| How many of you have made your mind up about a | | | | pacing up and down, shifting from side to side. Keep |
| speaker's message without concerning yourself about | | | | well balanced and professional. |
| the words, purely by observation and your intuition. | | | | The Body |
| And this is going on right now somewhere in the | | | | Next we have the trunk. Not much you can do with |
| world. A business speaker has a good message but | | | | the trunk apart from keeping it straight. Not like the |
| it's being clouded by the way its presented. The | | | | sergeant Major on the parade ground but not |
| purpose of this article is to remind you, no, convince | | | | slouched either. Relaxed and comfortable. The worse |
| you of some key steps to take to ensure your body | | | | sin is to block the invisible mid line that runs from |
| doesn't cloud the message next time you get up a | | | | between your 2 feet and your head. Block it and you |
| speak. | | | | place a barrier with your audience. Just don't block it - |
| The Head | | | | that's the rule. |
| As adults, we still have childish habits and one of | | | | Hands and Arms |
| them is to focus on the face of someone who is | | | | How many people I've spoken with who don't know |
| speaking to you. So get those expressions working | | | | what to do with these very useful limbs. Shame really |
| for you and really exaggerate the meaning. Smile, | | | | so they copy people on the TV especially weather |
| frown, look angry, shocked, amazed - but please | | | | girls. They grasp them together. I've never |
| always be congruent with your message. | | | | understood this although I was guilty myself. It made |
| Eye Contact | | | | me feel better and comfortable so much that as |
| Next we have eye contact. This is probably the one | | | | soon as I stood up to talk, my two hands came |
| skill, when mastered, that does the most to engage | | | | together. And when I got really nervous I used to |
| the audience and build trust and rapport with the | | | | rub them together too. Someone told me I looked |
| audience. The rule is to hardly ever let go. Imagine | | | | like a market trader making lots of money. That sure |
| you're playing tennis or squash. You never let your | | | | went down well with my audiences. |
| eye off the ball otherwise you'll miss a shot. Like | | | | So what do you do with them? Behind your backs |
| wise, keep your eye contact on the audience at all | | | | but that just reminds me of Prince Charles. In your |
| times. | | | | pockets I hear you say. No, you're hiding something, |
| Careful with the lighthouse technique as well - this is | | | | keeping back from the audience and besides, you're |
| where speakers sweep the audience in a repetitive | | | | missing out on a great weapon. No the answer is to |
| swishing motion that does more to put people to | | | | use them to back up your message by gesturing. |
| sleep than engage. | | | | We should gesture with audiences. Large dramatic |
| Instead have a conversation with your audience with | | | | gestures to help the audience understand what |
| your eyes. Randomly contact with each audience | | | | you're saying. Broad gestures that welcome every |
| member and give them 2 to 3 seconds of eye | | | | person into your speech, building rapport. Think of |
| contact and move onto the next person. Maintain this | | | | your speech content and let your hands do the |
| random movement. Find those in the audience who | | | | talking. Watch deaf people doing their sign language - |
| like just a little more eye contact and be aware of | | | | it really is a very clever way of losing your gesture |
| those who want slightly less. | | | | buttons. |
| When faced with a large audience - I mean more | | | | And when not gesturing, or talking, maybe standing |
| than 25 or so people, adopt a similar habit but don't | | | | still to take questions from your audience, assume |
| give each person eye contact. That'll take ages. | | | | the assertive stance. Standing straight with your |
| Instead clump people into small groups and give | | | | arms and hands down your sides in a relaxed |
| these clumps the same eye contact as if they were | | | | assertive and confident manner. |
| one person. I tell you, that because of the distance | | | | Body Movement |
| between you and a large audience, this gives people | | | | Finally, body movement. Movement can be an |
| the impression that you are looking at them. | | | | enormously effective way of engaging the audience |
| Feet | | | | into your message. Clean your stage - remove |
| Now let's go to the other extreme of your body. | | | | obstacles, tape wires to the floor, so you don't trip |
| Your feet and legs. Now what do you do with these | | | | over them, place the screen to the side. |
| limbs. Not a lot really unless you are moving around | | | | Once you have a clear space do move around with a |
| your stage, that's movement with a purpose, not | | | | purpose. I've used past, present and future by |
| aimless wandering that only distracts the audience. | | | | gradually moving along an imaginary line. The audience |
| Try to stand with both feet firmly on the ground | | | | can see the time moving along as well as hear. I've |
| pretty much the same distance apart as your | | | | used one side of the stage being advantages of an |
| shoulders. Keep them balanced so your body is not | | | | idea I'm promoting and the other side, the |
| leaning to one side. Don't look like a cat walk model | | | | disadvantages. I've placed flipcharts at both sides of |
| or if you're supping a pint at the bar of your local. | | | | the room to mirror these place anchors. |
| Stand straight and look professional not a slouch. | | | | Move forward towards your audience when you |
| Nerves...that's a word than conjures up fear and | | | | want to make a really big point. Move backwards |
| dread every time people stand up and speak in public. | | | | when you want them to reflect on something. Move |
| And sure enough you'll have nerves. Professionals call | | | | to your left or right to change the subject or pace |
| it adrenaline and you need that to do a really good | | | | of your delivery. |
| job. If you don't have nerves or adrenaline, you | | | | Do move around your stage but with a distinct |
| might as well not bother because you can't be | | | | purpose. |
| bothered. Sop welcome nerves, call them adrenaline | | | | The next time you're observing and listening to a |
| and make them work for you. Nerves will show in | | | | speaker, try and cut out the sound and focus |
| the periphery of your body. The ends such as feet, | | | | entirely on the visual aspects. Try and interpret what |
| hands, head. Keeping your feet still transfers this | | | | he or she is saying just by the body language alone. |
| energy to the top part of your body where it should | | | | You may not be right in your assumption of the |
| go. | | | | meaning, but its the impression that everyone else is |
| Now I didn't say you should stay rigid to the spot; | | | | probably getting too. And first impressions last for |
| that would be terrible for 20 minutes. Instead focus | | | | ages. |
| your attention on preventing aimless movement, | | | | |