Art Of Great Speaking

The spectators at a game of basketball game can be transfixed by it or sometimes they couldn’t care about the outcome.

Similar situations may define speaker-audience relationships. Upon one occasion the speaker is deeply enthusiastic about making points and discussing them with his listeners. Listeners respond to his ideas. They listen attentively as they do not wish to miss a thing he says. They have fun at his humor, feel sad when he relates a heartbreaking story, or tingle with anticipation as the speaker’s material and attitude directs.
The feeling goes “round and round.” From speaker to audience, returning to the speaker, also, the spirit of empathy becomes stronger because individuals in the audience catch it from one another. George M. Cohan designated this tendency for emotion to spread, “the contagion of emotion.” When an audience has shared interests, in keeping with the speaker’s, and when an auditorium is well-filled with people sitting shoulder to shoulder, empathy is far more likely to happen than when a speaker is failing to effect springs of interest or when there are wide-open spaces between dispersed listeners.
When mutual empathy is being experienced by a speaker and an audience a definite physical effect is clear in both. Listeners may even lean forward with wide eyes and parted lips when the speaker pictures a thrilling event. They’re alert physically and mentally, in a state of readiness to receive every idea.
The speaker is likewise alert, fully alive and so on fire with ideas and feelings. Physically he is just like an professional shortstop all set and eager to pounce upon any ball that comes in his direction. Observe a ball player whose spirit is completely in the game. He is not standing listlessly or dejected like a commuter who has just missed his train. Neither is he stargazing or daydreaming about last night’s date. Alertly he is on his toes desperate to contribute his entire self for triumph.
Such an athlete is not stiff or tense like a totem pole or collapsed like an exhausted tap dancer. He is relaxed but his condition is a relaxation of readiness rather than the relaxation of total unconcern. He has got muscle “tone”, the sort of relaxed alertness a speaker needs. There is tremendous gap between being relaxed and collapsed!

My next post we’ll see what happens when the speaker appears not to care.

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My previous post on stories in public speaking highlighted how important they are. They do need to have real human drama to keep your listeners engaged.

Now getting back to the daily news: McSimpson Elected Fire Chief. So what? It is merely a routine item. Wait until Mac begins chasing after fires. Then maybe he will be fascinating good enough to read about.
But here’s one that may be interesting: Attorney Fined for Shooting Newsboy.
It is morbid, but different. One wonders why it occurred.
Reading the piece, however, revealed that the title is the most interesting part of this story. The attorney said the shooting was an accident. And the boy lived.
That’s all there was to it. There was really no drama, no conflict, little action. No real human interest. Therefore the speaker passed it, realizing a story should be a lot more than strange or unusual to be beneficial.
Here is one a couple of pages over: Hidden Mike’ Found in Auto Trunk.
This does not sound unusually interesting, and the heading does not indicate exactly what the story is about. But it hints mystery. So he read:
Dover, Ohio – Farmers at nearby Newcomerstown were telling a good story today about a “hidden mike.” “Mike,” a coon hound owned by Kenneth Welch, was hidden accidentally for ten days in the trunk of an automobile.
The dog leaped into the trunk when Paul Miller was making a delivery at Welch’s farm, and Miller closed the trunk with out realizing “Mike.”
Welch made several searches for the dog and advertised his loss.
Miller said he used his car daily while Mike was in the trunk and even made one trip returning to the Welch farm. But he never heard a bark.
A bit fragile when found, “Mike” came around rapidly when given water and food.
This is an unusual bit of real life which might be used to reveal that treasures can be unseen right at a individuals feet – the theme of Acres of Diamonds, a speech by Russell Conwell, that audiences paid a total of approximately seven million dollars to listen to.

If you like this brief post on stories for public speaking please let me know by leaving a comment and if you didn’t please let me know how it could be improved. Speak in a few days.

In public speaking stories play a big part in drawing your listeners in, if they are interesting. But where can you find them?

A speaker who’s serious about giving inspirational talks reviewed a daily paper for subject matter. He wanted “WHAT SO?” stories instead of those that might cause audiences to yawn and say, “So what?”
Glancing at the first page the speaker noticed news about politics, crime, weather, and people killed in accidents. But this was just not the kind of news he wanted.
He turned the page and read: 3 Pay Fines on Traffic Charge.
So what? Nothing strange, taking into consideration the way some individuals drive today. . . .
Now what’s that? Ladies Aid Society Meets. So what? Maybe pink tea is going to be served. Such uneventful meetings occur frequently around the world.
At a peek the speaker knows he need not read those items.
But there is an unusual one – Man Pays $555.38 For Turkey Dinner. WHAT! SO?
Why? (Tell us much more!) Most likely this story could be different, unusual. The reader’s curiosity was aroused. Upon reading through the story he found that a guy, red with anger, had screamed at a waitress, “I won’t pay $12.88 for a chicken dinner!”
The angry customer stormed and ranted until the police arrived. He then paid $12.88 for the meal, plus a fine of $542.50 for dis-orderly conduct. In fact an overall total of $555.38 for a turkey dinner.
This is action. Human nature at work in an abnormal way. It is a little bit of real life to support a concept: An out of control outburst might be costly.
Upon examining his files, this speaker discovered he had forty-two stories about this subject alone. This is a common one:
Jim’s Burned Up – And So’s His Car By Anderson, S. C. – It was 103 in the shade here and James McDowell 22, was out in the sun half the day attempting to fix the carburetor on his 1946 car.
He couldn’t fix it. So he purchased a dollars worth, of gasoline, sloshed it on the car, and tossed a match onto it. Then he relaxed in a rocker on a nearby porch, remarking, “Let ‘er burn.”
The breach of “a city ordinance against starting a fire near a home cost him a $525 fine.
Within this story the speaker found unusual action, genuine human interest. He used it in a speech called: Spin your top – don’t “blow” it.

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You need to show some caution in the language you use in public speaking to make sure you don’t upset your audience,

Seasoning your speech with a appropriate slang expression or inventing a phrase may add interest and color to your presenting. But avoid the “youse guys” or poolroom style of speaking. That may add color, as well, but the wrong kind of color for an typical audience.
A slight grammatical error or a mispronounced word will not kill a spirited speech. An occasional flaw in speech marks a speaker as being human. A number of mistakes, however, will distract hearers. So studying English grammar is helpful because most people can make sufficient mistakes accidentally to give us the human touch. Comprehending all of the fine points of grammar may not be required, yet everybody should learn to speak without making grammatical errors that stand out just like a black eye on a blonde.
Continuously attempting to express life-like ideas and feelings while reading aloud will make a speaking voice more expressive. Read out loud from the classics or the comics, from the Bible, plays, the news, poetry – anything, constantly making the thoughts live.
An additional way to put effective vocal expression into speaking would be to emphasize the key words in a sentence.
Pay attention to this statement: A child caught ten fish in the city lake. As “child” and “ten” are the most important words and phrases within this sentence they ought to get more vocal force compared to other words.
However look at this sentence: The man threw a bag of gold into the city lake. In this instance the element of interest isn’t who, or how many, but what and where.
A little thought and practice will enable a speaker to form the habit of “punching” or “squeezing” essential words when he speaks. Abraham Lincoln did. When he spoke, the conjunctions and prepositions flowed easily – however when he came to a key phrase he stressed it. This emphasis requires increased spirit along with more vocal force.

Lincoln took the time and effort to season his speeches appropriately. When you are public speaking, don’t think you should. This will help to make you an exceptional presenter and speaker.

Following on from my last post on using variety in public speaking, how much “force” do you have in your voice.

Observe this statement: “The policeman stopped me and said, ‘Pull over to the curb, Junior!’” When stating this a speaker could boost the force when he or she quotes the policeman, and thereby get variation in the force of his speaking. Some speakers, however, will make a daunting policeman appear as if he were a floor-walker in a trendy department shop.
In public speaking, when relating conversations, use direct quotations – use the exact words each character said, as opposed to to expressing indirectly what was said.
For example, a speaker could say, “Bill said that he had a toothache.” But using these words would not give the opportunity to put variety in vocal tones nearly so well as if the speaker had said, “Bill yelled, Oh-h-h, Oh-h-h-h! This tooth is killin’ me!”
A speaker doesn’t need to be an actor to do this. All he or she has to do would be to make each character speak in his or her own words and manner, to alter his voice naturally and as well as he can to mimic each character. This often gives one a chance to get variety in force, rate and pitch. It also allows an audience a restful chance to hear several words spoken in a tone which is somewhat different than the one typically.used by the speaker. A speaker who is fairly good at mimicking characters may use this skill to add fascinating variety to his speaking.
For practice, say this, “We stopped at a cabin. A feeble old man came to the door and said, ‘Good morning, strangers. What can I do for you?’ ”
As you speak the old man’s words, “Good morning, strangers. What can I do for you?” is your voice slow, rather high-pitched, and without much force?
Now say, somewhat as a rough sailor would speak, “My name is Barney O’Day, and I can wipe up the deck with any man, I can!”
Does this seaman speak faster, deeper, with much more force compared to feeble old man?
Imagining those two characters sounding alike is difficult, yet some speakers would make them sound exactly alike. Of course all speaking will not consist of such vivid contrasts as just indicated, although every speech will offer you possibilities to vary vocal rate, pitch, or force.
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