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Formal : Employ unaggressive express (age.f. An simple way of writing is frequently additional primary compared to a formal style and will fall back much more seriously with contractions, abbreviations, small content, as well as ellipses. One-fourth said they used emoticons similar to smiley looks. Informal : May well target subscribers making use of secondly man or women pronouns ( people , your own , etcetera)
Formal : Keep away from treating followers utilizing subsequent person pronouns (use one , one’s , the various readers , the particular reader’s , and so forth.) Informal : Might use limited as well as simple essay sentences.
If in doubt concerning how proper your current composing must be, it usually is far better to err to the side of careful attention and stay professional rather than casual. You intend to sound professional, not really cumbersome and also harsh. As an alternative, take into consideration that unique situations demand various uses of language and that well-informed persons are capable of adapt their using of expressions to some a number of creating and conversing scenarios.
Formal : Produce in lastly man or woman (with the exception of small business characters the place very first person can be utilised). Nevertheless observe what sort of unsatisfactory mood of your passage is immediate distinction towards the childlike tone; in cases like this, the actual author’s firmness allows your ex ruin the particular cliches concerning the purity and pleasure regarding the child years. If you happen to be sending a hardcore content notice, go away several strains involving place relating to the final and your tapped out identify. Salinger’s Catcher while in the Rye concerns a new nasty, single teenage boy, therefore, the strengthen is far more casual, biting at, online essay editing service and also cynical.
adieu” is a bit more superior and improved in comparison with, as an example, “say farewell,” illustrating Keats’ usage of elegant diction. For example, Jane Austen’s fiction are about prosperous individuals inside British country side plus the public events that guideline the standards of living; accordingly, the tone regarding the girl novels is frequently conventional and grammatically precise (even though certainly not with out hilarity)! On the other hand, N.Deb. A bad is about by many people features: contractions (like “I’ll”) usually are crucial indicators associated with simple sculpt. May very well not manage to place your finger for exactly why, although different people have got a astonishingly different kind of existence, and the same will also apply to crafting. If unsure as to precisely how formal the composing should be, it will always be better to err assisting careful attention and stay conventional in lieu of everyday. While the results can be be extremely subdued, they may be profound, around similarly like a person’s body language as well as total persona.
I will come across a person as part of your workplace tomorrow from Five:50. This kind of alteration in this styles of publishing will be the in between formality plus informality, or even the among proper and also laid-back producing. If you’re creating the best brief, one example is, plus the develop wrong in size laid-back, then it won’t matter how outstanding a person’s fights are generally. Keep in mind, if you’re producing a person while in the soldiers, that must be standard within the armed forces to utilize this on the house near, “Very Respectfully” and also their abbreviation, “V/R.” A official writing model is generally found in orations, scholarly books and posts, specialized records, study reports, plus legitimate papers.
In its place, formal enunciation features elegant, elegant and complicated language, and plenty of with the words are polysyllabic, and thus they’ve quite a few syllables. For instance, Linda Austen’s stories have to do with wealthy individuals within the British outlying plus the societal promotions that tip his or her life-style; appropriately, the tone involving your ex works of fiction is frequently official in addition to grammatically specific (though not with no laughter)! On the flip side, L.D. For the health of straightforwardness, this article concentration primarily on the main difference among formal along with simple tone. Do certainly not confound conventional diction together with presumptuous enunciation (the level of terminology that appears expected primarily to please visitors) and also jargon (the kind of language merely common to folks within a particular area, such as laptop techs). The tapped out brand go as soon as the free nearby.
You mustn’t appear “artificial” because you work with conventional diction. Such as, he / she publishes articles, “Heard tunes are usually sweet, however those people unheard/ Are usually rewarding: as a result, ye tender pipes, utilize.” Below, Keats utilizes ancient and official text similar to “ye” rather then “you” to develop a a sense of range plus custom. The sorts of emotions this composition connotes inside the target audience establish your poem’s feeling. You would like to keep professional strengthen of your distance learning dependable, through the salutation in the content material in the sign-off. While its benefits can be quite delicate, they’re unique, inside similarly for a person’s body gesture and total character.
Example 3 : You will understand that ebook I personally published? Very well, the publishing company turned down that. Nonstandard enunciation features “ain’t,” “theirselves,Inch “hisself,” “anyways,Inch “alot” (a approved variation is usually “a lot”), in addition to “alright” (the particular acknowledged variation is “all right”). However whichever design you are submitting in – official or perhaps laid-back – make sure to maintain it to remain dependable, don’t merge both. Normally, a poor with the narration meets a bad the fact that major people use in their particular daily language.
Choose which someone to apply for the way well you are aware of the beneficiary as well as scenarios behind ones page writing. Through the expression preference around articles, you may show all by yourself just as one clever person who is sure of the audience–a group of well-educated individuals which you have no idea. All on the solutions mentioned work for use running a business letters. remember that, electrical systems, conventional prose can be “strictly lexical as well as employs intricate syntax plus highly accurate, normally technological terminology. It is the style of develop that will educated men and women employ whenever emailing other knowledgeable folks. Most superior dictionaries may identify this sort of movement while using statement “Nonstandard.In Because nonstandard expression usually usually are not regarded as respectable text, We indicate these kinds of expression throughout papers seeing that examples of “inaccurate expression option.”
Official lines are utilized generally written (even though casual dialog work extremely well in certain contexts) along with geared up speeches or presentations. When you are considering publishing in Language, there are two principal kinds of publishing – professional and casual. While the creator may also use official diction such lines, way too many short and uncomplicated paragraphs could make a good composition good laid-back, as though this writer is not recognizing which the audience can do studying in addition to understanding more difficult as well as extended paragraphs. Avoid relaxed sign-offs such as “Love,” “Cheers,” “Later,” “Ciao,” as well as “Always.Inch Most of these choices usually do not suit the formality of the notice.
Formal : For a longer period plus much more elaborate content are recommended (short essaywriter.org/write-my-case-study/ basic paragraphs reflects the wrong way about the article writer) Once you use a correspondence, this gives a person plenty associated with place in order to warning your own name within azure or black ink between your appreciation near and also your typed identify.
Frequently, the tone of your narration satisfies the tone that this significant character types use within his or her everyday talk. Informal : Could use clichйs ( tons of , noticeable by loss , etcetera.)
Formal : Keep away from clichйs (utilize a lot of , was gone , etcetera.) Informal style could include sentence fragments, such as truncated style of txt messaging. For example feelings of which poem evokes within the target audience establish the actual poem’s frame of mind.
And as you will find a type in order to how to target somebody within a conventional page as well as the letter’s all round arrangement, you can also find rules into position for the way in order to hint off. We have found that ..)
Formal : Employ indirect words (at the.f. Even though the side effects can be be extremely simple, they can be unique, with exactly the same to be a person’s nonverbal communication along with all round individuality. Be sure to find out, while, that may be professional in lieu of recreational. In addition to style, overall tone can also be placed by means of content. One element of strengthen is definitely diction, or the particular terms along with time period constructions employed by the writer. “The guy had been charged with taking some sort of alcoholic beverages store” would possibly depart readers thinking the reason the individual who seem to scammed out the shop is considered to be your “gentleman.Inches Furthermore, “the lady seemed to be found slowly destroying the booze store” would probably lead to audience so that you can contemplate the reason a lady whom steals the liquor shop is considered a “lady.”
Formal : Keep away from contractions (find out whole text – are unable to , is not going to , should not , for example.). Probably the most important variations is actually sculpt, and also this is true of the two guides plus the shows. Have you ever gone to an event through which “formal” clothing is required? You probably did not necessarily dress in previous skinny jeans along with slots inside the legs, a new marked t shirt promoting your chosen drink, and a pair of shoes. Once you’re posting a final passage on the official page, you could feel as though you will be accomplished and will move on to editing. Contrary to relaxed diction, containing contractions and other less-than-formal language, professional diction contains cold, sensible plus greater purposes of vocabulary. This webpage includes the true secret components of official in addition to informal writing variations. Writers produce particular selections within the style of words and phrases, sentence houses, words plus figurative words that they can easily use in his or her verses.
Audience know that they are looking at your ideas, morals, and also beliefs, so you does not have to point out, “I feel that,In “I assume that,” or perhaps “in my personal.Inch Only get rid of these kinds of words by essay sentences, and are available more powerful essay sentences. Throughout formal producing, tradition claims that this character needs to be a new separated, purpose observer – however this remains a type of personality! A elegant style of writing is not really always “better” compared to casual fashion, instead each and every fashion provides a different goal and health care really should be ingested in picking which style to use in each case. You intend to maintain your specialized overall tone of the distance learning regular, from your salutation in the articles in the sign-off. Informal : Might use very important words (at the.grams.
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You are about to go on stage (to speak or act) AND might feel tension in your neck and shoulders – and this may cause you to appear hunched. It may also cause a tightening in your larynx – producing the breathless quivering or shaky voice associated with nervousness. Tension is also tiring and consequently it may have a detrimental effect on your overall performance. First of all you need to find a quiet place, where you can be alone for a minute or two. You can also do the exercises in a back room or backstage, where the audience can’t see you.
Excerpted from How to Reduce Tension Minutes Before Your Presentation or Speech by Rana Sinha, June 19, 2007
There are a few simple exercises that can help to eliminate the tension that you are likely to feel just before your presentation. Most likely you feel tension in your neck and shoulders – and this may cause you to appear hunched. It may also cause a tightening in your larynx – producing the breathless quivering or shaky voice associated with nervousness. Tension is also tiring and consequently it may have a detrimental effect on your overall performance. First of all you need to find a quiet place, where you can be alone for a minute or two. You can also do the exercises in a back room or backstage, where the audience can’t see you.
EXERCISES FOR REDUCING TENSION IN NECK AND SHOULDERS
To ease stress in the neck place your cupped hands at the base of your skull and press your head firmly back into them, holding the push for about 10 seconds before releasing and repeating. During this exercise keep your elbows back and try closing your eyes.
EXERCISES FOR REDUCING TENSION IN LOWER BACK
A good way to relieve stress in the lower back is to stand with your feet shoulder width apart and reach for the sky. Point your fingers straight up as you stretch your arms above your head and keep stretching them as you feel the pressure on your back ease. Keeping you feet firmly on the ground, push your pelvis forward gently and hold yourself in this position for just a few seconds before gently relaxing back to your start position. Then you can move your hands and your hips sideways a few times. This exercise helps to ease the muscles in the neck, back and hamstrings.
The technique of alternate nostril breathing aims to balance our entire autonomic nervous system by breathing alternately through the right nostril.
First clear your nostrils by breathing in and out quickly several times in a row. Next, use the thumb to close your right nostril and your ring finger to close your left nostril alternately. Begin by inhaling through both nostrils. Then breathe out through one nostril, while blocking the other, and then switch and breathe in through the other nostril. After three complete breaths, exhale without switching sides, and do three more breaths.
After this you will surely be in a better frame of mind to go and give your best. Enjoy your presentation.
In an Actors’ Studio interview, Ralph Fiennes said that in his audition for RADA he was told, not to make it happen but to let it happen. And that, that advice changed his work.
There are many ways of saying it so that it might sink in. Because when I first heard get out of your own way and leave yourself alone at the American Academy of Dramatic Arts in New York, I didn’t get it.
You really have to STOP:
This can’t be stressed enough. YOU NEED TO BE VERY PRESENT – much more than you are in everyday life.
TRUST, trust, trust yourself and your instincts, no matter how “wrong” they seem in your mind. Your judgmental mind does not belong in the scene.
That’s right, it is not about you IT IS ABOUT
(In a previous Great Speakers Workshop or in One-on-One sessions).
How many speeches do you remember? Do you know why?
You must have heard it often – “It’s not what you say but how you say it.”
In order to be memorable, you need to connect to the audience on an authentic and an emotional level. 94% of speakers use their ‘SPEAKING VOICE’ – the one where you speak quickly, quietly and in a monotone. And that is why people don’t remember any of your important messages. Is your voice a disembodied sound or is it connected to your message and the real you?
In my coaching practice I see a lot of speakers who don’t realize that their ‘Speaking Voice’ is what’s killing any chance of getting their message across.
Your ‘Speaking Voice’ is different from the normal every-day voice you use when talking to friends and co-workers – the one that sounds natural, is connected to your body and is conversational. And yet most speakers don’t even think about using any other voice but their SPEAKING voice for presentations. This voice is usually higher, faster, more monotone and sounds as if you are imitating a speaker. On top of that there is usually less energy and clarity in that voice.
A SUREFIRE WAY TO GET YOUR AUDIENCE TO LISTEN TO
(and remember) YOUR MESSAGE.
First – Ditch the ‘speaking voice’
You know what I mean – you clear your throat and you connect to your head and bring your voice up an octave and speak the words the way you feel a good speaker would say them. Instead try to speak from your heart and breathe before you start speaking and throughout your speech (it will slow you down), connecting to your feelings and giving them to your audience. In other words have a conversation with the audience – don’t give a speech.
It is a common problem I run into with the people I work with. We think that there is a special ‘speaking voice’ we need to use to sound like a confident, professional, respected speaker. That voice usually belongs to someone else, someone you’re copying, not you. And the truth is that the audience won’t listen to you until they hear your authentic voice, because if your message is to be believed then first your voice needs to be connected to your body and your feelings.
That also means that even before you speak, you must consider carefully how you write your speech. Is it coming from that authentic, conversational place – the place where you speak to people trying to engage them in your ideas and interact with their responses? Because if you write from your head and then try to speak those words, it will sound as if you are reading words that don’t really matter to you. The feelings come first, the words second. Every actor knows this.
So sit down with a friend and tell them what excites you about the next speech you are giving and how it will be helpful to the listeners and engage them in your passion. Then you can edit and then you can “memorize” the speech and then the most important part – forget it and improvise. You may not know it, but you know this speech, and if you miss parts of it then realize that what you do remember comes from your heart and will be heard. It doesn’t come from the page where it will certainly be forgotten.
Second thing to do is to slow down.
Most speakers rush through their speeches. Let them hear your words and absorb your ideas one at a time before they move on to the next one. This takes practice. It means you have to read something out loud, every day, at half, (yes I said half) the speed you normally do. Only that kind of exercise will slow you down – some.
The third thing to do is to listen
That’s right, speak to the individual people in the audience, pause, and listen to their response and adjust and continue. (See the previous newsletter for detailed information on LISTENING.)
My next GREAT SPEAKERS USE ACTING SKILLS WORKSHOP will be held on Saturday, October 19th 2013. Interested? Here’s more Information.
When people meet they give and receive energy. This is our “connection”. Whether you speak to one person, five, 100 or 1000, how you manage this energy is what leads to further connections -or not. So, what kind of energy do you give off?
Can you recall meeting someone and not ever wanting to see them again? Have you met someone you immediately liked and wanted to spend more time with them? Can you distinguish what happened in each situation?
Here are two experiences I’ve had that might remind you of some you’ve had.
Recently I had to visit two health professionals; an oral surgeon – yuck and a dermatologist (very expensive).
Larry the oral surgeon had someone escort me to his examining room and stayed with me while I waited for him. He then appeared smiling, warm and attentive. He asked me what I needed and let me talk until I was done. He made eye contact. He took his time. I felt he cared and was really listening to me.
Joe, the dermatologist, had me wait by myself until he arrived. I don’t mind that as I’m used to it. Although I have to admit, the attendant in Larry’s office was a nice person who seemed interested in my concerns.
When Joe walked into the examining room, he said hello and kept looking at his notes. When we talked he wasn’t listening to me, he was more interested in the notes. When he did look up, I felt he was not really seeing me. He never made eye contact. When he examined me the energy I got from him, was that I was a thing, not a person.
Where is your focus, your attention, when you speak to someone?
The first and most important element of making a good impression is LISTENING and the second is SMILING. That’s what Larry did. Let’s start with LISTENING. It requires a number of tools actors use constantly. And here are three important elements you should use to connect to others.
a) BEING PRESENT – and this means really, deeply aware of the other person (the color of their voice, the energy coming from their being, the relaxed or uncomfortable zings you’re getting from them, the eye communication that is there or not, the body language and more). You see if actors take their attention away from their acting partner, something could happen that the audience sees and they don’t and it makes them look stupid. The stage is under a giant microscope where everything is seen so the actors up there better be very very present with their fellow actors and with the audience.
b) BEING SILENT. Wait to hear what the other person will say next. Give them a few extra seconds so they can gather their thoughts to form their words. We jump in because we’re in a hurry or want to make an impression when the other person hasn’t really finished. Silence gives us a chance to hear them more deeply. Silence gives them a chance to see us. Silence means you are both okay taking time to be with each other. That’s a gift.
c) PUTTING YOURSELF IN THEIR SHOES. Listening requires you empathize with them. Even if this is your 100th client, remember what it’s like to have their concerns, and their feelings around that. They have never heard your information before. They want to absorb it. Take your time.
The second element of making a good impression is SMILING. Forget forcing a smile. It doesn’t work. Everyone can see what it is. The smile has to be connected to your body, just as your words need to be authentic and yours.
When actors have to be in a love scene with someone they don’t care that deeply about, they find something about their partner they like and make it their focal point – what beautiful eyes they have, that smile is killer.
If you’ve just met someone, find something about them that makes you smile and then smile. A smile is always an invitation, and a welcome. It puts people at ease.
You may have your own way of approaching your interactions with clients. I personally, get excited that I can make a difference in their lives and coach them to become better and better speakers. Some have told me they now enjoy speaking. That always makes me smile. Most all inform me that after working on their acting skills before a speech that they receive great feedback. I smile knowing I have something worthwhile to contribute to people’s speaking goals
So when someone is LISTENING to me and SMILING, it makes me feel seen, special, and important and I will definitely want to see that person again. What do you do? Let me know.
There is a very important exercise called THE COMFORTABLE EXERCISE that all my acting and speaking clients do (see previous post SIDEBAR:The Comfortable Exercise). This helps them understand on an organic and experiential level what it means to listen and be present. Almost all learn something about themselves from this exercise. And those who use this technique find some amazing changes in their communication with others.
For 24 HOURS make EVERYONE you come in contact with, feel “comfortable” – not happy – but comfortable. Be clear about what that means.
You must be PRESENT, FOCUSED, LISTENING ON ALL LEVELS OF YOUR BEING, ADJUSTING TO WHAT YOU RECEIVE FROM THE PERSON, TAKING YOUR TIME AND PUTTING YOURSELF IN THEIR SHOES.
This is your objective for 24 hours. You may not tell them what you are doing.
AND WHEN YOU FINISH THIS ASSIGNMENT, I HAVE ONLY ONE QUESTION. WHAT DID YOU LEARN?
(excerpts from an interview by Jame Lipton on INSIDE THE ACTORS STUDIO)
Hugh Jackman’s deeply insightful observations about acting skills are eye openers for speakers and are considered the best kept secrets for successful personal and public communication.
These are the key ingredients known to all great speakers and they got there by using acting skills, whether they took acting training or not.
I truly believe that the job of an actor and the drive of an actor is stimulating the internal journey in life which is to get deeper and deeper into our understanding of who we are and that actually through acting and through releasing and breathing and through CONNECTING with other actors and allowing yourself and the story to connect to the audience, something greater happens.
He continues about being open and connecting to the human nature in all of us through acting skills.
Everybody should do this – acting training – BREATHING – if you’re not doing it right, you’re not open and you’re emotions aren’t open. You’re not going to live as full a life. Simple.
The things you learn as an actor about LISTENING, about BEING PRESENT and who you are, about human nature.
Hugh Jackman goes on to talk about the very nature of communication and how it begins with the deep understanding we have of ourselves and therefore of each other. He talks about connecting to the audience and what we all have in common – our hopes and dreams. If we can connect to that, if we can share that when we speak, we have it all.
If we understand we are here to help each other, we come from a place of giving. If we really have a gift that will make a difference in our audience’s world, and we share it from this place, be it a better system for their internal audits or a new management approach or a widget that produces a better product, it will be embraced.
Do you believe you have a gift to give to others or are you just selling something you don’t care about? Every actor knows that your audience and your fellow actors can always read the subtext. The truth will seep through eventually. The reward is in making a difference and making a living. Both can be done to the advantage of your clients and to feeling your life has worth and meaning and that you are part of the solution.
Hugh Jackman continues further along in the interview to talk about how to be a great actor and I add how to be a great person, – a great contributor to life, yours and others. He says to take risks.
Being able to make a fool of yourself. I’m not talking about clowning. I’m talking about really falling down, dying on stage, having a horrible night, being terrible in a role or whatever it is. Unless you are willing to embrace that possibility you’ll never get to the top.
When taking a risk, be prepared to completely fail… this will open so many parts in you.
I think everyone should learn it. Acting training is really about BEING AWAKE. And one of the greatest roadblocks to a relationship is how easily we take things for granted. It’s easy to be asleep. And the relationship with the audience is part of your ability to connect to them so that you can deliver your gift. Your have to be awake, present, and listening, in order to connect. On stage every night it has to be for the first time.
And I would add it has to be for the first time whenever you speak in front of an audience, even though you’ve done the same speech a thousand times. Acting skills teach that. And it’s not a bad idea to approach each person in your life anew as if they might have changed, grown, and you might have too.
I’ll be giving short exercises to help you with CONNECTING, LISTENING, BEING PRESENT, and BREATHING so you can take advantage of these tools. I’m starting with BREATHING – see the post SIDEBAR:Breathing below.
When Hugh Jackman talks about first learning to breathe properly, he thought by heaving his chest in an out he was taking a full breath. He wasn’t. Breathing is not just necessary for vocal support, it’s for ENERGY, RELAXATION, MIND BODY CONNECTION and more. And all singers, athletes, actors and trained speakers know about the importance of proper breathing.
A SIMPLE FIRST STEP TO DEEP FULL BREATHING
The very best way to understand correct breathing is to start by lying down on the floor, some place comfortable and supporting your body. There is less work involved in this position than standing.
First relax all limbs, one by one.
Let go of your jaw.
Try it during the day. Take a few deep breaths to re-energize your mind, body, life and work. For a version you can do at work start at Let go of your jaw (standing up of course).
© 2013 – By Jon Farley
(Although specifically written for speakers, every actor out there with a long monologue needs to read this.)
What if you have to, or want to, memorize a speech? This may not happen often, but it does come up when there is specific language, or a rigid time constraint on your presentation. And some speakers actually want to do this so they can have the freedom of repeating a set speech when needed.
It’s been reported that Malcolm Gladwell, author of The Tipping Point and sought-after public speaker, scripts and memorizes his speeches so that he is able to deliver them in an effortless and concise manner and end exactly on time.
For many people, memorization is difficult. Recently, I had to learn a 1600 word monologue for a play I was doing. It was very precise, almost poetic language. I had to be word-perfect, and I knew that the memorization techniques I’ve used in the past would be inadequate for this task.
So, I designed a new process for myself, and I have been tremendously pleased at how well this technique worked.
1. Know what you are saying: Before you start memorizing, you need to understand the text. If you didn’t write it yourself, you will need to do some study. If you did write it yourself, you’ll have to take it off the page and say it in your own words, not the “written/speaker’s” words. How would you do this speech if you were telling a friend?
2. Make a study-script: If you have your text in an electronic format, you can copy it into your new document. If you are working from printed material, you’ll have to type it in by hand (which is a great idea since that helps with memorization). It’s a first step toward owning the words.
Format your study-script as follows:
(The effect of the above formatting is to put each thought on a line of its own. The text is visually transformed into a sequence of thoughts and it is very easy for your eye to follow.)
3. Read it out loud: Start reading the speech out loud in its entirety from your study-script. Do this a couple of times a day. Don’t bother reading it silently to yourself. That won’t help. What you are starting to do is to build a physical memory of what it feels like to say and hear those words. Don’t worry about inflection or pace at this point. It is too soon for that. As a matter of fact the less inflection and pacing the better at this point.* And, don’t deliberately try to memorize anything yet. All you need to do is read it out loud from the page. Make sure you read the whole thing each time, without interruption.
4. Give it a rest: At some point you are going to get sick of the piece, or your schedule won’t allow you time to work on it. That’s OK. Set it aside for a day or two. It’s good to alternate work and rest. What is happening on those rest days is you are building a memory of the physical act of saying the monologue. Rest is a necessary part of the process.
5. Look up: After working with your study-script for a week or two, you will realize that you remember big sections of your speech. Perhaps there are sentences or even whole paragraphs that you can say after simply glancing at the first word. When you reach this point, you are ready to do some focused work on memorization.
Make the following adjustment to the way you are working: While still holding the study-script, say as much as you can without glancing down. But don’t make up a word that you can’t remember. If you are stuck on a word, glance down at the page and get it, then look back up and keep going. (Occasionally when delivering a speech, you may have to make up a word in order to keep going. That’s fine for then, but don’t ever do this when you are learning the text!)
6. Work back to front: When you are at the point when you almost never have to look down, it is time to really start drilling the piece. Do this from the back to the front.
This is something of a psychological trick, but it means that when you finally have the whole speech committed to memory, you will find that as you say it, each paragraph is easier to remember than the one before and when you get to the end, you will be at the part you know best. Thus the final point of your speech; the call to action or whatever you want your audience to take away, will be said with the utmost composure and confidence. Boom! Success!
7. Explore: Now that you have the speech in your body, you are free to explore all the subtleties of the piece. This is when you will make the discoveries that will give your presentation dimension. And what is exciting is that by now, you know the material so well that this exploration is organic and effortless. You are free to follow every impulse without ever worrying about the words. *And since you didn’t focus on inflection and pacing at the very beginning, you don’t now have to fight against a sing-songy pace or predetermined inflections that don’t work.
So that’s my memorization through osmosis technique. It is based on steady “smart” work instead of “hard” work. I believe you will find the results to be impressive. You will be able to approach your presentation without fear of forgetting the words and thus will be able to devote all of your attention to your audience and to the story you have to tell.
Guest Contributor Jon Farley is an actor, writer, clown and aspiring aerialist residing in Portland, OR .
Well, first we have to back track to the writing of the speech.
If you’re the one writing the piece you should have written it the way you speak. And if it’s someone else’s words, you beg them to make the changes necessary to make the words your own. This will also help with the memorization. I know when I’m in a play where the words feel like my own, they flow and are easier to memorize. Everything is right with the world. But if I have to memorize a script that feels foreign to me, it will take a good deal of work to get it down right. And that’s why this article by Jon Farley should help you especially with someone else’s script.
Do yourself a favor as author. Pretend you’re telling one person, a friend, who would love to hear about the information in your speech. It almost writes itself that way. And with some corrections – especially the introduction and conclusion – you have your speech.
Do the same for the one written by someone else. Say the content of the speech to a friend. Let yourself remember what that feels like, especially in your body (some say they feel a connection in their chest). You’ll have made it more your own by putting it in your own “conversational” mode, as opposed to “written” words. It will make you feel as if you are really talking to an audience on a personal level and after all that’s what you want. You want to talk to them, not at them.
That done, remember that after it’s memorized to go back to that initial place where you’re talking to one person. Feel where that lives in your body. Notice where the enthusiasm is caught (a word or phrase or image can nail it for you). Notice where you’re interested in persuading, explaining, sharing because that’s what you want to do with an audience. Bring this to the last stages of memorizing, where you’re playing with it. Your enthusiasm for a gift that you are giving to them which will help them towards their goal, is a magnet. Make sure you bring that to your final speech. And always remember that you are talking to a friend, – someone who’s interested in hearing all about it.
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