There’s nothing like a conference with short presentation after presentation to remind you what makes a particularly good one. I facilitated two Awards ceremonies recently where 18 people in all presented their cases and proposals in 6 minutes each. These were critical opportunities for the speakers to share their ideas and convince the jury and audience of their merits in relatively micro-timeframes (imagine condensing your 30 years of hard work into this time frame?) It became very clear in this long string of short speeches that a super good presentation would do a lot to support a candidate’s case.

As I watched one after another fly by I jotted down observations that I thought might make a good checklist for speakers making short presentations (including me!) I would say that we all know these things intellectually, but when we are up there in front of the lights and hundreds of people, do we do them?

My advice, don’t read this list now.

You will just say, “Yes, of course, obvious, duh.”

Use it AFTER you have prepared your presentation, as a checklist, then it will be most useful. Be honest when answering these questions, the quality of your presentation depends upon it!

  1. Does it fit into the allocated time? How do you know? (Please practice for timing out loud.  Just because you can whiz through something in your head in the allocated time, doesn’t mean that when you have to move your lips, pause to breathe, and fiddle with the slide changer, etc. you won’t need a few extra minutes. With a 6-minute time slot, this can be a killer.)
  2. Are you talking too fast? (Don’t speed up to fit it in the timeframe, and when you are nervous you might speed up your pace naturally – or should I say nervously. It is also incredibly stressful for the audience members who are desperately trying to keep up with you and understand you. Non-native speakers have a big advantage here as they might be translating at the same time which can slow speech down. Native English speakers have to work harder at comfortable pacing. Breathe again.)
  3. Is there any fluff? Cut it out. (Don’t spend time thanking every distinguished person in the room up front, it is nice but people will assume your thankfulness if you don’t say it. Remember that your timing starts as soon as you open your mouth. Don’t give too much background on yourself, a smart sentence will do if needed at all – in all of my sessions I introduced the speakers, ask if this will be your case, so you can cut this out. Don’t give too much context and background, just enough to launch your idea. You probably have a very smart audience too who knows where Switzerland is, skip the map.)
  4. Are your key messages up front? (It might be tempting to leave the big idea for last, but if you run out of time, and you have a strict timekeeper like me, you might never get there – this happened over and over! Pull them up front and share your lessons learned all the way through rather than saving all that juicy stuff to a potentially rushed and awkward end. You can always repeat them on your closing slide which you want to leave up while people clap for you – NOT that big empty slide that says “THANK YOU!”)
  5.  Is your presentation or slide set too data heavy? (In these short time frames you should sprinkle in the most powerful data and figures and not overload slides with graphs that say too much for the seconds you have to share them. If you do use a graph, use a red circle to highlight the key point or figure, or write the key message on it. And you should NEVER have to say to your audience, “sorry that graph is not clear”, “sorry you can’t read that table from the back, etc.” Just skip it and give a summary instead.) 
  6. Can you deliver it without reading your slides? (With a short timeframe, you should be able to memorize or at least mostly memorize a presentation. In those that are best, the speaker moves away from his or her slides and tells the story with the slides as emphasis photos, key words/figures or messages. It also means you will be facing your audience rather than having your back to them. With a short time frame, you will not be able to engage them much or make eye contact if you spend 50% of your time starting back at the big screen. For short speeches have a few strong key headings that you can keep in mind while you weave your narrative together. Of course, this takes practice – see Point 1 above again.)
  7. Is your PPT/Prezi working? (The PPT equivalent of a wardrobe malfunction is when your animation doesn’t work, your video doesn’t stream, your sound doesn’t work, your picture on a huge screen is blurry, etc. Does this work 100% of the time when you test it before you speak? Even with this testing, your e-karma might be off this day, we’ve all seen it. Can you pare it down to the minimum of these additional bells and whistles – because if they don’t work, your time is still ticking away, and they can create a bit of a “what was that?” blur if they do. A good, clear short video can be a powerful addition, but make sure it is faultlessly embedded and works every time; get rid of the rest unless it really adds to your message.)
  8. Do your visual choices work? ( Are your colour combinations caustic, or sophisticated? Does that font colour show up when it is two stories high? In all these presentations I really liked the ones with a dark background, especially those that also featured photos which really popped on the black or dark background rather than white. For short presentations you need visual punch as well as message punch, with crispness to both of these. There isn’t a long time to develop thoughts and ideas with many white slides and verbal or visual asides,)
Well, there you go, that’s my checklist, derived from my observations from watching all those very short presentations one after the other. No doubt there are plenty other tips to add.  These were the ones that really jumped off the screen and stage at me. 
I assure you that I was also listening to these short presentations at the Awards Ceremonies as they whizzed by me, 6-minute timer in hand. I really noticed, however, that your presentation’s delivery can really help the audience get your point, or it can stand firmly between you and the prize.

TED signAttending a TED event is like spending 5 days surrounded by shiny objects – great opening lines to speeches, weird facts, interesting turns of phrase, amazing visuals, and those random ideas that you get that are sparked by something that the speaker says, and more –  and from amongst all this having to choose what to pick up and take with you. These are some of the shiny things that I picked up this year:

  • My top 3 speeches this year were by:
    • Melissa Fleming about generations living in refugee camps and why educational opportunities are critical. People in camps have time to prepare for their return – the average time in exile is 17 years! Her question: can refugee camps become centres for academic excellence?
    • Glenn Greenwald on why privacy matters – he invited anyone watching who said that privacy didn’t matter to email him all their internet passwords so he could read through everything and publish whatever he wants, and
    • Kimberly Motley is a former Miss Wisconsin who is now the only foreign litigator in Afghanistan, focusing on using the laws to protect.
  • Privacy speaker and scientist Andy Yen, one of the founders of Proton mail (email encrypted by default), reminds us that our data can and will outlive us. He also mentions the benefits of using the CERN cafeteria to develop an idea – you have 2000 free engineers between 12 and 2pm.
  • Joanna Wheeler’s theme was how to use storytelling to stop violence, based on her experience working in South Africa. Her business card was a story cube with her address on it, and the key messages of her talk (in images), printed on a piece of A6 paper that you can cut out and make into the cube.
  • The break area of the beach venue (the tent-like auditorium they built from scratch on the Rio beach sand where the talks were held) was filled with different diversions when you want to do something other than think.

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  • Batalho do Passinho is a new Brazilian street dance out of the favelas of Rio  combining the anxiety of fighting with the poetry of dance, and the Bottle Boys are Danish singers/musicians who use only bottles and their voices to cover popular songs. (The Bottle Boys played at one of the evening TEDGlobal parties on the beach in Rio. Their “Call Me Maybe cover got hoots of laughter and lots of applause.)
  • I didn’t know that 2/3rds of the population of  Sub-Saharan Africa has access to a cell phone signal (one fifth of these people have 3G or better data service). Steve Song’s talk was about not waiting for someone else to “build an on-ramp to the internet”, and the opportunity cost for those without access is skyrocketing as technology comes on and is ubiquitous.
  • One speaker, Sipho Moyo, asks, “How do we feed 10 billion mouths? There is no answer that doesn’t involve Africa.” She put up a blank slide, and said it was a picture that hadn’t yet been taken – it was a picture of Africa feeding the world. (She also points out that in the $110b chocolate industry, 70% of the cocoa comes from West Africa”, interesting for a Switzerland-land-of-chocolate-based person like me).
  • There’s a new food scanner called Tellspec being developed that you can put next to any food (including baked goods with no labels, etc.) that will tell you the composition of the food.
  • Architect Alejandro Aravena used a chalkboard for his talk about participatory design for low cost public housing – they build people half a house and then let the people living in it build the other half in the years that come, to suit their needs and with their own style. This innovative housing project is half the cost (obviously) and fits into the cultural norm in Chile (and many other countries) of building your house little by little over the years.
  • The auditorium was filled with different kinds of chairs. Every day you could try a new one and sit upright or sink into a comfy couch.

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    • Brazilian CEO Ricardo Semler says on Mondays and Wednesdays he “learns how to die”. He calls these his “Terminal Days” and does things he would do if he had gotten news of a terminal illness and didn’t have much time left on earth. He runs a company without “rules” and gives people Wednesdays to do what they would do if they were retired. He ran board meetings with 2 seats for the first two people who showed up, whoever they might be in the company.
    • I liked that they gave a pair of Havianas flipflops with the gift bag, along with an Entreposto beach/picnic blanket with grommets so you can tie it down in the wind.
    • The Beach area with all the deck chairs and umbrellas was a great place to unwind and reflect on what you heard, and the sand was so hot that you needed those flipflops (if you didn’t want sand in your shoes!)

    TED beach

    • Linking the digital with the physical – With a 3D printer they printed a car in 2 days in Manitoba. A Chinese company is printing 5 houses a day for under $5000.
    • Bel Pesce’s TED University speech was about 5 ways not to follow your dreams (from believing in overnight success to believing that your goal is the end goal.)
    • Journalist Bruno Torturro of MediaNinja opens by asking, “Has anyone has been exposed to tear gas?” He shows the simple molecule that he says is trendy with police and says that it makes your eyes burn and also opens them (in his case to the power of independent broadcast). He has helped create a network of experimental journalists who use mobile equipment to live stream political protests in “post television formats”.
    • I have never eaten so much quinoa as I did that week with TEDGlobal in Rio, who knew how many ways you could fix it.

    I enjoyed going back through my notes to write this blog post and see what had endured for me a month now from being with TED in Rio. There are plenty of shiny objects still glittering around in my mind!

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    As learning practitioners we play many roles – we are process designers and facilitators, panel moderators, skills trainers, advisors, team coaches, and sometimes we are MCs (Master of Ceremonies), helping weave together the different learning threads of a larger event.

    I recently took on this role at the Women’s Forum, having done this on a number of occasions with other groups. This event had high production values, with beautiful lighting, a 360 degree stage, video cameras and screens in all directions recording and simulcasting, professional makeup and a “Madonna” mike (as they called it), and, I might mention, 1500 people watching every move you make (or at least the intention to).

    I personally find this role – Master of Ceremonies (we couldn’t come up with a satisfying gender neutral alternative -any ideas?) – more than a little nerve wracking. To get to a place of comfort in this role I tend towards over preparation. However, I won’t apologize for this; that’s what it takes for me to do a good job in this high visibility role. I want to help make participation meaningful for everyone in the room, add value and interest – spark curiosity and maybe some surprise to grab attention, and help connect the dots of the event for people. Now that I have done this for a number of events, I thought I would record and share my tips for preparing and delivering as an MC. I divided my reflections into four parts: what I do in the weeks before, the day of the event, moments before, and onstage.

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    Weeks Before

    1. Get the Programme: Be proactive and request early versions of the Programme and keep in touch with the Programme manager about changes. Make sure you always have the latest agenda (this can change daily nearer the event when speakers and moderators cancel at the last minute, or even miss their flight). You don’t want to introduce the wrong person in front of 1000 people. It might be tempting to wait until things settle to do this, but don’t; it will be a big job to get on top of it and identify the main threads all at the last minute. Plus your antennae will be up for interesting facts and initiatives in all the other meetings you attend and newspapers you read, and new ideas will come to you as the programme and its key messages percolate in your brain.

    2. Build Your Background: Read about the speakers and the conference themes. This research can be considerable if you are the MC for the whole event as I was, with 13 different sessions, themes, panels and speakers. I estimated that it was like giving 13 Toastmasters icebreaker speeches in 3 days, each one taking some 5 or more hours to prepare (research, collect ideas, write, edit, make notes, brief speakers/moderators, practice, practice, practice).YouTube is a great place to listen to other speeches given by your speakers, to hear their perspective and main messages, and to see how other MCs and moderators have worked with them.

    3. Get Inspiration: Once I had my session themes I looked into a number of directions for inspiration. TED is a great source, in fact I spent the week before this event at TED Global in Rio and found some good leads for interesting facts and angles. The news and current events is an obvious source and I read newspapers and periodicals cover to cover (even sports!) for a change in the weeks before the event, as you never know what facts or questions might come up on stage.

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    4. Make a Notebook: This is actually a step the “maker” and tinkerer in me enjoys. This year I used an A5 sized notebook, with the pages that you can take in and out along those plastic discs (because things will change!) Use any notebook that you can change the order of the pages and put new ones in easily. Use dividers by day, and then within the days each session has a page. At the top I have the title, timing (when to meet speakers, time of session), list of speakers with their titles, the objectives of the session, notes on the choreography (if there is a sequence to introductions, if there are chairs or if the speakers stand, etc.) and then my script (see below). This makes it easier to practice session by session and quickly check details if there is a question (how will you introduce me) or a change in the programme. Carry your notebook around all the time and use post-its to note any ideas that pop up on the appropriate session page, to integrate later.

    5. Write Your Script: I always write out my scripts completely first, then edit them and tweak them repeatedly, as I am more of a writer than an off-the-cuff speaker. I write out the narrative word-by-word first, including interaction with the audience (and put this in my notebook). Then I start to boil it down to bullet points with sub-text, and then the final step is to define headlines/key words to trigger my memory of the associated text.

    Note that I always build in interactivity (mapping the audience, introduction to your neighbour, etc.) early in my scripts to liven up the participant experience and engage the audience but also to give me a moment to look at my cards if need be. It shortens the length of what you have to commit to memory before you can pause and regroup/breath/centre yourself once onstage. So I write these breaks into the text. I also include short stories/vignettes that I can tell as they are easier, once you launch into them, to remember and tell than a list of facts. You want your introductions to be thought provoking, meaningful, and relevant to the audience. It should make then want to hear and think about the next session and not choose instead to go and get a coffee or stand in line for the photo booth. It’s not as easy as you think.

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    6. Prepare Prompt Cards: In all the photos and videos of me as the MC at the Women’s Forum, you will see that I have notes in my hand. They are my bullet points and key words written on black card stock and cut to hand size. I write on them with a white pen. This draws much less attention than white, dog-eared, A4 papers flapping around as you wave your hands. At TED Global I noticed Chris Anderson and Bruno Guisani had small cards in some sessions, held with a single metal ring on the upper right hand corner, so you can flip cards easily and quickly as you are talking. They also from time to time had a bright red Clip board. All of these things work, and look good, choose your favorite, prepare them in advance, and if there is any doubt that you might forget the three line title of the fifth speaker on the panel you’re introducing, use them!

    Put what you need on the cards, after practicing you will know the places where you trip up or forget or get the two parts of someone’s last name turned around (people care about this!). The cards I hold on stage have some of this bullet point text (especially the transitions – opening words and closing words for each idea/story), and the key words written larger that I can glance at if needed.

    7. Practice!- Once I make my cards, I carry them around and practice everywhere in the days before and during the event. I take them with me to cafés, I pace in my hotel room, I go through tricky text transitions, or complicated names, or super long titles ( and there will be many) before I go to sleep and before I get up. You can do this with your eyes closed.

    Doing this will also help you revise and change word order or transitions so the words and narrative seems more natural. Once you are familiar with the written script, you will be able to slow down and get comfortable as you know where you’re going with the text. And this will make that last minute additions or name changes less of a problem (e.g. when a speaker asks you to call him or her by their nickname rather than their formal name just before going onstage, etc.)  You want it to be super smooth and easy onstage and this takes a lot of work! I had several speakers ask me if I was using a teleprompter, which made me smile. Maybe it’s my line of work, but I haven’t seen one of these yet! ( I have heard of an iPad app, and have seen moderators use ipads once in a while, but I will probably continue to do this the old fashioned way for now).

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    The Day of the Event

    1. Confidence and Looking Good– I will venture that this applies to anyone getting on a 360 degrees stage ( or any stage where you are being watched by a thousand plus in the room, any number on simulcast, and then for perpetuity on the internet.) We all have our strategies. I got my hair done professionally, it’s the only time a year I do! There was a professional makeup station in the Speakers Room, where we convened for our Speakers briefing 30 min before going onstage, because the lights and filming can do funny things to your features and complexion.

    You need to think about what to what to wear (stage and mike friendly clothes). I was always on my feet and walking up and down the steps before and after speakers, interviews and panels. For women, low heels are definitely best and your feet will thank you at the end of the day – I stand up about 10 min or more before the scheduled end of any session just in case it stops abruptly and you need to hustle up (elegantly of course) on to the stage. You don’t want any tripping. For the microphone, if you have a hand mike no problem, but I try to avoid that as I want to be able to clap and I will also have my cards in my hands. So a Madonna mike works best, and for that you need a belt or some hidden way to fix the Madonna mike to the back of your clothing (jacket, belt, or camisole). The sound team also discouraged earrings (actually taking them off me) as the can can clank or get caught in the mike.

    I try to wear something interesting and colorful, even a little sparkle if you can get away with it ( I’m thinking more of necklace or pin than full length evening gown and tiara). This goes for all speakers but especially the MC as people see you over and over again on stage all day. Remember that they will be looking at you at 8:30 in the morning and 8pm at night, and tired or hungry or in need of caffeine, you can at least try delight both minds with your words and eyes with your turquoise and magenta scarf.

    2. Speakers Briefing: As noted above, having a scheduled meeting of speakers directly before the event is incredibly useful and serves a number of functions. First, it lets you check that all speakers are present- there’s nothing like introducing someone who is stuck in traffic 3 km away. Second, it lets you go through the mechanics of the session with all the speakers together. You might have done this before with the panel moderator or even all the speakers, but it will only be when they see the stage and the huge audience sitting around it that they will really want to know who walks on first, what chair they should sit in and how long they can talk. Finally, it lets you check name pronunciation, title accuracy and give them confidence in how you will introduce them to the audience and frame their session. And of course it lets you establish some rapport and remind them of your name so they can talk to you on stage and thank you by name. These little touches make the session seem more friendly and less formal or staged – that makes the audience feel more comfortable and the discussion going on in front of them more accessible.

    3. Bring Food: You may not have time to, or want to, stop for the scheduled meals. It is hard to “grab and go” when you are the MC as everyone knows you and you will get stopped for an interesting chat everywhere you go. If you need to prepare, you might rather eat your Power bar in your room.

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    Moments Before

    1. Where are Your Cards? At this stage you are still keeping the prompt cards for the next session in your hand and now only thinking about one session at a time, literally relegating anything from the next few sessions to the back of your brain and the past and upcoming cards to your bag.

    2. Your stuff– When you’re onstage you don’t have any place to keep your stuff, bag, other papers, lipstick etc. Find that place first, so you are not looking under every chair for it at the end of the session, because as soon as you stand up, someone else will sit in your empty chair (even with a reserved sign there is something oh so tempting about a front row seat) and by the end of the session you will have sat all over the place. Bring the minimum, and put it under the chair of your neighbour or someone you know who will not be jumping up all the time to take the stage. This might seem like a small point, but it will take up residence in a small paranoid spot in your mind that you need to be totally zen and not worried about your handbag.

    3. Take a deep breath: Ok, you are about to walk up those steps. Breath deeply and smile. You might want to do some Amy Cuddy “Power Posing” to get you ready and confident to go onstage. I also write at this stage on my first card at the top in big letters “SLOW”, “BREATH”, “PAUSE”, for obvious reasons. If that’s the only thing I register in the bright lights and 2000+ eyes! then the rest will go much easier. Then you step up, confidently…

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    Onstage

    1. Voice/Body: As there are books written about this, I will only repeat two pieces of advice given to me by Lizzie the first time I did this big stage work: 1) Pause before starting and look at the audience (I am an MBTI ENFP and tend to open my mouth first and think later, this helps enormously); and 2) Emphasize at least one word in each sentence. It can literally be any word, but do that and it immediately adds interest, voice inflection, and give you a natural pause (breath, think, collect visual feedback). Even if you only do this at the onset of your introductory remarks, it will help with flow. Try it!

    2. Try to Enjoy Yourself! I have to tell myself this over and over, and to be honest it starts to be true only about 1 hour into the day, when feedback starts sinking in. I know intellectually that it is a great privilege to have this role, as well as a great responsibility, and that the role should be fun and I should try to enjoy it. But it takes me a while to get here. Once I start seeing positive reactions with my own eyes and hearing it from others, then the mantra starts to have the desired effect. And this calmness and sense of enjoyment is critical for me to calm the voices in my own head so that I can deeply listen and connect into the richness of what is going on onstage.

    And there you go!

    I can not emphasize enough how important good event structure and design is. When you are done, thank that terrific Programme manager  for their months of effort in Programme development, identifying timely topics, the right speakers and developing the briefing notes that were sent out in advance. (Thank you Jennifer!)

    Being the MC isn’t just memorizing titles and names and the sequence of sessions. In its best and most helpful form, it is a guiding, weaving and connecting role. It helps people understand why the topic is interesting and important for them, why they should listen and why they should care. It connects the different sub-themes into a powerful whole. In creating meaningful frames, it helps the audience connect to the broader narrative of the overall conference, and invites them to draw their own learning. This is the work of the MC from my perspective.

    A gentle warning, this kind of work is both mentally exhausting (you are probably the only person in the room that is present and deeply listening 100% of the time) and physically exhausting (reread shoes part). And it is at the same time incredibly gratifying to support collective learning, one thousand people at a time, in this way. If you get the offer, take it, and bear in mind that it is more than just walking on stage on a very exciting day.

    I recently took over the role of Table Topics Master at our Nyon Toastmasters Club, a role I had not taken before (Note: If you don’t know about Toastmasters, I would highly recommend this wonderful  learning community focused entirely on public speaking.)

    Table Topics are a regular feature of our Club, and I think of all Toastmasters Clubs. They give people the opportunity to stand up and deliver a 1-2 minute speech, completely impromptu, about some topic that they are given on the spot. These are in contrast to the prepared speeches at each Toastmaster meeting (which are longer, prepared in advance of the meeting and practiced, practiced, practiced.)

    I wanted my Table Topics to give people the opportunity to tell a good story, and when I looked around, in early June, I noticed a lot of body art being displayed with the nice weather. So I decided to call my Table Topics:

    WHY DID YOU GET THAT TATTOO?

    When you see a really unusual tattoo, you know there must be a good story behind it. So I took 8 slips of paper and on each one of them I drew a tattoo (in some cases I made it on PowerPoint, or I typed it out if it was words/numbers, or I found a similar image on the internet).  Then I wrote on what part of the body the tattoo was positioned. I folded up the slips of paper and put them in an envelope. On the night I asked the volunteers to select a piece of paper and hand it to me, so I could describe the tattoo, where it was placed and ask them in a rather loud and demanding way, “Why Did You Get That Tattoo?” (of course you can vary the tone of your voice depending on the tattoo – you can sound like your mother or an envious friend.)

    Here are the “tattoos” that I used (not all of them were selected – we had time for the first four):

    1. 55⁰01’N 82⁰56’E – The map coordinates of Novosibirsk are tattooed on your left foot – Why did you get that tattoo??
    2. A small Chinese character that looks nice but translates into “Noodles” on the nape of your neck
    3. “Jane Forever” tattooed across your back
    4. An outline of the State of Texas on your calf  (pick any state/country)
    5. “Only Judy Knows” tattooed on your right bicep 
    6. Lampyridae (the scientific name of a firefly) on your ankle
    7. A bar code on your lower back 
    8. Half a Tweety Bird on your thigh – Why did you get that tattoo??

    You can really use your imagination on this as the Table Topics Master, and obviously it demands the same on the part of the speech makers!

    We had some wonderful stories about a well-lubricated project site visit in wintery Siberia, indelible life-changing field work with Jane Goodall, some translation difficulties in a tattoo parlour in Shanghai, and a Dallas University Professor who really made a lasting impression on his student.  The Table Topic speakers were so creative and rather courageous I would say – congratulations to the four Toastmasters women who jumped at this opportunity before we ran out of time.

    Delivering good Table Topics is also one of my personal learning edges. I feel comfortable (appropriately nervous of course) preparing and giving a 5-6 minute prepared Toastmasters speech. But the idea of having to talk off the cuff, sensibly, about a topic I am given 2 seconds before is still something that makes my brain race, legs shake and voice quiver. And although I thought about it in advance, I am still not sure how I would justify that half a Tweety Bird tattooed on my thigh.

    In the last few months I have been an interviewer and an interviewee, I have sat on selection panels for jobs, moderated conference plenary panels, guided a “Fireside Chat” and been asked questions myself by reporters. In every case, the best thing you can do for yourself when you are answering questions, is KEEP IT SHORT.

    The recruitment panel has a long list of questions to ask, always longer than the time available, but they really really want to know the answers. If you go on and on and on they will not get the data they need in order to consider your candidacy most effectively. Keep it short and content rich, and let them ask further probing questions if they want more.

    That TV, or radio interviewer, journalist or panel moderator also has a list of questions, and like the recruiter they want to ask them all. The question sequence has been designed to get somewhere, to tell a story or make some essential points in a way that aims to generate a dialogue that is also interesting to listeners than a straight Q&A. If you get stuck with long responses on the first two questions, that moderator or journalist is not going to get where they want to go, the story won’t be unfold and be told, the essential points potentially missed, and again you will not have gotten the best opportunity to share what you think.

    Note to self: I guess the same goes for blog posts, let me stop here, enough said!

    What makes some people look down a steep and slippery mountain and say to themselves, “Weee heee, I can get down this slope REALLY FAST!” and yet fill other people with absolute terror?

    What makes some people approach a public speaking event, standing on a stage in front of 900 people, with excitement and anticipation, and give other people the cold sweats several months in advance of the event?

    Part could be fear of the unknown (although for my son, he approaches every ski-able mountain with the same glee, whether he has been down it already or not). Certainly some certainty about what is around the corner, or down the hill, or some familiarity with my audience, is helpful. You can check out the plan, get some local knowledge (who’s been down that hill or worked with that group before?), do what you need to to inform yourself about what is coming.

    Part could be confidence in your ability to handle new and unexpected things. This could come from a great deal of practice, so taking hours of lessons, clocking hours of snow time, and getting back up over and over again can help (if you don’t hit a tree and break your arm one of those times, which can set you back both physically and mentally, let me assure you).

    This also works with public speaking and facilitation – after I have done a run of workshops, I feel like I start from a position of confidence in front of a group. And even after a dud workshop session or presentation for whatever reason (and we have all had them -my first Toastmasters Table topic was a real blooper), you need to reflect on that and try to remember more of what you learned next time (lean forward, dig in those edges, prepare yourself, keep cool). Learning from more experienced speakers and facilitators (as well as skiers) is a great way to learn – be it in lessons or from mentoring/shadowing/keen observation.

    Part could be sheer bravado, but I am not sure how I can map that over to public speaking or facilitation – except that if you believe it enough there might be some self-fulfilling prophecy there. This might relate to just that instinctive feeling that you can do something; that you have the right tools and equipment and muscles, and master them, you have good general awareness, and feel that normally when you try something and give it your best, it works out. (This could be a pre-tree collision feeling, but can come back with some additional effort and if you don’t give up, I am assured.)

    All I can say at this point, is that I look at an audience at a workshop, or in an auditorium with much less trepidation than I do that mountain slope and I’m doing my best to apply my learning from one to the other!