyke could move well enough on the stage to make the choreography work. Obviously, he was right, as Van Dyke went on to win a Tony Award for his role and went on to reprise the role in the movie version. We shouldn't be fearful of our limitations; instead, we need to build on them.
  
• Be as timeless as possible. How is it that The Dick Van Dyke Show, a black & white series that is approaching its 50th anniversary, remains so popular today? Van Dyke observes that Carl Reiner, the creative talent behind the seminal series, tried his best to avoid specific topical references, such as personalities of the day or specific events. In that way, the themes are what carry the show. While that may not seem practical today (after all, can we really avoid discussing topics such as AIDS, the economy or record employment?), we should espouse timeless principles, such as ethics, continual improvement, or caring for others.
  

How Do You Love the Audience? Let Me Count the Ways!

My mantra about every aspect of our public speaking is: "It's all about your audience; it's not about you." That includes your relationship with your audience. Here are some tips on actions that have worked for me.

REACH OUT AHEAD OF TIME. Just last night, I spoke to a group of people in career transition. The sign-up system allowed me to see each participant as they enrolled. I sent each of them an email telling how much I appreciated that they had signed up, how much I looked forward to meeting them, and how I wanted to serve their needs.

BE THERE AS THEY ARRIVE. I had to set up the room, so I got there ahead of the audience. As each arrived, I gave them a copy of my handout, and engaged them in a short conversation. (Those who had received my introductory email felt as though they already knew me.)

SAY GOODBYE TO AS MANY PEOPLE AS YOU ARE ABLE. At the end of the presentation, I stood at the front of the room and shook everyone's hands. I thanked them for coming, and I asked how the presentation met their needs. I asked them to send feedback. (In this case, the organization that hired me had a feedback mechanism, so it was an easy request to make.

REACH OUT AFTERWARDS, JUST AS YOU DO PRIOR TO THE EVENT. I sent an email to everyone who signed up, which was relatively easy, because I had created a .txt file that I would paste into each message. (I personalized them each a little, such as thanking someone for a provocative question asked or for buying my book.)

Grand entrances are for rock star divas or ham actors. The more we connect with our audiences, the more effectively we are likely to help fulfill their objectives.

How to Act When Your Audience Doesn't React

I received a kind invitation to speak to a group of leaders in Toastmasters International in Pennsylvania. The subject was how to recruit in light of the changing economy and demographics of the membership and the potential membership. I hit the floor with high energy (I was feeling good, even after a 50-mile drive). I told the audience that, while my speech is normally about six steps to follow when facing and beating change -- "My "Six P's" -- I would deal with just three of them, given the short time I was allotted. Then I launched into my speech.

However, a problem common to all speakers came up. The audience just stared at me. They were not engaged. The presentation seemed to have no relevance to them. I was concerned because I had only 20 minutes to serve them, so it was imperative for me to solve this problem. Here are steps that I believe help in this situation.

1. DON'T PANIC. This is the first lesson to learn, and it's hard. I once heard an exchange between ventriloquist Edgar Bergen and his puppet partner, Charlie McCarthy, in which Bergen said in exasperation, "This is the most stupid conversation I have ever been involved in." McCarthy responded, "Well, I can account for only half of it." Remember that the audience is also responsible to some extent for the success of this session, so don't presume it is ALL your fault when there is a problem.

2. THINK OF HOW TO DEVIATE FROM YOUR PLANNED SCRIPT. Given the advice above, what I was saying was obviously not working. I had to find out what they wanted.

3. STEP CLOSER TO THE AUDIENCE. If you are physically nearer to your listeners, they are more apt to accept you. (However, watch the line between become more familiar and invading their personal space.) They are more likely to feel a kinship with you. This is a corollary to my advice that you should introduce yourself to your audience before the program starts, shaking hands and learning their names. (Yes, I did that on this day, but apparently it wasn't enough.)

4. ENGAGE IN A CONVERSATION. Ask rhetorical questions. Probe to find out what they want. Make them part of the event.

5. GO BACK TO "PLAN A" AT SOME POINT. You can't improvise the entire event. When you feel you have righted the ship, sail on your original course.

The talk continued, and I felt I maintained my dignity and composure in the end. I observed that subsequent speakers were having the same problems energizing the audience, so I felt more comfortable. Still, I received positive feedback in the end. I sold a few books, and later that day, I got a nice email from one of the attendees, who apologized for having to leave early. "Thanks for spending time with us today," he concluded. "Your presentation skills are exceptional ." Then Amazon contacted me afterward to say that there was a flurry of orders and my book is now of stock.

Hm, I guess it pulled it out in the end.

The Power of Poltical Words: Kennedy's Inaugural Address at 50

Quick, how many U.S. Presidential inaugural speeches can you recall? Other than the words "With malice toward none, with charity for all," from Lincoln's second inaugural, do any phrases jump to mind?

I didn't think so.

This week, on January 20, we observe the 50th anniversary of John F. Kennedy's inaugural address. Though I was a child, I remember how it caused a stir. Now, a half-century later, I know the speech to be stirring still, a testament to speech craft that communicators should continue to study and revere.

Why does this speech, just shy of 14 minutes, stand the test of time? You can't say that it was the national swoon with youth, when the youngest man elected President succeeded the then-oldest in Dwight D. Eisenhower. (Twenty years later, Ronald Reagan would become the oldest man elected President.) That zeitgeist is lost to us today. It's not even all the themes comprised in the address, as some are anachronistic. For example, Kennedy pledged a measure of militarism that might not be tolerated or appreciated today.

No, the secret to this speech's longevity is its art employed by the writers. (I am purposefully vague here, as the authorship is not completely certain. For decades, the speech was credited to Ted Sorensen, which he denied. Indeed, there are notes in Kennedy's own hand that indicate he was actively involved in writing the address's key phrases.)

As you listen to the speech through this link on YouTube, hear the various devices. One common device is the use repeating phrases that conclude in different sentiments: "The world is very different now. For man holds in his mortal hands the power to abolish all forms of human poverty and all forms of human life."

As is common in these sorts of speeches, Kennedy strikes a conciliatory pose, offering to stand above the fray. When he says, "We observe today not a victory of party, but a celebration of freedom," he practically dares his opponents to diminish his disputed victory.

There is also the power of the repeated word. Look at this use of the simple word "any": "Let every nation know, whether it wishes us well or ill, that we shall pay any price, bear burden, meet any hardship, support any friend, oppose any foe, to assure the survival and the success of liberty. This much we pledge -- and more."

Similarly, look at his use here of the words "both" and "problems":
"Let both sides explore what problems unite us instead of belaboring those problems which divide us. Let both sides, for the first time, formulate serious and precise proposals for the inspection and control of arms, and bring the absolute power to destroy other nations under the absolute control of all nations."
It is both an invitation to negotiation and a challenge to it.

And of course there is that use of the antimetabole (called tongue-in-cheek by some, the "reversible raincoat"), which repeats words in successive phrases, but transposes their order for effect. Of course, the most famous example of this produced the most-quoted phrase: "Ask not what your country can do for you; ask what you can do for your country." Another example, seldom cited, simultaneously expresses strength and conciliation: "Let us never negotiate out of fear, but let us never fear to negotiate."

We often forget that much of the success of the speech depended on Kennedy himself and his ability to deliver such lofty rhetoric. His voice would rise when needed, and he punched the words that needed emphasis. And yet again, there was Kennedy's youth. As I listened to the speech today, I really had not remembered how high his voice was. This was a man with the energy and enthusiasm to deliver on these problems.

But beyond the craft, I believe the the speech stands up because of the optimism, the ideas that this was still the American century in 1961. "Let both sides seek to invoke the wonders of science instead of its terrors," Kennedy intones, an appropriate sentiment during the paranoia of the Atomic Age. "Together let us explore the stars, conquer the deserts, eradicate disease, tap the ocean depths, and encourage the arts and commerce," he called, and Americans believed that there was nothing we could not do.

Sadly, the speech was sadly prophetic of his rudely interrupted term of office when he said that "All this will not be finished in the first one hundred days. Nor will it be finished in the first one thousand days; nor in the life of this Administration; nor even perhaps in our lifetime on this planet. But let us begin."

Today, polls show that Kennedy still ranks as the best of the post-World War II presidents. This surprises me, but perhaps the answer lies in this speech. In an era when many so-called political stars speak without wit, compassion, or solutions to the problems they cite, the inspirational words from a man whose best was yet to come are all but irresistible.

ROYAL TREATMENT: Lessons from "The King's Speech"

The King's Speech is a movie about a man finding his voice. It is about friendship. It is about mutual respect. It is about integrity and the sometimes dubious value of "professional certification." It is a movie about courage. In fact, one of the most remarkable things about this wonderful film is that it touches all of these themes so deftly and warmly.

The main architect of the English language, William Shakespeare, wrote in Twelfth Night, "Be not afraid of greatness: some men are born great, some achieve greatness and some have greatness thrust upon them." Prince Albert, cum King George VI (the father of the current Queen), had greatness dubiously thrust upon him when his brother, King Edward, abdicated the throne to marry American socialite Wallis Simpson. But Albert (known as Bertie to his family who treated him cruelly) did not seek, did not want, and was not prepared for this royal role for one reason: He spoke with a ferocious and painful stammer. It was difficult for him to get out a simple sentence. He wondered aloud, how could he lead a nation when he could not even speak to them?

Bertie's caring and supportive wife, Elizabeth (played lovingly by Helena Bonham Carter), wants to spare him public humiliation, so she seeks out so-called "professional" speech therapists. Despite their credentials, they seem to be little more than hacks. One prescribes the soothing and relaxing qualities of cigarettes to Bertie. Another employs the tried, trite and untrue method of putting marbles in his mouth. No one seemed able to help.

Then Elizabeth finds Lionel Logue, a struggling (if not failed) actor, and to boot, an Australian, an emigre to the England from their penal colony. Portrayed by the great Geoffrey Rush, Lionel has no academic credentials, but his confidence, skill and humanity are the stuff of success.

To begin, he insists on interacting with Bertie on a first name basis. No titles here. (Having worked in hospitals myself, I found that this practice was important. I learned not to use the title "Doctor" and to address physicians by their names, forcing them to deal with me as a colleague.) Furthermore, Lionel is firm with his patient, insisting on excellence and never patronizing him. He believes that Bertie can be successful, and he wants Bertie to believe it, too.

As Prince Albert, Colin Firth gives an inspiring performance. As the father of a son who has triumphed over stuttering, I could feel his frustration at the inability to get out a simple sentence. I sympathized with his stumbles over a conga line of consonants. But I could also sense the satisfaction that comes with overcoming this problem. (I have learned from my son and others that, like alcoholics, there are no "former" stammerers. One beats the condition every day through sheer determination.)

At one point in the film, Lionel's honor is called into question. He is accused of taking on the job merely to have the cache of a royal client. But at this very moment we realize that Lionel has acted exactly opposite to that charge. He assumed this assignment because of commitment to his craft rather than the bloodlines of his student. (In fact, Lionel displays a measure of disdain for royalty, which is not unusual for someone from outside England.) Furthermore, he becomes Albert's friend, confidante and counselor. Through their interactions, we learn the roots not only of Albert's speech but also of his underlying uncertainty.

After all the preparation is done, and when it comes time for the new King George to inform the British Empire of their entry into World War II, director Tom Hooper makes us feel not only the historical import of the event, but Albert's singular success. The camera follows his walk to the recording studio through long corridors strewn with cables, symbolizing his long journey to get to this moment. As Albert speaks, Hooper cuts to visuals of listeners who would fight this war for the Crown: factory workers, truckers and the middle class. We also see signs at the transmitters that show how the message is being broadcast to the colonies of the U.K., a symbol of the reach of the new King's power.

One could argue that Albert was born great just by virtue of his royal lineage. But he had greatness thrust upon him in an unusual turn of unforeseen and unprecedented events. Through his own courage and the help of a loving partner-in-life and a new-found friend, he achieves his own measure of majesty. It is a simple story made great by the telling, a footnote to history that we may not have known. As a speaker and communicator, this film resonates with me. As a man, as a husband, and as a friend of others, I find it unforgettable and inspiring.

(As an extra bonus to you, my loyal readers, here is a link to the actual speech by King George in which he rallied the English people to enter the War, made available through the BBC archives. It is important to know that this wonderful script was written by David Seidler, who was a stutterer himself, but was inspired to fight his situation by this very event. Unfortunately for all of us, he promised Elizabeth the Queen Mum that he would not make his script known until she was gone. However, she had the temerity to wait until 2001 to pass, when she was 101. Otherwise, we may have enjoyed this story much earlier.)
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11 Paradoxes of Public Speaking

I'm pleased to present a guest blog from fellow writer and communicator Mike Brown. Mike is the founder of The Brainzooming Group, which helps organizations become more successful by expanding their strategic options and creating innovative plans they can implement efficiently. A friend forwarded to me Mike's recent post titled "The 11 Paradoxes of Public Speaking." I was taken by it for two different reasons: Either Mike listed advice that I always give my own clients (hey, I need validation sometimes, too!), or he brought up an entirely new point that I will steal, I mean, borrow for the future. Mike kindly gave me permission to present his blog post with my own comments and observations added (in red italicized type). You can click here if you want to see Mike's original post, unadulterated.

We’ve all heard how frightened nearly everyone is of public speaking. Maybe that’s understandable, but it creates the potential for lots of misinformed conventional wisdom spread by people who have to make presentations but haven’t had the opportunity to learn what really works. To help correct some misperceptions about what creates better presenters and presentations, here are eleven public speaking paradoxes for reluctant presenters to accept, embrace, and follow:

1. Minimize your public speaking nerves by looking for as big an audience as possible. My theory on nerves and speaking? We all have a certain amount of nerves getting up in front of a crowd: the more people in the audience, the smaller the amount of your nervousness each audience member has to absorb. The theory may sound silly, but with more people in the audience, there’s a greater likelihood of spotting individuals who get your message and show it in their eyes – always a comforting sign for a speaker. The more people, the more likely someone will find your jokes funny and start laughing or be moved by your remarks and start applauding (and trust me, it takes somebody being the first to applaud). These nerve-settlers all benefit from having a bigger crowd.
I was influenced to speak to big audiences as often as possible by the great Toastmaster Champion, Darren LaCroix. For many of us in public speaking, Darren's mantra is well known" "Stage time, stage time, stage time." I have occasionally accepted many low- or no-paying gigs just to get in front of an audience, just as many burgeoning stand-up comics may do. I also advise this.

2. If you’re concerned about forgetting what you’ll say, take all the words off your slides.
The typical crutch to avoid forgetting your presentation is to put every word on your slides so you can turn around and read them aloud – which always makes for a deadly presentation. Putting everything on-screen also allows the audience to stop paying attention to you since they can more efficiently read your slides themselves. With only images (or at least very few words) displayed, however, if you forget your remarks or cover something different from what was originally written, nobody knows because the audience has no visual reference to spot the variation. You enjoy all kinds of freedom to change up what you say and how you say it, making it much easier to cover your forgetful moments.
There are countless reasons to eschew PowerPoint, and this is one. If you want to learn to walk without a crutch, throw the crutch away! Following Mike's suggestion will encourage you to learn your speech. One other tip I give speakers with PowerPoint: Hit the "B" or "W" buttons on your presentation laptop from time to time, as this will make the screen go black or white, respectively. This throws the attention to YOU rather than your slides, making YOU the center of the audience's attention.

3. To compare more favorably to the great motivational speaker on the agenda, ask to speak right after them.
Unsure speakers try valiantly to stay as far away as possible on the agenda from exciting speakers because they think they’ll seem worse by immediately following a keynoter. That’s simply a bad strategy. There’s invariably a buzz among the audience after an exciting, engaging speaker, and it’s wonderful to bask in it as the agenda’s next presenter. Not only do you get a free pass to lunch off the audience love the previous speaker created, you can always refer back to a point your predecessor made to refresh the audience’s glow while you’re onstage.
Wow, this is a new one on me. I never heard this before, but the logic is perfect. As a speaker, you want to have buzz in the room. Generally you should do your best to create that sense of excitement yourself. However, if it is there regardless of the source, just take advantage of it and enjoy the ride.

4. To satisfy audience requests for presentation materials, refuse to provide slide printouts. Handing out your slides before the presentation creates a distraction as audience members are tempted to look at them and ignore you. Plus if you’ve taken the advice to primarily use graphics on your slides, having them won’t be of much learning value anyway. Instead, write an article with your presentation’s key points and invite the audience to visit your blog to review it. If you don’t have a blog, write your presentation summary to share with the event organizer for its blog or website. You’ll expand your reach, providing both your in-person audience and others interested in your topic the opportunity to learn from what you have to say.
I totally agree with Mike that handouts will distract the audience from you. The thought behind this advice matches my disdain for PowerPoint. If the audience want to have notes, they are free to create their own. Also, giving away handouts for a paid presentation is a controversial topic among many professional speakers, as it may cause you to lose control of your intellectual property. I am in that camp. However, I make one exception: I do a good deal of pro bono speaking for certain groups, mostly the unemployed. I am happy to give such disadvantaged people the benefit of my work.

5. When you want the whole presenting experience to just be over as quickly as possible, show up way early and make a day of it.
One of the best things you can do as a nervous presenter is to arrive early since it provides several advantages. You can see where you’ll be speaking, determine where to stand, and figure out solutions to challenges the equipment or conference venue create. You’ll also be able to arrange the setup so your computer will be in front of you – serving as a monitor – eliminating the tendency to turn away from the audience to see what’s on the screen. Being there early allows you to meet and interact with audience members, learning what interests them. Finally, you can watch other presenters so you can amplify or avoid points they’ve made, as appropriate. All these benefits will help make your presenting time seem to pass much more quickly.
I have frequently written and advised speakers to show up early to introduce themselves to their audience. That creates a bond with them that you may not have otherwise. Like Mike, I also agree that you need first to put your feet on that stage, survey the room and get a feel for your audience. Finally, you can only learn from the other speakers, even if it is to avoid some egregious behavior that they exhibited. It's all good.

6. If answering questions makes you nervous, encourage lots of them.
Questions are a giant opportunity to customize your content to what’s most relevant to the audience. They also provide a chance to catch your breath and drink some water as you turn the attention over to the audience momentarily. To get questions started, plant a few with people you’ve met before the talk so you begin with ones you are ready to address. Plus always remember: if you’re stumped for an answer, ask other audience members to share their perspectives on the challenging question.
Mike articulates a very important point here: "Customize your content to what's most relevant to the audience." Isn't serving the audience the reason behind why we are there in the first place? Also, I have used Mike's strategy of including the audience when I'm stumped for an answer. However, I have also asked audiences to ask questions throughout my presentation, time permitting. I share this philosophy with my listeners: "I think it's the height of arrogance for me to talk at you for (whatever time), and expect you to simply listen passively. So please feel free to join in with your questions and your own observations."

7. If you have a really loud voice, demand a microphone.
So many people, especially self-conscious men, try to avoid using microphones because they talk loud. Use the microphone. With a microphone, you can speak at your normal volume while also raising and lowering your voice as you’d like to create continued interest in what you’re saying and how you’re delivering the message.
This is good advice, as many speakers do not learn to use a microphone properly. Some wave their heads and mouths all over, and the sound gets lost. But used properly, a microphone adds consistency to the volume.
A microphone also works for a speaker who uses the voice for dramatic effect. In my own case, I can get to my low tones to convey emotion without losing volume.

8. Stand up while you present on a conference call or webinar because no one can see you.
Suppose you’re doing a webinar or other phone-based presentation. The natural tendency is to sit at your desk since the audience isn’t watching. True, but the wrong move nonetheless. Standing up and “presenting” your comments gives your voice more energy, which translates to a better phone-based talk. Bonus tip: don’t speak in the same volume you normally would for a phone conversation. Instead, over-emote since the phone dampens your delivery style. Delivering your message in this manner creates a much more engaging audience experience.
I agree with Mike, but again for a slightly different reason: I used many of my singing techniques to my speaking, and I have learned to stand while singing to extend my diaphragm. This is also important in speaking, too. I advise that you avoid speaking under all circumstances, whether in person or in an off-site medium,

9. Since presentation mistakes are embarrassing when they’re noticed, point them out and have fun with them.
Some speaking mistakes are small and go unnoticed. Others (the computer or projector fails, a video doesn’t play) are apparent to the audience. Rather than dreading them, here are two things to do. First, anticipate what might go wrong and have a funny (ideally self-deprecating) comment to share for each one. Secondly, have a backup plan for each of the potential disasters. When you handle presentation adversity with a laugh and a quick recovery, you’ll win an audience over even faster than by delivering a seamless speech.
This sort of improvisation brings your speech alive. I am confident that your audience will not see themselves as great speakers, so your vulnerability brings you down to earth and helps them identify with you. This technique also works during technical problems. Remember my disdain for PowerPoint? Whenever the system has problems -- and I guarantee you that it will -- I have the opportunity to feign indignation, wink at the audience and say, "See? I told you!"

10. If you don’t like the sound of your voice, record it and listen to it over and over. The single best investment I’ve made as a speaker has been a digital audio recorder to capture every presentation I do. While it can be tough to listen to yourself if you’re uncomfortable speaking, the gaffes you’ll hear quickly pinpoint areas to improve your skills. Another advantage? Next time you’re speaking on the same topic, you can review your previous presentation while rehearsing to remind yourself of what parts worked best and effective ad-libs that weren’t planned in your original remarks.
Referring back to Darren LaCroix, he advises speakers to record every speaking occasion for this very reason. It is a chance to review what you said, how you said it, and how to make it better. In my case, I also look for the occasional slurring of speech or tripping over vocal diphthongs.

11. Deal with your anxieties about audience reactions by rewarding them for immediately sharing opinions.
While most conferences survey attendees, it’s often weeks later, and speakers frequently never receive results. That’s why the second best investment you can make in becoming a better presenter is creating your own simple evaluation form. Offer audience members a chance to win a book or give-away relevant to your presentation for sharing one thing they liked, didn’t like, found interesting, and would recommend about your talk. These four points from each presentation provide incredible feedback and reactions you never could have anticipated. The total cost of the books I’ve given away has paled in comparison to the improvement opportunities this strategy has yielded – especially from things people didn’t like.
I totally agree, and I have to say honestly that most of my speeches are marked by good participation and involvement with the audience. I also encourage participation with a treat that I learned from speaker Sharon Bowman. I keep a dollar bill handy at the lectern or some other place close to me. When a person in the audience raises a question or makes an additional point, I say, "I really appreciate your question/participation. To show that appreciation, Mary, here is a dollar!" The audience laughs, and I have given them permission to participate. When the NEXT person chimes in, I say, "Joe, thank you for your participation. Mary, give him your dollar!" Then the dollar goes to Joe and is passed to everyone who speaks up. The last person to take part keeps the dollar, but in the meantime, you often have more participation than you might have otherwise. (I encourage all speakers to get Sharon's book, "Preventing Death By Lecture!")

There you have it. If you don’t enjoy speaking, these eleven paradoxes may seem very unnatural, but using them to your advantage will allow you to make dramatic improvements in your abilities as a public communicator!
And thank you, Mike, for sharing your knowledge and allowing me to participate in it.

Speaking the Unspeakable (and you know what I'm talking about!)

In a recent Toastmaster competition, I decided to cover about a subject to which members only allude. It is usually referred to only euphemistically, sending the message that says, "You and I both know what I mean here, but I better not say it out loud." Yes, this dreaded topic is...
(drum roll, please)
SEX!
Yes, let me repeat that. it's SEX!, for goodness sakes.
In a time when our children face unwanted pregnancies, the threat of sexually transmitted disease, and rampant misinformation, and disinformation, about the sexual relations. So I decided to take this on, and have fun in the process. (Click here to see the video.)
I wrote a speech about the time I spoke with my son, Francis, about sex. I needed to have this discussion with him earlier -- when he was only 8 years old. I thought there was a lesson in there, so I constructed this speech. However, I thought that it was risky to even approach this subject, so I followed this strategy:

1. OPEN WITH A JOKE. This put the audience at ease right away.
2. ACKNOWLEDGE THE SUBJECT OF THE SPEECH UP FRONT, ALONG WITH OUR RELUCTANCE TO SPEAK ABOUT IT. By doing this, the audience felt they were in on the joke. It also gave them "permission" to let themselves go and enjoy the speech. (However, it was then incumbent upon me to treat the subject with taste.)
3. EMPATHIZE WITH THE AUDIENCE'S SENSITIVITIES. I acknowledged their own discomfort with the subject with humor and made myself one of the audience members in that regard.
4. PUT THEM IN THE SITUATION. I was once advised TO "be the speech;" don't just deliver the speech. I introduced the audience to Francis by portraying him as a child, and I acted out the situation that led to the discussion.
5. GIVE YOUR MORAL TO THE STORY. A subject as important as this doesn't exist in a vacuum. The story was not the very fact that I had the discussion with Francis. It was that I took my responsibilities as a father seriously and imparted my values to him. The moral I gave may not fit your morals, but I hope you would respect that, as I would respect whatever you chose to tell me.

The speech was well received, as you will hear when you view the video. More important, I felt that I had broken some ground with my colleagues in Toastmasters on tackling a previously verboten topic.

QUESTION: How long should a speech be? ANSWER: Just long enough

There is nothing quite like making a decision on the fly.

I gave a speech recently to a branch of the National Association of Credit Managers in Tampa, Florida, and I was confident that I was positioned to succeed. True to my own advice, I had met members of the group the night before, shared "happy hour" with them, broke bread that night, and had breakfast with them the next morning. They got to know me and developed a comfort level with me, for which I am grateful.
I was invited to speak about change management, the subject of my book, "The Six P's of Change." I was advised that this is a profession beset by change, where people are doing more work with fewer resources. My allotted time was 90 minutes.
I could tell we got off to a good start. They were engaged and asking questions. They laughed at the funny parts (thank goodness!) and participated in the instructional sections. It was going well.
Still, as time went on, I could see them fading a bit. "Well, it's after lunch, so their blood sugar is dropping," I told myself. And, yes, it was the day after a late night out. But there was no denying that they were drifting away like Leonardo DiCaprio from Kate Winslet at the end of Titanic.
I looked at my timer. I had logged 45 minutes, half my allotted time.
I believe I ended up making the best decision I could. I wound up the speech. I referred to material that summed up my premise, first an inspiring true story of triumph over adversity, and then a humorous story that drew hearty laughter.
My applause was warm, loud and, I believe, heartfelt.
My client, who was running the conference called for a break. After I sold a couple of books to attendees, he said to me, "I think you closed at the right time. I could feel that you were losing them."
I would have preferred for him to say, "Oh, Pat, you left the stage much too soon. You could have gone on for another hour." No such luck. But he did validate my judgment to wrap up when I did.
A week later, he sent me feedback from the group: a high grade and no negative comments, "which is pretty good," he said. "Most speakers speak on specific credit topics and (those subjects) rate higher than a soft skill presentation." In other words, the attendees tend to be much more interested in presentations that pertain to their credit businesses, so my topic went over quite well.

When I was producing video full time, the client would invariably ask, "How much will my budget be?" Many producers like me would answer, "How long is a piece of string?" Similarly, as a speaker or presenter, you need to determine not only how much time is appropriate for you to make your point, but how much the audience could bear. Keep that second point in mind, and I am confident your odds of success will improve greatly.

Having Your Audience Talk Back to You

Did you ever have a one-way conversation with someone? Think of the times that you were cornered at a cocktail party by someone who was selling you something or sharing pictures of their vacation to Wisconsin. Pretty boring, isn't it? Perhaps even painful...reminds me of the movie Take the Money and Run, when Woody Allen's jailed character was tortured by being locked in a cell with an insurance salesman.
This is why I've decided to take questions throughout most of my speeches rather than wait until the end. I think you show your audience a certain disrespect when you expect them to sit quietly and passively while you talk to them. Also, your presentation may become that one-way, dead-end street to which I alluded at the top... all you, all the time, and maybe sounding like the same-old, same-old to your listeners. On the other hand, generating audience participation is a way of spicing up your talk.

Is this a hard and fast rule? Absolutely not. Sometimes it's impractical due to the circum- stances of your talk. Perhaps the room is too large and the audience is too big to do this. Or it may be inappropriate because of the nature of your presentation.
If you are delivering an emotion-packed speech, such as a eulogy or fund-raising appeal,
you certainly don't want to break the mood, or your spell, by having the audience interrupt. But, in many other situations, talking with the audience more one-on-one can be desirable.

In my previous post, I mentioned how I went around the room prior to the start of a recent presentation, introduced myself to the attendees as their speaker for the day, and got their names. That helped later as I stood at the front of the room. When I asked leading questions, and they showed interest in responding, I was usually able to call them by their names, connecting with them. In one case, I told a story that drew an amused reaction from a man in the back. I gestured toward him and called, "You liked that, didn't you, Lou?" He explained to me and the rest of the room why he had found that anecdote meaningful.
Note: He also bought my book after the meeting was over.

I recommend a book titled Preventing Death by Lecture, by Sharon Bowman. I met Sharon only once at a local meeting of the National Speakers Association, but I found her to be one of the most memorable speakers I ever heard. She gives lots of fun tips on how to engage your audience so they are involved in your presentation and are more likely to remember you and what you said afterward. I encourage you to check her out.

From Speaking English to Singing Italian

I'm part of an a cappella singing group called A Cappella Pops. It's another way I use my voice, singing songs without any instrumental accompaniment alongside 30 of my closest friends. We've sung at Carnegie Hall and the White House, and the group toured Australia and New Zealand earlier this year, so, yeah, we take our fun pretty seriously.

The group needed a back-up for our version of "Time to Say Goodbye" (aka "Con te Partiro"). It is a pop standard made famous by Italian tenor Andrea Bocelli, though he is also known for singing it in a duet with Sarah Brightman. It is a very romantic song, made more so by the Italian lyrics.

The usual male lead for this song can't make an upcoming concert, so we needed a back up for him. I decided to try out. I figured I could handle the lyrics because I speak Italian -- not fluently, but I know all the pronunciations, so I can repeat them pretty convincingly. Furthermore, because I understand the language, I would actually know the meaning of what I was singing. This is no ABBA-like phonetic read-through.

However, I had one challenge: The song is generally sung by a tenor, while I am a baritone, a deeper voice. (Think of it as a challenge similar to fitting a Sumo wrestler into a kayak.) So I had not only to learn the Italian in time, but I had to push my voice to the higher pitch.

I practiced with two different vocal coaches, then with the woman who sings the other lead. The beginning parts were fine, as they fit right into my range. And while my voice is not operatic like Bocelli's, I am somewhat of a crooner, like my fellow Italian Americans Perry Como and Dean Martin. So I was giving the song my own unique spin.

Then came the night I had to audition before the whole group. I had been practicing about an hour prior to rehearsal, and I probably overdid it, so my voice was somewhat shot.

There was the matter of my nerves. This song is very meaningful to A Cappella Pops. I needed to prove I was worthy of the lead. Finally, I had been suffering from a cold and a post-nasal drip or some such irritation to my throat. This could not be pretty.

The song began. Deb, the woman who sings the female lead/Sarah Brightman part, is a trained contralto, and her voice is just lovely. She is a tough act to follow. But I had to follow her.

Remember those old print ads that read, "They laughed when I sat at the piano. But when I started to play..."? Well, the group was surprised at the power in my voice. (Hell, I was surprised! This was my first I sang the song in front of a group.) It went well, and the Italian flowed.

Then came the last high notes, the ones written for a tenor. With a combination of nerves and the cold, my throat was as narrow as a clogged artery. I couldn't squeeze out a note or squeak out a sound. Luckily, Deb blew the sound out of the room.

But the next week was better. My vocal production was even more controlled, and I sang the final notes in a falsetto. It was a definite improvement.

In the end, I took on this challenge because of lessons I learned as a speaker, which I applied here:

1. Go outside your comfort zone. If you are known as a funny speaker, try to be more serious at times. If you're humor is dry as a bone, make 'em laugh, as Donald O'Connor sang.
2. Be good to your voice. I taxed my vocal cords, and I paid the price. Our voice is our best, most valuable tool.
3. Practice, practice, practice. I've said this before in previous posts. There is no substitute for this.
   

So on October 18, I make my Italian debut. I'll let you know how I do. Maybe I'll even add a file of my performance. In the meantime, think of the new vocal things you can do when you set your mind to it.

The Singular Mr. Ziglar -- An Appreciation

Zig Ziglar

I went to see Zig Ziglar yesterday in Philadelphia. I attended a "Get Motivated" seminar, which featured a number of famous speakers, including Steve Forbes, Rudy Giuliani, Collin Powell, and even home-boys Charlie Manuel and Cole Hamels of the Phillies and Donovan McNabb of the Philadelphia Eagles. But even with this impressive lineup, I attended mostly to see Mr. Ziglar.
To those of us in professional speaking, Zig Ziglar is a giant. He is what Walt Disney is to animation, William Paley is to broadcasting, and Henry Ford is to autos. He almost singlehandedly made speaking and motivation an industry. At 82, the man is truly a legend.
When the emcee introduced Mr. Ziglar, you could see that he is still handsome, dapper as always in his suite and bow tie. I was surprised to see stagehands set up two chairs. I was surprised further when his daughter began speaking on his behalf. (Apparently, in deference to Mr. Ziglar, she never introduced herself, keeping the focus on him.) She went on to explain that due to a fall a few months ago, he has "positional vertigo," meaning that he was unsteady. He is also suffering from short-term memory loss, so he would not give a presentation with the energy and precision we all expect from him. But, she emphasized, he wants to be transparent about these changes as he continues to present his current message, appropriately titled "Embrace the Struggle." So she guided her father through an interview.
He opened by saying that he was the tenth of 12 children, and that he was a better student OUT of school than he was while he was IN school. He still reads three hours each day. He says that he reads the Bible and the newspaper everyday "because we need to know what both sides are up to" -- a comment received with warm and appreciative applause. He also proclaimed his love for America, "the greatest country that ever was," and noted the military people who were in the audience.

____________________________________________

Zig Ziglar remains true to his words,
and he delivered them yesterday with
an innate sincerity.

____________________________________________

Yet, an uncomfortable side to Mr. Ziglar's health surfaced, as he began to repeat himself enthusiastically. He went on to praise life in America four more times, with an enthusiasm and sincerity that emphasized his obliviousness to his redundancy. He talked about the importance of "home court advantage," and how he continues to court "that redhead of mine" (i.e., his wife of 62 years), and told that story three or four more times. He repeated that he was the tenth of 12 children. He praised the military in the audience a few more times. His daughter would firmly and respectfully remind him that, yes, he had covered that, and moved him to the next topic.
His presentation was augmented with video of past performances. In those clips, he talked about the relative importance of money. Yes, money could buy him a big house, but it couldn't buy him a home. It could buy him a companion, but not a friend. A bed, but not a good night's sleep.
Another clip covered his praise of religion, an ongoing theme over his career (he has always been, unabashedly, a Christian). In the video, he asserted, with some vague attribution, that people who "go to church regularly" have less depression, higher incomes and better sex.
While Mr. Ziglar's frailty could have been depressing, an affirmation of the man emerged from it. In his vulnerable time on the stage, he never lost his dignity. His daughter and the audience were always respectful. He was never chided nor derided in any way.
Most important, he was always on message, intuitively and reflexively. In my years in healthcare, I have learned from geriatric physicians that as you age, you become more like your true self. (For example, as Ronald Reagan descended into Alzheimer's disease, he reportedly remained pleasant and affable, even when he didn't know the people around him.) If that is true, then Zig Ziglar remains true to his words, and he delivered them yesterday with an innate sincerity: Goals are important; a purposeful life is the one worth living. You can get whatever you want when you give enough people what THEY want. That is is your attitude, more than your aptitude, that will determine you altitude. And gratitude is "the healthiest of all human emotions."
And so while I can't claim to have seen Zig Ziglar in his prime, at least that Zig is available to me through recordings of all sorts. I can say that I saw him truly, without pretense or adornment. It is apparent that he meant every word he has ever said, and he repeats them still for any audience lucky enough to hear them.
Thanks, Zig. There's never been anyone quite like you. Enjoy your time with your audiences. And as you have often said, I will see you at the top.

The Physicality of Speaking or "Oh, My Aching Back!"

So did you miss me? Notice that I haven't been around for a few weeks? It's mostly because I've been hobbled as both a blogger and a speaker by some compressed disks. I spent a lot of time in the first quarter of the year preparing my book for publication, setting up my new website, and capturing new business, and I was spending 18 hours a day in an office chair. After a while, my body essentially said to me:
"Okay, you've abused me for all this time. What should I break that will slow you down and give me a rest? Hey, how about your back, idiot? See how you like paying an orthopedist!"
So my advice to you is to get up every once in a while and stretch. But I digress....

I really felt it during a competitive speech event, a local Toastmaster Division contest. There was a portion of the speech that required me to get down as though I were being suppressed. (You really have to see it to get the full effect of the drama of the piece, but trust me, it was quite moving. ;-) ) When I did it, I pulled it off well. One person in the audience who knew that I was ailing, and she said she would not have been able to tell. But it reminds me of how important it is for us speakers to take care of our bodies. We need to exercise, stay limber, and remember the athleticism of what we do if we are going to stand out from the crowd. In fact, I practiced the speech in front of other clubs for three of the five days preceding the contest, and my animation was a constant comment. So don't make the same mistake I did. Treat your body like a temple, or at least like a lectern.

FOOTNOTE: I won the contest. I guess both the drama and not writhing in pain clinched it for me. I'll tell you more about the speech and the rest of the competition later. I have to keep some secrets!

The Imposter at the Podium

My client, Ken (not his real name, of course), has an enviable pedigree. He is a successful, highly billable consultant with a PhD, and he travels the U.S. to advise his clients -- A Who's Who of American corporations -- on how to merge their behemoth companies into a single culture. And yet he has come to me for advice on how to present to large groups.
I was bewildered by Ken's request. I asked him how successfully he has spoken to large groups over the course of his career. After all, I reminded him, he has developed a sterling reputation as a consultant over four decades. He is the go-to guy for bringing the best out of corporate leaders. Surely his work speaks for itself.
Actually, Ken explains, he functions much better one-on-one or in small groups of up to four people. But when he faces more people than that, he feels unworthy of any credibility. He becomes very serious and loses his humor in these situations. Ken has even been known to faint as a result of the anxiety he feels.

My advice to Ken is that his success with small groups indicates that he is an effective communicator. It is only the scale of speaking that we need to address. My analogy is driving cars. The mechanics of driving a car are essentially the same, whether you're controlling a Mini Cooper or a Hummer. The difference tends to be in the proportions of the driving: how wide the turns needs to be, how far you can see from your seat, etc. So if you can communicate with just a few people, you should also be effective with a larger group. More importantly, I shared with Ken my mantra about teaching people to be presenters:

Anyone can be an excellent speaker,
once you have identified that person's strengths
and then play to them.

In all my years in corporate America, I have found that to be true without exception. If a leader is authoritative, use that authority to make her a more commanding speaker. If the person is accessible and down-to-earth, play up his warmth which caries with it a certain believability. If his voice is a powerful instrument with resonance and diction, use it take charge of the room. But it is folly to make the arrogant, supercilious executive into Will Rogers. Nor seldom is the self-made, shoot-from-the-hip graduate from the College of Hard Knocks going to remind anyone of Orson Welles. The audience will see through these facades in a moment. So Ken and I will go through the following exercises in the coming weeks:

1. We will work to determine his strengths. Based on his ability to deal with people in personal situation, as well as my own social contact with him, I believe that his personal warmth is the key.
2. We will develop ways to display those strengths. Ken has confidence in his writing, and I trust him in that judgment. So I want him to write his own presentations. In that way, he will feel comfortable with the words coming out of his own mouth.
3. Ken must be convinced that he is the authority. His education, rack record and references speak for themselves. Ken has things to say that are credible. He must believe it, too.
4. Practice. There is no substitute for working on delivery and becoming comfortable with diction and movement. As Edwards Deming used to say, there is no instant pudding.

How about you? Do you feel like an empty suit when it is time to speak? If so, review your methodologies and your content. Get a coach, as Ken has done, and work through the details. I can assure you that your audience will believe in you once you believe in yourself.

EVENT Lessons from Oscar and Friends

I love awards shows. The pomp! The flair! The organization of it all! People asked me over the years where I picked up the flourishes that have added to the corporate events that I've successfully produced, and I have been inspired by several sources: rock concerts and television events, specifically award shows and variety programs. I recorded last night's Academy Awards for posterity, but here are some quick takeaways:

1. EVERYONE LIKES TO FEEL IMPORTANT AND RECEIVE AT LEAST SOME RECOGNITION -- In the past, an award presentation consisted of naming the nominees, possibly with a clip of their performances, and the winner is called. That was all the attention the nominees got. The producers of this year's show started what I hope is a new tradition. Five previous winners in each acting category gave a tribute to each nominee, calling out the uniqueness of the performances and praising each person's overall contribution. It was obvious that the nominees were genuinely moved. I mean, really, how proud must Anne Hathaway have been to have Shirley MacLaine spontaneously compliment her singing voice? When it was over, each actor, who had come a long way to reach that career point, felt rewarded. Think of that when planning your next recognition event, and consider those in your organization who made a genuine contribution, even if they didn't end up as number one this year.
2. RESPECT THE AGE AND LEGACY AVAILABLE TO YOU -- So the first person to honor that supporting actress nominees last night was Eva Marie Saint. What a dignified presence! What a strong clear voice! Oh, did you know Ms. Saint will be 85 this July? What a shame it would have been to overlook her had she been deemed "too old."
   
3. TAKE FULL ADVANTAGE OF YOUR PEOPLES' RESOURCES -- He sings. He dances. He's charming. Thank goodness someone thought of using Hugh Jackman as the host last night. At the relatively tender age of 40, The Sexiest Man Alive could contribute to the Oscar ceremonies for a long time. But this decision cam after spending several years going outside the film industry to find a host for the show. I suggest we all look for our own homegrown talent when planning our own events and create more pleasant surprises as we saw last night.
4. MAKE ENOUGH OF YOUR MOMENT -- It was terrific to see Jerry Lewis receive an overdue award for his charitable work. But I would like to have heard more from a man who has made films for 60 years, influenced an entire generation of directors (his book, The Complete Filmmaker, was the standard text at USC), and who patented the video assist system that film most movie makers take for granted. Yes, he appeared to be ill, but he is not likely to get such an opportunity again. I hope last night's event makes him more accessible to us.
5. USE YOUR TIME WELL -- How tedious it has been over the decades to introduce a couple of stars just to present one, two at most. Last night it made a lot of sense to present like categories together, such as all the music, the costuming and set direction together, et cetera. Nice plan, although I admit that it didn't have the effect it should have, as the show ran long anyway.

A televised awards ceremony may not seem pertinent to your own event. But consider that the Academy Awards are a global phenomenon that has survived for decades. This long-standing record of success offers some insight into what works and what doesn't.

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