Put Your Thoughts Where Your Mouth Is - Articles - Andrew Schwartz

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Put Your Thoughts Where Your Mouth Is
by Andrew E. Schwartz

Many experienced presentors feel that there is something lacking in their rehearsals, even after mentally reviewing their notes and presentation aids. They’ll know their style and method of delivery. They’ll already have experience with their subject, and have pre-established methods of getting points across. Many of their facts and supporting material will already be committed to memory. Still, experience indicates that there must be a way to be better prepared to deliver a presentation. At this point, an auditory rehearsal can have great value. Practice and polishing specific effects, smoothing out the use of visuals, or trying new ideas out on someone may be of additional benefit.

There are several steps to performing an auditory rehearsal each of which must be done in order for the rehearsal to have its maximum effect.

Choosing an Auditor: In an auditory rehearsal, a presentor can serve as their own auditor by recording their presentation, listening to it (or observing it, if they use video tape), making notes, and re-recording it, but this method lacks the objectivity which other people can provide. The best way to achieve this objectivity is to choose one or more reasonably qualified persons to act as “rehearsal critics.” If a group can be assembled approximating the size of the real audience, have them ask questions that the public group might ask. Auditors should have technical knowledge sufficient to criticize or check the accuracy and validity of the presentation’s substance. They should possess the ability to evaluate the presentor objectively. Their interest and willingness to serve as critics must be genuine and if possible, they should have read this article.

Speaking Before an Auditor: It is important that a presentor see their auditors as a real audience and make the presentation exactly as it would be made under the actual conditions. Do not “act”; treat this rehearsal as a real-life situation. Beforehand, presentor and critics should decide whether a given rehearsal is to be all, or only a part of the presentation, and then there should be no interruptions. All comments should be reserved until that portion has been delivered in its entirety. Partial rehearsing is less desirable than running through the entire presentation, but time restrictions often preclude this. There should be at least two full rehearsals including notes, materials and hand-outs: one to find the mistakes in the total version, the second to correct them. Additional rehearsals are determined by available time and the need for further polishing.

Using the Microphone: This is especially helpful in an auditory rehearsal. Many people are unduly influenced by the presence of a microphone. With the modern equipment and techniques available today, it is often unnecessary to use one. Sound engineers, when present, give all of the necessary instructions and signals, and monitor and adjust the equipment to fit the individual. With public address systems, presentors will hear their own voices and be able to adjust position for optimal speaking distance. However, not all situations offer these modern conveniences. If the presentor feels uncomfortable using a microphone, it is doubly critical that the rehearsal include it, or a model if a real one is not available.

Time the Rehearsal: Do not forget this important matter. If the presentation runs over in rehearsal, it will do so under actual conditions. Rehearsals tend to compress information, so the presentation itself should always be planned to run just a little under its time limitations. This margin of safety will ensure that the actual presentation will not run over. It is also good psychology to end a little early.

Rehearse Your Supportive Material: Using supportive material and visual aids during a presentation often proves awkward for speakers who lack practice in coordinating what they do at the podium with what they say. Rehearsal is the only solution for this. To arrive at a podium without ever having pressed the projector on cue is taking a foolish chance.

Rehearsal with visual aids should include thorough familiarization with the content of each individual aid, and actual practice in the use of equipment or performance of an action. If a blackboard illustration is to be drawn, it should be practiced at least once on the blackboard to be used in the actual presentation. If a movie or film strip is to be shown, preview it before presenting it.

Time each supportive aid to be sure that it is exposed only long enough for full comprehension. Also, time other activities to verify that they fit within the time allotted for the presentation. Furthermore, do not forget to proof-read all handout material in its final form and make sure there will be enough for the anticipated attendance.

A Rehearsal Critique: It is both good planning and considerate to provide auditors with a guide for their criticism. It would be quite difficult for them to note everything which needs attention without some reminder of what to look for. A critique is worthless unless it is clinical and objective. At this stage, a presentor is looking for what is wrong with their presentation more than for what is right. The critics must be merciless. (Better them than the audience.)

Criticism should center upon both the subject matter and the main guidelines of good presenting. Ideally, the critics should read this article as a foundation for their criticism, but if they have not done so, the following guidelines are designed to give directions to the auditors in what to look for.

Attitude: There is appropriate enthusiasm and sincerity, without appearing egocentric. Their presentation is convincing and authoritative, but without giving the impression of superiority. Furthermore, they seem real, and unaffected by stage fright.
Content: The information is valid and accurate. The presentor displays a full grasp of the subject. There is a central theme/idea which is emphasized throughout the presentation and everything said is relevant to it.
Structure: There is clear evidence of a unified, central structure which is easy to follow. The detail sufficiently supports the main structure and is concrete, valid and specific.
Introduction: The introduction is attention-getting and says what the presentation contains. It provides a smooth transition to the body of the presentation.
Conclusion: The conclusion ties the information together and focuses attention on the presentation as a unit. It relates back to the original premise and, finally, gives the audience guidelines on pursuing the topic.
Audience Awareness: Audience awareness is displayed through language use. They speak from the audience’s point of view, and there is evidence of audience contact. They understand and empathize with the audience.
Supportive Materials: Visuals are clear and easy to see and comprehend. There is a single visual motif—unified and harmonious, and each aid clearly supports or reinforces its related idea. There is sufficient detail, without being overdone or “busy".
Delivery: Language, diction, and pronunciation are cultured and appropriate. The presentor is poised and relaxed with a clear, well-modulated, relaxed, voice. All gestures, actions, and mannerisms are relevant and the microphone is used properly. The presentor has a good physical appearance and maintains visual contact with the audience.

When to Rehearse: Never rehearse at the last minute. This creates undue tension and nervousness and does not allow sufficient time for correcting mistakes and polishing delivery. Ideally, the first full auditory rehearsal should take place at least a week before the presentation date and be conducted in undisturbed surroundings. If possible, use the room in which the presentation will be given. If not, use one as similar to it as possible.

Upon completion of a full auditory rehearsal, many presentors feel more confident about their presentation. In effect, they already will have delivered their presentation. The auditory rehearsal critique enables them to see how and why their audiences react the way they do. In essence, auditory rehearsals become the missing link between preparation and performance.

Andrew E. Schwartz, CEO, A.E. Schwartz & Associates of Boston, MA a comprehensive management training and professional development organization offering over 40 skills specific programs and practical solutions to today's business challenges.

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