After last night’s Oscar ceremony, Nancy Duarte has a few suggestions for any public speaker hoping to outdo Academy Award-winning artists (which is a surprisingly low bar, although there were a few standouts): personal is powerful; plan ahead; strike the right note and watch the clock. Continue reading
More and more interconnected world, pass the new economy work for them. And found a way that benefits all of its people. Further extending it as due to the several classes, but it is noteworthy that the rights, but the foundation for such a movement as the necessity of fighting the war; or a governor behaves improperly or unwisely, the protection and forbearance among capitalists, farmers, and enables them to be unconstitutional, often inconsistent with power to enter into contracts for the way in which it is possible.
Is supported by a steady decline in Scholastic Aptitude Test scores. Today the brave people of Afghanistan are showing that resolve. Here at home while protecting our country. Enabling a million children learning what they were building a 21st century, protecting California’s classrooms by this country to love and guidance.
As created by the State of the Union Machine (courtesy of the Sunlight Foundation).
Looking at it on the page, it’s gibberish. But try reading it aloud, in sonorous, weighty tones. Drop your voice almost to a hoarse whisper a few times.
And then roll your own: the SOTU machine lets you weight different presidents to get more or less of the verbiage from their speeches.
It’s a bit of fun, but there really is a more serious side to this. A SOTU speech is damn difficult.
I’ve had a taste of that difficulty myself, having written several throne and budget speeches. None got anything like the kind of audience and scrutiny Obama’s got, but the challenges are similar.
You need to capture the sense of occasion, speak to the public as well as the pundits and pols, mollify (if not actually please) a staggering range of stakeholders, and maybe even advance your own agenda… all while sticking to a consistent theme.
The risk of winding up with a grocery list is high (“Trout subsidies? What the hell are trout subsidies? And why do I have to talk about them in a speech about energy independence?”), as is the possibility of a ponderous, gassy collection of vague generalities.
And as you go through draft after draft, sleep-deprived night after sleep-deprived night, the danger of creating something that reads like it came from a verbal Moulinex increases exponentially.
So while the SOTU Machine is a fun toy, maybe it’s also a warning to speechwriters: never let go of the central thread.
More than 50 lies, half-truths, and instances of disingenuous spin. Rob Ford’s speech lasted 16 minutes, therefore Rob Ford took liberties with reality, on average, three times per minute. And that was in a speech where nobody asked him about drugs, alcohol, or criminal behaviour.
One crucial thing speechwriters need to remember: the days of the one-way speech from the podium are over. And even if you’re betting that mainstream media are stretched too thin to check what you’re saying, there may well be a blogger in the audience with the resources to follow through.
In this case, Toronto Mayor Rob Ford’s speech gets a thorough point-by-point refutation (not just a rebuttal) from two bloggers at Torontoist. If you needed a reminder to avoid the temptation to fudge the truth for the sake of a good line, here it is.
The New York Times has strung together lines from notable apology speeches into one big, remorseful Frankenpentance.
Tragically missing, though, is anything from Rob Ford’s rambling, defensive apology from last November. Where’s “I know I have let you down and I can’t do anything else but apologize and apologize”? Or “I was elected to do a job and that’s exactly what I’m going to continue doing” – which would have fit perfectly right after Nixon’s “I don’t believe that I ought to quit, because I am not a quitter”?
I’d say the Times owes us an apology.
This is worth a heartfelt OMG: Nancy Duarte’s Resonate is now available as a free download from iBooks. You need an iPad or a Mac to use this version, but it has all sorts of interactive goodness and bonus material, including lots of video.
I’ve gone on about Resonate at length before, but to recap: if you write or deliver speeches and presentations, it’s absolutely invaluable. (And if you don’t have an iPad or Mac, you can always buy it minus the supplementary content.)
Go get it!
Sophomore Georgia Tech student Nick Selby welcomed this year’s first-year students in unforgettable style. There are lots of things a speaker or speechwriter could take from this clip: the use of crescendo, knowing your material cold, owning the stage, using your body as well as your voice, using a callback (“the shoulders of giants”) and so on.
Those are all worth reflecting on. But here’s the biggest thing that struck me.
Mr. Selby could have delivered the same achingly sincere address you’ll see at a bazillion such events. An opening joke, a reminder of the greatness that has gone before them, a quote from Oh, The Places You’ll Go — and he’d have been applauded and thanked warmly. He could have just met the crowd’s expectations.
But instead, he left those expectations choking on his dust. And he gave his audience something they’ll remember for a long time to come.
That’s what I take from this. Whenever you have the opportunity, don’t just rise to the occasion. Rise past it. That’s how speakers become remembered.
A quick speechwriting note: Normally I’m a strong (even harsh) advocate of diving right into what you want to say. But it had been such a terrific range of speakers, offering such amazing, inspirational and often moving advice, that I didn’t want to miss the opportunity to reflect on it.
So I tried something I’ve never done before at this kind of event: an introduction based entirely on the previous hour and a half. I took something from everyone’s presentation (and borrowed from one other event: getting drawn to win a very nice gift basket donated by the folks at Blenz).
I think it worked out pretty nicely. And it was some of the most fun I’ve ever had on stage.
Update: Seattle’s Nancy White has a marvellous and thoughtful take on many of the same themes, and looking more firmly to the future.
It always warms my heart a little when separate spheres of my life bump into each other. And my webcomic-reading, cartoon-drawing sphere just nudged my public-speaking sphere in the latest installment of John Allison’s webcomic Bad Machinery.
This guy (the dad of one of Bad Machinery‘s main characters, a circle of kids who solve mysteries) has to con a room full of people into believing a cock-and-bull story (rather than the truth, which is that his son helped to save the city from a walnut-shaped hope-eating monster). His allies: a 287-slide PowerPoint deck and a thermostat.
The sad truth, of course, is that he isn’t the first to deploy this strategy. Dense, impenetrable thickets of text; charts and graphs whose meaning seems to reverse if you so much as shift in your chair – these are proven methods of failing to communicate while appearing to communicate.
A stifling, unventilated room… well, that’s just icing on the cake. (Melted icing, if it’s been in that room for any time at all.)
I’ve sat through presentations where it dawned on me at the 10-minute mark that the speaker was trying to snow me. And then sometimes, at the 20-minute mark, I’d realize they were also fooling themselves. Bad slides can help provide cover for sloppy, muddled or faulty thinking – from the speaker as well as the audience.
Filed under: Presentation Design