Howtobeprofessionalemcee Brandjontanjontan 121106054621 Phpapp02

TOASTMASTERS INTERNATIONAL
DISTRICT 51 DIVISION P PRESENTS

HOW TO BE A PROFESSIONAL
EMCEE WORKSHOP
VENUE: BERJAYA TIMES SQUARE, KUALA LUMPUR.
DATE: 3 NOV 2012
PROGRAM AUTHOR-SPEAKER: BRANDJONTAN (JON TAN)

WWW.BRANDJONTAN.COM
HOW TO BE A PROFESSIONAL EMCEE
Copyright 2002 by Author BRANDJONTAN Jon Tan

All Rights Reserved.
No part of this publication may be reproduced for
professional or commercial purpose, without the
prior written consent of the Author.
brandjontan@brandjontan.com
www.brandjontan.com
NO MATTER WHAT HAPPENED YESTERDAY
NO MATTER HOW YOU FEEL RIGHT NOW...
GET INTO THE RIGHT STATE%
STATE%OF%
OF%BEING, AND
GIVE YOUR LIFES

BEST PERFORMANCE
TODAY!
PRO EMCEE
PRINCIPLES AND
CONCEPTS
ENGAGE
YOUR AUDIENCE
WITH S E X
SEX ACRONYM: NEXT SLIDE
SEX ACRONYM, STANDS FOR:
SHINE (LIKE A DIAMOND)

WITHOUT OUTSHINING THE STARS
EFFECTIVE COMMAND
X%FACTOR PERSONA
SHINE LIKE A DIAMOND
WITHOUT OUTSHINING
THE STARS
THE REAL ROLE
OF THE EMCEE
THE REAL ROLE OF THE EMCEE:
CLARIFICATIONS OF MISCONCEPTIONS
(A) WHO IS THE STAR?

(1) EMCEE. (2) SPEAKER/PERFORMER. (3) AUDIENCE.
(I) EMCEE IS NOT THE MAIN STAR/HERO OF AN EVENT.
BUT IS, A MAIN PLAYEREMCEES PERFORMANCE SHOULD
EQUAL TO, BUT NOT INTENTIONALLY HIGHER THAN
PERFORMANCE OF SPEAKERS/PERFORMERS.
THE REAL ROLE OF THE EMCEE :
(II) EMCEE IS EXPECTED TO SHOWCASE A PERSONA AND

STANDARD OF PERFORMANCE THAT EQUATES TO THE
EVENT.
(B) WHAT AN EMCEE IS
(I) RESPONSIBLE FOR SUCCESS OF EVENT:

EVENT:
(a) PROBABLE PROBLEMS/CRISES ARISING.
(b) LESS%THAN%PROFICIENT PEOPLE DIRECTLY, OR

INDIRECTLY INVOLVED IN RUNNING OF EVENT.
(II) MAIN PLAYER: STAR%

STAR%MAKER, NOT THE STAR:
STAR:
(a) BRIDGE BETWEEN SPEAKERS/PERFORMERS

OF AN EVENT, TO THE AUDIENCE.
(b) HELP TO INSPIRE STARS OUT OF SPEAKERS AND

PERFORMERS, ESPECIALLY THE LESS%CELEBRATED ONES.

STAR:
(c) BE AN EMOTION%METER:
PRE%SET THE ALREADY%DEFINED/DECIDED MOOD AND
TONE OF A PARTICULAR EVENT.

STAR:
(d) BE PERSUASIVE, ENTERTAINING, MOTIVATING AND

INSPIRING.
(e) ALSO, CONTINUALLY EQUALIZE THE AMBIENCE/

ATMOSPHERIC MOOD AND TONE.
(III) DIFFUSER OF TENSION (4 TYPES):

TYPES):
(a) AUDIENCE AND AUDIENCE.
(b) AUDIENCE AND EMCEE/SPEAKERS/PERFORMERS.
(c) AUDIENCE AND PROGRAM/PROPS/MATERIALS/ETC.
(d) AUDIENCE AND ENVIRONMENT.

(IV) RESCUEMAN FOR EMERGENCY:

EMERGENCY:
BE THE COOL, PERSONABLE HOST/HOSTESS,

DURING CRISIS MANAGEMENT.
(IV) RESCUEMAN FOR EMERGENCY:

EMERGENCY:
NOTE: THE PRO EMCEE DOES NOT LEAVE CONTROL OF

THE FORT, TO HANDLE ANY CRISIS OR PROBLEM.
THIS IS TO BE EFFECTED BY THE RESPECTIVE

PERSON%IN%CHARGE, WHO SHALL THEN REPORT TO THE
ORGANIZING HEAD OR FLOOR MANAGER, DEPENDING ON
THE ISSUE AT HAND.
(V) CATALYST FOR AN EVENT:

EVENT:
(a) ALWAYS BE CHEERFUL. NEVER BE FLUSTERED

NO MATTER WHAT.
(b) BE AN ENERGIZERSO THAT AUDIENCE CAN FULLY

ENJOY THE EVENT.
(V) CATALYST FOR AN EVENT:

EVENT:
(c) BE A CHEERLEADER, ALWAYS

LEADING THE APPLAUSE.
(C) WHAT AN EMCEE IS NOT
(I) THE MAIN STAR OR HERO OF AN EVENT:

YOU ARE THE STAR%MAKER.
(II) AN UNIMPORTANT ROLE:

ROLE:
YOU PLAY A HIGHLY IMPORTANT ROLE.
(III) A GLAMOUR%
GLAMOUR%ROLE PER SE.
(IV) A PRIMA DONNA.

(V) A SMART%
SMART%ALEC / KNOW%
KNOW%IT%
IT%ALL /
STOPPED%
STOPPED%LEARNING%
LEARNING%TYPE%
TYPE%OF%
OF%PERSON.
PERSON.
(VI) A LAST%
LAST%MINUTE JOHNNY.
JOHNNY.
(VII) A KNIGHT IN SHINING ARMOUR:

ARMOUR:
MAKING FIRST APPEARANCE EVER AT AN EVENT,
WITHOUT GOING THROUGH PRE%PREP AND
PREP STAGES.
(D) THE SHOULDs:
(I) PERSONAL QUALITIES:

(i) PERSONAL ATTRIBUTES:
(a) WELL%GROOMED (DRESS TO THE OCCASION).

(b) FRIENDLY AND COURTEOUS (HUMBLE NOT COCKY).
(c) CREATIVE/INVENTIVE.
(d) DECISIVE.
(D) THE SHOULDs:

(ii) SUAVE DIFFUSER OF TENSION:
(a) AUDIENCE AND AUDIENCE.

(b) AUDIENCE AND EMCEE/SPEAKERS/PERFORMERS.
(c) AUDIENCE AND PROGRAM/MATERIALS/PROPS/ETC.
(d) AUDIENCE AND ENVIRONMENT.
(D) THE SHOULDs:

(iii) CATALYST FOR EVENT: ENERGIZER
(CONDUIT FOR AUDIENCE) AND CHEERLEADER
(a) VOICE: DYNAMIC WITH VITALITY.

(b) BODY LANGUAGE: ENTHUSIASTIC/ATTRACTING.
(c) GOOD PRETENDER, ALWAYS LEAD APPLAUSE.
(D) THE SHOULDs:

(d) LIGHTEN%UP AUDIENCE, WITH WIT/HUMOUR,

OR WHATEVER ENTERTAINING WAY.
(e) REMAIN RELAXED AND CALM, EVEN WHEN

UNDER PRESSURE.
(D) THE SHOULDs:

(f) NO MATTER WHAT, RAISE SPIRIT AND

SUSTAIN ENTHUSIASM OF AUDIENCE.
(g) NO MATTER WHAT, STAY CHEERFUL.

NEVER BE FLUSTERED, EVEN WHEN DURING DEEP CRISIS.
(D) THE SHOULDs:

(iv) RESCUEMAN FOR EMERGENCY:
BE ALERT AND WATCHFUL
(a) MINDFUL OF GOINGS%ON.

(b) EYE FOR PROBABLE TROUBLE%SPOTS
(c) PROTECT MOOD OF AUDIENCE, AND ATMOSPHERE.
(D) THE SHOULDs:

(v) BE IN COMMAND:
(a) BE IN CONTROL OF AUDIENCE, AND NOT

THE OTHER WAY AROUND.
(b) UPKEEP QUALITY, AND INCREASE QUALITY.
(c) HOLD THE FORT, AT SPEAKING/PERFORMANCE AREA.
(d) TIMING OF PROGRAM ELEMENTS, IS YOUR
JURISDICTION/DECISION, NOT OTHERS.
(D) THE SHOULDs:

(vi) TIME MANAGEMENT:
(a) START ON TIME, END ON TIME.

(b) CATCH UP, IF BEHIND TIME.
(c) INTELLIGENTLY CUT%OUT OR SHORTEN
INTRA%PROGRAM ELEMENT, OR WHOLE PROGRAM
ELEMENT.
(D) THE SHOULDs:

(vii) BE IN CONSTANT LIAISON WITH ORGANIZING
COMMITTEE HEAD:
(a) ENSURE THAT THE ORGANIZING HEAD, HAS

EMPOWERED THE INDIVIDUAL COMMITTEE PERSONS%IN%
CHARGE, AND SUB%COMMITTEE HEADS, TO BE ON%THE%
JOB, ON TIMING AND EXECUTION.
(D) THE SHOULDs:

(viii) BE IN TOTAL SYNERGY WITH FLOOR MANAGER.
(a) THE FLOOR MANAGER (LIAISING WITH THE MUSIC/AV

MANAGER, SOUND & LIGHTING MANAGER, OR ICT &
MULTIMEDIA MANAGER) SHOULD BE YOUR ONLY LIAISON
PERSON FOR STAGE, PRESENTATION AREA, AND MUSIC,
AV, LIGHTING, MULTIMEDIA, TECHNOLOGY, OR
GIMMICKS.
(D) THE SHOULDs:

(viii) BE IN TOTAL SYNERGY WITH FLOOR MANAGER.
(b) IN LIEU OF A FLOOR MANAGER, IF APPLICABLE, THE

MUSIC/AV MANAGER, SOUND & LIGHTING MANAGER, OR
ICT & MULTIMEDIA MANAGER SHOULD BE THE RESPECTIVE
LIAISON PERSON FOR STAGE, PRESENTATION AREA, AND
MUSIC, AV, LIGHTING, MULTIMEDIA, TECHNOLOGY, OR
GIMMICKS.
(D) THE SHOULDs:
(II) DICTION/CHOICE OF WORDS:

(i) THEME%FOCUS. CONTEXT%SUITED.
OCCASION%ORIENTED. SPECIFIC SITUATIONAL.
(ii) PSYCHOGRAPHICS PROFILING OF SPECIFIC AUDIENCE.
(iii) IF DIVERSE AUDIENCE, TO REACH OUT TO DIFFERENT

PERSONALITY TYPES, CULTURAL TYPES, HIERARCHY,
LEVELS OF EXPERIENCE, ETC.
(D) THE SHOULDs:
(III) RESPECT:
ALSO, BE SOCIALLY AND POLITICALLY CORRECT.
(i) NAMES AND TITLES.
(ii) SENSITIVITY TO:

(a) RACE/CULTURE.
(b) RELIGION.
(c) POLITICS.
(D) THE SHOULDs:
(IV) RAPPORT:
(i) NEAR THE VERY BEGINNING, GIVE ASSURANCE, YOU
HAVE THE AUDIENCES INTEREST AT HEART.
(ii) ALWAYS AIM TO HAVE A GREAT START.
(iii) SUSTAIN BONDING THROUGHOUT.

(D) THE SHOULD NOTs:
(I) RESPONSIBILITIES:
(i) SHOULD NOT BE LOOKING AFTER SOUND AND MUSIC
SYSTEM, MIKE/LAPEL MIKE, ETC, OR
LIGHTING/TECHNOLOGY, OR EFFECTS/GIMMICKS.
(ROLE OF FLOOR MANAGER.)
(ii) SHOULD NOT BE IN CHARGE OF OPERATION OF

PROJECTOR, LAPTOP OR OTHER PRESENTATION
FACILITIES. NOT EVEN ASSISTING.
(iii) SHOULD NOT BE THE HANDYMAN, OR JACK%OF%ALL%
TRADES. (TO FOCUS ON SOLELY BEING THE EMCEE.)
(iv) SHOULD NOT BE LOOKING AFTER STAGE LOGISTICS,

PROPS ARRANGEMENT AND REMOVAL, OR CHANGE OF
STAGE DCOR/SCENARIO.
(v) SHOULD NOT SOURCE FOR SOUND SYSTEM/LIGHTING
SYSTEM.
(vi) SHOULD NOT BE SOURCING FOR PERFORMERS OR

ENTERTAINERS.
(vii) SHOULD NOT BE LOOKING AFTER F&B, NOR STARTING

TIME AND FLOW OF F&B AT EVENT.
(viii) SHOULD NOT BE TAKING CHARGE OF ANY OTHER
ELEMENTS/HAPPENINGS ON ACTUAL DAY, AND/OR
DURING THE EVENT. EXAMPLE: PRIZES CEREMONY,
AWARDS CEREMONY, GAMES PARAPHERNALIA, ETC.
(ix) SHOULD NOT BE COORDINATING THE EVENT,
OR EVENT PREPARATION.
(x) SHOULD NOT BE COORDINATING THE NEXT%TO%

APPEAR AVAILABILITY OF SPEAKERS, PERFORMERS OR
RELEVANT PERSONNEL, FOR EFFECTING THE NEXT
ELEMENT ON THE PROGRAM.
(II) CHARACTER:
HUMILITY | INTEGRITY | RESPONSIBILITY | SUPPORTIVENESS.
(i) SHOULD NOT OUTSTAGE SPEAKER OR PERFORMER.
(ii) SHOULD NOT BE UNPUNCTUAL.
(iii) SHOULD NOT BE CONDESCENDING, OR ARROGANT.
(iv) SHOULD NOT BELITTLE/MAKE FUN OF AUDIENCE.

(III) VOICE PROTECTION:

(DRINK LOTS OF WATER, TO HYDRATE VOCAL SYSTEM.)
(i) SHOULD NOT DRINK ALCOHOL/BEER.
(ii) SHOULD NOT OVEREAT.
(iii) SHOULD NOT CONSUME OILY, DEEP%FRIED, SPICY FOOD.
(iv) SHOULD NOT DRINK EXCESSIVE MILK.

(IV) ENERGY:
(EXERCISE OFTEN, TO STAY ENERGETIC.)
(i) SHOULD NOT SLEEP LATE, PRIOR TO EVENT.
(ii) SHOULD NOT GET STRESSED%UP.
(iii) SHOULD NOT DISCUSS PROBLEMS, PRIOR OR DURING

EVENT. (THIS IS TO SUSTAIN YOUR STATE OF
POSITIVITY PRESENCE.)
(V) MOOD & TONE:

(MUST: YOU SET THE MOOD & TONE, MOULDING IT AS
AND WHEN NECESSARY: WHEN THE AUDIENCES MOOD IS
DOWN, YOU RAISE ITWHEN THE MOOD IS UP, YOU
RAISE IT EVEN HIGHER.)
(V) MOOD & TONE:
(i) SHOULD NOT BE CONTROLLED BY AUDIENCE.
(ii) SHOULD NOT GRAVITATE TO THE DESCENDING OR

LOW MOOD OF AUDIENCE.
(iii) SHOULD NOT GO WITH THE FLOW OF AUDIENCE.

ESPECIALLY WHEN AUDIENCE HAS SHIFTED TO A
CONTRADICTORY MOOD & TONE.
(E) PRO EMCEE TABOOS:
TO ENSURE THAT YOUR ARE

(A) MOST ALERT
(B) ON FULL%
FULL%DUTY
(C) DIGNIFIED
TO AVOID THE FOLLOWING PRO EMCEE TABOOS:

(1) GET HIGH ON ALCOHOL.
(2) DISAPPEAR OR MISSING FROM THE EMCEE CONTROL

AREA.
(3) UNPREPARED OR ILL%PREPARED.

EXAMPLE: FRANTIC SEARCHING FOR NOTES, ETC.
(4) RUDE, UNCOUTH, DISRESPECTFUL.
(5) OUT%OF%LINE. NOT AGREEABLE TO EVENT OBJECTIVE,

OR ORGANIZATION.
(6) GLUTTON.
(NOTE: MANY TOP PRO EMCEES DO NOT EAT AT ALL, AT
EVENT, OR DURING EVENT.)
(7) SOCIALIZE BIG%TIME.

(SOCIAL, BUSINESS, CASANOVA.)
(8) FLAUNTING YOURSELF.

EFFECTIVE COMMAND
EMCEES LOVE
RELATIONSHIP WITH THE
EVENT
EMCEES LOVE RELATIONSHIP WITH THE EVENT
THE EMCEE IS NOT ONE WHO APPEARS, LIKE A KNIGHT

IN SHINING ARMOUR, FOR THE FIRST TIME, AT THE SCENE
OF THE EVENT.
YOU MUST LOVE TO WORK HAND%IN%HAND, WITH THE

ORGANIZING CHAIR AND COMMITTEE.
AND IN SOME INSTANCES, TAKE OVER THE ENTIRE ROLE

OF THE (INEXPERIENCED/IRRESPONSIBLE) ORGANIZING
PERSON ~ TO COORDINATE AND SEE THINGS TO
FRUITION.
(A) ITS A START%

START%TO%
TO%FINISH INVOLVEMENT.
(I) START: INITIAL ORIENTATION TO EVENT.
(II) MID%WAY: PROGRAM FINALIZATION STAGE.
(III) FINAL STAGE: DRY%RUN / REHEARSAL /

LAST%MINUTE CHANGES. PLUS FINAL DRY%RUN.
(IV) ACTUAL DAY TILL COMPLETION OF EVENT.

(B) THE NEED TO ORIENTATE YOURSELF TO THE TOTALITY

OF THE EVENT:
(I) PERSON ELEMENTS.
(II) NON%PERSON ELEMENTS.
(III) OVERALL BRAND IMAGE.


OF THE EVENT:
(I) PERSON ELEMENTS OF THE EVENT:

EVENT:
(1) ORGANIZING CHAIR.
(2) ORGANIZING COMMITTEE.
(3) SUB%COMMITTEES, INCLUDING PROTOCOL.


OF THE EVENT:

EVENT:
(4) SPEAKERS, PERFORMERS.
(5) AWARD PRESENTERS/RECIPIENTS.
(6) GAMES MASTER, CONDUCTOR, ASSISTANTS.


OF THE EVENT:

EVENT:
(7) CEREMONY MASTER (VARIOUS TYPES)/ASSISTANTS.
(8) STAGE PERSONNEL

(INCLUSIVE OF AV, SOUND & LIGHTING, ETC).

OF THE EVENT:
(II) NON%
NON%PERSON ELEMENTS OF THE EVENT:
EVENT:
(1) MUSIC/SOUND & LIGHTING SYSTEM, AV, TECHNOLOGY,
GADGETS, GIMMICKS.
(2) PRESENTATION FACILITIES.
(3) VENUE DCOR & LAYOUT.


OF THE EVENT:
(II) NON%
EVENT:
(4) PROMOTIONAL ASPECTS AT VENUE.
(5) ADVERTISING & PROMOTIONS.
(6) PUBLICITY & PR.


OF THE EVENT:
(II) NON%
EVENT:
(7) ALL RELEVANT ACTIVITIES PERTAINING TO THE EVENT
(THAT YOU ARE TO EMCEE).

OF THE EVENT:
(III) THE NEED FOR CONSISTENCY IN COMMUNICATING

THE OVERALL BRAND IMAGE OF THE UMBRELLA
EVENT:
EVENT:
EXAMPLE: BRAND IMAGE AND SELECTED CONCEPTUAL

THEME FOR PARTICULAR OLYMPICS, COMMONWEALTH
GAMES, 50TH ANNIVERSARY CELEBRATION OF A GLOBAL
CORPORATION, ASIA%IN%MALAYSIA POSITIONING, ETC.

OF THE EVENT:

EVENT:
EVENT:
(1) CONGRUENCY TO OVERALL BRAND OBJECTIVE/THEME.
(2) KNOW THE BIG PICTURE, LEADING TO

SIDEWAY%EXTENSION, DOWNWARD%CASCADING.

OF THE EVENT:

EVENT:
EVENT:
(3) IS THIS EVENT (THAT YOU ARE TO EMCEE)

PART OF A LARGER ENTITY/SCHEME?
(C) UNDERSTAND THE PURPOSE OF EACH AND EVERY

ELEMENT OF AN EVENT (THAT YOU ARE GOING TO
EMCEE):
(1) ACTIVITIES THAT SURROUND THE EVENT.
(2) PROGRAM ELEMENTS.
(3) ANY AREAS OF SIGNIFICANCE,

OR SENSITIVITY?
X%FACTOR PERSONA
QUALITY TRAITS:
EMCEE PAR
EXCELLENCE
QUALITY TRAITS: EMCEE PAR EXCELLENCE
(A) X%FACTOR PERSONA:

PERSONA:
(I) DEVELOP AND RADIATE YOUR PERSONAL BRAND:
(1) STAND OUT WITH YOUR UNIQUE X%

X%FACTOR
POSITIONING.
(a) ESSENCE: WHAT DO YOU STAND FOR?
(b) INTRINSIC EMOTIONAL CONNECTORS:

WHAT SPECIAL TALENTS/SKILLS?
(c) SOCIAL CAUSE:

CONGRUENT TO YOUR INTRINSIC VALUES AND BELIEFS,
WHAT SOCIAL CAUSE ARE YOU CHAMPIONING, OR
INSPIRING, OR PROMOTING?
(d) PERSONALITY:
(i) OUTLOOK: HOW DO YOU THINK?

HOW DO YOU DRESS? HOW DO YOU GROOM YOUR
PERSONAL BRAND?
(ii) STYLE: HOW DO YOU DO THINGS, YOUR UNIQUE WAY?
WHATS YOUR SIGNATURE STYLE?


PERSONA:
(2) STAY RELEVANT TO PEOPLE AND EVENT:

CONNECT EMOTIONALLY AND PSYCHOSOCIALLY.
(a) IN TUNE WITH THE CHANGING TIMES.
(b) IN SYNC WITH PSYCHOGRAPHICS OF SPECIFIC

AUDIENCE.

PERSONA:
(3) CREATE BRAND AFFINITY: BE LIKEABLE.
(a) WHAT DRIVES YOU?

INTRINSIC PASSION OR EGO?
HOW DO YOU OPERATE?

OTHER%CENTRIC OR SELF%CENTRIC/NARCISSISTIC?
DO YOU HAVE THE SPIRIT OF GENEROSITY?


PERSONA:
(b) OPTIMIZE HALO EFFECT FOR YOUR REPUTATION:

CREATE A LARGER%THAN%LIFE PERSONAL BRAND IMAGE:
(i) BRAND REPUTATION/CREDIBILITY ENHANCERS.
(ii) BRAND ADVOCATES.
(iii) BRAND ENDORSERS.
(iv) BRAND%LEVERAGING.

PERSONA:
(c) CHARISMA WITH HUMILITY.


PERSONA:
(II) DEVELOP CHARISMATIC STAGE PRESENCE:
(1) HOW TO ENHANCE YOUR CHARISMA:

BE A PEOPLE MAGNET,
GIFTED WITH ART OF PERSUASION.

PERSONA:
(II) DEVELOP CHARISMATIC STAGE PRESENCE:
(2) HOW TO ACQUIRE STAGE PRESENCE:

OWN THE STAGE.

PERSONA:
(III) GET INTO BEINGNESS:
(1) PSYCHOGRAPHICS COMMUNICATION:

UNDERSTAND, THEN EMBRACE THE THEME, THE PRECISE
CONTEXT, AND THE PSYCHOGRAPHICS OF THE SPECIFIC
AUDIENCE, AS WELL AS THE SPECIFIC OCCASION (AND
SITUATION/S WITHIN).

PERSONA:
(III) GET INTO BEINGNESS:
(2) DECLARE STATE%

STATE%OF%
OF%BEING:
INTERNALIZE , TO GET INTO THE RIGHT STATE%OF%MIND
AND STATE%OF%HEART.
THEN, FLOW FROM YOUR UNCONSCIOUS.

(B) 10 QUALITY TRAITS

TO SUPPLEMENT YOUR X%FACTOR PERSONA
(1) THE POWER OF SELF%ESTEEM.
(2) THE DISCIPLINE TO TAKE FULL RESPONSIBILITY.
(3) THE POWER TO HARMONIZE, AND MOTIVATE

AND INSPIRE.
(4) CRISIS MANAGEMENT THE ACID TEST:

PRE%EMPTING CRISES/TWISTS & TURNS
(5) THE POWER TO UPLIFT SPIRITS ALL THROUGH

THE EVENT.
(6) THE MASTERY OF PSYCHOGRAPHICS:

PSYCHOLOGY OF COMMUNICATION.
(7) VERSATILITY AND FLEXIBILITY.

(8) FINE ART OF SCRIPTING, PUBLIC SPEAKING,

IMPROMPTU SPEAKING.
(9) SPEAKING TO UNIFY AND NOT

SPEAKING TO DIVIDE.
(10) CREATE AND ACHIEVE EMOTIONAL

ACCEPTANCE: IDENTIFY AND FULFIL THEIR NEED.
(C) CRISIS MANAGEMENT:
(1) KEY TO EFFECTIVE CRISIS MANAGEMENT:
PRE%EMPT PROBABLE TWISTS AND TURNS, AHEAD OF

EVENT, SO AS TO BE MENTALLY AND EMOTIONALLY
PREPARED.
PLUS, STRATEGIZE AHEAD OF AN EVENT, HOW TO

ADDRESS THESE PRE%EMPTIVE PROBABLE TWISTS AND
TURNS.
(I) NEED FOR PERSUASIVE, UNIFYING IMPROMPTU

SPEAKING. ARTICULATE THE SITUATION.
EMPATHISE WITH AUDIENCE. BRING MOOD OF AUDIENCE
UP AGAIN.
(II) BE INVENTIVE, WITH CONTINGENCY ARRANGEMENT,

IN TANDEM WITH ORGANIZING HEAD.
(III) MAKE DECISION BY SELF (IF NOT MAJOR).

PROPOSE POSSIBLE DECISION TO ORGANIZING HEAD.
(i) ALWAYS HAVE ON STANDBY, THE ORGANIZING HEAD,

AS WELL AS KEY AND RELEVANT SUB%COMMITTEE HEADS
AND ROLE PLAYERS.
(ii) TAKE CONTROL OF THE SITUATION.

TAKE RESPONSIBILITY FOR DECIDED ACTION.
(iii) STAY COOL, AND COURTEOUS.

(IV) HOW TO DEAL WITH POSSIBILITY OF LAST%MINUTE

CHANGES TO PROGRAM, OR EMERGENCY ADJUSTMENT
TO PROGRAM:
STAY FOCUSED AND ALERT, GET INTO FAST%THINKING

MODE:
(i) COME UP WITH FAST DECISIONS, ON HOW

TO RESCHEDULE OR REORGANIZE THE PROGRAM.
(ii) CLOSE RAPPORT WITH ORGANIZING HEAD.

BE PROACTIVE AND RECOMMEND YOUR
ALTERNATE PLAN/S. MAKE A JOINT DECISION.
(iii) FLEX ACCORDINGLY, MAKE THE CHANGE.

(SUCH AS SHIFTING PROGRAM ELEMENTS AROUND.)
(D) HALLMARK OF A PRO EMCEE PAR EXCELLENCE:

EXCELLENCE:
PROPENSITY WITH THE FEEL%GOOD FACTOR, AND THE

ABILITY TO HARMONIZE OVERALL ENERGY, AS WELL AS
TO OPTIMIZE THE ENERGY%LEVEL AND ENTHUSIASM OF
THE AUDIENCE.

EXCELLENCE:
(1) SHARP, FOCUSED, ALERT. PLUS, PRE%EMPTIVE OF CRISIS.

(2) ADDING%VALUE, WITHOUT WASTING WORDS.
(STAR%MAKER.)
(3) ARTICULATE WITH IMPROMPTU
SITUATIONAL SPEAKING PERSUASION.

EXCELLENCE:
(4) EMOTION%METER AND ENERGY BUILDER

FOR AUDIENCE.
(5) PR%SAVVY.
(6) TIME%MANAGEMENT.
SCRIPTING GUIDE
INTRODUCTORY GUIDE
I. USE OF HUMOUR
II. AWARD PRESENTATION
III. PROTOCOL/DECORUM/FORMALITIES
IV. INTRODUCING SPEAKER
V. INTRODUCING PERFORMER
VI. PROGRAM
VII. CONTESTS
VIII. JUDGES/JUDGING
IX. ORGANIZING CHAIRPERSON/COMMITTEE
SCRIPTING GUIDE ~ INTRODUCTORY GUIDE
HOW/WHAT/WHEN TO SAY AT ACTUAL EVENT
INTRODUCTION:
THE NEED FOR FLUID/FLOWING IMPROMPTU SPEAKING,
IN TANDEM WITH ORGANIC PREPARED SCRIPT.
PARAPHRASE, NOT SCRIPT%FIXATED.

SCRIPTING GUIDE ~ INTRODUCTORY GUIDE
CHECKPOINTS:
(1) ORIGINAL SCRIPT FRAMEWORK:
FOUNDATION/ESSENCE. KEEP TO THE ESSENCE.
(2) HOW ORGANIC? THE LESS FORMAL,

THE MORE ORGANIC. KEEP IT SITUATIONAL.
(3) SEAMLESS BRIDGING, FROM START TO FINISH.

SCRIPTING GUIDE
WHY USE HUMOUR IN YOUR COMMUNICATION?
(1) BUILD RAPPORT WITH AUDIENCE.
(2) RELAX THE AUDIENCE. (REDUCE AUDIENCE TENSION).
(3) UPLIFT SPIRIT AND SUPPORTIVENESS OF AUDIENCE.
IMPORTANT NOTE: MAKE FUN OF SELF OR SPECIFIC

INDIVIDUAL, BUT NOT THE AUDIENCE.
SCRIPTING GUIDE
TYPES OF HUMOUR AND MERITS OF EACH TYPE:
(1) SLAPSTICK.
(2) GENERAL HUMOUR:

(a) ONE%LINER. (b) ANECDOTE. (c) VERY SHORT STORY.
(d) PREPARED JOKES. (e) ETC.
(3) PUN OR PUNNY PHRASES/STATEMENTS.

SCRIPTING GUIDE
(4) WIT.
(5) ROAST.
(6) SATIRE.
(7) ETC.
NOTE: IDENTIFY YOUR INTRINSIC TALENT/SKILL FOR TYPE

OF HUMOUR.
SCRIPTING GUIDE
NOTE ON WHAT TYPE OF HUMOUR TO USE:
IDENTIFY YOUR INTRINSIC TALENT/SKILL OR INTRINSIC

INTEREST OR PASSION FOR TYPE OF HUMOUR.
THIS IS IMPORTANT, SO THAT YOU DO NOT HAVE TO

STRUGGLE TO DISPENSE HUMOUR, OR LOOK
ARTIFICIAL.
SCRIPTING GUIDE ~ I. HUMOUR
WHEN TO USE HUMOUR:
ANSWER: WHENEVER APPROPRIATE.

BUT THE HUMOUR MUST BE RELEVANT.
EXAMPLES:
(1) GOOD START (WITH RELEVANT SUITABLE HUMOUR).
(2) LIVEN UP ATMOSPHERE.
(3) JOLT PEOPLE OUT OF SEDATIVE STATE.

(4) BRIDGING DEVICE.
(5) REPARTEE.
(6) RELIEVE TENSION. (GENERAL, VARIOUS SITUATIONS.)
(7) ALLEVIATE CRISIS.
(8) BREAK MONOTONY.

WHEN NOT TO USE HUMOUR:
ANSWER: *WHEN NOT APPROPRIATE,

OR *WHEN IT IS CONFLICTING WITH THE INTENTION OR
GENRE OF PERFORMER.
EXAMPLES:
(1) WHEN YOURE NOT GOOD AT HUMOUR!
(2) SOMBRE EVENTS, SUCH AS REFUGEE PLIGHT, FUNERAL

EULOGY SERVICE, SERIOUS CHURCH WEDDING, ETC.
(3) OFFICIOUS EVENTS, SUCH AS ROYALTY%PATRONAGE,

BLACK%TIE AFFAIR.
(4) SPEAKER WITH SERIOUS MESSAGE.
(5) PERFORMER OF SERIOUS NATURE.

SCRIPTING GUIDE ~ AWARD PRESENTATION
AWARD PRESENTATION:
INTRODUCTION: TYPES OF AWARDS
(1) CONTEST.
(2) EXCELLENCE IN SERVICE. | LONG%SERVICE.
(3) RECOGNITION. (4) ACHIEVEMENT.
(5) ETC.
AWARD PRESENTATION:
DOs:
(1) (A) FORMAT:
(a) NAME OF AWARD. PURPOSE OF AWARD.
(b) PROCEDURE OR STAGES OF SELECTION/CONTEST.

(c) CRITERIA FOR SELECTION/JUDGING.
(d) ANNOUNCE NAME OF RECIPIENT: FROM WHERE
(DEPT/DIVISION/ORGANIZATION, COUNTRY, ETC).
AWARD PRESENTATION:
DOs:
(1) (B) INTRODUCING/CONDUCTING AWARD
PRESENTATION:
(a) DO STAY IN NEUTRAL MODE (PERSONA) ~

TOWARDS RESULTS OF NOMINATIONS OR WINNERS.
(b) DO BE DIGNIFIED.
AWARD PRESENTATION:
DO NOTs:
(2) (A) INTRODUCING/CONDUCTING AWARD
PRESENTATION:
(a) DO NOT EXPRESS SURPRISE, DISMAY, DISAPPOINTMENT,

DISAGREEMENT TO RESULTS.
(b) DO NOT PRAISE THE WINNER.

AWARD PRESENTATION:
(c) DO NOT POKE FUN.
(b) DO NOT COMMENT ON JUDGING/JUDGES.

SCRIPTING GUIDE ~
PROTOCOL/DECORUM/FORMALITIES
PROTOCOL /DECORUM / FORMALITIES:
DOs:
(1) INSIST ON ONE PERSON IN CHARGE OF PROTOCOL:
(a) DO CHECK/RECHECK PROTOCOL ACCURACY AND

HIERARCHY. VIA INFO MINISTRY, OR ROYAL HOUSEHOLD.
(b) DO RESPECT HIERARCHY OF POSITIONS, RE

SOCIETY/CLUB/ASSOCIATION/CORPORATE PROTOCOL.
SCRIPTING GUIDE ~
PROTOCOL/DECORUM/FORMALITIES
PROTOCOL /DECORUM / FORMALITIES:
DO NOTs:
(1) NEVER VOICE YOUR PERSONAL FEELING:
(a) DO NOT COMMENT ON PROTOCOL.
(b) DO NOT CHALLENGE LEVEL OF PROTOCOL, DECORUM,

FORMALITIES SET.
NOTE: AGREE, OR TURN DOWN PRO EMCEE ASSIGNMENT.

SCRIPTING GUIDE ~ INTRODUCING SPEAKER
INTRODUCING SPEAKER:
(1) FORMAT:
FORMAT:
(a) MENTION NAME OF SPEAKER.
(b) SEMBLANCE OF SUBJECT.
(c) CREDENTIALS: CREDIBILITY.

PERSONAL BACKGROUND, ONLY WHERE
RELEVANT TO THE SUBECT TO BE PRESENTED.
(d) FINAL ANNOUNCEMENT FLOW:

NAME OF SPEAKER. TITLE OF SPEECH/PRESENTATION.
(PAUSE.) TITLE AGAIN. NAME OF SPEAKER.
(e) LEAD APPLAUSE.

(2) DOs:
SETTING THE MOOD AND TONE. PRE%EMPT THE SAME

MOOD AND TONE OF NEXT SPEAKER/PERFORMER.
(a) FIND OUT FROM SPEAKER: TITLE AND CONTEXT

OF SPEECH.
(b) BRIEF INTRO (MAXIMUM 1%2MIN).
CREATE ENOUGH INTEREST OR EXCITEMENT

AND CREDIBILITY FOR AUDIENCE TO WANT
TO LISTEN TO SPEAKER.
(c) CREATE IMAGE OF A COMPETENT, WELL%QUALIFIED

PERSON TO SPEAK ON SELECTED SUBJECT OR TOPIC.
CREDIBILITY CHECKPOINTS:
(i) EXPERIENTIAL SUCCESS OR ACADEMIC/ PROFESSIONAL
QUALIFICATION.
(ii) FORMAL OR INFORMAL KNOWLEDGE.
(iii) SERIOUS PART%TIMER OR HOBBYIST.
(iv) INTRINSIC INTEREST, MATCHING LEVEL OF
SPEECH/PRESENTATION.
(d) BUILD RAPPORT BETWEEN SPEAKER AND AUDIENCE:

ANY COMMONALITY?
(FOR THE PURPOSE OF BONDING AUDIENCE TO SPEAKER.)
(e) LEVEL OF DIGNITY OR INFORMALITY, IS RELATED TO:

(A) OCCASION.
(B) EMCEES RELATIONSHIP WITH SPEAKER.
(C) PRESTIGE OF SPEAKER.
(D) ETC.
(f) USE INTRO CREDENTIALS PROVIDED BY SPEAKER,

IF HE/SHE WISHES TO, PROVIDED THAT THE INTRO
CREDENTIALS/BIODATA/PROFILE IS:
* WITHIN DECIDED TIMEFRAME (NUMBER OF WORDS).

* RELEVANT TO SUBJECT AND OCCASION.
* PROPERLY WRITTEN/CONSTRUCTED.
IF NOT, PROVIDE FORMAT TO SPEAKER, TO FOLLOW.

OR, REWRITE YOURSELF.
(2) DO NOTs:
(a) DO NOT GIVE LIFE HISTORY, ESPECIALLY WHEN

NOT RELEVANT, TO THE THEME OR CONTEXT OF THE
SPEECH/PRESENTATION. (DO NOT WASTE ANY WORDS, OR
DILUTE THE CREDENTIALS.)
(b) DO NOT OUTSTAGE SPEAKER, OR TRY

TO SHARE THE SPOTLIGHT, BY:
(i) GIVING SPEECH OF YOURSELF.

(ii) BEING A COMEDIAN OR CLOWN.
(iii) OVERSHADOWING THE SPEAKER SOMEWHAT.
(c) DO NOT EXTRACT SOME OF SPEAKERS SCRIPT.
(d) AT INTRODUCTION, OR PRIOR TO INTRODUCING

SPEAKER, DO NOT:
(i) OFFER LENGTHY OPINION, OR,
(ii) MAKE A SPEECH ON THE SPEAKERS SAME SUBJECT
OR TOPIC.
(e) DO NOT STEAL THE THUNDER

OR LIMELIGHT FROM THE SPEAKER.
YOUR TASK IS TO UPLIFT SPEAKER AND AUDIENCE,

AND KEEP PROCEEDINGS SMOOTH.
(h) DO NOT DISCLOSE CONTENTS OF SPEECH.
(i) DO NOT SHOCK SPEAKER WITH IRRELEVANT

OR CONTRADICTORY INTRO.
(f) DO NOT PUT SPEAKER, ON A PEDESTAL.
(g) DO NOT PUT UNDUE PRESSURE ON SPEAKER,

BY SETTING VERY HIGH EXPECTATIONS,
OR UNREALISTIC EXPECTATIONS.
SCRIPTING GUIDE ~ INTRODUCING PERFORMER
INTRODUCING PERFORMER:
(1) DOs:
(a) DO KNOW WHATS THE NATURE OF PERFORMANCE,

AND THE FLOW OF PERFORMANCE.
(b) DO REFLECT TONE OF, OR GENRE OF PERFORMANCE.
(c) DO KNOW REPERTOIRE OF SONGS, ELEMENTS OF

PERFORMANCE, SYNOPSIS OF ACT.
(d) DO BE IN TUNE WITH THE NATURE

OF PERFORMANCE, OR TYPE OF PERFORMANCE.
* SHOW YOUR INTEREST (EVEN IF YOU ARE PERSONALLY

NOT KEEN WITH THE NATURE OF PERFORMANCE,
OR TYPE OF PERFORMANCE).
* STAY NEUTRAL, IF YOU CANNOT GET EXCITED

ABOUT IT!
(e) BETTER STILL, FAKE YOUR INTEREST

OR EXCITEMENT FOR THE NATURE OF PERFORMANCE, OR
TYPE OF PERFORMANCE.
(2) DO NOTs:
(a) DO NOT GO OFF%TANGENT/OUT%OF%CONTEXT.
(b) DO NOT MAKE COMPARISON WITH THE BEST

OR HIGHER%LEVEL BENCHMARKS, THUS DOWNGRADING
THIS PARTICULAR PERFORMANCE.
(c) DO NOT TELL AUDIENCE OF LACK OF PREPARATION BY

THE PERFORMER/S.
(2) DO NOTs:
(d) DO NOT MAKE PERFORMER OUT TO BE AMATEURISH,

INEXPERIENCED.
(e) DO NOT EXPECT AUDIENCE TO SYMPATHISE.

SCRIPTING GUIDE ~ PROGRAM
PROGRAM:
(1) DOs:
(a) DO INFORM AUDIENCE, AS EARLY AS POSSIBLE,

OF WHATS IN STORE, TO (i) DIFFUSE TENSION,
(ii) TO GENERATE EXCITEMENT.
(b) DO WARN OF SURPRISES AHEAD.

NOT NECESSARY TO GIVE DETAILS. BUT GIVE NOTICE.
SCRIPTING GUIDE ~PROGRAM
PROGRAM:
(c) DO MENTION HIGHLIGHTS EARLY, AS A MEANS

TO GET AUDIENCE TO STAY THROUGHOUT THE
PROGRAM.
(d) DO DRUM UP EXCITEMENT OF UPCOMING HIGHLIGHTS,

TO INCREASE SUSPENSE AND ENTHUSIASM, AND TO
KEEP AUDIENCE STAYING BACK.
PROGRAM:
(e) DO KEEP FINALE TO BE THE MOST IMPORTANT

TO AUDIENCE (DEPENDING ON OCCASION), TO MAXIMIZE
AUDIENCE STAYING TILL THE END.
PROGRAM:
(2) DO NOTs:
(a) DO NOT CHANGE PROGRAM ELEMENTS, WITHOUT

NOTICE.
(b) DO NOT INTERCHANGE PROGRAM ELEMENTS,

WITHOUT NOTICE.
SCRIPTING GUIDE ~ CONTESTS
CONTESTS:
(1) DOs:
(a) DO STAY NEUTRAL.
(b) DO ENCOURAGE ALL PARTICIPANTS.
(c) DO PRACTISE FAIRNESS OF COMMENT, AS WELL

AS TIME SPENT WITH EACH.
SCRIPTING GUIDE ~ CONTESTS
CONTESTS:
(2) DO NOTs:
(a) DO NOT RIDICULE ANY CONTESTANT.
(b) DO NOT GET PERSONAL.
(c) DO NOT VICTIMIZE.
(d) DO NOT DISCUSS WITH OTHERS, ANYTHING

RELATED TO PARTICIPANTS OR THE CONTEST.
SCRIPTING GUIDE ~ JUDGES/JUDGING
JUDGES/JUDGING:
(1) DOs:
(a) DO SHOW DECORUM TO JUDGING SYSTEM.
(b) DO RESPECT ALL JUDGES ALIKE.

(NOT TO CREATE ANY DOUBT ABOUT INTEGRITY
OF ANY ONE OF THE JUDGES.)
JUDGES/JUDGING:
(2) DO NOTs:
(a) DO NOT MAKE FUN OF JUDGING PROCESS.
(b) DO NOT COMMENT ON INTEGRITY.
(c) DO NOT SINGLE%OUT ANY ILLUSTRIOUS

PERSONALITY.
JUDGES/JUDGING:
(d) DO NOT BE OPINIONATED.
(e) DO NOT JUDGE THE JUDGES.

SCRIPTING GUIDE ~
ORGANIZING COMMITTEE/ORGANIZING CHAIR
ORGANIZING COMMITTEE/ORGANIZING CHAIR:
(1) DOs:
(a) DO ACKNOWLEDGE EFFORT/COMMITMENT OF WHOLE

ORGANIZING COMMITTEE (AND ALL SUB%COMMITTEES)
ALIKE.
SCRIPTING GUIDE ~
(2) DO NOTs:
(a) DO NOT CRITICIZE INEFFICIENCY OF COMMITTEE OR

PART OF THE COMMITTEE, OR SHOW YOUR DISDAIN.
(b) DO NOT DISASSOCIATE FROM THE COMMITTEE.

(AS A PRO EMCEE, YOU ARE PART OF THE EVENT.)
SCRIPTING GUIDE ~
(2) DO NOTs:
(c) DO NOT:
(i) PRAISE ORGANIZING CHAIRPERSON IN EXCESS, OR
(ii) SINGLE%OUT THE ORGANIZING CHAIRPERSON,
AT THE EXPENSE OF STEALING THE THUNDER FROM THE
COMMITTEE (WHO MAY FEEL UNAPPRECIATED, SLIGHTED,
DISAPPOINTED). NOT GOOD FOR YOUR FUTURE
REPUTATION (OR BUSINESS) AS A PRO EMCEE.
ENHANCEMENT GUIDE
I. MUSIC, SONGS, SOUND, SFX.
II. AUDIO VIDEO, MULTIMEDIA, ICT, LIGHTING,

TECHNOLOGY, STAGE HISTRIONICS, PROPS.
ENHANCEMENT GUIDE ~
I. MUSIC, SONGS, SOUND, SFX
(1) WHY (USE) ?
(A) INCREASE IMPACT OF EVENT.

(B) PROVIDE MULTI%SENSORY STIMULATION.
(C) DRAMATIZE OR HIGHLIGHT SPECIFIC SCENARIOS
OR INDIVIDUALS.
(D) SERVE AS BRIDGING BETWEEN PROGRAM ELEMENTS.
ENHANCEMENT GUIDE ~
(2) WHEN (TO USE) ?
WHEN APPROPRIATE TO PROGRAM SEGMENT

OR PARTICULAR SCENARIO, AND THE EVENT THEME.
EXAMPLES:
(A) ACCOMPANYING MUSIC FANFARE TO INTRODUCING:
(i) VIP.
(ii) SPEAKER.
(iii) PERFORMER OR ENTERTAINER
ENHANCEMENT GUIDE ~
(2) WHEN (TO USE) ?
(B) PRELUDE TO EVENT.

(C) INTERLUDE.
(D) LAUNCH THEME.
(E) GAME ACCOMPANIMENT.
(F) BACKDROP MUSIC TO PRESENTATION.
(G) FASHION SHOW | PERFORMANCE | DANCE | ETC.
(H) WHENEVER IT SERVES TO ENHANCE THE SCENARIO,
AND NOT DISTRACT OR FIGHT WITH THE SCENARIO.
ENHANCEMENT GUIDE ~
(3) WHAT (SELECTION) ?
(i) IN TANDEM WITH THE OVERALL THEME/CONCEPT

OF EVENT.
(ii) SUITED TO SPECIFIC MOOD AND TONE OF A

PARTICULAR PROGRAM ELEMENT, AS WELL AS IN%SYNC
WITH THE TEMPO AND PACE.
ENHANCEMENT GUIDE ~
(4) WHERE (TO USE) ?
(i) STAGE.
(ii) NEAR STAGE ~ FRONT.
(iii) CEILING.
(iv) AND AS A SURPRISE FACTOR, ANYWHERE!
ENHANCEMENT GUIDE ~
(5) WHO (TO EXECUTE) ?
(i) EVENT MANAGEMENT COMPANY, AND THEIR CREW.
(ii) PROFESSIONAL MUSIC/AV DIRECTOR, OR

SOUND & LIGHTING (& TECHNOLOGY) DIRECTOR, AND
THEIR CREW.
ENHANCEMENT GUIDE ~
(iii) IN LIEU OF ABOVE PROFESSIONALS,

EMCEE TO ENSURE ORGANIZING COMMITTEE ASSIGNS A
FLOOR MANAGER FOR THIS ROLE, PLUS A MUSIC%
MACHINE MANAGER.
ENHANCEMENT GUIDE ~
(6) HOW (TO EXECUTE) ?
PURPOSE: TO ENHANCE THE PROGRAM ELEMENTS

AND THE OVERALL EVENT.
THEREFORE, IT MUST BE DONE SUPERBLY, WITH:

(i) TIME PRECISION.
(ii) HIGH QUALITY STANDARDS OF MUSIC, SONGS,
SOUND, SFX.
(iii) RELEVANT SELECTION STRATEGY.
(iv) SLICK EXECUTION.
ENHANCEMENT GUIDE ~
OTHERWISE, TO DROP IT
(USE OF MUSIC, SONGS, SOUND, SFX)
FROM EVENT ENTIRELY!
ENHANCEMENT GUIDE ~ II. AUDIO%VIDEO,
MULTIMEDIA, ICT, LIGHTING, TECHNOLOGY,
STAGE HISTRIONICS, PROPS
(1) WHY (USE) ?
(A) INCREASE IMPACT OF EVENT.

(B) PROVIDE MULTI%SENSORY STIMULATION.
(C) DRAMATIZE OR HIGHLIGHT SPECIFIC SCENARIOS
OR INDIVIDUALS.
(D) SERVE AS BRIDGING BETWEEN PROGRAM ELEMENTS.
(2) WHEN (TO USE) ?
WHEN APPROPRIATE TO PROGRAM SEGMENT

OR PARTICULAR SCENARIO, AND THE EVENT THEME.
(i) AUDIO%VIDEO, MULTIMEDIA, ICT:

FOR VISUAL PRESENTATION, AND FOR
DRAMATIZING EFFECT.
(2) WHEN (TO USE) ?
(ii) LIGHTING, TECHNOLOGY:

FOR STYLIZED IMPACT.
(iii) STAGE HISTRIONICS, PROPS:

TO HEIGHTEN EXCITEMENT LEVEL.
(3) WHAT (SELECTION) ?
(i) IN TANDEM WITH THE OVERALL THEME/CONCEPT

OF EVENT.
(ii) SUITED TO SPECIFIC MOOD AND TONE OF A

PARTICULAR PROGRAM ELEMENT, AS WELL AS IN%SYNC
WITH THE TEMPO AND PACE.
(4) WHERE (TO USE) ?
(i) STAGE.
(ii) NEAR STAGE ~ FRONT.
(iii) CEILING.
(iv) AND AS A SURPRISE FACTOR, ANYWHERE!
(i) EVENT MANAGEMENT COMPANY, AND THEIR CREW.
(ii) SOUND & LIGHTING DIRECTOR OR TECHNOLOGY

DIRECTOR, AND THEIR CREW.
(iii) IN LIEU OF ABOVE PROFESSIONALS,

EMCEE TO ENSURE ORGANIZING COMMITTEE ASSIGNS A
FLOOR MANAGER FOR THIS ROLE.
PURPOSE: TO ENHANCE THE PROGRAM ELEMENTS

AND THE OVERALL EVENT.
THEREFORE, IT MUST BE DONE SUPERBLY, WITH:

(i) TIME PRECISION.
(ii) HIGH QUALITY STANDARDS OF AV, MULTIMEDIA, ICT,
LIGHTING, TECHNOLOGY.
(iii) RELEVANT PRODUCTION AND REPRODUCTION
STRATEGY.
(iv) SLICK EXECUTION.
OTHERWISE, TO DROP IT
(USE OF AUDIO%VIDEO, MULTIMEDIA, ICT, LIGHTING,
TECHNOLOGY, STAGE HISTRIONICS, PROPS)
FROM EVENT ENTIRELY!
HOW TO PREPARE
FOR EVENT
I. INVOLVE FROM START%TO%FINISH.
II. PHASE%BY%PHASE PREPARATION.
(A) PRE%PREPARATION PHASE.
(B) FINAL PREPARATION PHASE.
(a) ONE DAY BEFORE.
(b) DAY OF EVENT.
HOW TO PREPARE FOR EVENT ~
I. INVOLVE FROM START%TO%FINISH
KEY STAGES OF ACTIVE INVOLVEMENT BY PRO EMCEE:
(I) START: INITIAL ORIENTATION TO EVENT.
(II) MID%WAY: PROGRAM FINALIZATION STAGE.
(III) FINAL STAGE: DRY%RUN / REHEARSAL /

LAST%MINUTE CHANGES. PLUS FINAL DRY%RUN.
(IV) ACTUAL DAY TILL COMPLETION OF EVENT.

HOW TO PREPARE FOR EVENT~
II. PHASE BY PHASE PREPARATION
(A) PRE%
PRE%PREPARATION PHASE
(i) FIRM UP THE OBJECTIVE AND THEME FOR THE EVENT:
PLAN INITIAL GROUNDWORK CHECKLIST TO ASSESS

(a) SUITABILITY OF LOCATION, AND,
(b) COMPETENCY LEVEL OF PERSONS%IN%CHARGE.
(A) PRE%
(1) THE PROGRAM/THEME/OBJECTIVE:

MEET UP WITH ORGANIZER/CLIENT TO DISCUSS PROGRAM
AND ALL PERSON ELEMENTS (INCLUDING PROTOCOL) AND
NON%PERSON ELEMENTS, AS WELL AS OVERALL BRAND
IMAGE.
(A) PRE%
(2) VENUE & LOGISTICS:
(a) VENUE: ARRANGE IMMEDIATE VISIT TO VENUE (HOTEL,

RESORT, WHATEVER PLACE), TO ALIGN TO THEME AND
OBJECTIVE OF THE EVENT.
EXAMPLE: TROPICAL JUNGLE THEME.

(A) PRE%
(2) VENUE & LOGISTICS:
(b) LOGISTICS: TO RECCE TO CONFIRM WHETHER

FACILITIES (SUCH AS STAGE, BACKDROP, HALL DESIGN,
SOUND & LIGHTING SYSTEM, PRESENTATION FACILITIES,
ETC, CAN SUPPORT THE THEME AND OBJECTIVE.
EXAMPLE: TROPICAL JUNGLE THEME.

(A) PRE%
(3) KNOW THE TEAM:

ENSURE THE RESPECTIVE AREAS OF ORGANIZING AN
EVENT ARE TAKEN CARE OF BY THE COMMITTEE OR SUB%
COMMITTEES.
IF NECESSARY, MEET UP WITH THE RESPECTIVE PERSONS%

IN%CHARGETO CHECK WHETHER THEY HAVE THE
EXPERIENCE TO HANDLE THEIR AREAS OF
RESPONSIBILITIES.
(A) PRE%
(ii) DEFINE THE RESPECTIVE AREAS OF RESPONSIBILITIES:
RESPONSIBILITIES:
SINCE ON THE ACTUAL DAY OF THE EVENT, AND DURING

THE RUNNING OF THE EVENT, THE EMCEE CAN NEVER BE
THE HANDYMAN AND SHOULD NOT BE, SO INSIST ON
THE FOLLOWING:
*THE APPOINTMENT OF SPECIFIC INDIVIDUALS INTO

CIRTICAL ROLES DURING THE RUNNING OF THE EVENT,
SUCH AS:

RESPONSIBILITIES:
(a) KEY COORDINATING PERSON

(ORGANIZING CHAIRPERSON/CLIENT).
(b) SOUND & LIGHTING/AUDIO%VIDEO

(FLOOR MANAGER).
(c) PERSON COORDINATING TIMING AND PLAYING

OF SPECIFIC FANFARES/MUSIC/SFX.
(A) PRE%
RESPONSIBILITIES:
(d) STAGE LOGISTICS.
(e) PRESENTATION FACILITIES.
(f) ASSISTANTS TO PRESENTERS/SPEAKERS/PERFORMERS,

INCLUDING HANDLING/OPERATING COMPUTER
NOTEBOOKS, ETC.
(A) PRE%
RESPONSIBILITIES:
(g) PERSON COORDINATING WITH

PRESENTERS/SPEAKERS/PERFORMERS.
(h) FOOD & BEVERAGE.
(i) AWARD PRESENTATION/SOUVENIR PRESENTATION.

(B) FINAL PREPARATION PHASE:
ALIGNING EVERYTHING
TO CONFIRMED OBJECTIVE AND THEME,
TO ACHIEVE CONGRUENCY.

(i) EVENT DETAILING
(a) DEFINITION OF:

* OBJECTIVE OF EVENT.
* THEME OF EVENT.

(i) EVENT DETAILING
(b) RESEARCH AND SOURCING FOR RELEVANT PERSONS,

OUTFITS, PROPS, MATERIALS:
* COSTUMING.
* MUSIC & SONGS/SOUND/SFX/GIMMICKS.
* STAGE DESIGN/DCOR/ETC.
* ENTERTAINMENT: PRODUCTION HOUSES,
ENTERTAINMENT AND PERFORMING ARTS PROVIDERS,
MODELLING AGENCIES, ETC.

(i) EVENT DETAILING
(b) RESEARCH AND SOURCING FOR RELEVANT PERSONS,

OUTFITS, PROPS, MATERIALS:
* SPEAKERS/PERFORMERS/ENTERTAINERS.
* LAUNCH IDEAS/OPENING GAMBIT.

(ii) FINALIZING PROGRAM ELEMENTS AND FLOW:
(a) RECONFIRM PROGRAM ELEMENTS WITH

ORGANIZER/CLIENT.
(b) MEET UP WITH SPEAKERS, PERFORMERS, ENTERTAINERS.
(c) PROCEED WITH SCRIPTING STRUCTURE.


(iii) EMCEE GROOMING AND APPEARANCE:
(a) DRESSING GUIDE:

* DRESS TO THE OCCASION/THEME.
* SAME LEVEL AS AUDIENCE, OR HIGHER.

(iv) FINAL CHECK WITH ORGANIZER/CLIENT,
TO GET ENDORSEMENT:
(a) PROGRAM ELEMENTS AND FLOW.

(b) EMCEES GROOMING AND APPEARANCE.
(c) EMCEES SCRIPT ~ CONFIRM/MAKE FINAL
ADJUSTMENTS.
(d) ACTUAL NARRATON OF FINAL SCRIPT, AND ACTUAL
EXECUTION OF PROGRAM ACTIVITIES ~
NO SURPRISE FOR ORGANIZER/CLIENT.

(v) FINAL CHECKLIST ON WHOLE EVENT LOGISTICS:
WAY BEFORE ACTUAL DAY/EVENT:

COUNTERCHECK, SUPERVISE, OVERSEE THAT ALL
RELEVANT PERSONS%IN%CHARGE HAVE PERFORMED THEIR
DUTIES OR COORDINATIONS.

> ONE DAY BEFORE:
BEFORE:
(a) FINAL CHECK: USING THE EMCEE CHECKLIST.

(REFER TO APPENDIX 2 IN WORKBOOK.)
(IF YOU ARE LUCKY, A TOP%RATE ORGANIZER/CLIENT WILL

ACTUALLY BE VERY CONCERNED, TO ENSURE THE FINAL
CHECK IS EFFECTED. BUT BE PROFESSIONAL BE THERE.

> ONE DAY BEFORE:
BEFORE:
(b) DRY%RUN AT VENUE: TEST OUT FINAL SCRIPT,

THROUGH SOUND SYSTEM.
(c) STAY THROUGH THE FULL%DRESS REHEARSAL, TO

CHECK AND DOUBLE%CHECK TIMING AND LOGISTICS.

> DAY OF EVENT:
(a) VENUE/LOGISTICS CHECK

* ARRIVE VERY EARLY, FOR LAST CHECK, USING YOUR
EMCEE CHECKLIST.
PLUS:
* GET ORIENTED TO ENVIRONMENT, AUDIENCE AND
GOINGS%ON.

> DAY OF EVENT:
* ENSURE KEY PEOPLE ARE READY TO COORDINATE FAST

WITH YOU, TO UPKEEP THE ATMOSPHERE AND SMOOTH
RUNNING OF PROGRAM.
* PREFERABLY, LET ALL COMPLAINTS,

ANNOUNCEMENTS, CHANGES, TO BE CHANNELED
THROUGH ONE PERSON.

> DAY OF EVENT:
(b) STATE OF PERSONA OF EMCEE
* BUILD CONFIDENCE THROUGH RAPPORT WITH SPEAKERS,

PERFORMERS, AUDIENCE.
* STAY IN RELAXED AND RESOURCEFUL STATE.


> DAY OF EVENT:
* CHARISMA: PRESENCE, POSITIVE ENERGY, POISE,

CHARM%PERSONALITY, SELF%ESTEEM (SELF%COFIDENCE &
SELF%RESPECT), BEING IN COMMAND.

> DAY OF EVENT:
* MOOD & TONE: USE HUMOUR (WHEN RELEVANT), ONE%

LINERS, SHORT QUIPS, TO BRIDGE SPEAKERS OR
PERFORMERS. BUT, NOT TO REHASH SPEAKERS WORDS.
* NEVER OVERTALK.
* DO NOT STEAL THE LIMELIGHT FROM THE STARS.


> DAY OF EVENT:
* FOCUS ON THE EVENTS OBJECTIVE/THEME:

MIRROR THE OBJECTIVE AND THEME OF THE EVENT, VIA
CONGRUENT SCRIPT, KEY MESSAGE AND BRIDGING
PHRASESENHANCED BY WORD%MASTERY, VOCAL
TONALITY SPECTRUM AND PURPOSEFUL BODY
LANGUAGE.

> DAY OF EVENT:
* RESONATE EHTHUSIASM FROM START TO FINISH.
* KEEP THE AUDIENCES ENERGY UP.


> DAY OF EVENT:
* (WHILE INDIVIDUALS COULD BE ASSIGNED TO LOOK

INTO PROBLEM AREAS) THE EMCEE SHOULD KEEP AN
EYE ON DISSATISFACTION AREAS, AND ADDRESS THEM
SOONEST.

> DAY OF EVENT:
* IN THE FACE OF CRISES, ALWAYS STAY COURTEOUS.

YOU ARE TO BE NEVER AFFECTED BY PROBLEMS OR
TECHNICAL HITCH%UPS, ETC.

> DAY OF EVENT:
(c) LET THE SHOW BEGIN!
* HOLD ON TO YOUR SCRIPT!
* STAY TO THE PREPARED SCRIPT, OR THE ESSENCE OF

THE PREPARED SCRIPT.

> DAY OF EVENT:
* (IF YOU ARE ALREADY VERY PROFICIENT) YOU CAN

GET INTO THE IMPROMPTU PERSUASIVE SPEAKING
MODE.
BUT ALWAYS KEEP TO THE ESSENCE, WHEN YOU SPEAK

EXTEMPORANEOUSLY.

> DAY OF EVENT:
* KEEP TO YOUR OWN TERRITORY.
* KEEP PEOPLE/BUSYBODIES AWAY FROM YOUR EMCEE

TERRITORY.
* DO NOT SOCIALIZE.

> DAY OF EVENT:
* DO NOT BE A GLUTTON. (SHOULD YOU NEED TO EAT,

DO SO WAY BEFORE THE START OF THE EVENT.)
* DO NOT BE A BUSYBODY: STAY TO YOUR ROLE AS

EMCEE, WHICH IS TO BE ON CONSTANT ALERT.

> DAY OF EVENT:
* YOU ARE AT THE FUNCTION, NOT PRINCIPALLY TO

ENJOY YOURSELF. YOUR PRIMARY PURPOSE IS TO KEEP
THE AUDIENCE ENTERTAINED, AND TO KEEP THEIR SPIRITS
HIGH.

> DAY OF EVENT:
* IN FACT, SHOULD UNFORESEEN OR UNEXPECTED

HITCHES OCCUR, YOU HAVE TO ENSURE THAT THAT THE
SPIRIT OF THE AUDIENCE WOULD NOT BE DAMPENED.
ENSURE THAT THE AUDIENCE COULD STILL ENJOY THE
EVENT.
ALWAYS SAVE THE OCCASION, TO YOUR BEST ABILITY.

REVIEW FOR FUTURE
PROGRESS
INTRODUCTORY GUIDE:
EVALUATION FOR SELF%IMPROVEMENT, AND TO SET
NEW STANDARDS OF PERFORMANCE FOR FUTURE.
A. LEARN FROM EXPERIENCES AND FEEDBACKS.
B. GROW FROM EXPERIENCES AND FEEDBACKS.
C. POST%MORTEM WITH ORGANIZER/CLIENT.
D. LOOK FOR NEW BIGGER CHALLENGES.
REVIEW FOR FUTURE PROGRESS
INTRODUCTORY GUIDE:
GUIDE:
EVALUATION FOR SELF%
SELF%IMPROVEMENT, AND TO SET NEW
STANDARDS OF PERFORMANCE FOR FUTURE.
* CELEBRATION FACTOR: AFTER GIVING YOUR BEST

EFFORT AT EMCEEING AN EVENT, IMMEDIATELY
CELEBRATE, NO MATTER WHAT THE OUTCOME!
* RATIONAL ANALYSIS: AT PRE%ASSIGNED TIME (SAY, ONE

DAY LATER), THEN ONLY GO THROUGH THE STRENGTHS
AND AREAS FOR IMPROVEMENT.
(A) LEARN FROM EXPERIENCES AND FEEDBACKS.
* OWN SELF%EVALUATION.
* AUDIENCE FEEDBACKS.
* ORGANIZERS/CLIENTS FEEDBACKS
(B) GROW FROM EXPERIENCES AND FEEDBACKS.
IDENTIFY STRENGTHS AND WEAKNESSES
(i) SELF:
> PRO EMCEE STRENGTHS
IDENTIFY, AND STRATEGIZE TO HIGHER EFFECTIVENESS.
> PRO EMCEE WEAKNESSES

IDENTIFY, AND CLOSE THE GAP.
(B) GROW FROM EXPERIENCES AND FEEDBACKS.
IDENTIFY STRENGTHS AND WEAKNESSES
(ii) NON%
NON%SELF (OTHERS):
EXAMPLE : SLIP%UPS, OVERSIGHTS
(a) ORGANIZER.
(b) LOGISTICS.
(c) MUSIC/SONGS/SOUND/SFX
(d) AUDIO%VIDEO/MULTIMEDIA/ICT/TECHNOLOGY/
STAGE HISTRIONICS/PROPS
(C) POST%
POST%MORTEM WITH ORGANIZER/CLIENT.
(a) EDUCATE YOURSELF FOR FUTURE EMCEE

ASSIGNMENTS.
(b) EDUCATE THE ORGANIZER/CLIENT.

(D) LOOK FOR NEW BIGGER CHALLENGES. SUCH AS:
(a) INTRICATE/COMPLEX THEME%EVENTS.
(b) MEGA EVENTS AT A BIG STADIUM, ISLAND

RESORT, ETC.
(c) INNOVATIVE EVENTS.

PROGRAMMING
AND TIMING
A. HOW TO PLAN AND TIME THE PROGRAM.
B. MOCK PROGRAM.
APPENDIX 1
PROGRAMMING AND TIMING
(A) HOW TO PLAN AND TIME THE PROGRAM
(1) THEME%
THEME%FOCUS
(i) PLAN TO THE THEME.

(a) MIND%MAP ALL POSSIBLE ACTIVITIES, A%Z,
INCLUSIVE OF BRIDGING, MUSIC, ETC.
(b) DOUBLE%CONFIRM THE EXACT TIMING FOR EACH

PROGRAM ELEMENT.
(1) THEME%
THEME%FOCUS
(ii) START WITH A BANG.

(a) AN AROUSING OPENING GAMBIT, ESTABLISHES A
QUICK BONDING WITH THE AUDIENCE.
(1) THEME%
THEME%FOCUS
(iii) BUILD UP EXCITEMENT INTEREST LEVEL.

(a) INTERSPERSE PROGRAM WITH ELEMENTS THAT PROVIDE
THE HIGHEST%EXCITEMENT APPEAL.
(b) PRO EMCEE TO CREATE AND BUILD UP SUSPENSE LEVEL,

AT ACTUAL EVENT.
(1) THEME%
THEME%FOCUS
(iv) FINALE: BRING ON THE MAIN EVENT.

(a) AWARDS PRESENTATION. PROVIDED THIS HAS GREAT
APPEAL TO ALL OF AUDIENCE, OR A HUGE MAJORITY OF
AUDIENCE.
(b) PERFORMANCE. THIS HAS TO BE OF HIGH APPEAL TO
AUDIENCE.
(1) THEME%
THEME%FOCUS
(v) ALTERNATE TO FINALE.

(a) A PROGRAM ELEMENT OF SELFISH%
INTEREST/PERSONAL MATERIAL GAIN TO INDIVIDUALS
WITHIN AUDIENCE.
(b) GREATEST APPEAL FOR MOST OF THE AUDIENCE, TO

STAY TILL THE END OF EVENT.
EXAMPLE: GRAND LUCKY DRAW.
(2) TIMING
(i) DOUBLE%CHECK WITH ORGANIZER, AND (TO BE SAFE)

EVEN SPEAKERS AND PERFORMERS, ON THE TIMING
ALLOCATED.
(ii) CONSIDER RELIGIOUS BREAK/S, WHERE RELEVANT.

(2) TIMING
(iii) ALWAYS BUILD IN BUFFER FOR EVERY PROGRAM

ELEMENT.
(iv) FACTOR IN TIME FOR DELAY IN ARRIVAL OF HIGH%

LEVEL GUEST OF HONOUR, AND VIP DIGNITARIES.
(B) MOCK PROGRAM

EMCEE CHECKLIST
A. WHY THE NEED TO PREPARE EMCEE CHECKLIST.
B. HOW TO PREPARE EMCEE CHECKLIST.
C. SAMPLE EMCEE CHECKLIST.
APPENDIX 2
EMCEE CHECKLIST
(A) WHY THE NEED TO PREPARE EMCEE CHECKLIST
(1) SLICKNESS AND PROFESSIONALISM.
(2) OPTIMIZING SUCCESS OF EVENT.
(3) OPTIMIZING SUCCESS OF YOUR PRO EMCEE

PERFORMANCE
EMCEE CHECKLIST
(B) HOW TO PREPARE EMCEE CHECKLIST
(1) FINALIZE PROGRAM ELEMENTS.

EMCEE CHECKLIST
(2) CLASSIFY INTO CATEGORIES:
EXAMPLE:
(i) EMCEE PREREQUISITES.
(ii) PROGRAM FLOW AND LOGISTICS.
(iii) ORGANIZING COMMITTEE.

EMCEE CHECKLIST
EXAMPLE:
(iv) VENUE AND ALL FACILITIES/ACTIVITIES WITHIN
AND WITHOUT.
(v) PROTOCOL/DECORUM/FORMALITIES.
(vi) SPEAKERS AND PERFORMERS.

EMCEE CHECKLIST
EXAMPLE:
(vii) LAUNCHING CEREMONY DEVICE/GIMMICK.
(viii) AWARD PRESENTATION CEREMONY.
(ix) TOKENS OF APPRECIATION/SOUVENIR PRESENTATION.

EMCEE CHECKLIST
EXAMPLE:
(xi) CONTESTS.
(xii) LUCKY DRAW/CONTEST DRAW.
(xiii) FOOD & BEVERAGE.

EMCEE CHECKLIST
EXAMPLE:
(xiv) AUDIENCES AND GUESTS COMFORT.
(xv) ETC.
EMCEE CHECKLIST
(C) SAMPLE EMCEE CHECKLIST

PROFESSIONAL EMCEE
WORKSHOP PRACTICALS
I. AUDIENCE BAROMETER.
II. PROTOCOL, DECORUM, FORMALITIES.
III. PSYCHOGRAPHICS: PSYCHOLOGY
OF COMMUNICATION.
IV. EMCEEING ETHICS AND PROFESSIONALISM.
APPENDIX 3
PROFESSIONAL EMCEE WORKSHOP PRACTICALS
PROFESSIONAL EMCEE WORKSHOP PRACTICALS

HOW TO BE A PROFESSIONAL EMCEE
brandjontan@brandjontan.com
www.brandjontan.com

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TOASTMASTERS INTERNATIONAL

DISTRICT 51 DIVISION P PRESENTS

PROGRAM AUTHOR-SPEAKER: BRANDJONTAN (JON TAN)

Copyright 2002 by Author BRANDJONTAN Jon Tan

GIVE YOUR LIFES

SHINE (LIKE A DIAMOND)

(A) WHO IS THE STAR?

(I) EMCEE IS NOT THE MAIN STAR/HERO OF AN EVENT.

BUT IS, A MAIN PLAYEREMCEES PERFORMANCE SHOULD

EQUAL TO, BUT NOT INTENTIONALLY HIGHER THAN

(II) EMCEE IS EXPECTED TO SHOWCASE A PERSONA AND

(B) WHAT AN EMCEE IS

(I) RESPONSIBLE FOR SUCCESS OF EVENT:

(a) PROBABLE PROBLEMS/CRISES ARISING.

(b) LESS%THAN%PROFICIENT PEOPLE DIRECTLY, OR

(II) MAIN PLAYER: STAR%

(a) BRIDGE BETWEEN SPEAKERS/PERFORMERS

(b) HELP TO INSPIRE STARS OUT OF SPEAKERS AND

(II) MAIN PLAYER: STAR%

(II) MAIN PLAYER: STAR%

(d) BE PERSUASIVE, ENTERTAINING, MOTIVATING AND

(e) ALSO, CONTINUALLY EQUALIZE THE AMBIENCE/

(III) DIFFUSER OF TENSION (4 TYPES):

(a) AUDIENCE AND AUDIENCE.

(b) AUDIENCE AND EMCEE/SPEAKERS/PERFORMERS.

(c) AUDIENCE AND PROGRAM/PROPS/MATERIALS/ETC.

(d) AUDIENCE AND ENVIRONMENT.

(IV) RESCUEMAN FOR EMERGENCY:

BE THE COOL, PERSONABLE HOST/HOSTESS,

(IV) RESCUEMAN FOR EMERGENCY:

NOTE: THE PRO EMCEE DOES NOT LEAVE CONTROL OF

THIS IS TO BE EFFECTED BY THE RESPECTIVE

(V) CATALYST FOR AN EVENT:

(a) ALWAYS BE CHEERFUL. NEVER BE FLUSTERED

(b) BE AN ENERGIZERSO THAT AUDIENCE CAN FULLY

(V) CATALYST FOR AN EVENT:

(c) BE A CHEERLEADER, ALWAYS

(C) WHAT AN EMCEE IS NOT

(I) THE MAIN STAR OR HERO OF AN EVENT:

(II) AN UNIMPORTANT ROLE:

(C) WHAT AN EMCEE IS NOT

(IV) A PRIMA DONNA.

(C) WHAT AN EMCEE IS NOT

(C) WHAT AN EMCEE IS NOT

(VII) A KNIGHT IN SHINING ARMOUR:

(D) THE SHOULDs:

(I) PERSONAL QUALITIES:

(a) WELL%GROOMED (DRESS TO THE OCCASION).

(D) THE SHOULDs:

(I) PERSONAL QUALITIES:

(a) AUDIENCE AND AUDIENCE.

(D) THE SHOULDs:

(I) PERSONAL QUALITIES:

(a) VOICE: DYNAMIC WITH VITALITY.

(D) THE SHOULDs:

(I) PERSONAL QUALITIES:

(d) LIGHTEN%UP AUDIENCE, WITH WIT/HUMOUR,

(e) REMAIN RELAXED AND CALM, EVEN WHEN

(D) THE SHOULDs:

(I) PERSONAL QUALITIES:

(f) NO MATTER WHAT, RAISE SPIRIT AND

(g) NO MATTER WHAT, STAY CHEERFUL.

(D) THE SHOULDs:

(I) PERSONAL QUALITIES: