If you don’t have hooks strategically sprinkled throughout your speech, chances are your audience will bail mentally if not physically.
You have to find ways to keep hooking your audience so THEY don’t want to let go.
Below you’ll find 7 super hooks (in no particular order) that get your audience to say, “Tell me more” or “What happened next?”
Hook #1: Curiosity Hook
“After 15 years of trial and error, research, and blood, sweat, and tears, I’ve finally found out what makes the difference between a good presenter and a great one. It’s…”
That’s an example of a curiosity hook. You find ways to make your long road lead to their shortcut. However, you don’t tell them what they want to know…at least not immediately. Make them curious, tease them a little more, and then give them the tool (or solution, answer, or formula, etc.).
Hook #2 – Avoidance Hook
Here’s an example of an Avoidance Hook.
I tell a story about a speech I gave in Michigan when I failed miserably to the point where the meeting planner couldn’t even look me in the eyes. Then I say to my audience of speakers, “This is something you should not have to go through and you won’t if you listen closely.”
The Avoidance Hook focuses on something your audience wants to avoid. It’s important to use this type of hook because sometimes people are motivated by what they want to avoid more than they are by what they want to attain.
Hook #3 – Attainment Hook
I’ve said to an audience of speakers, “How would you like a tool to make a deeper connection than you’ve ever made before? If so, say yes.” They always yell, “YES!”
The Attainment Hook is just how it sounds. You simply let the audience know what they can attain if they pay attention to what’s coming next. Think results-based. I mention that they’ll be able to make a deeper connection than they ever have before. That’s certainly something they want, but I make sure to tease them before I tell them. Don’t give it up too soon. Make them wait for it and want it.
Hook #4 The “Most People” Hook
When speaking, always keep this in mind:
Most people don’t want to be most people”
When I used to watch the master presenters, I realized many of them made statements like, “Most people do this” or “Most people do that.” Whenever I heard those statements, I’d say to myself “I’m not going to be like most people. I don’t want to be average. I want to do something different.”
That’s the effect the words “most people” have on people. For example, I’ve said, “Most people live their lives on get-set. When it comes to pursuing their goals and dreams, they take their marks, they get-set, and they never go. They live and they die on get-set.”
Because “most people” are two of the most persuasive words in the English language, my audience members get very motivated to “go” rather than live on “get-set.”
Hook #5 – Conflict Hook
Good stories have a conflict that is established early. Great stories not only establish the conflict, they also escalate it. Think about the Titanic. One of the conflicts was when the Titanic hit the iceberg. However, the escalation of the conflict was when the water rose on the Titanic. If the water never rose on the Titanic, then that would have been a terrible movie. Always think, “How can I raise the water on the Titanic in my story?”
The conflict is the hook because your audience wants to see how you will overcome it and what tools you will use. Why? Because maybe they can use similar tools for similar situations. In that way, your speech has become very useful to them.
Hook #6 Silence Hook
I tell a story about how excited I was to meet my speaking hero. The only problem was, when I approached him, he said nothing back to me. That silence in the story becomes a hook because my audience is anxious to hear what he is going to say and then, when he doesn’t say anything, they get ever hungrier to see what I’m going to do about it. The silent moment becomes the hook.
The problem with some speakers is they rush through the silence and make the potential hook much less effective. Take your time, dance in the silence, and watch your audience move to the edge of their seats.
Hook #7 Statement Hook
One of the first stories I ever told as a speaker started out like this:
“Nobody has ever died from a snakebite.”
My audience wonders, “What’s he talking about? People get bitten all the time and I’m sure some of them have died.”
I then go on to tell them it’s not the bite, it’s the venom that kills them.
The key is that the first statement hooked them in to want to know more. The rest of the story cleared it up and answered their question.
When all of your hooks are done, your speech is over.
Final Words on Hooks
As you can see, it’s important not only to have hooks at the beginning and end of your speeches, but to sprinkle them throughout. Remember, when you are in speaking, you are in sales. These hooks will sell your audience on listening to the next part of your presentation.
Oh, wait a minute! I almost forgot. There is an 8th hook and it’s more powerful than the other 7 combined. It’s…
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The quickest way to connect with your audience is to share your failures, flaws, frustrations, and firsts. Why is this?
Lots of people don’t care for motivational speakers because they are used to hearing the kind that think a motivational speech should consist of bragging about their successes and then telling their audience members, “You can do it too!”
Well guess what? If you just speak on your successes and not about your failures, they will not believe they can do it. They’ll simply believe you can do it.
Don’t come across as Special
The absolute last thing you ever want an audience to think is that you are special. The very first thing you want them to think is that you are similar; similar to them. When they think you are similar, they will automatically realize you must have a special process that helped you succeed.
As a result, they will want that same special process and that’s why you will be able to influence them to take the next step towards getting it. What I am saying is that when you lift yourself up, you let your audience down. Those who are driven by their ego when speaking will end up on a dead-end road.
Since I began to understand that there is power in pain, I started opening my speeches with various stories about my own failures. Here’s a quick story that I’ve shared with Toastmaster audiences over the years (94 seconds).
This works well because it throws my audience off and lets them think, “Hey, I can relate to that.” But here’s what else it does. When I finally share one of my success stories (which you should definitely eventually share in your speech), my audience actually cares! That’s right, when they know you’ve failed, they care when you’ve won. That’s the beauty behind sharing a failure story early in your speech.
My 4 Fs (Failures, Flaws, Frustrations, and Firsts)
Below are some examples of what I have shared over the years and hopefully they can help you search for situations in your own life that you can dig up, dust off, and share.
- I share my poor SAT score
- I share how I bombed during a high-paid engagement
- I share how I lost a humorous speech contest at the lowest possible level
- I share how I was hurt when my speaking idol ignored me
- I share how I almost let negativity stop me from writing The Nuts and Bolts of Public Speaking
- I share how I got speech coaching and realized I was not where I needed to be as a speaker
- I share how I was called Daffy Duck because of the enormous lisp I had as a child
- I share how I put a man out of the residential Employment Academy program I was directing and he was shot and killed on the streets of Baltimore later that night
- I share how I had been traveling so much that my 6-year old daughter wrote me a note that said, “You are the best daddy in my whole family.”
FYI – I have also seen my friend and fellow World Champion Darren LaCroix literally show his first time on stage doing comedy. Believe me, when people see that video clip and then realize he went from that to a World Champion of Public Speaking, it gives them hope. Mission accomplished.
Think about the times you’ve failed, felt flawed, been frustrated, or done something for the first time that wasn’t anything to write home about, and then be courageous enough to open up and share it. People will not think less of you. In fact, they will think more of your process (the bridge) for how you went from where you were to where you are. Plus, they’ll think more of their ability to do the same. Just think; your failure can lead to their success.
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The Table or the Trophy?
If I put a trophy on top of a table, what do you think I want you to see, the trophy or the table? Of course it’s the trophy. We can look at narration and dialogue the same way. Narration is the table and dialogue is the trophy. The narration is only there to set up the dialogue, which is what we really want to see (or hear).
It’s okay to dress up the table a bit to make the trophy even more attractive, but it’s ultimately the trophy that we should see.
Mix It to Fix It
Too many speakers use far too much narration. For example, they say lines like, “My wife came home and told me she wanted a divorce.” That’s narration…a report from the past. That dialogue would sound like this, “I want a divorce.” That’s much more powerful. However, an effective mix of narration would sound like this, “My wife came home, looked me directly in the eyes and said, ‘I want a divorce.’”
Do you see how narration and dialogue should work together? It’s important to mix the two. The narration was, “My wife came home, looked me directly in the eyes and said…” while the dialogue was, “I want a divorce.” The narration (table) sets up the dialogue (trophy) very well. What we end up remembering is the dialogue.
What happens when you go down the wrong road?
What happens when a speaker uses all dialogue without any narration? It comes off like a stage-play.
What happens when a speaker uses all narration and no dialogue? That’s when you have a CNN report.
The key is in the mix. We need a few, “He said…” and “She looked at me and said…” lines of narration to set up the dialogue so that it’s more conversational and natural.
Therefore, there is no Dialogue vs. Narration argument. Instead of being opponents, they should be teammates. They should work together to create powerful messages that stick and shine.
See For Yourself – Narration AND Dialogue Video Coaching
Below you will see a 4-minute video of me coaching a speaker on how to mix the narration and dialogue for the greatest impact. Enjoy! Oh, and I know there’s a typo in the beginning of the video.
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Have you ever heard the saying, “If you try to do too much, you’ll end up doing nothing at all.” Well…there is an old speaker’s proverb as well that states…
If you squeeze your information in, you’ll squeeze your audience out.”
There is no time to engage them, to jump on the spontaneous moments, or to really have a conversation with your audience. Most of the times I’ve failed in speaking can be linked to me ignoring the advice you are about to receive.
I once heard Bill Gove (first President of the National Speakers Association) say that “Speaking is a dialog, not a monologue.” You will be giving a monologue if you squeeze your information in. Putting in too much information forces you to rush through your speech and that is disastrous. As I always say…
You can’t rush and resonate”
My 10:1 Rule of Thumb Solution
So what’s the solution? Here’s a suggestion to consider. Come up with a rule of thumb. My 10:1 Rule of Thumb is simple. For every 10 minutes I speak, I feel I can make one major point, illustrate it effectively, and make it palatable for my audience. Therefore, if I am called to do a 45- minute keynote, how many points will I make? Right, four.
A meeting planner might call and say, “Craig, we want you to do a 45-minute speech.” I’ll say, “Great, you’ll get the 4 Rs to Remarkable Results.” One might call and say, “Craig, we want you to do a 30-minute speech.” I’ll say, “Great, you’ll get the 3 Rs to Remarkable Results.” He might call back and say, “Craig, we just want you to give a 10 minute speech.” I’ll say, “Okay buddy but you’re down to an R…but it will be remarkable. I stick by this because I refuse to squeeze in my information. It’s too costly.
Less Can Be More
I follow this rule of thumb to keep me from squeezing my information in. The hard part is that I know a lot about these topics and so to put more information in is ALWAYS tempting, but it’s also always trouble.
I have had several people submit 5-7 minute speeches where they’re trying to make 3-5 points. The key question to ask yourself is, “Why do I want to speak?” If it’s to change lives then it’s better to give 4 points and have them remember 3 then to give 15 points and have them walk away with nothing. With structure, less can be more.
The Profitable Side Benefit
A side benefit to you not trying to squeeze in your information is that people will SENSE that what you taught them is only the tip of the iceberg for what you know about that topic. As a result, because they’ll know there’s more where that came from, and they’ll look to you for next steps including future presentations. I’d rather have standing invitations than standing ovations. Let them invite you back.
When you finish your speech, you don’t want you audience looking at you as if to say, “You want me to do all of this?!” Instead, you want them to say, “I can do this. I can handle that.” When they act on that message, you have acted on their life. Congratulations, you made a difference.
Work on your own rule of thumb and drive your points home. It’s better to drive 3 points home than to leave 15 points stranded. So go out there and give less and accomplish more. Well…you know what I mean.
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The quickest way to connect with your audience is to share your failures, flaws, frustrations, and firsts. Why? Because most people have failed, they have flaws, they’ve had frustrations, and they’ve attempted something for the first time. In other words, they can relate. Plus, your failure intrigues us because we want to see how you handled it and what tools you used to turn that failure into a success.
Keep a Failure File
For the reasons mentioned above, it’s important to have a Failure File. What’s that? It’s just what it looks like. Many speakers understand the concept of having a Story File (a file where they keep their developing and already-developed stories). Some speakers understand the importance of having a Foundational Phrase File (a file where you keep your sayings and takeaway phrases), but few of the speakers I’ve met over the years have a Failure File. However, you can start one now.
Start your Failure File
Instead of trying to bit off more than you can chew, I suggest starting your Failure File with three of the biggest let-downs or failures you’ve experienced in your life. These should be YOUR failures, not the failure of someone else. Here are some questions that can help spark some ideas:
- Did you fail a class in school?
- Did you get dumped by a significant other?
- Did you cost your team the game in a sporting event?
- Did you fail at something relating to fatherhood or motherhood?
- Did you give a bad speech?
- Did you lose a contest?
- Did you go into debt or fail with your finances?
- When have you ever felt embarrassed?
- When have you ever felt ashamed?
- What’s a flaw you tried to hide (i.e. my lisp)?
- What’s something you tried for the first time and failed?
- What frustrates you?
- Have you ever felt like you were going to fly off the handle? Why? What happened?
- Have you ever gone on a bad date? What happened?
- When is the last time you cried out of sadness?
- Have you ever been wronged by someone? What happened?
- Have you ever wronged someone? What happened?
- What is one of your biggest regrets?
Surely if you ask those questions and really ponder them, you will be able to come up with at least three stories that you can immediately put into your Failure File.
A Story from my Failure File
Here’s an example of a one-minute story that’s in my Failure File that I have not used much (and it is not developed yet) but I will develop and use in the future:
The Good News!
One fantastic advantage to being a speaker is that you won’t mind failing because you know it will turn into one heck of a story. Some of my best stories have come from my failures. In fact, whenever I am upset about something I’ve failed at, I make sure I write down what happened and how I’m feeling because I know, chances are, it will show up in my speech.
On October 12th of 2013, I was coaching my son’s travel basketball team for their first practice when I went up to demonstrate how to shoot a layup. As soon as I jumped, I heard my knee pop and I ended up falling flat on my back as all the 4th graders watched. I couldn’t move so the ambulance had to come take me to the hospital. Keep in mind this was their FIRST practice! On my way, as I rode in pain on the stretcher in the back of the ambulance, I remember thinking, “This will make a great story one day. Not today! But someday.” It has since gone into my Failure File.
What’s in Yours?
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Many speakers can get laughs with a humorous story. However, what about when you have a serious story? Is it still appropriate to use humor? The answer is, “Sure, but it shouldn’t feel forced.” It should not feel like the humor came out of left field. It should feel congruent. Below you will find one surefire process for uncovering humor in an organic, congruent way.
Why should you use humor in the midst of a serious story?
You probably already know this but the reason to use humor in the midst of a serious story is for levity. When you take your audience down a heavy road, eventually they will need to breathe. Humor gives them that air to breathe and prepares them for what’s to come.
How can you use humor in the midst of a serious story?
There is one tool I like to use several times per speech that gets a laugh in the middle of a serious story. In order to figure out what that tool is, listen to the following excerpts from two different serious stories. See if you can figure out what these excerpts have in common.
Welcome back. Are you ready for the process? Great. It’s simple.
If you’ve followed me, you know that a great way to uncover humor in a speech is through character dialogue. Well, here’s the key to finding humor in a serious speech.
Have another character (a character that is not you) give the funny line of dialogue?
For example, Scott said, “I don’t know, I don’t read” and the limo driver looked at me as if to say, “Man, I still have to take you back?!” Characters other than me were the ones to say the funny lines.
Why is it important for the line to come from someone else?
It’s important for the line to come from another character because I (my character) am in not in the emotional state to be funny? It would feel forced and incongruent if, in the middle of my suffering, I just all of a sudden popped out and said something funny.
However, the limo driver is not in MY emotional state. He’s not suffering so it makes perfect sense for him to be able to say something funny. Scott was not in my emotional state so it makes perfect sense for him to say something funny. Give the funny lines to your other characters.
Do you have a serious story in which you went through a conflict or some sort of suffering? Was there someone else in the story who said something funny as you went through your situation? Who was it? What did he or she say? Perhaps someone just looked at you in a strange way. What did his or her expression say? Answer these questions and you’re likely to find some humor.
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Many speakers and speech coaches will provide you with ways to connect with your audience. However, sometimes the best way to connect is to avoid doing what disconnects you and your audience. Here are 4 reasons speakers lose their audiences and tips for how to avoid these mistakes.
Losing Way #1: They tell them about them
Have you ever heard a speaker say something like, “We all have problems and challenges that we need to overcome.”? What’s wrong with that statement? Here it is. Your audience members do not want to be told about themselves. A statement like that makes them think, “You don’t know me! How are you going to tell me I have a problem or a challenge? Speak for yourself.” This is how you lose them.
Now here’s the key. Of course they have problems and challenges but that’s not the point. The point is you shouldn’t tell them about themselves. The solution is to follow this creed:
Ask, don’t tell.
Instead of saying, “We all have problems and challenges that we need to overcome,” ask, “Have you ever had a problem or challenge that was difficult to overcome?” Or say, “Raise your hand if you’ve ever had a problem or challenge that was difficult to overcome.” Then, once their hands go up, you’ve just qualified them and now you can move on with your message by saying something like, “Me too. In fact, in 1999…”
Losing Way #2: They take too long to get to the story
Another reason we lose our audience is by rambling on too much before we get to our stories. I call it “Pre-rambling.” Make no mistake about it, stories are the hooks to our speeches. If you don’t get into the stories within the first few minutes of your presentation, you will likely lose your audience. In fact, a great way to begin a presentation is to jump right into a story that sets up the rest of your talk. The sooner you get to the story, the quicker you’ll connect with your audience.
Losing Way #3: They take too long to get to the conflict
What if the Titanic never hit the iceberg? That would have been a boring movie! Why? People are wired to see conflict, because we want to know how you will overcome the conflict and what tools you will use. Perhaps we can use these tools for our own conflicts in life. Just as stories are the hooks for your speeches, conflict is the hook for your stories. The problem with many speeches is the speaker does not get to the conflict early enough. Instead they go on and on setting up characters and situations when they should already be at the conflict. You can even start your story in the middle of a conflict and you’ll have your audience hooked right away!
As soon as you introduce your characters, make sure to immediately throw them into a conflict. If you’ve been telling a story for more than 60 seconds and you haven’t reached the conflict yet, chances are you’re losing your audience one by one. Write this down:
Establish your conflict early
Losing Way #4: They Don’t Tease
Finally, another reason for losing the audience is they don’t tease. To be an effective speaker, you must be a great tease. For example, instead of simply moving from point to point in your speech, it’s important to make your audience thirst for the next point. This is done through effective transitions. For example, here’s what I say in one of my speeches:
“If you get this next idea and put it to use in your life, you’ll find yourself moving towards your goals, dreams, and aspirations even while you’re asleep.”
Another tease I give is towards the end of one of my speeches called the 4 Rs to Remarkable Results. I say, “There is actually one final R. This R is the most important thing I’ve ever done for my own success and I can all but guarantee it will become the most important for yours as well. And it’s only one word. Ready? Okay…”
Now let me ask you, do you think I give them the final R immediately after saying that? Of course not. Instead, I invite them into my final story and let them uncover the R while they’re in it. The key is that they really want to know what that R is. Every time I get to it, I see their pens hit the paper and a look of satisfaction on their faces. This is partly because they got good information and partly because they’re happy to have solved the mystery.
When you avoid the four mistakes above and use the solutions, you not only connect with your audience but you deepen that connection throughout the speech.
So what about that final R? Well, I might as well tell you what it is. It’s…
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Workshops and seminars are often longer than keynote speeches and this means you have to find innovative ways to keep your audience’s energy high. Below are 10 ways.
However, in order to raise their energy, it’s important to also have a workshop environment that’s conducive to a successful learning process. Therefore, before you read about the 10 ways to master the energy, take a look at 11 ways to master the environment.
Mastering the Environment
How to set the stage and the mind for Optimal Learning
1. Welcome them and tell them exactly what to do first
For example, you can have it say on your visual (PowerPoint, chalk board, or even on a flip chart) to “Choose a partner and turn to page 3 in your workbook.” They will do this before you even say your first word.
2. Do not have products in the front of the room
Having products in the front of the room will put them in a defensive mode before you even begin.
3. Get them involved within the first 3 minutes
The beginning flavors what they feel the rest of the workshop will be like. If you lecture, they will feel like the entire program will be one big lecture. Get them involved early.
4. Set a tone of trust
For example, I used to say, “What happens in this room, stays in this room.”
5. Set a theme within the first five minutes
I have told a story with the Foundational Phrase of “Speak up.” The story gets them to buy into the belief that speaking up will help them get the most out of the workshop.
6. Have handouts with lots of white space and without fill-in-the-blanks
Filling in the blanks only gets them to write down what they hear. White space gets them to write down what they hear and also what they think while they’re hearing it. They can even write down actions they’ll take as a result of the workshop.
7. Consider using music to set the mood as they enter the room
Music can energize people and help them get ready to learn
8. Ask them what they hope to get from the program (before you start)
Doing this quietly one on one lets the attendee know you’re looking out for her and lets you know which content to emphasize.
9. Never train for more than 90 minutes straight without a break
In the afternoon, go no more than 75 minutes without a break. People are generally more energized and alert in the morning.
10. Have water, candy, and perhaps even donuts in the room
Water helps them stay alert and food is festive
11. Let them realize that the “Answers are seated.”
I learned this from Ed Tate (2000 World Champion of Public Speaking). Instead of pretending you (the one who is standing) have all of the answers, let them know that you know many of them have the answers as well. This encourages them to speak up and share what they know.
Now that you’ve picked up some tools to master the workshop environment, let’s look at mastering the all-important energy of your workshop.
Mastering the Energy
Keep the momentum of the learning and excitement going
1. Change modalities every 10-15 minutes
If you tell a story, move to an activity. If you finish an activity, move to a slide, etc. Just don’t keep doing the same thing over and over again. It’s important to reach the visual, auditory, and kinesthetic learners.
2. Have them regularly switch partners
This gives them the opportunity to stretch beyond their comfort zone and get many perspectives on their own situation.
3. Do “Discuss and Debrief” at least once per section
Instead of simply asking, “What is your biggest challenge when it comes to leadership (or whatever your topic is),” say, “Turn to a neighbor and discuss your 2 greatest challenges as a leader.” Once they DISCUSS it, you can say, “Let’s DEBRIEF. What did you come up with?” This gives them time to think and get validated from the neighbor before shouting out their responses.
4. Lead one person through an activity before you have them try it in groups
This often uncovers humor and gives the participants greater clarity on the activity they are going to do.
5. Select different people to lead their teams throughout the workshop
This gives everyone the opportunity to lead and it makes them stretch.
6. Ask attendees to come teach what they’ve been taught
Remember the old saying, “Teach that which you need to learn.” This stamps the learning.
7. Encourage attendees to share their own related stories and experiences with the group
Even though you have your own examples and stories, make sure they can tell theirs too. Other audience members might even relate to their stories more than they do to your own. People buy-into what they help create. Having them share their stories makes them part of the creation process.
8. Model the behaviors you are teaching
For example, if you teach someone how to handle an employee who is regularly tardy to work or to meetings, model that with someone who comes back late from the break. Do it in good fun and also make sure you let them know, at the beginning of the workshop, that you’ll model the behavior with anyone who comes back late from break. My participants (including the tardy ones) find lots of humor in those interactions.
9. Keep teasing about what’s to come
Before each break, make sure you tease them for what they are going to get after the break. For example, I might say to a group of supervisors, “Have you ever felt overwhelmed with too much to do and too little time to do it? Well, when you come back from break, you’ll get a 5-step formula for freeing up more time than you’ll know what to do with. I’ll see you in 14 minutes!”
By the way, notice I said, “14 minutes.” I rarely say “15 minutes” or 20″ minutes because those numbers are too round. When I say, “13 and a half minutes” they know I’m serious.
10. Create rituals and stick with them
This is effective with physical and virtual workshops. For example, in our World Class Speaking Coach Certification teleseminar classes, we start each week off with “Check-ins.” Check-ins include anything our participants want to share from the previous week and they can include successes, challenges, questions related to that week’s content, etc.
Another ritual we have for that course is at the end of each call, we do “Takeaways.” These include anything the participants picked up in the call. Rituals give your participants a sense of routine which leads to a higher, safer comfort level with you.
In many of my physical workshops, we’ll share our “Keepers” each time we come back from break. These include anything the participants have found very helpful, from the previous module, that they feel they’ll use.
What is one suggestion you have for energizing your workshops and/or mastering the environment for optimal learning.
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What is seeded spontaneity? It’s a way to uncover humor by creating a seemingly spontaneous moment that is actually planned. Here’s how I do it. I plant a question or statement that I know will get my audience members to reply in a certain way. Once they reply, I simply reply with my planned funny line.
The best way to understand this is to listen to a quick example from the middle of one of my stories. Click the player below.
The question is the seed and I know someone is going to eventually reply with, “Where are you going?” because that’s what people always ask on planes. My reply is prepared and it works everywhere. Once I hear “Where ya goin?” I say, “Hopefully we’re going to the same place.” It seems spontaneous but I planted that seed with the question and knew it would blossom with their reply.
Then I added two tag-on lines about dropping me off over Santa Clara and got two more softer laughs. I love this type of “Seeded Spontaneity” humor because my audience is involved in generating the laugh. People buy-into what they help create.
Here’s another example of planting a question (seed), knowing the response I will eventually get, and replying with a humorous line.
Did you catch what I planted there? I was waiting for someone to say “Procrastination” so I could reply with, “Yes, procrastination…it took you a while to answer.” Usually this happens sooner but what happened in this particular audience? They weren’t saying it! Finally I baited them into saying it by starting the word “Pro…” and they finished with “Procrastination.” They still laughed but it works better when I don’t have to bait them.
So why did I share that particular clip? Because there’s a secret here. This is the dirtiest little secret I have in speaking and, frankly, I should be ashamed…but I’m not. Ready. Here it is.
I don’t have to wait for someone to say procrastination, because I know someone is thinking it.
If they think it, I say it
So nowadays, if nobody says it, I just say, “Did someone say, ‘Procrastination?’ Wow, it took you a while to answer.”
Make Sure It Makes Sense
There’s one situation in which this particular seed will not grow into humor. Can you guess what that is? It’s when someone yells “Procrastination” right away. That won’t work because I can’t say, “It took you a while to answer” when they answer immediately. Get it? So all of these calculations go into what I’ll do and when I’ll do it. It generates lots of laughs when you use seeded spontaneity and it makes your audience a co-creator of your speech. The good news is you can do it 10 times during a speech and it won’t get old. Remember, people buy into what they help create.
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Speaking involves a series of scenes that you create for your audience to experience. The better you establish these scenes, the better your audience connection will be.
If you grasp the process in this lesson, your audience members will have no choice but to be wrapped up in your stories feeling like they were there when the stories took place.
The Importance of the Senses
When you create a scene, it is important to engage your audience members’ senses. Why? Because you want them to feel like they were there…like they saw what you saw, heard what you heard, and felt what you felt. Many speakers understand this but even many of those speakers violate this process one way or another. I know I used to.
Check the VAKS
The process is called Checking the VAKS and there are certainly some dos and don’ts when it comes to using this process. Let’s explore the process and then look at the mistake many speakers make when using it…or should I say abusing it.
VAKS stands for Visual, Auditory, Kinesthetic, and Smell. When you invite your audience members into your scene, you want to make sure that at least some of these VAKS are present. Listen closely to this 18-second audio clip and see if you can point out the VAKS.
What could you see in that scene?
Answer: The black sofa.
What could you hear in that scene?
Answer: You could hear my wife. That is why I specifically used the word heard so that I could reach the auditory learners.
What could you feel in that scene?
Answer: My audiences usually say, “I could feel the leather.” Sometimes they say, “I could feel the love.” Either way, they are feeling something, right?
What could you smell in my scene?
Answer: The cookies. In fact, you might even have been able to taste them, which of course is another sense. I checked the VAKS in this story. Make sure you do the same with your scenes.
Why Should You Check the VAKS?
One of the reasons checking the VAKS is so important is because your audience members learn in different ways. Some are primarily visual learners. Some are primarily auditory. Some are more kinesthetic, meaning they need to feel like they’re experiencing it. Also, the sense of smell brings back memories more effectively than any other sense. So check the VAKS but…
Here are 3 Important Caveats about Checking the VAKS
Caveat Number 1
What did you notice about the time it took me to check the VAKS in my scene? It was short, wasn’t it? We’re talking about fewer than 10-15 seconds to set that scene and invite my audience into it.
Make sure you set your scene quickly so you do not take away from your story. If you drone on and on about the VAKS, you will lose your audience because you will not get to the conflict (the hook) of the story fast enough.
I’ve seen speakers check the VAKS way too long by saying things like, “As I traversed across the countryside and the leaves crumpled under my feet and the flowers blossomed and touched the tip of my nostril tendons…” I’m like, “That’s not a speech, that’s a novel!”
Speak like you talk; not like you write”
This is just my opinion but I don’t think you should use words in your speeches that you don’t use in your everyday conversations. Why? Because it’s inauthentic. It’s not you. Speak like you talk.
Caveat number one is to check the VAKS quickly so you can move on with the story and keep your audience’s interest.
Caveat number 2
In addition to the length, also try not to make the VAKS too poetic. In a speech, your language should once again reflect the language you would use when talking to a friend.
Caveat number 3
Don’t force the VAKS. Even if you only give 3 of the 4 VAKS when you set your scene, you should be in good shape. Don’t force it.
For example, if there’s no distinct smell, don’t force the smell. After all, sometimes the other cues will provide clues and you won’t have to specifically refer to the smell. For example, if I said, “It was in the middle of a horse farm,” a smell will probably already pop into your mind. Don’t force any of these VAKS.
Your Turn to Share a Scene
Do you have a scene you’ve created? If so, please feel free to share it here. People remember what they see so I look forward to being brought into your visual scene.