Professional Documents
Culture Documents
CT L Newsletter Fa 08
CT L Newsletter Fa 08
Speaking of
T H E C E N T E R F O R T E A C H I N G A N D L E A R N I N G • S TA N F O R D U N I V E R S I T Y
Fall 2008
NEWSLETTER
Vol.18, No.1
ing on complex materials, graduate features a range of practical strate- The Listening Mind
students preparing for a job talk, or gies that the Oral Communication Doree Allen, Ph.D.
students making a class presentation. Program staff has developed for its Page 1
As anyone who has experienced courses, workshops, and individual
stage fright knows, presenting in consultations over the years. Our Effective Speaking:
public can be draining and challeng- hope is that this newsletter will A Survival Guide
ing, but it needn’t be. If your listen- serve as a convenient summary of Tom Freeland, Ph.D.
ers catch on and engage with you, helpful strategies to keep in mind Page 2
speakers in a variety of contexts statistic, a rhetorical question, a vivid attending to listeners’ need to keep up
frequently rely on an idiom more anecdote, a challenge or a provoca- with what you are saying. Addition-
suited to writing than to speech, this tive quotation. But if these options ally, because it is difficult to listen
tendency seems especially tempt- feel contrived, you might simply to abstract discourse for very long,
ing for those who are presenting consider how to link your subject concrete language and examples —
scholarly and scientific research that to the experiences and interests of metaphors and analogies that make
has appeared previously as a journal your audience so that you motivate unfamiliar things familiar or vivid
article or book chapter. However, a their “need to know” and establish images that paint mental pictures
speech is not “an essay on hind legs,” the common ground that is elemental — enable listeners to retain informa-
as James A. Winans, a noted scholar to effective communication. Since tion and grasp abstractions or highly
of rhetoric, famously observed. As listeners tend to remember what conceptual material. Simpler syntax
efficient as it may seem to borrow they hear first and last, it is similarly and vocabulary rather than long,
language and structure from a text important to think carefully about subordinated sentences and technical
you’ve already completed, there is your concluding remarks, which jargon also appeal more to listeners’
also a lost opportunity to engage with should not only summarize your main aural perception.
your audience when you neglect to points, but emphasize their signifi- Rhetoricians often say that public
reappraise your material in light of cance and suggest the implications of speaking is enlarged conversation,
this new rhetorical situation in which your analysis or research. and as sensible as this may seem,
your audience is listening to your A strong introduction and conclu- it is often a challenge to keep the
ideas rather than reading them.
Because the spoken word is
evanescent, listening poses distinct Public speaking is enlarged conversation.
challenges, especially when it comes
to abstract subject matter. Studies sion are part of a clear organizational relational nature of speech in mind
reveal that listeners cannot process structure that should also include when the weight of our research or
as much information as readers, they explicit transitions, internal summa- data crowds the audience out of our
have difficulty staying oriented and, ries, and the repetition of key words mental picture. We must remember
unless they hear something more than and phrases. Because the listening that although our content is essential,
once, it is difficult for them to retain audience is at a speaker’s mercy there are — or should be — reasons
it. Given these constraints, here are for organizing content, “signpost” why we are presenting our work
some strategies to bear in mind when language such as “first,” “next,” or orally rather than distributing it as a
“translating” a text into an oral pre- “finally” reinforces transitions and document. Of course, there are many
sentation, which should enable you to marks your progress through your motivations leading to each speak-
better know your audience so that you presentation, linking the details to ing opportunity, but one is simply
reach your listeners as well. your overarching thesis and acknowl- the power of the spoken word and
In the opening 60 to 90 seconds of edging where you are in relation to the ancient potential inherent in the
a presentation you are not only intro- where you are going. Introducing communion of speaker and audience
ducing your topic but also yourself. your main points with a rhetorical — especially when what the speaker
So it is important to take advantage question can also help to keep your says is meant to be heard and not
of this time, both to connect with the audience on track. And, because read.
members of your audience personally questions invite subliminal answers,
as well as to orient them intellectu- they serve to sustain audience Effective Speaking:
ally by placing your work in a larger engagement. A Survival Guide
context and providing a preview of To be sure, effective speaking and Tom Freeland, Ph.D.
what is to follow. More often than not, writing share many attributes; how-
ever, while readers can set their own
speakers will sacrifice this valuable
time to turn away from the audience
to read their titles (and sometimes
pace, reread a complicated paragraph,
or leaf back over several pages to
T here is an often-cited but prob-
ably apocryphal study claiming
that public speaking is the world’s
even their names) from the slide refresh their understanding of the most common phobia, more fearsome
projected behind them. How can you central argument, listeners cannot. to people than any other source of
make your introduction more memo- Therefore, as a speaker you must anxiety such as heights, spiders, the
rable? Some possibilities include think beyond content and be con- dark, or even death itself. If this is so,
opening with a startling statement or stantly aware of speech rate and pace, as Jerry Seinfeld observed, then at a
2
Fall 2008 Vol. 18, No.1 Speaking of Teaching
funeral more people would rather be don’t run over your allotted time! allocate your preparation time.
in the coffin than at the lectern deliv- Apply the “I.B.I.” test: Interesting But And eventually you will come to see
ering the eulogy. Irrelevant. Any item of information that spiders are much more frighten-
Whether or not it is actually the you include must pass this test; you ing than a live audience.
most widespread phobia, there can must be satisfied that it is not merely
be no doubt that public speaking is interesting but relevant. Your stan- Working with Your Voice
something many people would rather dard for determining relevance is the Tom Freeland, Ph.D.
avoid. It does not come easily, and purpose you have set for yourself in
even for those who can feel (or who giving the presentation.
at least can appear to feel) comfort-
able in front of an audience, an effec-
If you use notes or get your
prompt from PowerPoint slides, try
N o matter how well-written your
notes are, and no matter how
clever and elaborate your Power-
tive presentation requires substantial to talk from your notes, not to them. Point slides are, sooner or later you
preparation—and even then so much You need to know your material well will have to speak. You have prob-
can go wrong. Notes get mixed up, enough to require only a prompt; ably thought about your voice, most
PowerPoint glitches appear out of speak to people as much as you pos- likely when you wanted it to be
nowhere, and even when everything sibly can, and pull the words up off different than what you thought it
goes as it should, there are still nerves the page. sounded like. But what is the voice?
to deal with. Communicating com- If you use a visual aid, apply the What goes wrong with it? Why does
plex information to an audience is a I.B.I. test here as well. Every ele- my voice sound so — (choose one)
daunting task, so it pays to bear in ment of every visual must prove its weird/high/low/nasal/soft/loud? The
mind some fundamentals; individual relevance to the purpose of your voice is at once a very straightforward
stylistic choices then can have a firm talk. Keep the design of your visu- and a very complicated phenomenon.
foundation. als clear and easy to understand, and On the one hand, it is simply a faculty
First, it can help to think of your avoid the temptation to subject your of the body, the vibration of the vocal
presentation as a “nonfiction per- audience to a dizzying succession of folds caused by the passage of air
through the larynx. These vibrations
Apply the “I.B.I.” test: Interesting But Irrelevant. are then shaped by the tongue, teeth,
Any item of information you include must pass and lips to form specific phonemes,
which in turn combine to become
this test; you must be satisfied that it is not words, out of which we assemble
merely interesting but relevant. phrases and sentences, and off we go
from there, communicating. But voice
formance.” It is a performance, an slides. Less often is more, particularly implies so much more: it has to do
event occurring in time and space, but where visual aids are concerned. And with one’s presence and participation
rather than being a play or an opera or in your performance, try not to get in social groupings. A voice is a vote;
interpretive dance, it is nonfictional, pulled into the projection: here again, one speaks in the hope of being heard.
based on your research. A presenta- talk to people. The only reason you Voice also has a fraught relation-
tion is something that you do, not would ever actually need to look at ship with one’s sense of self. I often
just an inert mass of data, so you will the projection is to point out some am struck by how we seem for the
need to turn your write-up into some- specific item of interest, to guide the most part reconciled to our visual
thing you can comfortably speak, and audience’s attention. Once you have appearance—most of us can look in a
that your audience can comfortably pointed it out, however, you don’t mirror and recognize the person look-
hear and follow. need to look at it any more. ing back, but when it comes to the
Second, think about this audience. These basics should give you voice, that is not the case. How often
Who will be there? How much do a good start. Bear in mind that an do we hear a recording of our voice
they know about your subject? Will effective performance is grounded in and feel alienated, swearing that this
you need to define terms for them or effective rehearsal. Try out your ideas, strange person speaking couldn’t pos-
explain basic concepts? sort through them, keep the good ones sibly be us? There are physiological
Third, be very clear about exactly and let the less good ones go. Effec- reasons for this — your voice really
what you want to accomplish. Be tive presenting is directly tied to your does sound different to you, with the
realistic about how much material investment of time and effort: the sound transmitted directly to your
you will be able to make clear in the more you work at it, the better and ears inside you, through the solidity
time allotted to you—and, of course, more efficiently you will be able to of your head. But the voice is also a
3
Fall 2008 Vol. 18, No.1 Speaking of Teaching
tremulous meeting point of mind and tions in your text to mark places you prepare and deliver a public pre-
body. You have things you wish to say; to breathe. Also, a nice slow, deep sentation of your research. Often our
there are people you want to persuade, inhalation is the best way to deal topics are so specialized that even an
to move, to amuse. There are things with stage fright. Practice inhaling on informed audience would have a hard
you need to do with your voice, and a count of four or five. This will slow time following our presentation if
too often it doesn’t come out the way down your pulse rate and help your we confined ourselves to disciplinary
you hear it in your head. What goes mind to clear, restoring a stronger language and narrative. How can we
wrong? sense of control. effectively connect with our audi-
We are all born with a rich and Next, RELEASE your voice. Let ence, and turn our research writing
expressive vocal endowment, but it be something you allow to happen, into an oral presentation that involves
when the mind bears down on the as opposed to something you have our listeners? How do we organize
body with its list of demands, the body to make happen. Drop your breath our presentation in a meaningful and
often balks, restricting our access to deeply into your abdomen, and let interesting way if we have a lot of
our full natural voice. There are, of your diaphragm support your voice. data?
course, vocal problems requiring long- Every baby knows how to do this— One way to look at oral research
term therapy or medical intervention you’ll notice that babies can project presentations is through the lens of
(serious stammers or vocal nodes, for their voices just beautifully without storytelling, one of the oldest, most
example), but the following tips can be going hoarse! pervasive, and well-known forms of
used as the basis for a simple regimen Then, MAGNIFY your ARTICU- communal discourse. Stories build
of vocal hygiene that can help with a LATION. In addition to improving rapport, entertain, teach, persuade,
wide range of typical vocal problems. clarity, magnifying articulation also and guide our behavior and interac-
First of all, RELAX! The most serves to slow a speaker down. Most tions. Storytellers consciously con-
common difficulties people experi- people speak too quickly in formal sider their audience, as telling a tale
ence with their voices are rooted in situations, and this will help tre- is inherently a relational act. Stories
tension. If you are tense, your breath mendously in improving projection. encompass language and imagery
is not flowing freely; you are probably Combined with better breath support, that are immediately grasped by audi-
squeezing around your vocal appara- improved articulation will go a long ence members and provide a familiar
tus to produce a particular effect (to way toward fixing most people’s means by which relevant information
be louder or to force your voice into projection problems. is conveyed. Thus stories can serve
a deeper range); your jaw and tongue Finally, remember to GESTURE, as a critical connector between you
get tight, interfering with the clarity fully and fluidly. Gesturing corre- and your audience.
of your articulation. So take a moment lates with vocal variety. If you have Lest the reader think I am advo-
to observe yourself. Where do you a tendency to fall into a monotone, cating that you start your talk with:
feel tense? In the shoulders, abdomen, try gesturing more. Gesturing should “Once upon a time there was a
jaw, or elsewhere? Just let it go! It all not be forced or artificial, of course; lonely nanotechnology device on
a journey…,” let me clarify that
A voice is a vote; one speaks in the hope of this process is intended to be a
way to conceptualize how the vari-
being heard. ous elements of your research can
be conveyed meaningfully to your
begins with awareness: identify those the idea is make sure that you are not audience; it can loosen your think-
trouble spots, and train yourself to let suppressing any natural impulse to ing and enable you to visualize new
the tension flow away. gesture. Make sure that gestures are and interesting ways to describe
Then, BREATHE! It stands to appropriately scaled for you and for what you study, and why it matters.
reason that you will need to be breath- the type of speech and the space in Your focus as a speaker, ideally, is
ing in order for your voice to function. which it will be given. to convey a coherent narrative that
Most people do not breathe often or captures your audience’s attention,
deeply enough in public speaking. Telling the Tale of Your and this template is one way to do
Make sure that you do not try to speak Research that. Were there moments of struggle
for too long on one breath. Each new Marianne Neuwirth, Ph.D. or difficulty that you worked through
idea or major component of a more in your research process? Is your
complex idea should get a new breath.
You may even choose to make nota- T here are many elements and
components to keep in mind as
original motivation for doing this
research still what drives you, or
4
Fall 2008 Vol. 18, No.1 Speaking of Teaching
has it changed? Were there clues helps the audience stay engaged.
that surprised you and helped By structuring your talk in a way
Courses
you unfold the “mystery” of your that capitalizes on listeners’ respon- CTL 115/215, “Voice Workshop.”
research question? (Notice that siveness to suspense and their curi- An innovative workshop focusing on correct
breathing, voice production, expansion of
the root of the word “question” is osity and desire to know more, you vocal range and stamina, and clarity of articu-
“quest” — how is your research can draw your audience in while still lation. Geared toward public speaking gener-
like a “quest”?) What do you hope maintaining your sense of compe- ally: presentations, lectures, job talks, etc. Can
be taken in conjunction with CTL 117.
to discover, or what have you tence and credibility. A student from
discovered that is of significance? Structural Engineering may start CTL 117/217, “The Art of Effective
What is the “so what?” aspect of her talk by asking, “There are three Speaking.” This is an introduction to the
principles and practice of effective oral com-
your research? What was the “ah- buildings on campus that are most munication. Through formal and informal
hah!” moment or turning point for vulnerable to severe damage during speaking activities, students develop skills at
you as a researcher? These are the the next earthquake — do you know framing and articulating ideas through speech.
Strategies are presented for impromptu speak-
instances that most often captivate if we are in one of them? I will let ing, preparing and delivering presentations,
listeners and sustain their attention. you know as my talk proceeds.” formulating persuasive arguments, refining
It is important to let your listeners Striking fear in the heart of your clarity of thought, and enhancing general
know why your research matters to listeners is not the goal, but rather, facility and confidence at oral self-expression.
you, and how your discoveries and to create a sustained interest in your CTL 125, “From the Page to the Stage:
research are meaningful to their presentation. The Performance of Literature.”
Explores the oral interpretation of poetry and
lives, even if the connection is only Once you have laid out a clear prose as both a performance art and a mode
indirect. and compelling narrative, you must of literary analysis, with the larger goal of
There are two aspects of sto- breathe life into it with your oral developing speaking skills. Emphasis on tex-
rytelling: the first is the construc- and physical delivery. The allure of tual critique, audience response, and delivery
style. No previous performance experience
tion of the narrative itself, and the a spoken story is the expressiveness required.
second is the telling of the narra- of the narrator. Your clarity, verbal
CTL 177, “Performance of Power:
tive. The construction of the tale of pacing, emphasis, pausing, and Oratory and Authority from the
your research may not shift notably visual mannerisms create an atmo- Ancient World to the Postmodern.”
from the standard research question sphere that invites audience engage- Speech as action has long been seen as
essential to leadership. This course exam-
ines theories and examples of oratory, from
Were there moments of struggle or difficulty Aristotle to Margaret Thatcher, assessing each
as a model of voice-activated authority. The
that you worked through in your research course also surveys the impact of mass media
technologies as they transform the public
process? Were there clues that surprised you space of oratory.
2. Breathe deeply.
Practice breathing deeply and slowly. Think yoga style: breathe deeply while you’re practicing, before you go on stage,
and during your speech. You can also try the “calming sigh” exercise: inhale deeply, then let out a vocalized sigh as you
exhale.
4. Practice.
Formal practice before a speaking event will help you feel more confident about what you’re going to say and how you’ll
say it. But informal practice in social situations (talking in class, speaking to people you don’t know at a party, etc.) will
also help you conquer some of your speaking anxiety and fears.
5. Visualize success.
Picture yourself succeeding and having fun. Close your eyes and do a mental rehearsal of your speech once or twice
before you deliver it.
6
Fall 2008 Vol. 18, No.1 Speaking of Teaching
A great PowerPoint presentation can indeed brighten up a speech and shed light on concepts a speaker wishes the audi-
ence to grasp. But, if done poorly, PowerPoint can bring down an entire oral presentation, befuddling listeners and dis-
tracting from a speaker’s own voice and message. So, before assembling a list of slides to display alongside your speech,
think twice about how you’d like PowerPoint to play a role in your presentation. Here are a few tips to keep in mind when
inviting PowerPoint to share the stage with you.
People:
Doree Allen, Ph.D., Marianne Neuwirth, Ph.D.
Director of the Oral Communication Program Oral Communication Program Lecturer
doree.allen@stanford.edu neuwirth@stanford.edu
(650) 725-4149 (650) 736-7298
Thomas Freeland, Ph.D. Lindsey Paul
Oral Communication Program Lecturer Oral Communication Specialist and
Thomas@stanford.edu Tutor Manager
(650) 736-2337 lpaul@stanford.edu
Jennifer Hennings (650) 725-7667
Oral Communication Specialist and Tutor Manager
inksalot@stanford.edu
(650) 725-7667
“If you ask me what I came into this world to do, I will tell you:
I came to live out loud.” Émile Zola