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PART VI

THE ART OF PUBLIC SPEAKING

(COMMUNICATION SKILLS SUPPLEMENT)

References:

a. Talks and How Give Them by HA Shearing.

b. Public Speaking: Principles and Principles and Practise by GW Gray

and WM Braden.

c. The Successful Speaker’s Handbook by Herbet V. Prochnow.

d. Public Speaker’s Treasure Chest by Herbert V Prochnow and Herbert

V Pronchnow Jr

e. The Right Way to Speak in Public by AG Mears.

f. Practical Aids to public Speaking by FR Worts.

INTRODUCTION

1. The need to acquire public speaking ability by an officer of the armed forces
is obvious. An Officer must be communicate with others easily and convince them of
his views. In order to be able to convince an audience, the vital element is to present
such views effectively. It is not enough to be right. Therefore, the need to
communicate effectively can never be over emphasized and this explains the stress on
public speaking practically in all courses of instruction, that an officer has to undergo
in his service career. At Staff College, particular emphasis is laid on this aspect so
that student officers acquire this attribute to the maximum extent possible.

2. Effective speaking does not come naturally. Nobody is a born speaker. A

concisions effort has to be made to acquire the art and grace of a good speaker. No
improvement will come about unless one works hard, prepares thoroughly and
observes oneself intelligently. Those who believe that mere 'gift of the gap' is enough
to see them through any conceivable situation are likely to come to grief sooner or
later.

3. Like all skills, the art of public speaking has to be acquiring through
application, dedication and practice. These is no easy way out and there are no
shortens. Some of the greatest orators known rose to their stature by sheer
perseverance and dedication, to leave behind an imprint of their personality on their
chosen professions for all time to come. Therefore, it should be the earnest endeavour
of all officers of the armed forces to make positive and all out effort to acquire an
attribute which is so essential in their day to day functioning.

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AIM

4. The aim of this hand-out is to lay down general guidelines for preparation and
delivery of a talk and to understand the characteristics and requirements of the art of
public speaking.

TASK

5. Training in public speaking in the staff course is achieved through exercises,

syndicate discussions and college presentations. These are spread over almost the
entire duration of the course and provide ample scope to all the students to acquire or
improve upon the required skills.

6. You are required to deliver what in essence is a talk. A 'talk' is defined as

'communication of ideas by from speech 'which is defined as 'the faculty of speaking',
or a 'lecture' which is an instructive discourse. Moreover, a talk, unlike a speech and
lecture, is comparatively more informal in tone and presentation. This subtle
difference between the three must be kept in mind particularly while preparing for
Effective Speaking Part II, where you are expected to deliver a prepared 'talk'.

PREPARATION

7. The secret of success of any talk starts with its preparation. Set out your task
by asking yourself the following questions:

a. Who comprise my audience? In this case, the audience is captive.

As regards composition of the audience; their interest, knowledge and
understanding of the language is known. In other words, since the audience's
background is known, it enables the speaker to pitch his talk at the correct
level, keeping in view the subject. It must be remembered here that it would
be unwise to leave Islands of ulter in comprehension in an audience as this
could become disruptive influence. The axion should be, 'Explain so that
people you are mean to be communicating with get the message.'

b. What do they already know about the subject? There is a tendency

in most people to give service to the dictum' I cannot communicate with other
people except in terms of their own experience'. They still find it hand to
realise that their expertise is a mystery to others. The speaker often has a
good chance of judging what his audience knows for he has several sources of
information like:

(1) Sometimes he knows his audience personally.

(2) Sometimes a description of the audience gives enough clue.

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(3) Sometimes the organisers can be questioned.

(4) Occasionally the speaker can contact the audience directly

before his talk.

(5) If previous information is not available, the audience itself can

help if you ask them questions.

(6) You can gather information from the expressions on the faces
infront of you; this will tell you if you are losing them. Remember
that people yawn either because they are exhausted or they are
bewildered and bored.

c. Why is the audience listening? The purpose of asking 'why' is to

ensure that you provide information your audience needs. Here the entire
audience has to be taken into consideration and not audience has to be taken
into consideration and not elements of it. In addition, the purpose of asking
'what?' and 'who?' is to ensure that you do not talk only to the already
converted or only to those whose ideas are similar to yours.

d. How can I use or overcome my audience's prejudices? Adopt some

of the salesman's techniques to allow for the fact that people differ. The
successful salesman and the successful speaker both allow for the non-rational
elements in human beings, for there are always all kinds who comprise an
audience. Human beings are feeling as well as thinking animals and this
requires that the speaker should:

(1) Be tactful, by trying to put himself emotionally in the position

of the people he is addressing. In avoiding tactlessness, be careful to
avoid going to the other extreme. Many speakers approach their task
as if they are in competition with their audience or else trying to outwit
them. Other speakers are constantly on the defensive because they are
trying to force their own pet ideas or needs of the audience. Instead,
while preparing the speaker should ask himself the following
questions:

(a) What interests, need and prejudices have the listeners

got?

(b) What benefits does my theme offer them; or how can I

help them?

(2) How can we co-operate in communicating relevant and

beneficial ideas to each other?

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(3) Be reasonable while answering questions by remaining cool

and patient. Do wait for the question to be over before you start
answering. Try to understand what the questioner has in mind and
why he has framed the question in the manner that he has, before you
write him off as being plan awkward. If he is just bloody-minded, you
can best tackle him by refusing to get dragged into an argument.

e. Where and when is the talk to be given, and how much time am I
allowed? The first two are settled for you by the organisers. Avoid trying to
influence them by trying to get your talk postponed to a date. Now for the
length of the time you should talk. Here, at the college, this is stipulated for
you. Time management is important and you must be able to do justice to
your subject within the allotted time. The talk must be divided correctly into
a proper timeframe so that its exposition is not unbalanced or lop-sided.
Should you be running out of time, decide in advance which parts you will
abandon or deal within outline only. You should not speed up as you find time
running out or leave it to the inspiration of the moment to decide what to
reduce or abandon. Decide on what you will sacrifice in such an eventuality
before you start talking and not as you talk.

8. Good speakers owe much of their success to good preparation, which includes
careful and flexible planning. The very experienced lecture, Phyllis Bentley, wrote in
her book titled Public Speaking,
"When I have given a lecture, members of the audience often come up to me and say,
"What a talent for speaking you have. How lovely it must be to be able to speak so
easily for an hour without a single note!" As you would have seen by now it is not
easy at all nor it is a special "talent" but the product of careful preparation and much
hard work. I always tell those admirers so. Usually they do not believe me, but you
must if you are to succeed as a speaker"

9. It is preparation that will decide whether your talk will be chaotic or orderly;
whether your audience will have to rely on extra-sensory perception to follow you;
whether you succeed despite yourself, or whether you and your listeners travel
together in understanding even if not in agreement. If the audience is going to
disagree with you, at least let them know what they are disagreeing with.

10. Preparation also decides whether your thoughts will be fresh or state, whether
the thinking you have put over is creative or dead; and whether even the standard
material being put over for the umpteenth time remains lively or carries the odour of
decay with it.

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11. There are two distinct ways of preparing your talk:-

a. The WRONG WAY to Prepare Your Talk. It is generally

advisable NOT to write out your talk and learn it by heart and then
recite it or try to recite it to your audience. Or at least do not do this
unless you satisfy four rare requirements of being an expert
scriptwriter, a rapid learner of text, an actor of professional standard,
and finally, a prophet. You will have to be that rare human being
blessed with all these attributes in the right-measure if you are to
succeed, should you adopt this approach of preparing a talk.

To elaborate:-

(1) Spoken and written English differ markedly. Written

English sound wrong. There are ceremonial occasions when a
special type of language is called for, but for everyday
situations, plain conversational style is best. Use of simple
language is advocated for it is easily understood by all.
However, one set of data must be written in detail, like when
you introduce a speaker, you have to get his bio-data correct.
Check for its accuracy with the speaker and do write down
those key points.

(2) If you are going to read your talk, you might as well
give out copies and save your voice because you will lose one
of the greatest advantages of speaking:

(a) You immediate can tact with your audience.

(b) The hints you get from their expressions.

(c) Whether they seem interested or restless.

(d) Whether they are nodding in agreement or

frowning in disapproval.

(3) Equally important, if your eyes are on you notes, the

audience will lose the feeling that you are actually talking to
them. Alternatively, if you write out your script, you will have
to memorise it. This memorising will waste you time and
energy and you will still be worried in case you forget your
lines. Even if you have memorised your script you will still
need to put it across convincingly.

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(4) Few things are more painful to an audience than

watching an incompetent amateur actor. You will be one if you
try to deliver a prepared script.

(5) Even if you are that rare being and fulfil the first thrice
requirements, your pre-written talk is still in danger unless you
are also a prophet. All sorts of in unforeseen things can happen
at the last moment and unless your speaking plan is flexible
you will be in great difficulty.

b. The RIGHT WAY to Prepare Your Talk.

(1) First and fore most, as already mentioned, get your AIM Clean,
Now look at how you can achieve that aim. There are three things to
do:

(a) Collect your material (so the selection of the subject has
to be carefully done).

(b) Select from material (dictated by the scope of the talk

and the time available).

(c) Organise the selected material (decide upon the talking

points).

(2) Quite possibly, by the time you have organised your notes, you
could give a thoroughly competent and coherent talk from your
headings, subheadings and key words. As a precaution, you can add a
few sentences at key points.

There key points are:

(a) Introduction. Never begin with an apology; clearly

define the scope of the talk.

(b) Section Transits. The main body of the talk; aim to

achieve a sense of balance and proportion.

(c) Conclusion. Not just to say that your talk has ended.

12. Presenting Your Talk. You may now well say, "This is all very well, but
how can speak from mere notes? I'll dry up, run out of words". In practice this does
not happen.

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13. Place of Humour. Occasional light relief is positively helpful if it

reinforces a point you are making, or reduces lesion and helps you to get people in the
audience into an open frame of mind, or just gives everyone a mental breather during
what could otherwise be an overlong mental effort. The times pan during which
people can really give full attention to speaker is remarkably short. This gets
accentuated by the fact that usually there is more than one speaker per day. Your
humour, however, must be relevant to the subject. It should emerge naturally from
what you are saying, not be forced in as a deliberate exercise in trying to be humorous
fumy. There are few things more distracting than the irrelevant joke. Shun vulgar,
crude or offensive jokes. Before you decide to include a particular joke or humorous
story apply this acid test. If you were the target of joke what would your reaction be?.
In fact there are few things an audience likes better than hearing a speaker crack a
joke about himself.

14. Technique. There are varies points of technique which can make or mar your
talk, however good your language or however careful your choice of material.
Succeeding paragraphs deal with a few of the more important ones.

15. Nerves. Nearly everyone feels nervous before a talk. If you are one of those
who frets and fumes, do not imagine you are alone; you have company amongst most
fellow sufferers. It may help you to think for a moment as to why we feel nervous.
Since there is no physical danger (in most cases, that is) it does seem odd until we
remember two things. First, in many cases our prospects may brighten or dim as a
result of our talk; and second, the fact that humans rely very much on the feeling that
they are well regarded by their fellows. We are anxious since our self-esteem will
suffer if we fail right in front of an audience. We see ourselves reflected in the eyes of
our colleagues and fear to see our-self-image dimmed. We can reduce nervousness by
preparing carefully. Physical preparation, e .g. Two or three deep breaths before you
start can relax you appreciably.

16. Stance. A proper stance at the rostrum not only helps the speaker in creating
a favourable impression on the audience but it also helps immeasurably in producing
an attack of nerves. In this context, note the following useful tips:-

a. A good, relaxed and upright stance is a counter to nerves.

b. Stand on both feet.

c. Un clench your fists and do not grip the rostrum, as if you are not sure
of its continued presence.

d. Use your hands to emphasise what you are saying instead of gripping
them together.

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e. If necessary, use your body also to reinforce the effect. If you are
relaxed you will feel happier and you will be able to empliasize your words by
gestures. No speaker wants to give the impression that he is doing drill or
rehearsing for melodrama as he speaks. But clear, firm and deliberate gesture
are a help to an audience, not a hindrance.

f. It is not mandatory to be rostrum-bound. At the same time do not roam

the stage as if you were an unfettered.

17. Irritating Mannerism. Mannerism can be either physical or verbal. There

can be no such thing as “good mannerism”, for all mannerism is bad. The range of
such irritants is wide but they all lead to the some undesirable result. They distract
attention from your talk. The audience begins to watch and keep track of your tricks
instead of trying to absorb your ideas. The unrelated speaker is more likely to slip
into irritating tricks than the relaxed one. You should try to check yourself or get a
friend (may be your helper) to watch for them when you rehearse. Two facets of
mannerism are elaborated below:

a. Physical Mannerism. The following tips should help you to get over
such an irritant:

(1) Avoid shifting of weight from foot to foot.

(2) Do not lean on the rostrum, imitating the Tower of Pisa.

(3) Do not be rigid or stiff. Be natural.

(4) Do not fidget.

(5) Avoid annoying mannerism like playing with your spectacles

or pointer, cracking your knucles or scratching your ear or any other
part of your body.

(6) Do not stare fixedly at a particular point on the opposite wall or

keep glancing out of the window while speaking.

(7) There is no restriction on making any gestures as long as these

are more consciously and for specific emphasis.

b. Verbal Mannerism. Inadequate vocabulary and language get

ruthlessly exposed while delivering a talk. This gets further aggravated if the
speaker is delivering his talk by rote. Gaps that are thus created are filled in by
what are known as verbal mannerism. They act as mental pause and distract
the audience who may even start counting them instead of listening to your
message. Some instances of this would be:

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(1) Punctuating the talk with 'errs', 'ahs', 'erms', and such -like
noise.

(2) Using pet (and pointless) phrases like, "do you see what I
mean?” "as it were", "as you know", "as I was saying" and so on.

(3) Coughing or clearing the throat every now and then.

18. Speed. Just as nerves influence mannerisms, so are speed and voice. One of
the symptoms of nervousness is excessive speed of talking. (rate of delivery). Speak
slowly-more slowly than you would in normal conversation and employ suitable
pauses, preferably after emphasising a point. Speak more slowly during the first few
minutes so that the audience can become accustomed to your voice, and you yourself
to the room/hall. You must give the audience time to grasp each point before you
plunge them into the next. Help the audience absorb what you have said before they
have to deal with the next stage. Remember to link your talk as it progresses, with
talking points indicated at the commencement of the talk.

19. Voice. Speed is affected by nerves and voice is affected by both speed and
nerves. Only when mannerism and speed are under control can you make the best use
of your voice. Voice is rather like physique. Heredity and early environment has a
great influence on it, but we can always make good use of the voice we have
developed.

20. Enunciation. Open your mouth while speaking. Sloppy enunciations is

unpardonable. If you do not know or are uncertain about the correct pronunciation of
a word that you plan to use, get it clarified before actually using it.

21. Voice Modulation. Do not lull your audience to sleep by keeping the same
tone of voice; vary the pitch and volume. Emphasize key words and phrases. Guard
against fading of the voice at the end of sentences. The voice tends to fall there, so
beware of swallowing the last words of your sentences. All this is tantamount to what
is known as voice modulation, which is a very important aspect of public speaking.

22. Delivery. Delivery should be smooth and natural, not jerky. Jerkiness tends
to produce sudden, very quite, rushed phrases. Adjust the volume of the voice so as to
be heard distinctly even at the back row of the hall. In this context, remember, that
while you are practising, you will be speaking to an empty hall. Your voice will have
to be louder when the hall is full. While using a PA system volume would have to be
kept at a slightly higher setting when the hall is full.

23. Accent. Should you worry about your accent? Unless your accent is so
regional that it might create unintentional laughter, you need make no attempt to
change it. It would be advisable to speak with your natural accent. This, however,
does not imply that no conscious effort should be made to get over regional traces in
your accent.

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24. Awareness of your Audience. This aspect includes class coverage and
eyeball contact with all sections of the audience. You can gauge the impact of the
talk by looking at the audience. Eyeball contact creates a rapport with each member
of the audience and is a sign of your confidence.

25. Enthusiasm. Enthusiasm is infection and pervades all the audience.

Enthusiasm on your part indicates your attitude and approach to the task at hand. An
audience will automatically respond to an enthusiastic speaker. Their reaction to a
dull and uninspiring speaker needs no elaboration.

26. Visual Aids. Visual Aids are often erroneously referred to as training aids.
Visual aids should be properly synchronised and should not break your link with your
listeners. Take the help of a colleague if the aids used make you move away from
the rostrum too often. Should you have to point out while speaking, do not do so
with your back turned to the audience. Cover up what is not immediately required,
otherwise the audience will get distracted. Make use of motivation chart (s) outside
the hall. A chart/slide which should definitely be used, no matter what the subject is
the one indicating your talking points. The title (or heading) of the talk should be
written in full capitals and underlined. Do away with Introduction and a Conclusion,
for every talk would have an introduction and a conclusion and it would amount to
stating the obvious. Writing on all slides/charts must adhere to the requirements of
minor SD. To sum up, visual aids for a long way in adding to the total impact of a
talk and therefore, should be used. While planning visual aids, give full vent to your
imagination and ingenuity, and ensure that they are neat and tidy. Coordination with
your vis aids operator is extremely important and it can only be achieved through
rehearsals.

27. Reference to Notes. There is no reason why you should not let the audience
see you glance down at your notes. You are more likely to lose your listeners if you
glace surreptitiously at your notes. If your notes are written on good firm cards, you
can hold them openly in your hands. On the other hand, excessive reference to notes
again becomes a distraction and needs to be assiduously avoided. As a guide,
remember to look down when you wish to remind yourself for a point but look up
when you speak.

28. Time Management. It is imperative that you deliver the goods within the
stipulated time. This requires a positive effort so that the talk is balanced and
cohensive. Waffling and rambling along without a proper time frame will make a
talk meandering and purposeless. Such a talk cannot have the desired impact on the
audience. Thorough preparation and rehearsal will ensure that this vital requirement
is fully met.

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29. Dealing with Questions. Prepare more than what you require for the time
stipulated. Superficial knowledge will expose you during the question period. If you
do not know an answer just say so- do not beat about the bush. Do not let one person
or a few persons hog all the time allotted for this purpose. Repeat question should
you feel it may not be quite clear to the audience. Do not be afraid to admit an error.
Be polite, even if the questioner is rude. Any fool can lose his temper, but it take a
wise man to remain equabless. Do not answer questions aggressively. Do not give
the questioner the impression that his question is stupid. If he is sincere, he merits
conrteons attention. If a question is beyond the scope of the talk, say so, and then
attempt an answer if you can. Like the courtesy that the speaker is expected to shown
to the audience, members of the audience are expected to return the compliment to
the speaker. A speaker is to be addressed as 'Sir' by the audience and questions are to
be asked in a civil manner. The questioner should avoid getting into an argument
with the speaker or try to embarrass him in any way. Such ploys can be counter-
productive and are best avoided. Questions should be brief and to the point. Finally
questioners must remember only to ask 'questions' and not pass comments/judgements
on the talk delivered.

30. Appearance and Turnout. The speaker must make all efforts to appear at
the rostrum looking spruce and smart. A dishevelled, unkempt look is by itself a
distraction and lowers audience expectancy from such speaker.

31. Miscellaneous Points. The speaker would do well to keep in mind the
following additional points:

a. Take permission to start and greet the audience.

b. Make use of the platform at the rostrum, if necessary.

c. Make correct use of the pointers available (black-tipped and white-

tipped) depending upon the colour of the chart being made use of as a visual
aid.

d. Movement of sheets on which note are made (or the script of the talk if
written out in full) should not be visible or audible to the audience to the
extent possible for that in itself would be a distraction. Such sheets should be
kept loose and slid across from one side to the other. Write on one side of the
sheet to facilitate this.

e. Proper coordination with the helper. This can only be achieved by

thorough rehearsals and merely goes to emphasize the paramount need to
rehearse.

f. Thank the audience before leaving the rostrum at the end of the
question period that follows the talks.

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32. Student Critic. Having a student critic comment on the talk achieves the
following:

a. It develops the faculty of critical analysis and judgement.

b. It provides an opportunity to emphasize what is good and what is bad

so that the speakers to follow can learn from mistakes committed.

c. It provides additional opportunity to practise extempore speaking.

33. Students critics should ensure that their remarks are pertinent and relevant.
They should be factual and avoid being over critical or too full of praise. The
comments should be related to what has been covered by the speaker.

CONCLUSION

34. You may now wonder how good a speaker you can hope to become. The
answer is 'as good as you deserve'. You may never become first class, just as you
may never do something as well as you would like to, but limitations should never
deter you from making an all out effort to get as close to the ideal as possible. In
your chosen career and field of work, acquisition of this skill will only be for the
good. On the other hand, lack of this skill can be a liability, which you are bound to
realise soon.

35. All forms of speech communication have one object in common; that of
imparting information from speaker to audience. Too often the audience is left in the
dark or misinformed or even misled because the speaker's command of the spoken
word is inadequate. This command involves not only the correct choice of words and
their effective delivery but also the selection of proper material for the task in hand.
Many speakers fail to realise that effective speaking, like any other skill, does not
‘come naturally’, it has to be learnt and practised. The staff course provides ample
opportunities to acquire this skill. It is up to avail of this opportunity and the most of
it.

36. With effort you can certainly become a competent and effective speaker.
Only one thing can hinder you in your aspiration to reach that category; the belief that
there is a trouble -free, effortless way of speaking well. Nothing can replace careful
preparation, thoughtful presentation and continuing effort "work", said Thomas
Carlyle, "is the grand cure of all maladies and miseries that ever beset mankind". For
'mankind' read 'speakers and their audience' and you will have a pretty good maxim to
follow.

NB:
Annex A and B are articles titled, 'We have with us Tonight' and 'Good
Listening for Efficiency'. You are advised to go through these to understand
the basic requisites of a good speaker and listener.

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