Microphones: a beginner's guide

Microphones

Mics come in several types. The first clips to your lapel or collar. It has a battery pack, which you wear at your waistband, A lapel mike lets you speak normally, with the same amount of volume and vocal projection you would use to address a small group. The amplifier will do the rest.

A mic can be attached to a stand or podium. You don’t need to eat it. It’s designed to pick your voice up from up to 30cms away so don’t hunch over it, lean into it or alter your body shape to get your mouth closer to it. You should speak OVER these mikes, not into them.

You might have a hand held mic. The rules are the same as for mics on a stand. Keep it 30cms away from your mouth. Holding something in front of your face like this may feel awkward, but it mustn’t sag down to waist height – at least not if you want to be heard. If you have notes you need to be able to hold them in the other hand, and out to the side.

With this type of microphone, popping can be a problem. Popping is caused when "plosives" like 'p','t', and 'd' are spoken and the air from your mouth hits the mic. To prevent popping, position the mic about a hand’s width away and slightly below your mouth so that the air from your mouth does not hit the microphone. Blowing in any microphone (including your mobile phone) can damage it, and really hurts the ears of the listener. You may have experienced this if you try to use your mobile phone outside in the wind.

Mics can screech and whoop and give you feedback that completely ruins the experience for you and those listening to you. If you have rehearsed in advance, you should have a feel for how the mic is best positioned to avoid this. If something does go wrong during your presentation, wait for the rescue party – the IT person or the sound engineer. They can sort it out. Then calmly start again. If time is pressing or it can’t be fixed for any reason, switch it off, step aside, and just speak up.

The Shape of Things - How to Structure your Speech

All about structure
The way you arrange your material is one of your most important tools for making an impact. Obviously, speeches need a beginning, a middle and an end. But how exactly should you put those pieces together? What goes where?
A ‘pattern of arrangement’ is a way of ordering the contents of your speech. It provides the listener with a sense of shape and direction, and in this way it assists people to pay attention and stay engaged. Choosing the right pattern is a strategic decision. Your strategy will be influenced by what you want to achieve, the audience’s expectations, the occasion, how much time you have, and your own personal preferences.
Believe it or not, you already know many of these patterns without even realising it.

Patterns of arrangement

Screenwriters talk about ‘the story arc’. It’s the plot architecture, and it’s why you know that the chase scene means the end of the movie is near, or that if the hero is in a cave with his enemy, the rescue party is just about to turn up. If a car salesperson has taken you for a test drive and you’re back in the showroom you know you’ll be asked to buy. If it’s the end of the lesson and you’re a school student you can be sure that ‘Homework’ will be the last thing your teacher mentions. A candidate for election may have knocked your door and had a chat but you know that ‘Vote for Me’ is part of the script. And It doesn’t surprise us that a 30 second TV ad can move us through a cycle of excitement, engagement and interest, to the point where we might actually spend money.

In all these cases there’s a familiar framework underlying the presentation. We sense the tension building and releasing, driving toward a climax or conclusion which we unconsciously know to be there. We recognise the pattern of arrangement.

A speech must do the same thing. A logical, coherent structure , linked by transitional phrases and signposts takes the listener easily from one section the next, maintaining sense and interest as it does so.
There are lots of different patterns available. Always choose what suits your material and the audience best.
Some options include:
• Chronological (past/present/future)
• Cause /effect (or the reverse, - effect/cause)
• Problem/solution
• ‘On the one hand…on the other hand…. My view is….
• “Lessons learned “ Often using a narrative or story followed by a personal reflection or parable.
4 parts = whole

Regardless of the overall pattern of arrangement, there are some basic essentials which any speech must have. Like my grandmothers ‘foundation garments’, these four elements are hidden from view, but they give a speech the shape and support it needs.
1. Introduction: this makes the audience listen, establishes a connection, announces your topic. It gives them an idea of your approach and tone, and foreshadows what you’ll be covering.
You must develop an arresting opening. The audience’s attention is highest at the start so get it then, it and keep it. Here is where you can use surprising facts, rhetorical questions, unexpected information (‘Hey Ma – wait’ll you hear THIS!’) an anecdote, joke, or story. Because it is so important, the opening may well be one of the last things you decide on and polish up.
2. Background: this gives them any information they need to understand the issue, explains why it’s important and for whom, and it states your position. You can use reflection, observation or discussion. What’s the significance? Why does this matter? What does it tell us? What should we do?
3. Development; here is where you can let rip. Explore the issue as much as you need to, and illustrate it using examples and evidence. This is where you prove your case. An audience visibly sits up and pays attention when they here the words ‘for example…’ so make sure you use plenty of them. People LOVE stories. If you are persuading the audience or arguing for or against something you should include some pre-emptive rebuttal of what your opposition might say.
4. Conclusion: this draws everything together in a summary and finalises it in a simple, memorable way. It’s the ‘call to action’ point, where you can state what you want them to do.

Tune in to your Audience

The most important thing about any communication is to adjust what you say and how you say it, so it will please your audience. Tuning in to them is your number one priority. There is simply no point in presenting to anyone about anything unless you’ve tailored it to their needs, interests, and approach to the issue. Countless examples of miscommunication occur every day in all sorts of settings because the person speaking and the person listening are not on the same wavelength.
The first step of any talk or presentation must be to consider who they are, what they’re wanting, and how you can connect. Look for ways in which you can make them feel you and they are similar. You want them to feel well disposed towards you so they are receptive to your message. People will pay attention for their reasons – not yours. Even if there are very few connections, this is an important clue to how you should approach the task, as it tells you that you need to work hard to create the links that are essential for your message to get through.
You must also decide how you want to come across, from their point of view. Your style should suit the occasion but must also be a ‘true you’. The character you commit to showing should be real. Authenticity is most important in convincing an audience to go along with you. People have great bulls***t detectors. You may choose to be ‘authoritative’, or ‘appealing’, ‘intelligent’, ‘friendly’, ‘reliable’ - and so on. If you are the life of any party feel free to be amusing and ebullient. If you are thoughtful and introspective, by all means reveal this in what you say and how you speak. If you are everybody’s pal, popular and a team player, let that show.

Stagecraft - How to get on and off in style

Getting on and off

Getting on and off is part of the performance. Sometimes you need to arrive early and look at the venue to figure out how you’ll do this. Ask someone in charge to assist you if necessary. Where do you enter and exit? Where do you sit/stand etc. Do you have a lectern to use? Is there a water glass available? Are you going to use a microphone?

If you’re going up stairs to get on stage, do it with your body erect and your head up as much as possible (don’t fall!). Don’t run, or take two stairs at a time, especially at the end when you’re glad it’s all over. Don’t rush, just move purposefully. For some reason, a downward flight of stairs manages to make even the most mature and sensible person skip.

Being seated properly in public means knees are together, ankles (not knees) can be crossed, and there’s a pleasant and interested expression on your face. Stay still. Don’t fidget or put your hands to your face or hair. Don’t communicate in any way with someone in the audience, and if you communicate with anyone on stage remember everyone can see you. Don’t look at your shoes, it makes you look bored.

“Walk tall, walk straight and look the world right in they eye”… is the perfect mantra for poise on the podium. Be confident, look at your audience and smile at them when you arrive at your speaking position and are about to start.
When there’s applause, or laughter, pause and wait for it to subside before you continue.

Don’t walk away the second you finish. Count ‘one two’ silently and then make your exit. Eyes up, steady pace.
If you have to move around on stage you should stay out of the way of others. For example, if you get an award, shake hands with the giver and move out of the way for the next person to come forward. If you are the MC, you need to move in and out of position unobtrusively.

Sometimes, you need to have a photo taken. Stay collected and stand still, smile for the photographer, wait, then move on.
If you have papers with you, work out how you’ll keep them tidy and not drop them. A folder you can hold in one hand, or clipboard are both good ideas. You need to hold this away from your face so you don’t hide yourself from the audience.

Developing the script

Notice I avoid saying ‘write the script’. The spoken word and the written word are different, and this presents a trap for speakers. The key to success is being good to listen to. A speech is not a piece of writing. It’s something you say. It’s an oral presentation, and that’s a live gig.
A word about language

An oral presentation is dynamic and immediate. It’s happening now. A written presentation exists beyond the here and now. The language you use when you speak typically has short words and sentences, and is direct and straightforward. Vivid even. The written word can be more convoluted, with longer words and sentences, commas and clauses and qualifiers and all sorts of features that we don’t use in speech. That’s the stuff you don’t want. So my advice at this early stage is simple.
Switch the computer off!

Getting started
There are six stages to go through.
1. Define your purpose
2. Clarify a takeaway message
3. Rough draft
4. Arrange the structure
5. Write the words
6. Edit, rehearse, edit again, rehearse again.

Not everyone takes these steps in that order. For some people, the rough draft stage is where they clarify their purpose and their ‘takeaway’. Others put the structure in place first and backfill the content. By all means do what works for you – with one reservation: it is NOT OK to start out by writing the words. Only the most experienced speechwriters can do that. It’s like building a house before you’ve drawn up the plans, or commencing a car trip without knowing the route – you’ll go wrong, get lost, develop material you can’t use, and waste time making avoidable corrections.

Navigating nervousness - you can!

Prepare prepare prepare
Speaking is like playing a sport, learning an instrument or being in a play. It‘s a physical skill that takes repetition and practice till it comes right. And exactly as for sport and musical performance, being well prepared is the only way you’ll pull it off. If you are well practised, nerves may affect how you feel, but are less likely to affect what you do. Nervousness is an internal state. The audience doesn’t know your inner workings. If you could see yourself you’d probably find you look perfectly OK. They won’t even have noticed you were on edge.
I recommend that you rehearse your presentation many times. Then you should rehearse it and rehearse it a few more times.
TV chefs always have a backup dish, “something they prepared earlier”. Why? Because things can (I am tempted to say things WILL) go wrong which you did not anticipate, and you will handle them better if you are prepared.
You need to be familiar with your material and also with the venue. If you have planned how you’ll get up and down or on and off, if you have been able to check out the layout of the room, know where you’ll be seated and standing, what the sight lines are and how to work the AV equipment, you will feel much more confident – and that’s good! Be sure you have time to look at where you will be speaking on the day itself.
One you know your material REALLY well, some simple tips will help you stay calm. Choose whatever woks for you.
• Get some exercise, or a stretch or some yoga
• Arrrange some enjoyable diversions that will help you to feel good on the day. An iPod full of your favourite music, a meal or coffee break in a café you really like, a phone call with your best friend before you leave for the venue…give yourself a treat.
• Find somewhere quiet to focus. Stairwells, lobbies and stage wings are handy for this.
• Settle yourself with deep, regular breathing. Breathe in and …..wait. Breathe out s l o w l y and ……wait. Do this ten times (don’t hyperventilate please) and you will feel more in control.

Some symptoms of nervousness can be dealt with as you speak.
• Anxiety begins to drop after you start. Once you get through the introduction, you should find the rest of the way is easier for you.
• If you are a heavy sweater, dab (don’t wipe) your face with a folded handkerchief.
• Avoid holding a large sheet of paper in a shaky hand. If you can’t use a lectern, use small palm cards, or a kindle or ipad which is too solid and won’t wobble.
• Trembling hands should be loosely clasped in front of you or hidden behind a lectern.
• A sea of faces is less scary when you eyeball people one at a time. They feel the connection and it’s more conversational.

When something goes wrong
Symptoms of nerves may make you dry up, go blank, lose your train of thought, mess up your cues or your aids, stumble over your words or even lose the power of speech entirely. I have seen speakers faint, freeze, flee the stage to vomit, drop their notes, press the wrong button and plunge us into darkness, send the slides backwards not forwards …. to name just some of the more predictable problems.

If any of these things happens, look at the audience and smile. Smiling puts you on the same side. It makes you feel better, and in control. Audiences love a smiling speaker, and it tells them that despite the blip, you’re still in charge of things. Take a break, have a sip of water, fix the problem and restart when you’re ready. In every case I’ve seen, the audience was patient, concerned and tolerant of speakers who had to manage such a public ordeal.

Three secrets of speaking success

The fundamentals

About 2300 years ago, Aristotle wrote down the secrets to being a powerful speaker. These same secrets have formed the basis for nearly every public speaking book or training program written since then.
Aristotle identified the three keys as ethos, pathos, and logos. We know these now as ‘the rhetorical triangle’ or the ‘three pillars’ of public speaking.

• Ethos is the credibility (or character) of the speaker. You are plausible because of who you are, your position, background, or what you know.
• Pathos is the emotional connection to the audience. With their emotions engaged people are motivated to follow or agree with you.
• Logos is the logical argument – or content. This is where reason, facts, examples and evidence play their part in supporting what you have to say.
Together, they are the three essential qualities that will make your speech or presentation appeal to your audience and accept your message.

Three basic types

Public speaking is always to inform, persuade, or entertain. Usually it’s a combination of all three, and it’s the blend between these different approaches that you get to play with and use creatively. Different types of speeches have different types of content, but you will find that you need to have all three types mixed in there somewhere, if you are going to do well.

One thing you should decide early on, is which of the Aristotle’s three elements will dominate. If for example, you are an expert on something, when you speak on that subject you are basing your presentation on ethos. (note however that the presentation itself may be laden with logos – facts and information logically presented). Perhaps you belong to a certain group and by speaking in public you help raise money for this group. That’s ethos. When you tell your kids “Because I say so!” that’s ethos.

Motivational speakers, politicians and sales people depend heavily on pathos. When you leave a presentation feeling inspired, galvanised, changed, ready to act or to buy something, your emotions have been engaged. It’s the key to all successful ‘sales’, whether you’re selling an idea, a product , a policy or yourself.

Logos is going to dominate when the primary aim is to transfer information. Professional and business settings, teaching, lectures , conference papers and certain professional interchanges (pilot to cabin crew, surgeon to theatre nurse, client to broker, client to lawyer), require you to convey clear, well structured, logical information without much else.

Looked at a different way, you need to consider whether you want your speech to be primarily informative, persuasive or entertaining. The ‘ingredients’ in the ‘recipe’ will change accordingly.