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HOW TO PREPARE AS MASTER OF CEREMONIES
Compiled by: Fiel Angeli Espejo Araoarao – Gabin, City Information Officer, Tagbilaran City, Bohol, Philippines


(DON’T LET THEM ROAST THE HOST) - Karen Robertson
·   Be prepared – Don’t even think about “winging it.” People attending this affair expect to be entertained. And even if they don’t know what to expect, no one wants to be bored. The program requires planning and coordination, so start early to gather information, choose speakers and develop a theme.
·   Choose good speakers – You’ll undoubtedly be approached by volunteers who value their stories of the past and insist on sharing them. You can only hope they are great storytellers. By sticking to a limited number of speakers, you’ll have a way out by saying, “We’d love to hear you speak, but the program is already full.” Then there are those who should be asked to speak as a matter of protocol. They may not have anything interesting to say, but their position warrants the invitation. By talking to all presenters ahead of time, you’ll get a general idea of what each presenter plans to do and you can hope to ward off embarrassing comments at showtime. Find out who will present gifts, recite poetry, tell jokes or share a story. Encourage all presenters to write out what they have to say and practise their delivery.   
·   Set time limits – Give each speaker a time limit and make sure they understand the need to stay on schedule. Never trust a presenter’s “good judgment” – encourage them to time their speech to make sure it fits the limit. Explain the timing signals and reach an agreement on how to warn speakers when their time is almost up. Flashing colored lights obviously is too conspicuous. A popular method is for the emcee to walk toward the front of the room in a few minutes before the speaker needs to wrap up. This looks professional and shows the audience that you are in control and everything is carefully planned. A more drastic alternative is to walk toward the podium, wait for a good ending and then quickly start the applause. This is tricky and must be done without embarrassing the speaker or making it look like he or she was cut off. However, this won’t be necessary if the ground rules are clear from the start.
·   Check your bag of tricks – As host for evening, you are the mortar that will hold the show together. Even if every speaker lacks pizzazz, the burden is on you to make the show enjoyable. Consider using as much program variety as possible. Use props, slides or video equipment; music or other sound effects; and add sparkle to your comments by incorporating quotes, poetry and humor. Make sure any presentation of plaques, gifts or awards is done efficiently. Collect every possible scrap of information about the honoree and look for unique ways of presenting the information. Remember, you can always eliminate extra material, but be armed with a bag full of tricks, just in case you’ll need them.
·   Allow the audience to participate – Plan an activity that includes the audience – it may be as simple as asking people to stand and be recognized according to the location from which they traveled or how many years they’ve known the honoree. Depending on the nature of the program, there may be cheering or chanting and the audience may even be asked to create other sound effects for added excitement.
·   Use notecards to plan your program – Write every story, joke, activity and idea on the individual file cards. As the planning progresses, these cards will become fillers, transitions and energizers. Spread out the fun; take everything you have and put it together so that there is variety and energy throughout the program. If you fear a few less-than-thrilling program events, compensate by making other activities stand out. Don’t include yourself on the program as speaker, but rather put all your material to use in energizing, making transitions and cementing the other parts together.
·   Schedule time for the unexpected – If slides will be shown, if there will be discussion, singing or a question-and-answer segment, make sure to allow enough time and stick to that schedule. You don’t want a great program cut short by activities running overtime.
·   Listen for appropriate transitions – As the program progresses, listen carefully to each speaker for cues that will help you with smooth transitions. Use something the previous speaker said or did to segue into the next portion, if possible.
·   Give them all you’ve got – Take the stage with gusto and flair.  Treat the event as if it were the grandest of occasions, regardless of the event’s importance or the number of people in attendance. Never apologize or show concern that the audience is small. Let them know you have prepared a great show just for them.
·   Be generous with praise – Lavish your appreciation on each presenter and the audience. Be animated in leading the clapping for each speaker, so that there are no “dead” spots. Give brief, lively introductions to encourage the upcoming speaker to keep up the pace.
·   Dress up – If no request was made for formal attire, try to dress a cut above the audience. After all, you are the master of ceremonies and should look like someone special.
·   Send them away hungry – Like a hostess serving a fine meal, the master of ceremonies plans carefully, serves the portions evenly and caters to a variety of tastes. The audience will be satisfied, or even wishing for more. You don’t want them to leave miserably stuffed, but rather pleasantly filled. Better to send them away wishing there were just one more course than to see them twisting uncomfortably in their seats, counting the minutes to the end.
·   Enjoy the compliments – You have the power to turn a potentially long, boring presentation into a fun and festive event. If you succeed, many people will stay to thank you and ask you do it again. All you have to do is accept their compliments and have your business cards ready.

OVERCOMING INTERRUPTIONS - Fred Reilly, CTM
Everyone hates to be interrupted while speaking. This is especially true when addressing a group of people. The interruption may be relatively minor, such as an audience member leaving the room. Or it might be major, such as a power failure or a hostile protest. Interruptions may be handled in a variety of ways. Depending upon aspects such as the type of audience, situation and message, one or more methods can be used to overcome an inadvertent interruption. When faced with an unexpected disturbance, recovering well is the best revenge.
·   HUMOR. Make a light comment on the side which – while acknowledging the interruption – does not admit to damaging your message. Humor is also useful in putting an edgy or tense audience at ease. An interruption may be just what you need to break the ice and introduce humor into an otherwise serious, no-nonsense speech.
·   PAUSING. One of the most effective ways of overcoming interruptions is to pause until the interruption subsides, allowing the audience enough time to refocus on your speech.
·   IMPROVISATION. Sometimes an interruption enables you to add a new element into the speech which is directly related to the message you initially intended to convey.
·   DEFER THE INTERRUPTION. If the interruption consists of an untimely question or comment from the audience, you may politely offer to discuss the specific points later in the speech or in private. This shifts the burden to the audience member in a polite and professional manner.
·   IGNORE THE DISTURBANCE. One of the best ways to overcome a disturbance is simply to ignore it. If an audience member enters or leaves the room, momentarily distracting attention, you can minimize the distraction by continuing to deliver your message in the intended manner. By demonstrating that minor disturbances are indeed minor, you quickly refocus the audience’s attention back to your message.

There are additional points to keep in mind:
·   Keep in mind that any of your listeners who have addressed an audience themselves will sympathize with your predicament when an interruption occurs. How you can handle the interruption often determines whether the audience members remain receptive to your message or ignore the remainder of the speech. If you overcome the interruption with grace, poise and professionalism, the audience will respond with respect and admiration. If interruptions cause you to become flustered, bitter or lose your patience, you may very well alienate audience members and cast a shadow over your entire speech.
·   Realize that experience is the key to overcoming interruptions. Seasoned speakers have faced a variety of interruptions, experimented with many techniques for overcoming interruptions, and learned what works best. Practice may not be perfect, but it provides the necessary experience to confidently conquer most interruptions.
·   Every speaker has a handful of “war stories” chronicling interesting aspects of their past speeches. Inevitably, interruptions you encounter can be incorporated into interesting and amusing anecdotes for future speeches or conversations.   

AD LIB YOUR WAY OUT OF TIGHT SPOTS - Roger Langley, DTM
You’re giving a speech when something unexpectedly goes wrong. The lights fall, the mike won’t work, you forget what you are saying. So there you stand – heart pounding, forehead damp – trying to think of something to say that will get a laugh, relieve the tension, and get yourself back on track.
·   Your joke bombs: “Comedy is all peaks and valleys. That joke was a valley.”
·   The microphone doesn’t work: “This mike reminds me of my kid in college – expensive and not working.”
·   The mike makes a rude noise: “What are you squawking about?” 
·   The microphone needs adjusting: “Either I have to shrink/grow, or this microphone needs adjusting.”
·   The overhead projector acts up: “This must be one of those old wood-burning models.”
·   Slide is upside down: “Will you please stand – on your heads?”
·   Highlighter runs out of ink: “The magic has gone out of my marker.”
·   The lights go out: “I do my best work in the dark.”
·   Telephone rings: “If that’s President Clinton, tell him I’m busy.”
·    Someone notes a spelling error in a visual: “This is the last time I’ll borrow an overhead from Dan Quayle.”
·   You stumble: “I think I may have stumbled into something.”
·   You have a coughing spell: “I want my mama – but I’ll settle for a glass of water.”
·   Someone hands you a note: “Aha, just what I need. A new joke.”
·   You drop your handouts: “This information is too hot to handle.”
·   Music interrupts: “They say music soothes the savage beast. If there are any savage beasts here, I hope you’re soothed here.”
·   You don’t know the answer to a question: “I’m prepared to answer any questions…except that one. If you will write it out on your business card and give it to me, I’ll find out and get the answer for you.”
·   Announcement comes over the public address system: “Funny, I was just about to say the same thing.”
·   You forget what you’re saying: “I seem to have lost my train of thought. Train? It’s more like the whole railroad.”
·   Waitress clearing dishes: “Well, I used to be a waitress/waiter and now that I’m a speaker, there is one thing I’ve learned. You can’t do both jobs at once.”
·   Very small audience: “I would rather speak to a small crowd of great people than to a great crowd of small people.”

A well-timed remark, even one that is not hilariously funny, will almost always get a big laugh because it helps ease tension. Most audiences have empathy for the speaker and are pulling for you to do a good job. When something goes wrong, they share your anxiety. When you handle it, they feel relieved.   

THE BIGGEST MISTAKES SPEAKERS MAKE …
AND WHAT TO DO ABOUT THEM - Vince Reardon, CTM
·   Not Knowing Your Audience – Ineffective public speakers don’t really know their audience’s needs or interests. They fail to educate
   themselves about the specifics of the audience, such as age, gender, business, problems and challenges.

Smart public speakers often conduct interviews or surveys of their audience before or after each speech.

·   Being Poorly Prepared – Ineffective public speakers don’t spend enough time researching their subject, preparing presentation materials or rehearsing.

Smart public speakers are always prepared, and it shows. A case in point is the 1960 Kennedy – Nixon debates. Accepting a pre-debate
TV rehearsal, Kennedy and his aides practiced for hours – fielding questions from fictitious reporters, standing under the hot lights of
the studio, speaking and gesturing at the TV cameras.

·   Trying to Cover Too Much Material – Ineffective public speakers want to tell their audience everything that they know about a
subject. This usually bores listeners.

Smart public speakers present their audience with two or three main points. Psychologists say audiences retain very little of what
they’ve heard hours after a speech or presentation.

·   Failing to Make Eye Contact – Ineffective public speakers spend too much time looking at their notes and visual aids and not enough time looking at their audience. Such actions create emotional distance, since audiences tend to mistrust public speakers who don’t make and maintain eye contact.

Smart public speakers treat a speech or presentation as if it were a conversation with a friend or an acquaintance. They “tune in” to the
audience, instead of being preoccupied with themselves.

·   Being Dull – Ineffective public speakers are often dull because of poor speech delivery or poor speech content.

Smart public speakers choose topics they are excited about. They prepare interesting materials, have a strong interest in communicating their message, and let their enthusiasm shine through during the presentation.

Most audiences ask very little of a public speaker. Sadly, many public speakers deliver just that – very little. If you want to keep your next audience on the edge of your seat, know your audience, be prepared, make only two or three points, make lots of eye contact, and be energetic and interesting.

CHECKLIST PRIOR TO SPEECH OR PRESENTATION - Jacqueline Dunckel and Elizabeth Parnham
·   Check your notes or script. Are they in proper order? Secure them together, but don’t staple them. You’ll just have to take the staples out. Rubber bands work for cards. Large paper slips work for both cards and pages.
·   Put your notes in your pocket, purse or briefcase. If possible, have a duplicate set very close by. When traveling, keep notes on your person. Take your slides with you on the plane. (If you don’t, you won’t be the first speaker while the notes and visual aids got off in New York.)
·   Re-check all audio-visual material to assure it is in order.
·   Check to see you have additional bulbs, extension cords, etc.
·   Take your security blanket (aspirins, handkerchief, extra pantyhose, glasses, extra glasses).
·   Check the news. Does it affect or influence your speech or presentation? Be ready to incorporate or change.
·   If you are making an in-house presentation, take a pulse reading of your company. Very recent decisions could affect your presentation. Be aware of what is going on.
·   Check to see that there have been no last-minute changes in the program or agenda.
·   If you’re making your presentation with someone else, allow time to meet and make final reassurances.
·   Arrive early.
·   Check the set-up of the room. Rearrange if necessary.
·   Test the microphone, if you’ll be using one.
·   Set up audio-visual material.
·   Check to make sure equipment is working.
·   If using slides, run through quickly as a final check that they are in order.
·   Focus overhead, etc.
·   Check for distraction. People will read, and re-read any printed matter on the walls. Take down posters. If you speak after someone else, be sure all visuals have been removed before you speak. 
·   Make a final visit to the washroom. Make sure your hair is well-groomed at the back, as well as the front. If you speak after a meal, check, and if possible, brush your teeth. Tuck in shirt tails all around, button all buttons, and zipper all zippers. (Refrain from re-checking your zipper when you are going up to speak or in front of an audience.)
·   If you need water at the lectern, check to see that it is there. Don’t rely on someone else to get it.

BEFORE YOU SPEAK - Jacqueline Dunckel and Elizabeth Parnham
·   Eat lightly. No matter what time of day you speak, you want your blood focused on your brain, not your digestion.
·   Don’t drink alcohol. It will give you false courage, impaired articulation, and scrambled ideas.
·   Don’t drink milk. It makes mucous.
·   Don’t drink carbonated beverages. Stifling a burp can undermine confidence.
·   If you are at a head table, remember you are “on” before you speak. The audience is looking at you in anticipation.
·   Keep your body alert.
·   Don’t cross your legs. It stops circulation.
·   If you’re being introduced, listen. You must acknowledge. When you get up to speak, walk with purpose and confidence.
·   Take your time before you begin to speak. Take a 1-2-3 count. Look out at your audience. Smile. Establish your presence.  Get your breathing centered.
·   Remain flexible. You might need to update your speech or presentation. The unexpected can happen.
·   Remember: There is the speech you are going to give; the one you give; and the one you wish you’d given. When you’re well-organized and well-rehearsed, they are more likely to be the same speech. Learn from the differences; apply that knowledge to the next time you speak.

WHAT IS YOUR BODY SAYING ABOUT YOU? - Jacqueline Dunckel and Elizabeth Parnham
If your voice presents the message, your body presents the subtext. Some will argue that body language is 95% of the message. We don’t advocate anyone becoming an amateur psychologist. Instead, we present some of our beliefs based on experience.

SOLO PERFORMANCES
A vital voice comes from a vital body. If you have a flaccid, tired, apologetic body, you negate your message.
·   Beware of the “fig leaf” position. Standing with your hands held crotch level, back of the hands out to the audience, presents the weakest possible image.
·   Beware of the “reverse fig leaf” position. Holding your hands behind your back a la Prince Phillip is restrictive. From the front you appear to have no arms or hands at all. When you want to gesture, you find yourself merely moving your shoulders like a chicken wanting to fly.
·   Don’t cross your legs at the ankles and rock back and forth. The image is of an unsure foundation. The audience is not interested in what you have to say; they’re interested in when you’re going to fall over.
·   Crossing your arms across the chest, putting your hands on your hips, and pacing up and down in front of the audience gives them the feeling they’re being interrogated. (We’ve found these to be favorite positions of the police and the military.)
·   Jingling coins and keys in your pocket telegraphs to the audience that you’re nervous. You should be using that energy in communicating your message. If this is your problem, dump everything out of your pockets before you speak. 
·   Don’t shove your hands deep into your pockets, especially if your pants are a form fitting design. You’ll trap yourself and your gestures will not get made or will appear slightly questionable.
·   You present a positive assured image when you stand before an audience with your weight well-balanced on both feet. As much as possible, keep your arms and hands free for gestures. Putting a hand in a pocket, thumbs under the belt or holding a lapel is fine. A videotaped rehearsal will let you know if any of these stances give you an arrogant image.
·   You present a confident seated image if you keep the spine straight, the shoulders relaxed, and the chest open. Keep your chin parallel to the floor and your arms apart. Don’t touch your face or fiddle with your hands or any objects.

AUDIENCE ANALYSIS FOR PUBLIC SPEAKING SITUATIONS
Answer these questions to analyze your audience?
·   How large is your group?
·   What is the age range of the audience?
·   Do they have a common interest?
·   What is the educational range of the audience?
·   What is their economic background?
·   Is it a racially mixed audience?
·   Is there a political factor involved?
·   What is the male/female ratio?
·   What benefit can they gain from me?
·   Does the occasion of my speech have some special significance to this audience?

YOUR AUDIENCE - Jacqueline Dunckel and Elizabeth Parnham
Whether you’re speaking to one or one hundred, you must “read” your audience. Changing facial expressions, body shifts, and restlessness will tell you you’re not getting across or are becoming a bore. When speaking to a group, be prepared to change pace, slow down, ask questions. You’re better to sum up quickly than to drone on.
·   Although the face is capable of hundreds of nuances of expression, it is easier to control than body reaction. A sudden shift in the body will tell you your listener is reacting to what you are saying. If you’re a salesperson and the body shift involves crossing the arms and legs and turning toward the door, you’ve lost your scale.
·   Find the person in the audience who leans forward and nods approvingly as you speak. That listener will boost your ego and you’ll speak with renewed confidence.
·   If someone who appears to have been in agreement starts to frown or shake the head negatively, consider carefully what you’ve said. You may need to give further explanation. However, do remember that many people have read books on body language. A rival or competitor may seek to unnerve you by sending out negative signals.
·   Crossed arms and legs may mean a defensive attitude toward you and your ideas or it could mean the room is cold.
·   Scratching or rubbing the nose may mean the listener doubts what you have to say or it could mean an itchy nose.
·   Rubbing the neck at the hairline may mean the listener needs reassurance or has a kink in the neck.
·   We caution you not to read body language out of context.

WILL YOUR AUDIENCE GET YOUR MESSAGE? - Jacqueline Dunckel and Elizabeth Parnham
After analyzing your audience, you must consider the “language” of your speech or presentation.
·   Will everyone understand highly technical terms?
·   Do I need to paraphrase or give an explanation? Never talk down to an audience or tell them, “You won’t know what this means so I’ll explain it for you.” Instead, use terms like “as we all know that is…”
·   Don’t try to impress your superiors by flaunting your knowledge. They want straightforward information in order to reach decisions. They hired you for your expertise.
·   Do not use terms, illustrations, or examples that will offend any member of the audience because of race, sex, religion or nationality.

JOKES, STORIES, ANECDOTES, AND ILLUSTRATIONS - Jacqueline Dunckel and Elizabeth Parnham
·   Don’t tell a joke to warm up the audience. A joke must be directly related to your subject matter.
·   Don’t tell jokes in a business presentation. Your audience is looking for information, not entertainment. This doesn’t mean that presentations shouldn’t be palatable and made with a sense of showmanship. They should be.
·   Don’t ever tell jokes, if you can’t. Very few people tell jokes well.
·   Don’t tell a joke, story, anecdote or use an illustration if it will offend anyone in your audience because of its language or subject matter.

PACKAGING THE PRESENTER - Jacqueline Dunckel and Elizabeth Parnham
When you stand before an audience to make a speech or presentation, you may be representing your department, your organization or business. What the audience sees and hears is their impression of, not just you, but what you represent.

Much has been said about dressing for success. So much that there has been a backlash. We do not believe that your clothes and grooming will assure success. We believe that success in anything, including making speeches and presentations, comes from attitude, aptitude and application. However, we do believe that dress, decorum, and good grooming show your respect for yourself, your work, and your audience. We don’t believe that you should be packaged into something that you aren’t, but cleanliness, pressing, and shining should be everyday habits.

You should not be uncomfortable or present an image that is not you, but you should present the best you possible.

WHAT TO WEAR WHEN MAKING A SPEECH OR PRESENTATION
·   Always check the background of the room or space you’ll be speaking in. Choose a color that contrasts with the background so you don’t literally fade into the wallpaper. Light shade for dark background, dark for a light background.
·   If you’re the luncheon or after-dinner speaker and your topic is light and entertaining, your clothes can reflect the mood.
·   If you’re making a speech or presentation to your peers or colleagues, dress and grooming should reflect your own self-esteem, your attitude towards your presentation, and your subject.
·   When making presentations to persons in positions higher than yours, you don’t have to emulate them in dress, but choose the best of your business clothes and present a clean, well-groomed appearance.
·   When speaking to persons in positions under you, you dress the way you do everyday. Don’t try a shirt-sleeves approach if that’s not you and would be perceived as phoney and contrived. If you have to go out into the field or to smaller towns, don’t feel you must dress the same way as your audience. Their work boots and jeans may be very necessary for the particular work they are doing. You may choose to wear a sports jacket, blazer, corduroy or pants suit that is slightly more casual than your usual business image and that of your position. Pinstripe suits, white shirts, and sincere ties give too much of a boardroom image for the field.
·   If you come in from the field to the head office or from a smaller town to the city, choose those clothes that you’re comfortable in, yet show you have respect for your work. If the last time you wore your suit was to a wedding 10 years ago, and it’s too small and outdated, don’t wear it. You’re far better in sports jacket and slacks. Attention to good grooming, from clean nails and hair to polished shoes, is very important. No one likes to be perceived as a rube.

BASIC CONSIDERATIONS FOR MEN AND WOMEN - Jacqueline Dunckel and Elizabeth Parnham
·   Consider the clothes rack first: your body. View it nude in front of the mirror from all angles. Consider weight, balance, and posture. Are changes necessary? Can they be done? Will you make them or should you deal realistically with what you see?
·   Try on your clothes. View in the mirror for proper fit. If you’ve gained weight, stretched, pulled fabric gives the impression of neglect and poor grooming. No amount of “sucking in” before the mirror will change the impression. Too big clothes give you a waif-like, lost appearance. Either get your clothes out or taken in or get rid of them.
·   Check lapels and pant legs for extremes of cut. If they are too wide, they can be remodeled. Too narrow can’t be easily changed. Never buy extremes in fashion for your basic wardrobe. The material will last far longer than the style. Save the unusual for private life.
·   Analyze your work and your wardrobe. Separate your work wardrobe from your leisure wardrobe. Does your work wardrobe present a confident, well-groomed image? Are the clothes suitable for the type of work you do? Have you clothes that will take you from your work to the board room to the platform in front of an audience?
·   Never buy a new outfit to wear to make a presentation or speech. If the appropriate outfit is not in your wardrobe, buy it well in advance, wear it at appropriate times until it feels comfortable, then wear it to speak.
·   Check your existing wardrobe for large, bold patterns, checks, florals and geometrics. This check should include ties. You may be perceived as flamboyant and too daring for your position.
·   Similarly, check color. This is very important for men. Suits in bright greens, electric or baby blue give the audience the impression of the carney or used care salesperson. Women’s suits in baby pink or blue can be construed as babyish.
·   Polyester fabrics made the iron virtually passé, but pure polyester doesn’t present a successful image. It is perceived as being cheap in the sense of worth. Natural fabrics cost more and are expensive to maintain, but they do give the impression of worth. Fortunately, there are combinations of cotton and synthetics, wool and synthetics, and silk and synthetics that are good-looking and cheaper to care for. Start a replacement campaign and get rid of pure polyesters.
·   Beware of beige. Beige seems like a nice safe shade, but beige can drain the face of color and make you appear ill, mousey, and blank. Men and women with black, grey or white hair should avoid beige.
·   Navy blue is not always the answer. Navy blue can be too dark and overpowering for sandy haired or pale blonde men and women. It can make brown haired people appear sallow. They would be much better in a dark brown. Navy blue looks wonderful on persons with black, grey or white hair.
·   If you’re very thin, avoid very dark colors. They’ll make you appear thinner. Vests narrow the torso. 
·   If you’re carrying extra weight or are very tall and broad, you’ll find light colors will make you larger.
·   Discard unmercifully. Admit a mistake. Sell it or give it away.
·   For business, buy the best. Buy basics in classic cuts. Fit is very important. Clothes should be proportioned to your body. Don’t buy the current fad for business. Keep those for your leisure life.
·   You don’t need a lot of clothes for business. Choose pieces that can be interchanged. If you keep your basic wardrobe in one color and your accessories in complementary colors, you can build a wardrobe on very few pieces. You can revive and update your wardrobe with new accessories and pieces.
·   Invest in the time savers: padded hangers, shoe trees, a Wrinkle-away for travel.
·   Keep your clothes washed, ironed, clean and pressed. Shine your shoes. Brush suede. Avoid rundown heels.
·   Hang your clothes so that outfits are together and easily reached.
·   Shop sensibly at sales. Some bargains can be a waste of money.
·   Don’t buy if you’re thinking:
a)   â€œThis isn’t a good color for me. I’ll wear it when I’m feeling good.”
b)   â€œI have to stand straight and/ or pull in my stomach to wear this.” (We all relax away from the mirror.)
c)   â€œI don’t know when I’ll be able to wear it.”
d)   â€œIt’s a little too dressy (or a little too casual) for the office.”
·   Don’t’ buy it if:
a)   It’s too tight, too short, too big, not a style you’re comfortable in.
b)   You’ve gained or lost weight very recently. Wait until you’re sure you’re stabilized.

·   Don’t’ buy:
a)   Very fragile fabrics for work.
b)   Very light colors for work. This is particularly true of fabrics that need dry cleaning or special care like light
    colored suedes and leathers
c)   Light colored shoes and boots if you live where you have to walk through rain and salted slush

·   If you hate to shop, find a store and a salesperson who understands you and your work. Let him or her pre-select for you. Make an
appointment and spend two hours there twice a year. They’ll know what you have in your existing wardrobe and you can add to it.
·   If you have a poor eye for color, are color blind or feel you’ve been choosing the wrong colors to suit your natural coloring, have your
“colors done” by a color consultant. You’ll be given a color book with swatches of the right colors for you which makes choosing
clothes easier.
·   We emphasize smiling. Smile draws attention to your teeth. Take care of them.
·   Half-glasses add 10 years. Heavy frames take attention away from the eyes. Invest in bifocals with clear glass on top with the
correction at the bottom and light frames.

SPECIAL CONSIDERATIONS FOR WOMEN - Jacqueline Dunckel and Elizabeth Parnham
·   Suits aren’t the only answer to business dressing. Skirts and smartly coordinated tops or dresses and jackets can improve the same image.
·   Don’t keep a sweater in your office to wear on cold days. It won’t go with everything and will develop bumps and droops.
·   Don’t burden yourself with briefcase, purse or umbrella. Put them all in one. Briefcases with side pockets will hold and envelope purse and collapsing umbrella.
·   Consult a skin and make-up expert. Caring for the skin is essential. Makeup enhances your good features and plays down others. Get into a skin care routine and maintain it. Keep your makeup discreet. Check it for dating – “60’s eyes and lips.
·   Get a hairstyle that is easy to care for, flattering, and businesslike – reflecting the way you feel about yourself and your job. It should reveal your face and eyes. Have confidence in your stylist. Don’t let your hairstyle outdate you. Greying or grey hair doesn’t have to be dyed. It can be very flattering if it is alive and lifts the face. Long, straight hair on mature women can pull the face down and age it.
·   Your eyes and face can communicate. Wear flattering accent colors at the neckline directing attention upward.
·   Dress and suit hems should not show below a coat unless it is three-quarter length.
·   Underwear should be invisible: no bikini lines, bra wrinkles, bunchy slips or saggy straps.
·   Pantyhose should fit up to the waist, not around the hips. There should be no wrinkles at the ankles. When you’ve chosen your basic wardrobe colors, find a make that fits in a suitable shade and stock up. When in doubt, wear neutral colored hose. Patterned hose is not businesslike.
·   Jewelry should be discreet and real.
·   Ankle straps are not for business. (They also chop up the look of the leg and thicken ankles.)
·   Choose business shoes with a medium heel height.
·   Correcting the figure faults with careful dressing:
a)    Hippy? Stay away from pleats.
b)    Short-waisted or thick-waisted? Don’t define the natural waistline.
c)    Short neck? Avoid large collars.
d)    Heavy legs and feet? Minimize by wearing shoes and hose in the same tones as your outfit.
e)    Short? Choose your blouse and skirt for a taller, slimmer look.
·   Save plunging necklines, excessive frills and ruffles, peek-throughs, and see-throughs  for your private life.
·   Jogging, hiking and other athletic wear should be saved for the sports intended.

SPECIAL CONSIDERATIONS FOR MEN - Jacqueline Dunckel and Elizabeth Parnham
·   Suits may be your basic wardrobe, but well-styled jackets and pants should not be overlooked. Make sure your basic suit colors are flattering to you. Don’t choose to wear navy because it is “businesslike.” You may look much better in brown.
·   Short sleeve shirts may be great to work in, but when you’re meeting with upper management, wear long sleeve shirts. The touch of white or pale color at the cuff is good.
·   Don’t overburden your pockets. Lumps and bumps look untidy.
·   If you have skin problems, see a dermatologist.  Skin care is important to men as it is to women. Warts, moles and blemishes can be removed.
·   Get a barber you like. Don’t skip haircuts. The very day you think you can let it go for another week can be the day you want to make a good impression. Wash your hair frequently and keep it groomed. Unfortunately, the dandruff ads are right. People are repelled by it. Beards can be flattering, but should always be trimmed and cleaned.
·   White may not be the best color in shirts for you. White can make some skin sallow. You may be better off to choose shirts in very soft shades of your suit color.
·   Avoid flamboyant colors and patterns when choosing ties. Don’t wear a tie just because someone you love gave it to you as a gift. Ties with narrow stripes, with a fine red line, are considered sincere and honest by the experts. You may choose your own discretion.
·   Buy coats large enough to fit comfortably over a suit. You don’t want to look as though your coat shrunk or you’re drowning inside it.
·   Buy shirts with tails long enough to be tucked inside so they don’t creep out.
·   Fitted shirts are fine, but should not appear to have shrunk.
·   Pants should fit up around the waist. (We can honestly say we’ve been half-mooned by several presenters when they bent over.)
·   Wear executive-length socks. Baggy socks and exposed shanks don’t present a businesslike image.
·   Double-breasted jackets make you broader. Vests make you narrower. (With the accent on fitness and good health, paunches do not present a good business image.)
·   Jewelry should be discreet and real. Gold bracelets and neck chains have never been accepted business image.
·   Your shoes should complement your outfit. Wingtop oxfords, loafers and pumps all have their place. Save the leisure shoes and running shoes for leisure and sports.
·   White belts and white shoes do not present a good business image.
·   Save the white socks, the tweed jackets with leather trim and tabs, the hiking boots, the jogging and athletic wear for your private life.

CONTROLLING SIGNS OF NERVOUSNESS - Jacqueline Dunckel and Elizabeth Parnham
·   Dry mouth - If your mouth becomes dry, drop your head thoughtfully during a natural pause and bite the side of your tongue (gently!).
This causes the saliva to flow. Have a glass of water handy. Take a small sip during a natural pause. (Don’t take a large gulp. You
could choke.) Do not use lifesavers or mints. They interfere with articulation and you could inadvertently swallow one and choke.
·   Too much saliva - If your mouth fills with saliva and you feel you’re spraying the first four rows, put the tip of your tongue on the
hard ridge behind the top teeth (the position for making “t” and “d”). Open your mouth and breathe in through the mouth. This position
allows the air to dry the saliva without  drying the tongue and vocal cords.
·   Drying up - If you dry up or lose the train of your thought, take your eye contact away from the audience. Take a deep breath. Let it
out slowly as you look down at your notes and collect your thoughts. Focus on what you are saying, not that you are drying. You may
repeat part of what you’ve said to help you and your audience get back on track. Be very natural and conversational. The time it takes
to do this may seem horrendously long to you, but, in truth, it will be a matter of seconds.
·   Tight throat - Learn to yawn secretly. We all did it in school. Drop the head, keep the lips together, open the back of the throat and
pull the air in through the nose. This is the best exercise to release tension that can build in the throat. When you feel your throat is
tightening, don’t take a sip of water. The swallow can increase tension. Instead, yawn secretly and open the throat.
·   Shaking - Shaking hands and trembling knees are not fear. It’s the homeostatic process of the body dissipating excess energy. Don’t
try to control this process by clutching the lectern or shoving your hands in your pockets. You’re just adding to the problem. Use this
excessive energy positively. Make motivated gestures and body movement. Gestures must be motivated by what you’re saying. Let
them happen naturally and fully. Restrained, nervous little flicks send out the message – nervous. Large gestures are signs of
confidence. Bodily movement must also be motivated to bring you closer to the audience, to fill a pause with meaning or to emphasize
a point. Random pacing or nervous repeated gestures can destroy a speech. Motivated gestures and body movement support aid
effective communication.
·   Shortness of breath – If you become short of breath or can’t get your breath when speaking, stop talking. Drop your head and take your focus from your audience. Cross your left arm across the lowest part of your abdomen. Relax the shoulders. Take a deep breath into the lowest part of your abdomen. You should feel the pressure of your abdomen pushing against your crossed arm. Let the breath out slowly through your lips. Take in your next breath the same way while lifting your head and start to speak. This is the condensed version of deep breathing and sighing which relaxes you and centers your breath.
·   Butterflies – You can get rid of the butterflies by tensing the muscles of the buttocks and abdomen. Hold. Relax. (One of the clients has used this exercise to improve his putting.)

USING THE MICROPHONE
·   Check the microphone in advance.
·   Have someone help you take a balance.
·   Find out if someone is in control of the sound system.
·   Practise raising and lowering the microphone if someone is going to speak before you. Don’t lean over or look up to speak if someone has left the microphone too low or high.
·   Find out how you can turn the sound off. You may want to turn it off if you need to cough or sneeze. (Those things do happen!) But try to avoid making unpleasant sounds over the microphone.
·   Lavaliere microphones which clip to your tie or lapel allow you to move your head more when you’re speaking and allow for greater freedom of movement and the use of both hands.
·   Directional stand phones do not allow for a great deal of movement. Your mouth should be from eight to twelve inches from the microphone. To look at the audience on the left or right, tilt your head, but keep your mouth in line with the microphone. There is nothing more disconcerting than a speaker who turns his or her head from one side to the other, the voice fading in and out.
·   Hand-held microphones allow you to move freely and keep your voice projected. You must keep the mike at the same distance from your mouth at all times. You lose the use of one hand and arm for gestures and demonstration.
·   Lavaliere and hand-held microphones, other than transistor mikes, have cords to contend with when you move around.
·   Don’t say anything confidential near a microphone.
·   Don’t get so close to a microphone that your “p’s” pop and your “s’s” hiss. You’re not a rock singer.
·   Don’t think of speaking “to the microphone!” Speak to the people in the first row. Microphones give the voice more volume, but they don’t give energy. You have to supply the enthusiasm.
·   Don’t hit a microphone or blow into it to test it. Count into it at the volume you will be using. Because you’ve arrived early to check it, you can try a few lines or ideas from your speech or presentation.
·   Squeals or feedback come from setting the volume too high or having the speakers placed too close to the microphone.
·   Once the sound system acts up, you’re in trouble. For that reason, we cannot overemphasize pre-checking. It also helps for you to develop your voice so you can speak and fill any space without a microphone and not damage the vocal cords. 




/Sept12005/shared/FIEL’S FILES/infodissemination




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If thats all the things i need to read and learn to be a master of ceremony, then, I don't wish to be one. I think thats too much for my little brain 

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ako sab, panington ko mura nugnog hahaha, singtanon kaayo ko oi

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hahaha, kung ikaw ra diay usa mosayaw yadz..

nakakanta na bitaw ko sa atubangan sa mga tawo nga daghan lol, 3 nuon mi kabuok.. ulawa oi, wala intawon manggitunong sa duyog 

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[quote author=mfrandsen link=topic=1031.msg5496#msg5496 date=1182186101

nakakanta na bitaw ko sa atubangan sa mga tawo nga daghan lol, 3 nuon mi kabuok.. ulawa oi, wala intawon manggitunong sa duyog 
[/quote]

you're funny,cel oy!

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This topic is very helpful not only to emcees but to teachers as well who, most of the time, are engaged in public speaking (especially when working with the students). I  found the jokes very funny and very useful.

For everybody's info, I will copy it in my thumb drive with credit to the one who posted and to TB of course.

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