Pockets or No Pockets?

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This is going to make most speaking trainers roll their eyes in disagreement. So be it. I was always taught to keep my hands out of my pockets when I speak. I was taught this, and I’ve seen this taught, through videos, through online software and through the classroom. The teaching was that a speaker should never put their hands in their pockets when they speak. I have but one word for that theory, “Rubbish!” I was working for a large training organization that was adamant that my hands should never be in my pockets. I disagreed, so I went online to find evidence. As you can imagine, I found countless pictures of all the greatest speakers in the world with their hands in their pockets.

Here’s the thing about having your hands in your pockets. For many, it’s a protection mechanism. Many speakers will put their hands in their pockets, only because they don’t know what else to do with them. In those cases, it LOOKS like a protection mechanism and, therefore, distracts the audience from the speaker’s message. In those cases, I would agree; the hands shouldn’t be in the pockets. However, many speakers put their hands in their pockets, not because it’s a protection mechanism, but because it’s comfortable, and when done smoothly, it gives off an air of coolness and self-assuredness. Go online and search for pictures of great speakers such as Zig Ziglar, Tony Robbins, and Bill Clinton, and you’ll find pictures of each of them on the stage, with their hands in their pockets.

One thing to be aware of, however, is to make sure you have nothing in your pockets at the time. No change, no keys, no paper, or anything else. If you do have something in your pockets, you’ll likely start fiddling with it and THAT can provide an undesirable impression on your audience. There are two other things to note about using your pockets. Using only one hand is ordinarily best, and only for a short time.

Make sure the use of your pockets doesn’t hinder your gesturing. You need both hands to create the maximum impact with your gestures.

So, what’s the lesson? If it’s natural, and your pockets are empty, go ahead and use them, but with one hand only, and only for a short time.

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Speaking With Gestures

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What should you do with those awkward appendages when you have to speak in public? I’m referring, of course, to your hands. There’s so much that can be said about this topic that Mark Bowden has written an entire book about it! (See his book, Winning Body Language.)

I used to get very frustrated when I was working with a specific training company, because they kept trying to get me to keep my hands down by my sides when I spoke. It was never comfortable for me to hang my hands down by my sides and to keep them there. Later, when I began offering my own training programs, I’d tell my students to let their hands go wherever they felt they needed to go naturally. It wasn’t until I read Bowden’s book that it all made sense! Your hands are not meant to dangle down by your sides unless you’re in motion. Here are a few tips taken from Bowden’s book that might help you.

There are different physical levels of gesturing, each with their own meaning. Two very powerful levels are what Bowden refers to as the TruthPlane and the PassionPlane.

The TruthPlane is the horizontal plane at the level of the navel. Gesturing with your hands at this level offers the audience a message that you are here to give, rather than to take away.

Gesturing at this level garners trust. The PassionPlane is the horizontal plane at the level of the heart. Gesturing at this level expresses an emotional attachment to your message. This is how you transfer feeling in your presentation. An effective balance between the TruthPlane and the PassionPlane levels of gesturing can significantly increase the impact of your message.

Here is a real, live example of how powerful these gesture planes can be:

In one of my events, with absolutely no preliminary explanation, I conducted an experiment. I asked for a volunteer to step in front of the audience and follow my very specific instructions.

Her task was to hold her hands down by her sides (Bowden calls this the GrotesquePlane.) I asked her to say the following words in whatever natural tone she felt, “I’ve told you everything I know.” I then asked the audience to write down the first thought that came to their minds about the speaker’s message.

I then asked the speaker to gesture at the TruthPlane, and to repeat the same words in whatever natural tone felt right. Interestingly enough, her entire tone changed, just by virtue of the fact that her hands were at a different level. I asked the audience to note their immediate response.

Next, we went to the PassionPlane. The same words were spoken, and once again, I saw a drastic change in the tone of the words. The audience noted their response.

Later, when I polled the audience, it was clear that the speaker’s believability was highest when gesturing at the TruthPlane, was moderate at the PassionPlane, and was very low at the GrotesquePlane. This experiment actually included all the other planes as well, including the DisclosurePlane (level of the mouth), the ThoughtPlane (level of the head) and the EcstasyPlane (above the head.) The speaker appeared to give a completely different message, using the exact same words, based only on the level of gesturing.

So, what’s the lesson? The level at which you gesture can significantly change your intended message.

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Avoid the Ramp-Up

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The ramp-up is a very common tendency, especially among novice speakers. The ramp-up is best described as the urge to make nervous statements, a mistake many speakers commit when they first take the stage, something they do in order to get themselves into mental position. This is where the opening joke usually comes in, but, unless you’re a comedian, this should be avoided, as previously discussed.

A ramp-up is an opening sequence that has less to do with your presentation, but more to do with trying to get your audience to like you, often by lightening the mood. The reality is that when you ramp-up, you’re really trying to get your audience to like you by lightening up your own mood. It has nothing to do with the audience and everything to do with your own comfort level.

Phrases such as, “What a great looking audience,” and, “I’m so happy to be here,” and, “Today, I’m going to talk about…” are ramp-up lines. They really add no value to the presentation, and shouldn’t be used in your opening statements.

I’m often asked, “Shouldn’t we express our gratitude for the opportunity, and thank our host?” Yes, you should express gratitude and thanks, but do so either at the end of the

presentation, or in the middle of it, if there’s an appropriate and opportune time. Remember that you have about ten seconds to grab your audience’s attention, and thanking your host and expressing your joy for the opportunity doesn’t accomplish that task.

It’s important to know precisely what you’re going to say when you first open your mouth on the stage. Use an opening line that grabs the audience’s attention. Here are a few good opening lines that I’ve heard:

I recently paid $135,000 for a dog.

Put up your hand if you plan on writing a book this

weekend.

I have to tell you this story…

There will be roughly one-million presentations made today,

and all but one of them will suck!

So, what’s the lesson? Get right to your attention-getter, and grab the audience in the first ten seconds.

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Step Away From the Podium

It’s not always possible to step away from the podium. If you’re delivering a formal speech, or hosting an awards show where there are cameras and Teleprompters, the podium can be your only option. But, if you do have the option, get out from behind the podium.

When you stand clear of the podium, it opens up your midsection to the audience. When you become more open and available to your audience, you’re essentially inviting them into your world. Because you’re presenting yourself in a somewhat vulnerable state, without the protection of the podium, there’s an unconscious feeling of trust that initially comes over your audience. Until you step out from behind the podium, your audience doesn’t really know whether they can trust you or not.

This isn’t a conscious thought, necessarily; it’s more of an unconscious response. Once, a speaker began her talk from behind the podium, and then, after only a few minutes, stepped out from behind the podium and walked to the front of the stage. In this case, I found her approach highly effective. She began in a safe position behind the podium, so as not to overwhelm her audience with her presence. She was able to garner trust by virtue of her voice, her demeanor, and her message. When she came out from behind the podium, it was like giving the audience a message that she now trusted us, that we were her friends, having an intimate conversation. It was very powerful.

Being outside the confines of the podium also provides you with a world of expressive freedom not found otherwise. The podium restricts your movements, your gesturing and your ability to fully express your message.

When you walk onto the open stage, you have space in which to express yourself fully and engage your audience. All barriers are gone, and you can be whoever you want to be, in order to get your message across.

A podium is typically associated with a formal speech, in which information is transferred. The open stage is where authentic self-expression, and the transference of feeling and energy, takes place. That’s where magic happens!

So, what’s the lesson? Use your discernment regarding the podium, but I encourage you to make every effort to step away from it. Open yourself up to your audience, so you can invite each other into your respective worlds.

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Don’t Just Play the Notes, Play the Music

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My wife, Sharon, is a piano teacher. She teaches students of all ages and all skill levels. One of her students is a teenage prodigy named Jordon. At a recent recital, I sat in the front row and Jordon was performing an original piece of music. I was captivated by this young man’s music, but even more so by his physical representation of it.

As he played, Jordon’s eyes were closed. His hands floated over the keys, as if they were gliding on butter. His body moved with the tempo, his head swayed with the rhythm, and his facial expression clearly displayed what he was feeling as his own music came to life. When the music became very quiet and mellow, Jordon’s head dropped close to the keys as if he was listening to the sound of each individual key being pressed. He moved slowly and gracefully with the sound. Then his back straightened, his eyes opened wide, and his face contorted into an expression of intensity as the crescendo built and the climax struck.

The music slowed down once again, and his head went down close to his hands again. As he reached the closing notes of his work, he let his right hand drift past the end of the piano and into the air as if to whisk the music off to heaven.

A long silence followed as Jordon slowly stood to take his bow. The audience began to rouse from the musical trance in which they had been locked, and, to a standing ovation, young Jordon claimed his accolades.

Any musician will tell you there are those who can play the notes, and those who can play the music. As a speaker, you need to say more than the words; you need to live the message. Your message to your audience isn’t in your words; it’s in your heart. Open your heart, free your authentic self, and get lost in your message, just like Jordon got lost in his. So, what’s the lesson? When you’re speaking, play more than the notes. Play the music!

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Make Eye Contact and Nod

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Make eye contact with your audience whenever you can. In most speaking situations, you’ll be able to see your audience members. So, take advantage of the opportunity to make them feel like you’re speaking directly to them by making eye contact with them individually, just for a few seconds. As you make eye contact with someone, nod your head slightly if your message warrants it, and you’ll notice their head begin to nod back. I’ve seen this a thousand times while speaking to smaller groups.

Of course, you want to avoid the over-exaggerated, manipulative bobbing of the head to enforce agreement. I’m suggesting a very slight nod to garner a mirrored response. This helps bring your audience into a state of agreement with you. It’s subtle, but it works.

By making direct eye contact, you’re not only engaging that audience member into your presentation, but you’re also winning some trust. People tend to trust you more if you’re willing to look them in the eye.

At the same time, you’ll be able to spot those faces that offer you a welcoming or agreeable expression. Those faces can help you calm your nerves if you feel a little nervous all of a sudden.

Be sure to distribute your eye contact randomly throughout the audience. Oftentimes, I’ll see a speaker at my events who’ll focus in on me, and avoid the audience altogether. Sometimes, a speaker will have a favorite side of the room, and concentrate their connection with the audience in that one area.

Remember, your entire audience wants to connect with you on an individual basis, so make every attempt to offer that opportunity to as many audience members as you can. Scout the room and make eye contact for about five seconds with different individuals, in a random pattern of distribution. Do this while nodding your head a little to gain their agreement, and you can win an audience over, one member at a time.

So, what’s the lesson? Making eye contact while slightly nodding your head can help you win over an entire audience.

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Enter From the Audience’s Left (Stage Right)

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This method has its roots in stage acting. Some claim there’s a difference in the way an audience feels about a character (and a speaker) based on whether they enter from the left or the right.

One theory suggests that entering from the audience’s left makes an audience more comfortable because they read from left to right. This would apply, of course, only to audiences who do read from left to right.

The extension of this theory is that when you enter from the audience’s left (stage right) you should exit to the audience’s right (stage left) because our perception is that when characters leave the stage to our right (stage left), they’re moving off into the distance and they’re gone.

Some claim that when characters enter from the audience’s left (stage right) they’re seen as “good guys,” but “bad guys” enter from the right (stage left).

I’ve read from several sources who suggest this tradition began with Shakespeare, though I haven’t been able to find any scientific information to support this theory. It does, however, have a ring of truth to it in my mind, so I thought it was worthy of space in this book.

When I speak, I try to enter from the audience’s left if I can, just in case there’s actual merit to this theory. I wouldn’t want my audience thinking I’m the “bad guy” as soon as I walk out onto the stage. So, what’s the lesson? You decide.

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Get Your Body Moving

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There’s a very simple concept around that implies exercise improves your brain function. When blood courses through your brain, it doesn’t just distribute nutrients, it also carries oxygen molecules that act like sponges to soak up the waste products, and transport them out of the brain. The more oxygen sponges you put through there, the cleaner and more efficient the brain will be.

When you exercise, you increase the rate of blood flow across the tissues of your body, by stimulating your blood vessels to manufacture a flow-regulating molecule called nitric oxide. Exercise helps to create new blood vessels that further enhance the distribution of blood to the body tissues. The more blood vessels you have, the more those oxygen sponges can clean up.

The same thing happens in your brain. Imaging studies have shown that as you exercise, there’s an increase in blood flow to a region called the dentate gyrus, which works with the hippocampus, a region directly associated with memory.In addition, blood flow to the brain enhances the growth of something called Brain Derived Neurotrophic Factor (BDNF), a sort of fertilizer for your brain. BDNF helps keep your neurons young, and helps your brain form new ones. So, what’s the lesson? Movement in the body increases blood flow to the brain, which makes you smarter!

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Prepare to Laugh at Yourself

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As the former example shows, things are going to happen that make you look foolish, and people are going to laugh at your blunders at times. Therefore, you have two choices. First, you can be offended, and let that destroy your presentation, and second, you can laugh with the audience, and make it part of the show. I recommend the latter.

Many years ago, I was playing music at a pub in rural Quebec. I was the lead guitar player in the band. Because I was always prone to having bad things happen on the stage, I tried to be prepared as much as I could. Part of the preparedness was to have an extra guitar handy, because I broke guitar strings quite regularly.

It’s always been important to me that the first song an audience hears us perform be an outstanding effort. You only make a first impression once, and I was almost anal about song selection to start off our set. I wanted the audience to hear us, and to love us, in the first ten seconds.

We took to the stage in the pub, which was absolutely packed. Our drummer counted in the first song, and with the strike of the first note, there was a loud “SPWAAAANG” as I broke a guitar string.

I took my guitar off and tried to put it down in order to grab the second guitar. Unfortunately, I was so upset about the opening song being ruined that I slammed the first guitar down into its stand too hard, and the extra force caused the stand to topple backward, where it hit one of the posts that held up our lights.

As the light post began to fall over, I had to grab it and stop it from going down, which made the start of our set even more ridiculous. I could hear the audience howling with laughter as they watched this very angry little man throwing guitars around, then struggling to keep the stage lights from crashing, all in the first ten seconds of the show.

I looked into the audience and saw them laughing, then I looked back at the band members, and saw them laughing too, so I couldn’t help myself from changing my anger to laughter as well. Our show never did recover well that night, not only because of the awkward opening set, but because we were a crappy band to begin with. Nevertheless, once I learned to laugh at myself, life became far easier on the stage. This applies to any type of performance, including speaking.

So, what’s the lesson? Things are going to happen that will throw you off your game. Learn to laugh at yourself; it’ll make your life far more enjoyable.

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Adjust Your Mental and Physical Posture

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In a recent public speaking workshop I conducted, I had the entire class, consisting of about fifty people, stand up and look straight ahead. I asked the students to take note of exactly what they were seeing at eye level. Next, I asked them to close their eyes, and to think about the words they were about to hear as I recited them. I began uttering a string of positive words and phrases, such as, “Yes I can, amazing, tremendous, and absolutely.” I kept this up for a minute, and then told them to open their eyes, and to take note of exactly what they were seeing at eye level now. Finally, I asked them to raise their hand if what they were seeing now was at a higher fixed point than what they were seeing before they closed their eyes, and 100% of the hands went up. I’ve repeated this exercise several times since, with the same results.

What does this tell us? It tells us the positive words improve not only your mental posture, but also your physical posture. Clearly, if you are about to take the stage, you want to be in the most productive mental and physical posture you can. Shortly before you speak, take a few minutes and run a series of positive, empowering words through your mind to help elevate your mental and physical posture. You don’t even have to close your eyes; you can do this on the fly.

As you perform this exercise, you’ll feel your emotional state lift, and you’ll notice you’re seeing things that are at a higher fixed point, and that you’re standing a little taller. All these things enhance your performance as a speaker.

So, what’s the lesson? Adjust your mental and physical posture with positive words, and your entire attitude and physicality are enhanced.

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