How to be professional emcee - brandjontan Jon Tan

TOASTMASTERS INTERNATIONAL
DISTRICT 51 DIVISION P PRESENTS
“HOW TO BE A PROFESSIONAL
EMCEE” WORKSHOP
VENUE: BERJAYA TIMES SQUARE, KUALA LUMPUR.
DATE: 3 NOV 2012

PROGRAM AUTHOR-SPEAKER: BRANDJONTAN (JON TAN)
WWW.BRANDJONTAN.COM

“HOW TO BE A PROFESSIONAL EMCEE”

Copyright © 2002 by Author BRANDJONTAN Jon Tan
All Rights Reserved.
No part of this publication may be reproduced for
professional or commercial purpose, without the
prior written consent of the Author.
brandjontan@brandjontan.com

www.brandjontan.com

NO MATTER WHAT HAPPENED YESTERDAY…
NO MATTER HOW YOU FEEL RIGHT NOW...
GET INTO THE RIGHT STATE OF BEING, AND…

GIVE YOUR LIFE’S
BEST PERFORMANCE
TODAY!

PRO EMCEE
PRINCIPLES AND
CONCEPTS

ENGAGE
YOUR AUDIENCE
WITH S E X
SEX ACRONYM: NEXT SLIDE

SEX ACRONYM, STANDS FOR:

SHINE (LIKE A DIAMOND)
…WITHOUT OUTSHINING THE STARS

EFFECTIVE COMMAND

X FACTOR PERSONA

SHINE LIKE A DIAMOND
WITHOUT OUTSHINING
THE STARS
“THE REAL ROLE
OF THE EMCEE”

THE REAL ROLE OF THE EMCEE:
CLARIFICATIONS OF MISCONCEPTIONS

(A) WHO IS THE STAR?
(1) EMCEE. (2) SPEAKER/PERFORMER. (3) AUDIENCE.

(I) EMCEE IS NOT THE MAIN STAR/HERO OF AN EVENT.

BUT IS, A MAIN PLAYER…EMCEE’S PERFORMANCE SHOULD

EQUAL TO, BUT NOT INTENTIONALLY HIGHER THAN

PERFORMANCE OF SPEAKERS/PERFORMERS.

THE REAL ROLE OF THE EMCEE :

(II) EMCEE IS EXPECTED TO SHOWCASE A PERSONA AND
STANDARD OF PERFORMANCE THAT EQUATES TO THE
EVENT.


(B) WHAT AN EMCEE IS…

EVENT:
(I) RESPONSIBLE FOR SUCCESS OF EVENT:

(a) PROBABLE PROBLEMS/CRISES ARISING.

(b) LESS THAN PROFICIENT PEOPLE DIRECTLY, OR
INDIRECTLY INVOLVED IN RUNNING OF EVENT.


STAR:
(II) MAIN PLAYER: STAR MAKER, NOT THE STAR:

(a) BRIDGE BETWEEN SPEAKERS/PERFORMERS
OF AN EVENT, TO THE AUDIENCE.

(b) HELP TO INSPIRE “STARS” OUT OF SPEAKERS AND
PERFORMERS, ESPECIALLY THE LESS CELEBRATED ONES.


STAR:

(c) BE AN EMOTION METER:
PRE SET THE ALREADY DEFINED/DECIDED MOOD AND
TONE OF A PARTICULAR EVENT.


STAR:

(d) BE PERSUASIVE, ENTERTAINING, MOTIVATING AND
INSPIRING.

(e) ALSO, CONTINUALLY “EQUALIZE” THE AMBIENCE/
ATMOSPHERIC MOOD AND TONE.


TYPES):
(III) DIFFUSER OF TENSION (4 TYPES):

(a) AUDIENCE AND AUDIENCE.

(b) AUDIENCE AND EMCEE/SPEAKERS/PERFORMERS.

(c) AUDIENCE AND PROGRAM/PROPS/MATERIALS/ETC.

(d) AUDIENCE AND ENVIRONMENT.


EMERGENCY:
(IV) RESCUEMAN FOR EMERGENCY:

“BE THE COOL, PERSONABLE HOST/HOSTESS,
DURING CRISIS MANAGEMENT.”


EMERGENCY:
(IV) RESCUEMAN FOR EMERGENCY:

NOTE: THE PRO EMCEE DOES NOT “LEAVE CONTROL” OF
THE FORT, TO HANDLE ANY CRISIS OR PROBLEM.

THIS IS TO BE EFFECTED BY THE RESPECTIVE
PERSON IN CHARGE, WHO SHALL THEN REPORT TO THE
ORGANIZING HEAD OR FLOOR MANAGER, DEPENDING ON
THE ISSUE AT HAND.


EVENT:
(V) CATALYST FOR AN EVENT:

(a) ALWAYS BE CHEERFUL. NEVER BE FLUSTERED…
NO MATTER WHAT.

(b) BE AN ENERGIZER…SO THAT AUDIENCE CAN FULLY
ENJOY THE EVENT.


EVENT:
(V) CATALYST FOR AN EVENT:

(c) BE A CHEERLEADER, ALWAYS
“LEADING THE APPLAUSE”.


(C) WHAT AN EMCEE IS NOT…

(I) THE MAIN STAR OR HERO OF AN EVENT:
“YOU ARE THE STAR MAKER.”

ROLE”:
(II) AN “UNIMPORTANT ROLE”:
YOU PLAY A “HIGHLY IMPORTANT” ROLE.



(III) A GLAMOUR ROLE PER SE.

(IV) A “PRIMA DONNA”.



(V) A SMART ALEC / KNOW IT ALL /
PERSON.
STOPPED LEARNING TYPE OF PERSON.

(VI) A “LAST MINUTE JOHNNY”.
JOHNNY”.



(VII) A “KNIGHT IN SHINING ARMOUR”:
ARMOUR”:
MAKING FIRST APPEARANCE EVER AT AN EVENT,
WITHOUT GOING THROUGH PRE PREP AND
PREP STAGES.


(D) THE “SHOULDs”:

(I) PERSONAL QUALITIES:
(i) PERSONAL ATTRIBUTES:

(a) WELL GROOMED (DRESS TO THE OCCASION).
(b) FRIENDLY AND COURTEOUS (HUMBLE NOT COCKY).
(c) CREATIVE/INVENTIVE.
(d) DECISIVE.



(ii) SUAVE DIFFUSER OF TENSION:

(a) AUDIENCE AND AUDIENCE.
(b) AUDIENCE AND EMCEE/SPEAKERS/PERFORMERS.
(c) AUDIENCE AND PROGRAM/MATERIALS/PROPS/ETC.
(d) AUDIENCE AND ENVIRONMENT.



(iii) CATALYST FOR EVENT: ENERGIZER
(CONDUIT FOR AUDIENCE) AND CHEERLEADER

(a) VOICE: DYNAMIC WITH VITALITY.
(b) BODY LANGUAGE: ENTHUSIASTIC/ATTRACTING.
(c) “GOOD PRETENDER”, ALWAYS LEAD APPLAUSE.




(d) LIGHTEN UP AUDIENCE, WITH WIT/HUMOUR,
OR WHATEVER ENTERTAINING WAY.

(e) REMAIN RELAXED AND CALM, EVEN WHEN
UNDER PRESSURE.




(f) NO MATTER WHAT, RAISE SPIRIT AND
SUSTAIN ENTHUSIASM OF AUDIENCE.

(g) NO MATTER WHAT, STAY CHEERFUL.
NEVER BE FLUSTERED, EVEN WHEN DURING DEEP CRISIS.



(iv) RESCUEMAN FOR EMERGENCY:
BE ALERT AND WATCHFUL

(a) MINDFUL OF GOINGS ON.
(b) EYE FOR PROBABLE “TROUBLE SPOTS”
(c) PROTECT MOOD OF AUDIENCE, AND ATMOSPHERE.


(v) BE IN COMMAND:

(a) BE IN “CONTROL” OF AUDIENCE, AND NOT
THE OTHER WAY AROUND.
(b) UPKEEP QUALITY, AND INCREASE QUALITY.
(c) HOLD THE FORT, AT SPEAKING/PERFORMANCE AREA.
(d) TIMING OF PROGRAM ELEMENTS, IS YOUR
JURISDICTION/DECISION, NOT OTHERS’.



(vi) TIME MANAGEMENT:

(a) START ON TIME, END ON TIME.
(b) CATCH UP, IF BEHIND TIME.
(c) INTELLIGENTLY CUT OUT OR SHORTEN
INTRA PROGRAM ELEMENT, OR WHOLE PROGRAM
ELEMENT.



(vii) BE IN CONSTANT LIAISON WITH ORGANIZING
COMMITTEE HEAD:

(a) ENSURE THAT THE ORGANIZING HEAD, HAS
EMPOWERED THE INDIVIDUAL COMMITTEE PERSONS IN
CHARGE, AND SUB COMMITTEE HEADS, TO BE “ON THE
JOB”, ON TIMING AND EXECUTION.



(viii) BE IN TOTAL SYNERGY WITH FLOOR MANAGER.

(a) THE FLOOR MANAGER (LIAISING WITH THE MUSIC/AV
MANAGER, SOUND & LIGHTING MANAGER, OR ICT &
MULTIMEDIA MANAGER) SHOULD BE YOUR ONLY LIAISON
PERSON FOR STAGE, PRESENTATION AREA, AND MUSIC,
AV, LIGHTING, MULTIMEDIA, TECHNOLOGY, OR
GIMMICKS.



(viii) BE IN TOTAL SYNERGY WITH FLOOR MANAGER.

(b) IN LIEU OF A FLOOR MANAGER, IF APPLICABLE, THE
MUSIC/AV MANAGER, SOUND & LIGHTING MANAGER, OR
ICT & MULTIMEDIA MANAGER SHOULD BE THE RESPECTIVE
LIAISON PERSON FOR STAGE, PRESENTATION AREA, AND
MUSIC, AV, LIGHTING, MULTIMEDIA, TECHNOLOGY, OR
GIMMICKS.



(II) DICTION/CHOICE OF WORDS:
(i) THEME FOCUS. CONTEXT SUITED.
OCCASION ORIENTED. SPECIFIC SITUATIONAL.

(ii) PSYCHOGRAPHICS PROFILING OF SPECIFIC AUDIENCE.

(iii) IF DIVERSE AUDIENCE, TO REACH OUT TO DIFFERENT
PERSONALITY TYPES, CULTURAL TYPES, HIERARCHY,
LEVELS OF EXPERIENCE, ETC.



(III) RESPECT:
ALSO, BE SOCIALLY AND POLITICALLY CORRECT.

(i) NAMES AND TITLES.

(ii) SENSITIVITY TO:
(a) RACE/CULTURE.
(b) RELIGION.
(c) POLITICS.



(IV) RAPPORT:
(i) NEAR THE VERY BEGINNING, GIVE ASSURANCE, YOU
HAVE THE AUDIENCE’S INTEREST AT HEART.

(ii) ALWAYS AIM TO HAVE A GREAT START.

(iii) SUSTAIN BONDING THROUGHOUT.


(D) THE “SHOULD NOTs”:

(I) RESPONSIBILITIES:
(i) SHOULD NOT BE LOOKING AFTER SOUND AND MUSIC
SYSTEM, MIKE/LAPEL MIKE, ETC, OR
LIGHTING/TECHNOLOGY, OR EFFECTS/GIMMICKS.
(ROLE OF FLOOR MANAGER.)

(ii) SHOULD NOT BE IN CHARGE OF OPERATION OF
PROJECTOR, LAPTOP OR OTHER PRESENTATION
FACILITIES. NOT EVEN ASSISTING.



(iii) SHOULD NOT BE THE HANDYMAN, OR “JACK OF ALL
TRADES”. (TO FOCUS ON SOLELY BEING THE EMCEE.)

(iv) SHOULD NOT BE LOOKING AFTER STAGE LOGISTICS,
PROPS ARRANGEMENT AND REMOVAL, OR CHANGE OF
STAGE DÉCOR/SCENARIO.



(v) SHOULD NOT SOURCE FOR SOUND SYSTEM/LIGHTING
SYSTEM.

(vi) SHOULD NOT BE SOURCING FOR PERFORMERS OR
ENTERTAINERS.

(vii) SHOULD NOT BE LOOKING AFTER F&B, NOR STARTING
TIME AND FLOW OF F&B AT EVENT.



(viii) SHOULD NOT BE TAKING CHARGE OF ANY OTHER
ELEMENTS/HAPPENINGS ON ACTUAL DAY, AND/OR
DURING THE EVENT. EXAMPLE: PRIZES CEREMONY,
AWARDS CEREMONY, GAMES PARAPHERNALIA, ETC.



(ix) SHOULD NOT BE COORDINATING THE EVENT,
OR EVENT PREPARATION.

(x) SHOULD NOT BE COORDINATING THE “NEXT TO
APPEAR” AVAILABILITY OF SPEAKERS, PERFORMERS OR
RELEVANT PERSONNEL, FOR EFFECTING THE NEXT
ELEMENT ON THE PROGRAM.



(II) CHARACTER:
HUMILITY | INTEGRITY | RESPONSIBILITY | SUPPORTIVENESS.

(i) SHOULD NOT OUTSTAGE SPEAKER OR PERFORMER.

(ii) SHOULD NOT BE UNPUNCTUAL.

(iii) SHOULD NOT BE CONDESCENDING, OR ARROGANT.

(iv) SHOULD NOT BELITTLE/MAKE FUN OF AUDIENCE.



(III) VOICE PROTECTION:
(DRINK LOTS OF WATER, TO HYDRATE VOCAL SYSTEM.)

(i) SHOULD NOT DRINK ALCOHOL/BEER.

(ii) SHOULD NOT OVEREAT.

(iii) SHOULD NOT CONSUME OILY, DEEP FRIED, SPICY FOOD.

(iv) SHOULD NOT DRINK EXCESSIVE MILK.



(IV) ENERGY:
(EXERCISE OFTEN, TO STAY ENERGETIC.)

(i) SHOULD NOT SLEEP LATE, PRIOR TO EVENT.

(ii) SHOULD NOT GET “STRESSED UP”.

(iii) SHOULD NOT DISCUSS PROBLEMS, PRIOR OR DURING
EVENT. (THIS IS TO SUSTAIN YOUR “STATE OF
POSITIVITY” PRESENCE.)



(V) MOOD & TONE:
(MUST: YOU SET THE MOOD & TONE, MOULDING IT AS
AND WHEN NECESSARY: WHEN THE AUDIENCE’S MOOD IS
DOWN, YOU RAISE IT…WHEN THE MOOD IS UP, YOU
RAISE IT EVEN HIGHER.)



(V) MOOD & TONE:

(i) SHOULD NOT BE “CONTROLLED” BY AUDIENCE.

(ii) SHOULD NOT “GRAVITATE” TO THE DESCENDING OR
LOW MOOD OF AUDIENCE.

(iii) SHOULD NOT GO WITH THE FLOW OF AUDIENCE.
ESPECIALLY WHEN AUDIENCE HAS SHIFTED TO A
CONTRADICTORY MOOD & TONE.


(E) PRO EMCEE TABOOS:

TO ENSURE THAT YOUR ARE …
(A) MOST ALERT…
(B) ON FULL DUTY…
(C) DIGNIFIED…

…TO AVOID THE FOLLOWING PRO EMCEE TABOOS:



(1) GET HIGH ON ALCOHOL.

(2) DISAPPEAR OR MISSING FROM THE EMCEE CONTROL
AREA.

(3) UNPREPARED OR ILL PREPARED.
EXAMPLE: FRANTIC SEARCHING FOR NOTES, ETC.



(4) RUDE, UNCOUTH, DISRESPECTFUL.

(5) OUT OF LINE. NOT AGREEABLE TO EVENT OBJECTIVE,
OR ORGANIZATION.

(6) GLUTTON.
(NOTE: MANY TOP PRO EMCEES DO NOT EAT AT ALL, AT
EVENT, OR DURING EVENT.)



(7) SOCIALIZE “BIG TIME”.
(SOCIAL, BUSINESS, CASANOVA.)

(8) FLAUNTING YOURSELF.

EFFECTIVE COMMAND
“EMCEE’S LOVE
RELATIONSHIP WITH THE
EVENT”

EMCEE’S LOVE RELATIONSHIP WITH THE EVENT

“THE EMCEE IS NOT ONE WHO APPEARS, LIKE A KNIGHT
IN SHINING ARMOUR, FOR THE FIRST TIME, AT THE SCENE
OF THE EVENT.”

YOU MUST LOVE TO WORK HAND IN HAND, WITH THE
ORGANIZING CHAIR AND COMMITTEE.

AND IN SOME INSTANCES, TAKE OVER THE ENTIRE ROLE
OF THE (INEXPERIENCED/IRRESPONSIBLE) ORGANIZING
PERSON ~ TO COORDINATE AND SEE THINGS TO
FRUITION.


(A) IT’S A START TO FINISH INVOLVEMENT.

(I) START: INITIAL ORIENTATION TO EVENT.

(II) MID WAY: PROGRAM FINALIZATION STAGE.

(III) FINAL STAGE: DRY RUN / REHEARSAL /
LAST MINUTE CHANGES. PLUS FINAL DRY RUN.

(IV) ACTUAL DAY TILL COMPLETION OF EVENT.


(B) THE NEED TO ORIENTATE YOURSELF TO THE TOTALITY
OF THE EVENT:

(I) “PERSON” ELEMENTS.

(II) “NON PERSON” ELEMENTS.

(III) OVERALL BRAND IMAGE.


OF THE EVENT:

EVENT:
(I) “PERSON” ELEMENTS OF THE EVENT:
(1) ORGANIZING CHAIR.

(2) ORGANIZING COMMITTEE.

(3) SUB COMMITTEES, INCLUDING “PROTOCOL”.


OF THE EVENT:

EVENT:
(4) SPEAKERS, PERFORMERS.

(5) AWARD PRESENTERS/RECIPIENTS.

(6) GAMES MASTER, CONDUCTOR, ASSISTANTS.


OF THE EVENT:

EVENT:
(7) CEREMONY MASTER (VARIOUS TYPES)/ASSISTANTS.

(8) STAGE PERSONNEL
(INCLUSIVE OF AV, SOUND & LIGHTING, ETC).


OF THE EVENT:

(II) “NON PERSON” ELEMENTS OF THE EVENT:
EVENT:
(1) MUSIC/SOUND & LIGHTING SYSTEM, AV, TECHNOLOGY,
GADGETS, GIMMICKS.

(2) PRESENTATION FACILITIES.

(3) VENUE DÉCOR & LAYOUT.


OF THE EVENT:

EVENT:
(4) PROMOTIONAL ASPECTS AT VENUE.

(5) ADVERTISING & PROMOTIONS.

(6) PUBLICITY & PR.


OF THE EVENT:

EVENT:
(7) ALL RELEVANT ACTIVITIES PERTAINING TO THE EVENT
(THAT YOU ARE TO EMCEE).


OF THE EVENT:

(III) THE NEED FOR CONSISTENCY IN COMMUNICATING
THE OVERALL “BRAND IMAGE” OF THE “UMBRELLA
EVENT”:
EVENT”:

EXAMPLE: “BRAND IMAGE” AND SELECTED CONCEPTUAL
THEME FOR PARTICULAR OLYMPICS, COMMONWEALTH
GAMES, 50TH ANNIVERSARY CELEBRATION OF A GLOBAL
CORPORATION, ASIA IN MALAYSIA POSITIONING, ETC.


OF THE EVENT:

EVENT”:
EVENT”:

(1) CONGRUENCY TO OVERALL BRAND OBJECTIVE/THEME.

(2) KNOW THE “BIG PICTURE”, LEADING TO
SIDEWAY EXTENSION, DOWNWARD CASCADING.


OF THE EVENT:

EVENT”:
EVENT”:

(3) IS THIS EVENT (THAT YOU ARE TO EMCEE)
PART OF A LARGER ENTITY/SCHEME?


(C) UNDERSTAND THE PURPOSE OF EACH AND EVERY
ELEMENT OF AN EVENT (THAT YOU ARE GOING TO
EMCEE):

(1) ACTIVITIES THAT SURROUND THE EVENT.

(2) PROGRAM ELEMENTS.

(3) ANY AREAS OF SIGNIFICANCE,
OR SENSITIVITY?

X FACTOR PERSONA
“QUALITY TRAITS:
EMCEE PAR
EXCELLENCE”

QUALITY TRAITS: EMCEE PAR EXCELLENCE

PERSONA:
(A) X FACTOR PERSONA:
(I) DEVELOP AND RADIATE YOUR PERSONAL BRAND:

(1) STAND OUT WITH YOUR UNIQUE X FACTOR
POSITIONING.

(a) ESSENCE: WHAT DO YOU STAND FOR?

(b) INTRINSIC EMOTIONAL CONNECTORS:
WHAT SPECIAL TALENTS/SKILLS?


(c) SOCIAL CAUSE:
CONGRUENT TO YOUR INTRINSIC VALUES AND BELIEFS,
WHAT SOCIAL CAUSE ARE YOU CHAMPIONING, OR
INSPIRING, OR PROMOTING?


(d) PERSONALITY:

(i) OUTLOOK: HOW DO YOU THINK?
HOW DO YOU DRESS? HOW DO YOU GROOM YOUR
PERSONAL BRAND?

(ii) STYLE: HOW DO YOU DO THINGS, YOUR UNIQUE WAY?

WHAT’S YOUR SIGNATURE STYLE?


PERSONA:

(2) STAY RELEVANT TO PEOPLE AND EVENT:
CONNECT EMOTIONALLY AND PSYCHOSOCIALLY.
(a) IN TUNE WITH THE CHANGING TIMES.

(b) IN SYNC WITH PSYCHOGRAPHICS OF SPECIFIC
AUDIENCE.


PERSONA:

(3) CREATE BRAND AFFINITY: “BE LIKEABLE”.

(a) WHAT DRIVES YOU?
INTRINSIC PASSION OR EGO?

HOW DO YOU OPERATE?
OTHER CENTRIC OR SELF CENTRIC/NARCISSISTIC?

DO YOU HAVE THE SPIRIT OF GENEROSITY?


PERSONA:


(b) OPTIMIZE “HALO EFFECT” FOR YOUR REPUTATION:
CREATE A “LARGER THAN LIFE” PERSONAL BRAND IMAGE:
(i) BRAND REPUTATION/CREDIBILITY ENHANCERS.
(ii) BRAND ADVOCATES.
(iii) BRAND ENDORSERS.
(iv) BRAND LEVERAGING.


PERSONA:


(c) CHARISMA WITH HUMILITY.


PERSONA:
(II) DEVELOP CHARISMATIC “STAGE PRESENCE”:

(1) HOW TO ENHANCE YOUR CHARISMA:
BE A PEOPLE MAGNET,
GIFTED WITH ART OF PERSUASION.


PERSONA:
(II) DEVELOP CHARISMATIC “STAGE PRESENCE”:

(2) HOW TO ACQUIRE “STAGE PRESENCE”:
“OWN THE STAGE.”


PERSONA:
(III) GET INTO “BEINGNESS”:

(1) PSYCHOGRAPHICS COMMUNICATION:
UNDERSTAND, THEN EMBRACE THE THEME, THE PRECISE
CONTEXT, AND THE PSYCHOGRAPHICS OF THE SPECIFIC
AUDIENCE, AS WELL AS THE SPECIFIC OCCASION (AND
SITUATION/S WITHIN).


PERSONA:
(III) GET INTO “BEINGNESS”:

(2) DECLARE “STATE OF BEING”:
INTERNALIZE , TO GET INTO THE RIGHT STATE OF MIND
AND STATE OF HEART.

THEN, FLOW FROM YOUR UNCONSCIOUS.


(B) 10 QUALITY TRAITS
TO SUPPLEMENT YOUR X FACTOR PERSONA

(1) THE POWER OF SELF ESTEEM.

(2) THE DISCIPLINE TO TAKE FULL RESPONSIBILITY.

(3) THE POWER TO HARMONIZE, AND MOTIVATE
AND INSPIRE.


(4) CRISIS MANAGEMENT – THE ACID TEST:
PRE EMPTING CRISES/TWISTS & TURNS

(5) THE POWER TO UPLIFT SPIRITS ALL THROUGH
THE EVENT.

(6) THE MASTERY OF PSYCHOGRAPHICS:
PSYCHOLOGY OF COMMUNICATION.

(7) VERSATILITY AND FLEXIBILITY.


(8) FINE ART OF SCRIPTING, PUBLIC SPEAKING,
IMPROMPTU SPEAKING.

(9) “SPEAKING TO UNIFY” AND NOT
“SPEAKING TO DIVIDE”.

(10) CREATE AND ACHIEVE EMOTIONAL
ACCEPTANCE: IDENTIFY AND FULFIL THEIR NEED.


(C) CRISIS MANAGEMENT:

(1) KEY TO EFFECTIVE CRISIS MANAGEMENT:

PRE EMPT PROBABLE “TWISTS AND TURNS”, AHEAD OF
EVENT, SO AS TO BE MENTALLY AND EMOTIONALLY
PREPARED.

PLUS, STRATEGIZE AHEAD OF AN EVENT, HOW TO
ADDRESS THESE PRE EMPTIVE PROBABLE “TWISTS AND
TURNS”.



(I) NEED FOR PERSUASIVE, UNIFYING IMPROMPTU
SPEAKING. ARTICULATE THE SITUATION.
EMPATHISE WITH AUDIENCE. BRING MOOD OF AUDIENCE
UP AGAIN.

(II) BE INVENTIVE, WITH CONTINGENCY ARRANGEMENT,
IN TANDEM WITH ORGANIZING HEAD.



(III) MAKE DECISION BY SELF (IF NOT MAJOR).
PROPOSE POSSIBLE DECISION TO ORGANIZING HEAD.

(i) ALWAYS HAVE ON STANDBY, THE ORGANIZING HEAD,
AS WELL AS KEY AND RELEVANT SUB COMMITTEE HEADS
AND ROLE PLAYERS.



(ii) TAKE CONTROL OF THE SITUATION.
TAKE RESPONSIBILITY FOR DECIDED ACTION.

(iii) STAY COOL, AND COURTEOUS.



(IV) HOW TO DEAL WITH POSSIBILITY OF LAST MINUTE
CHANGES TO PROGRAM, OR EMERGENCY ADJUSTMENT
TO PROGRAM:

STAY FOCUSED AND ALERT, GET INTO “FAST THINKING”
MODE:

(i) COME UP WITH FAST DECISIONS, ON HOW
TO RESCHEDULE OR REORGANIZE THE PROGRAM.



(ii) CLOSE RAPPORT WITH ORGANIZING HEAD.
BE PROACTIVE AND RECOMMEND YOUR
ALTERNATE PLAN/S. MAKE A JOINT DECISION.

(iii) FLEX ACCORDINGLY, MAKE THE CHANGE.
(SUCH AS SHIFTING PROGRAM ELEMENTS AROUND.)


EXCELLENCE:
(D) HALLMARK OF A PRO EMCEE PAR EXCELLENCE:

PROPENSITY WITH THE “FEEL GOOD” FACTOR, AND THE
ABILITY TO HARMONIZE OVERALL ENERGY, AS WELL AS
TO OPTIMIZE THE ENERGY LEVEL AND ENTHUSIASM OF
THE AUDIENCE.


EXCELLENCE:

(1) SHARP, FOCUSED, ALERT. PLUS, PRE EMPTIVE OF CRISIS.
(2) ADDING VALUE, WITHOUT WASTING WORDS.
(STAR MAKER.)
(3) ARTICULATE WITH IMPROMPTU
SITUATIONAL SPEAKING PERSUASION.


EXCELLENCE:

(4) EMOTION METER AND ENERGY BUILDER
FOR AUDIENCE.

(5) PR SAVVY.

(6) TIME MANAGEMENT.

SCRIPTING GUIDE
INTRODUCTORY GUIDE
I. USE OF HUMOUR
II. AWARD PRESENTATION
III. PROTOCOL/DECORUM/FORMALITIES
IV. INTRODUCING SPEAKER
V. INTRODUCING PERFORMER
VI. PROGRAM
VII. CONTESTS
VIII. JUDGES/JUDGING
IX. ORGANIZING CHAIRPERSON/COMMITTEE

SCRIPTING GUIDE ~ INTRODUCTORY GUIDE

HOW/WHAT/WHEN TO SAY AT ACTUAL EVENT

INTRODUCTION:
THE NEED FOR FLUID/FLOWING IMPROMPTU SPEAKING,
IN TANDEM WITH ORGANIC PREPARED SCRIPT.

PARAPHRASE, NOT SCRIPT FIXATED.

SCRIPTING GUIDE ~ INTRODUCTORY GUIDE

CHECKPOINTS:
(1) ORIGINAL SCRIPT FRAMEWORK:
FOUNDATION/ESSENCE. KEEP TO THE ESSENCE.

(2) HOW ORGANIC? THE LESS FORMAL,
THE MORE ORGANIC. KEEP IT SITUATIONAL.

(3) SEAMLESS BRIDGING, FROM START TO FINISH.

SCRIPTING GUIDE

WHY USE HUMOUR IN YOUR COMMUNICATION?

(1) BUILD RAPPORT WITH AUDIENCE.

(2) RELAX THE AUDIENCE. (REDUCE AUDIENCE “TENSION”).

(3) UPLIFT SPIRIT AND SUPPORTIVENESS OF AUDIENCE.

IMPORTANT NOTE: MAKE FUN OF SELF OR SPECIFIC
INDIVIDUAL, BUT NOT THE AUDIENCE.

SCRIPTING GUIDE

TYPES OF HUMOUR AND MERITS OF EACH TYPE:

(1) SLAPSTICK.

(2) GENERAL HUMOUR:
(a) ONE LINER. (b) ANECDOTE. (c) VERY SHORT STORY.
(d) PREPARED JOKES. (e) ETC.

(3) PUN OR PUNNY PHRASES/STATEMENTS.

SCRIPTING GUIDE


(4) WIT.

(5) “ROAST”.

(6) SATIRE.

(7) ETC.

NOTE: IDENTIFY YOUR INTRINSIC TALENT/SKILL FOR TYPE
OF HUMOUR.

SCRIPTING GUIDE


NOTE ON WHAT TYPE OF HUMOUR TO USE:

IDENTIFY YOUR INTRINSIC TALENT/SKILL OR INTRINSIC
INTEREST OR PASSION FOR TYPE OF HUMOUR.

THIS IS IMPORTANT, SO THAT YOU DO NOT HAVE TO
“STRUGGLE” TO DISPENSE HUMOUR, OR LOOK
ARTIFICIAL.

SCRIPTING GUIDE ~ I. HUMOUR

WHEN TO USE HUMOUR:

ANSWER: WHENEVER APPROPRIATE.
BUT THE HUMOUR MUST BE RELEVANT.

EXAMPLES:

(1) GOOD START (WITH RELEVANT SUITABLE HUMOUR).

(2) LIVEN UP ATMOSPHERE.

(3) JOLT PEOPLE OUT OF “SEDATIVE STATE”.


(4) “BRIDGING” DEVICE.

(5) REPARTEE.

(6) RELIEVE TENSION. (GENERAL, VARIOUS SITUATIONS.)

(7) ALLEVIATE CRISIS.

(8) BREAK “MONOTONY”.


WHEN NOT TO USE HUMOUR:

ANSWER: *WHEN NOT APPROPRIATE,
OR *WHEN IT IS CONFLICTING WITH THE INTENTION OR
GENRE OF PERFORMER.

EXAMPLES:
(1) WHEN YOU’RE NOT GOOD AT HUMOUR!

(2) SOMBRE EVENTS, SUCH AS REFUGEE PLIGHT, FUNERAL
EULOGY SERVICE, “SERIOUS” CHURCH WEDDING, ETC.


(3) OFFICIOUS EVENTS, SUCH AS ROYALTY PATRONAGE,
BLACK TIE AFFAIR.

(4) SPEAKER WITH SERIOUS MESSAGE.

(5) PERFORMER OF SERIOUS NATURE.

SCRIPTING GUIDE ~ AWARD PRESENTATION

AWARD PRESENTATION:

INTRODUCTION: TYPES OF AWARDS

(1) CONTEST.

(2) EXCELLENCE IN SERVICE. | LONG SERVICE.

(3) RECOGNITION. (4) ACHIEVEMENT.

(5) ETC.


AWARD PRESENTATION:

DOs:
(1) (A) FORMAT:
(a) NAME OF AWARD. PURPOSE OF AWARD.

(b) PROCEDURE OR STAGES OF SELECTION/CONTEST.
(c) CRITERIA FOR SELECTION/JUDGING.
(d) ANNOUNCE NAME OF RECIPIENT: FROM WHERE
(DEPT/DIVISION/ORGANIZATION, COUNTRY, ETC).


AWARD PRESENTATION:

DOs:
(1) (B) INTRODUCING/CONDUCTING AWARD
PRESENTATION:

(a) DO STAY IN “NEUTRAL MODE” (PERSONA) ~
TOWARDS RESULTS OF NOMINATIONS OR WINNERS.

(b) DO BE “DIGNIFIED”.


AWARD PRESENTATION:

DO NOTs:
(2) (A) INTRODUCING/CONDUCTING AWARD
PRESENTATION:

(a) DO NOT EXPRESS SURPRISE, DISMAY, DISAPPOINTMENT,
DISAGREEMENT TO RESULTS.

(b) DO NOT PRAISE THE WINNER.


AWARD PRESENTATION:

(c) DO NOT POKE FUN.

(b) DO NOT COMMENT ON JUDGING/JUDGES.

SCRIPTING GUIDE ~
PROTOCOL/DECORUM/FORMALITIES

PROTOCOL /DECORUM / FORMALITIES:

DOs:
(1) INSIST ON ONE PERSON IN CHARGE OF PROTOCOL:

(a) DO CHECK/RECHECK PROTOCOL ACCURACY AND
HIERARCHY. VIA INFO MINISTRY, OR ROYAL HOUSEHOLD.

(b) DO RESPECT HIERARCHY OF POSITIONS, RE
SOCIETY/CLUB/ASSOCIATION/CORPORATE PROTOCOL.

SCRIPTING GUIDE ~
PROTOCOL/DECORUM/FORMALITIES

PROTOCOL /DECORUM / FORMALITIES:

DO NOTs:
(1) NEVER VOICE YOUR PERSONAL FEELING:

(a) DO NOT COMMENT ON PROTOCOL.

(b) DO NOT CHALLENGE LEVEL OF PROTOCOL, DECORUM,
FORMALITIES SET.

NOTE: AGREE, OR TURN DOWN PRO EMCEE ASSIGNMENT.

SCRIPTING GUIDE ~ INTRODUCING SPEAKER

INTRODUCING SPEAKER:

(1) FORMAT:
FORMAT:
(a) MENTION NAME OF SPEAKER.

(b) SEMBLANCE OF SUBJECT.

(c) CREDENTIALS: CREDIBILITY.
PERSONAL BACKGROUND, ONLY WHERE
RELEVANT TO THE SUBECT TO BE PRESENTED.



(d) FINAL ANNOUNCEMENT FLOW:
NAME OF SPEAKER. TITLE OF SPEECH/PRESENTATION.
(PAUSE.) TITLE AGAIN. NAME OF SPEAKER.

(e) LEAD APPLAUSE.



(2) DOs:

SETTING THE MOOD AND TONE. PRE EMPT THE SAME
MOOD AND TONE OF NEXT SPEAKER/PERFORMER.

(a) FIND OUT FROM SPEAKER: “TITLE” AND CONTEXT
OF SPEECH.


(b) BRIEF INTRO (MAXIMUM 1 2MIN).

CREATE ENOUGH INTEREST OR EXCITEMENT
AND CREDIBILITY FOR AUDIENCE TO WANT
TO LISTEN TO SPEAKER.


(c) CREATE IMAGE OF A COMPETENT, WELL QUALIFIED
PERSON TO SPEAK ON SELECTED SUBJECT OR TOPIC.

CREDIBILITY CHECKPOINTS:
(i) EXPERIENTIAL SUCCESS OR ACADEMIC/ PROFESSIONAL
QUALIFICATION.
(ii) FORMAL OR INFORMAL KNOWLEDGE.
(iii) “SERIOUS” PART TIMER OR HOBBYIST.
(iv) INTRINSIC INTEREST, MATCHING LEVEL OF
SPEECH/PRESENTATION.


(d) BUILD RAPPORT BETWEEN SPEAKER AND AUDIENCE:
ANY COMMONALITY?
(FOR THE PURPOSE OF BONDING AUDIENCE TO SPEAKER.)

(e) LEVEL OF “DIGNITY” OR INFORMALITY, IS RELATED TO:
(A) OCCASION.
(B) EMCEE’S RELATIONSHIP WITH SPEAKER.
(C) PRESTIGE OF SPEAKER.
(D) ETC.


(f) USE “INTRO CREDENTIALS” PROVIDED BY SPEAKER,
IF HE/SHE WISHES TO, PROVIDED THAT THE “INTRO
CREDENTIALS/BIODATA/PROFILE” IS:

* WITHIN DECIDED TIMEFRAME (NUMBER OF WORDS).
* RELEVANT TO SUBJECT AND OCCASION.
* PROPERLY WRITTEN/CONSTRUCTED.

IF NOT, PROVIDE FORMAT TO SPEAKER, TO FOLLOW.
OR, REWRITE YOURSELF.



(2) DO NOTs:

(a) DO NOT GIVE LIFE HISTORY, ESPECIALLY WHEN
NOT RELEVANT, TO THE THEME OR CONTEXT OF THE
SPEECH/PRESENTATION. (DO NOT WASTE ANY WORDS, OR
DILUTE THE CREDENTIALS.)



(b) DO NOT “OUTSTAGE” SPEAKER, OR TRY
TO SHARE THE SPOTLIGHT, BY:

(i) GIVING SPEECH OF YOURSELF.
(ii) BEING A COMEDIAN OR “CLOWN”.
(iii) OVERSHADOWING THE SPEAKER SOMEWHAT.



(c) DO NOT “EXTRACT” SOME OF SPEAKER’S SCRIPT.

(d) AT INTRODUCTION, OR PRIOR TO INTRODUCING
SPEAKER, DO NOT:
(i) OFFER LENGTHY OPINION, OR,
(ii) MAKE A SPEECH ON THE SPEAKER’S SAME SUBJECT
OR TOPIC.



(e) DO NOT “STEAL THE THUNDER”
OR LIMELIGHT FROM THE SPEAKER.

YOUR TASK IS TO UPLIFT SPEAKER AND AUDIENCE,
AND KEEP PROCEEDINGS SMOOTH.



(h) DO NOT DISCLOSE CONTENTS OF SPEECH.

(i) DO NOT SHOCK SPEAKER WITH IRRELEVANT
OR CONTRADICTORY INTRO.



(f) DO NOT PUT SPEAKER, ON A PEDESTAL.

(g) DO NOT PUT UNDUE PRESSURE ON SPEAKER,
BY SETTING VERY HIGH EXPECTATIONS,
OR UNREALISTIC EXPECTATIONS.

SCRIPTING GUIDE ~ INTRODUCING PERFORMER

INTRODUCING PERFORMER:

(1) DOs:

(a) DO KNOW WHAT’S THE NATURE OF PERFORMANCE,
AND THE FLOW OF PERFORMANCE.

(b) DO REFLECT TONE OF, OR GENRE OF PERFORMANCE.

(c) DO KNOW “REPERTOIRE” OF SONGS, ELEMENTS OF
PERFORMANCE, SYNOPSIS OF ACT.



(d) DO BE “IN TUNE” WITH THE NATURE
OF PERFORMANCE, OR TYPE OF PERFORMANCE.

* SHOW YOUR INTEREST (EVEN IF YOU ARE PERSONALLY
NOT KEEN WITH THE NATURE OF PERFORMANCE,
OR TYPE OF PERFORMANCE).

* STAY NEUTRAL, IF YOU CANNOT GET EXCITED
ABOUT IT!



(e) BETTER STILL, “FAKE” YOUR INTEREST
OR EXCITEMENT FOR THE NATURE OF PERFORMANCE, OR
TYPE OF PERFORMANCE.



(2) DO NOTs:

(a) DO NOT GO OFF TANGENT/OUT OF CONTEXT.

(b) DO NOT MAKE COMPARISON WITH “THE BEST”
OR HIGHER LEVEL BENCHMARKS, THUS DOWNGRADING
THIS PARTICULAR PERFORMANCE.

(c) DO NOT TELL AUDIENCE OF LACK OF PREPARATION BY
THE PERFORMER/S.



(2) DO NOTs:

(d) DO NOT MAKE PERFORMER OUT TO BE AMATEURISH,
INEXPERIENCED.

(e) DO NOT EXPECT AUDIENCE TO SYMPATHISE.

SCRIPTING GUIDE ~ PROGRAM

PROGRAM:

(1) DOs:

(a) DO INFORM AUDIENCE, AS EARLY AS POSSIBLE,
OF WHAT’S IN STORE, TO (i) DIFFUSE TENSION,
(ii) TO GENERATE EXCITEMENT.

(b) DO WARN OF “SURPRISES” AHEAD.
NOT NECESSARY TO GIVE DETAILS. BUT GIVE NOTICE.

SCRIPTING GUIDE ~PROGRAM

PROGRAM:

(c) DO MENTION “HIGHLIGHTS” EARLY, AS A MEANS
TO GET AUDIENCE TO STAY THROUGHOUT THE
PROGRAM.

(d) DO DRUM UP EXCITEMENT OF UPCOMING HIGHLIGHTS,
TO INCREASE “SUSPENSE” AND ENTHUSIASM, AND TO
KEEP AUDIENCE STAYING BACK.


PROGRAM:

(e) DO KEEP “FINALE” TO BE THE MOST IMPORTANT
TO AUDIENCE (DEPENDING ON OCCASION), TO MAXIMIZE
AUDIENCE STAYING TILL THE END.


PROGRAM:

(2) DO NOTs:

(a) DO NOT CHANGE PROGRAM ELEMENTS, WITHOUT
NOTICE.

(b) DO NOT INTERCHANGE PROGRAM ELEMENTS,
WITHOUT NOTICE.

SCRIPTING GUIDE ~ CONTESTS

CONTESTS:

(1) DOs:

(a) DO STAY NEUTRAL.

(b) DO ENCOURAGE ALL PARTICIPANTS.

(c) DO PRACTISE “FAIRNESS OF COMMENT”, AS WELL
AS TIME SPENT WITH EACH.

SCRIPTING GUIDE ~ CONTESTS

CONTESTS:

(2) DO NOTs:

(a) DO NOT RIDICULE ANY CONTESTANT.

(b) DO NOT GET PERSONAL.

(c) DO NOT VICTIMIZE.

(d) DO NOT DISCUSS WITH OTHERS, ANYTHING
RELATED TO PARTICIPANTS OR THE CONTEST.

SCRIPTING GUIDE ~ JUDGES/JUDGING

JUDGES/JUDGING:

(1) DOs:

(a) DO SHOW DECORUM TO JUDGING SYSTEM.

(b) DO RESPECT ALL JUDGES ALIKE.
(NOT TO CREATE ANY DOUBT ABOUT INTEGRITY
OF ANY ONE OF THE JUDGES.)


JUDGES/JUDGING:

(2) DO NOTs:

(a) DO NOT MAKE FUN OF JUDGING PROCESS.

(b) DO NOT COMMENT ON INTEGRITY.

(c) DO NOT SINGLE OUT ANY “ILLUSTRIOUS”
PERSONALITY.


JUDGES/JUDGING:

(d) DO NOT BE OPINIONATED.

(e) DO NOT JUDGE THE JUDGES.

SCRIPTING GUIDE ~
ORGANIZING COMMITTEE/ORGANIZING CHAIR

ORGANIZING COMMITTEE/ORGANIZING CHAIR:

(1) DOs:

(a) DO ACKNOWLEDGE EFFORT/COMMITMENT OF WHOLE
ORGANIZING COMMITTEE (AND ALL SUB COMMITTEES)
ALIKE.

SCRIPTING GUIDE ~


(2) DO NOTs:

(a) DO NOT CRITICIZE INEFFICIENCY OF COMMITTEE OR
PART OF THE COMMITTEE, OR SHOW YOUR DISDAIN.

(b) DO NOT DISASSOCIATE FROM THE COMMITTEE.
(AS A PRO EMCEE, YOU ARE “PART OF THE EVENT”.)

SCRIPTING GUIDE ~


(2) DO NOTs:

(c) DO NOT:
(i) PRAISE ORGANIZING CHAIRPERSON IN EXCESS, OR
(ii) SINGLE OUT THE ORGANIZING CHAIRPERSON,
AT THE EXPENSE OF “STEALING THE THUNDER” FROM THE
COMMITTEE (WHO MAY FEEL UNAPPRECIATED, SLIGHTED,
DISAPPOINTED). NOT GOOD FOR YOUR FUTURE
REPUTATION (OR BUSINESS) AS A PRO EMCEE.

ENHANCEMENT GUIDE
I. MUSIC, SONGS, SOUND, SFX.

II. AUDIO VIDEO, MULTIMEDIA, ICT, LIGHTING,
TECHNOLOGY, STAGE HISTRIONICS, PROPS.

ENHANCEMENT GUIDE ~
I. MUSIC, SONGS, SOUND, SFX

(1) WHY (USE) ?

(A) INCREASE IMPACT OF EVENT.
(B) PROVIDE MULTI SENSORY STIMULATION.
(C) DRAMATIZE OR HIGHLIGHT SPECIFIC SCENARIOS
OR INDIVIDUALS.
(D) SERVE AS BRIDGING BETWEEN PROGRAM ELEMENTS.

ENHANCEMENT GUIDE ~

(2) WHEN (TO USE) ?

WHEN APPROPRIATE TO PROGRAM SEGMENT
OR PARTICULAR SCENARIO, AND THE EVENT THEME.

EXAMPLES:
(A) ACCOMPANYING MUSIC FANFARE TO INTRODUCING:
(i) VIP.
(ii) SPEAKER.
(iii) PERFORMER OR ENTERTAINER

ENHANCEMENT GUIDE ~

(2) WHEN (TO USE) ?

(B) PRELUDE TO EVENT.
(C) INTERLUDE.
(D) “LAUNCH” THEME.
(E) GAME ACCOMPANIMENT.
(F) BACKDROP MUSIC TO PRESENTATION.
(G) FASHION SHOW | PERFORMANCE | DANCE | ETC.
(H) WHENEVER IT SERVES TO ENHANCE THE SCENARIO,
AND NOT DISTRACT OR “FIGHT” WITH THE SCENARIO.

ENHANCEMENT GUIDE ~

(3) WHAT (SELECTION) ?

(i) IN TANDEM WITH THE OVERALL THEME/CONCEPT
OF EVENT.

(ii) SUITED TO SPECIFIC MOOD AND TONE OF A
PARTICULAR PROGRAM ELEMENT, AS WELL AS IN SYNC
WITH THE TEMPO AND PACE.

ENHANCEMENT GUIDE ~

(4) WHERE (TO USE) ?

(i) STAGE.
(ii) NEAR STAGE ~ FRONT.
(iii) CEILING.
(iv) AND AS A SURPRISE FACTOR, ANYWHERE!

ENHANCEMENT GUIDE ~

(5) WHO (TO EXECUTE) ?

(i) EVENT MANAGEMENT COMPANY, AND THEIR CREW.

(ii) PROFESSIONAL MUSIC/AV DIRECTOR, OR
SOUND & LIGHTING (& TECHNOLOGY) DIRECTOR, AND
THEIR CREW.

ENHANCEMENT GUIDE ~


(iii) IN LIEU OF ABOVE PROFESSIONALS,
EMCEE TO ENSURE ORGANIZING COMMITTEE ASSIGNS A
FLOOR MANAGER FOR THIS ROLE, PLUS A MUSIC
MACHINE MANAGER.

ENHANCEMENT GUIDE ~

(6) HOW (TO EXECUTE) ?

PURPOSE: TO ENHANCE THE PROGRAM ELEMENTS
AND THE OVERALL EVENT.

THEREFORE, IT MUST BE DONE SUPERBLY, WITH:
(i) TIME PRECISION.
(ii) HIGH QUALITY STANDARDS OF MUSIC, SONGS,
SOUND, SFX.
(iii) RELEVANT SELECTION STRATEGY.
(iv) SLICK EXECUTION.

ENHANCEMENT GUIDE ~


…OTHERWISE, TO DROP IT
(USE OF MUSIC, SONGS, SOUND, SFX)
FROM EVENT ENTIRELY!

ENHANCEMENT GUIDE ~ II. AUDIO VIDEO,
MULTIMEDIA, ICT, LIGHTING, TECHNOLOGY,
STAGE HISTRIONICS, PROPS
(1) WHY (USE) ?

(A) INCREASE IMPACT OF EVENT.
(B) PROVIDE MULTI SENSORY STIMULATION.
(C) DRAMATIZE OR HIGHLIGHT SPECIFIC SCENARIOS
OR INDIVIDUALS.
(D) SERVE AS BRIDGING BETWEEN PROGRAM ELEMENTS.

(2) WHEN (TO USE) ?

WHEN APPROPRIATE TO PROGRAM SEGMENT
OR PARTICULAR SCENARIO, AND THE EVENT THEME.

(i) AUDIO VIDEO, MULTIMEDIA, ICT:
FOR VISUAL PRESENTATION, AND FOR
DRAMATIZING EFFECT.

(2) WHEN (TO USE) ?

(ii) LIGHTING, TECHNOLOGY:
FOR STYLIZED IMPACT.

(iii) STAGE HISTRIONICS, PROPS:
TO HEIGHTEN EXCITEMENT LEVEL.

(3) WHAT (SELECTION) ?

(i) IN TANDEM WITH THE OVERALL THEME/CONCEPT
OF EVENT.

(ii) SUITED TO SPECIFIC MOOD AND TONE OF A
PARTICULAR PROGRAM ELEMENT, AS WELL AS IN SYNC
WITH THE TEMPO AND PACE.

(4) WHERE (TO USE) ?

(i) STAGE.
(ii) NEAR STAGE ~ FRONT.
(iii) CEILING.
(iv) AND AS A SURPRISE FACTOR, ANYWHERE!


(i) EVENT MANAGEMENT COMPANY, AND THEIR CREW.

(ii) SOUND & LIGHTING DIRECTOR OR TECHNOLOGY
DIRECTOR, AND THEIR CREW.

(iii) IN LIEU OF ABOVE PROFESSIONALS,
EMCEE TO ENSURE ORGANIZING COMMITTEE ASSIGNS A
FLOOR MANAGER FOR THIS ROLE.


PURPOSE: TO ENHANCE THE PROGRAM ELEMENTS
AND THE OVERALL EVENT.

THEREFORE, IT MUST BE DONE SUPERBLY, WITH:
(i) TIME PRECISION.
(ii) HIGH QUALITY STANDARDS OF AV, MULTIMEDIA, ICT,
LIGHTING, TECHNOLOGY.
(iii) RELEVANT PRODUCTION AND REPRODUCTION
STRATEGY.
(iv) SLICK EXECUTION.


…OTHERWISE, TO DROP IT
(USE OF AUDIO VIDEO, MULTIMEDIA, ICT, LIGHTING,
TECHNOLOGY, STAGE HISTRIONICS, PROPS)
FROM EVENT ENTIRELY!

HOW TO PREPARE
FOR EVENT
I. INVOLVE FROM START TO FINISH.
II. PHASE BY PHASE PREPARATION.
(A) PRE PREPARATION PHASE.
(B) FINAL PREPARATION PHASE.
(a) ONE DAY BEFORE.
(b) DAY OF EVENT.

HOW TO PREPARE FOR EVENT ~
I. INVOLVE FROM START TO FINISH

KEY STAGES OF ACTIVE INVOLVEMENT BY PRO EMCEE:

(I) START: INITIAL ORIENTATION TO EVENT.

(II) MID WAY: PROGRAM FINALIZATION STAGE.

(III) FINAL STAGE: DRY RUN / REHEARSAL /
LAST MINUTE CHANGES. PLUS FINAL DRY RUN.

(IV) ACTUAL DAY TILL COMPLETION OF EVENT.

HOW TO PREPARE FOR EVENT~
II. PHASE BY PHASE PREPARATION

(A) PRE PREPARATION PHASE
(i) FIRM UP THE OBJECTIVE AND THEME FOR THE EVENT:

PLAN INITIAL GROUNDWORK CHECKLIST TO ASSESS
(a) SUITABILITY OF LOCATION, AND,
(b) COMPETENCY LEVEL OF PERSONS IN CHARGE.



(1) THE PROGRAM/THEME/OBJECTIVE:
MEET UP WITH ORGANIZER/CLIENT TO DISCUSS PROGRAM
AND ALL PERSON ELEMENTS (INCLUDING PROTOCOL) AND
NON PERSON ELEMENTS, AS WELL AS OVERALL BRAND
IMAGE.



(2) VENUE & LOGISTICS:

(a) VENUE: ARRANGE IMMEDIATE VISIT TO VENUE (HOTEL,
RESORT, WHATEVER PLACE), TO ALIGN TO THEME AND
OBJECTIVE OF THE EVENT.

EXAMPLE: TROPICAL JUNGLE THEME.



(2) VENUE & LOGISTICS:

(b) LOGISTICS: TO RECCE TO CONFIRM WHETHER
FACILITIES (SUCH AS STAGE, BACKDROP, HALL DESIGN,
SOUND & LIGHTING SYSTEM, PRESENTATION FACILITIES,
ETC, CAN “SUPPORT” THE THEME AND OBJECTIVE.

EXAMPLE: TROPICAL JUNGLE THEME.



(3) KNOW THE TEAM:
ENSURE THE RESPECTIVE AREAS OF ORGANIZING AN
EVENT ARE TAKEN CARE OF BY THE COMMITTEE OR SUB
COMMITTEES.

IF NECESSARY, MEET UP WITH THE RESPECTIVE PERSONS
IN CHARGE…TO CHECK WHETHER THEY HAVE THE
EXPERIENCE TO HANDLE THEIR AREAS OF
RESPONSIBILITIES.


RESPONSIBILITIES:
(ii) DEFINE THE RESPECTIVE AREAS OF RESPONSIBILITIES:

SINCE ON THE ACTUAL DAY OF THE EVENT, AND DURING
THE RUNNING OF THE EVENT, THE EMCEE CAN NEVER BE
THE “HANDYMAN” AND SHOULD NOT BE, SO INSIST ON
THE FOLLOWING:

*THE APPOINTMENT OF SPECIFIC INDIVIDUALS INTO
CIRTICAL ROLES DURING THE RUNNING OF THE EVENT,
SUCH AS:


RESPONSIBILITIES:

(a) KEY COORDINATING PERSON
(ORGANIZING CHAIRPERSON/CLIENT).

(b) SOUND & LIGHTING/AUDIO VIDEO
(FLOOR MANAGER).

(c) PERSON COORDINATING TIMING AND PLAYING
OF SPECIFIC FANFARES/MUSIC/SFX.


RESPONSIBILITIES:

(d) STAGE LOGISTICS.

(e) PRESENTATION FACILITIES.

(f) ASSISTANTS TO PRESENTERS/SPEAKERS/PERFORMERS,
INCLUDING HANDLING/OPERATING COMPUTER
NOTEBOOKS, ETC.


RESPONSIBILITIES:

(g) PERSON COORDINATING WITH
PRESENTERS/SPEAKERS/PERFORMERS.

(h) FOOD & BEVERAGE.

(i) AWARD PRESENTATION/SOUVENIR PRESENTATION.


(B) FINAL PREPARATION PHASE:

ALIGNING EVERYTHING
TO CONFIRMED OBJECTIVE AND THEME,
TO ACHIEVE CONGRUENCY.


(i) EVENT DETAILING

(a) DEFINITION OF:
* OBJECTIVE OF EVENT.
* THEME OF EVENT.


(i) EVENT DETAILING

(b) RESEARCH AND SOURCING FOR RELEVANT PERSONS,
OUTFITS, PROPS, MATERIALS:

* COSTUMING.
* MUSIC & SONGS/SOUND/SFX/GIMMICKS.
* STAGE DESIGN/DÉCOR/ETC.
* ENTERTAINMENT: PRODUCTION HOUSES,
ENTERTAINMENT AND PERFORMING ARTS PROVIDERS,
MODELLING AGENCIES, ETC.


(i) EVENT DETAILING

(b) RESEARCH AND SOURCING FOR RELEVANT PERSONS,
OUTFITS, PROPS, MATERIALS:

* SPEAKERS/PERFORMERS/ENTERTAINERS.
* LAUNCH IDEAS/OPENING GAMBIT.


(ii) FINALIZING PROGRAM ELEMENTS AND FLOW:

(a) RECONFIRM PROGRAM ELEMENTS WITH
ORGANIZER/CLIENT.

(b) MEET UP WITH SPEAKERS, PERFORMERS, ENTERTAINERS.

(c) PROCEED WITH SCRIPTING STRUCTURE.


(iii) EMCEE GROOMING AND APPEARANCE:

(a) DRESSING GUIDE:
* DRESS TO THE OCCASION/THEME.
* SAME LEVEL AS AUDIENCE, OR HIGHER.


(iv) FINAL CHECK WITH ORGANIZER/CLIENT,
TO GET ENDORSEMENT:

(a) PROGRAM ELEMENTS AND FLOW.
(b) EMCEE’S GROOMING AND APPEARANCE.
(c) EMCEE’S SCRIPT ~ CONFIRM/MAKE FINAL
ADJUSTMENTS.
(d) ACTUAL NARRATON OF FINAL SCRIPT, AND ACTUAL
EXECUTION OF PROGRAM ACTIVITIES ~
NO SURPRISE FOR ORGANIZER/CLIENT.


(v) FINAL CHECKLIST ON WHOLE EVENT LOGISTICS:

WAY BEFORE ACTUAL DAY/EVENT:
COUNTERCHECK, “SUPERVISE”, OVERSEE THAT ALL
RELEVANT PERSONS IN CHARGE HAVE PERFORMED THEIR
DUTIES OR COORDINATIONS.


> ONE DAY BEFORE:
BEFORE:

(a) FINAL CHECK: USING THE EMCEE CHECKLIST.
(REFER TO APPENDIX 2 IN WORKBOOK.)

(IF YOU ARE LUCKY, A TOP RATE ORGANIZER/CLIENT WILL
ACTUALLY BE VERY CONCERNED, TO ENSURE THE “FINAL
CHECK” IS EFFECTED. BUT BE “PROFESSIONAL” – BE THERE.


BEFORE:
> ONE DAY BEFORE:

(b) DRY RUN AT VENUE: TEST OUT FINAL SCRIPT,
THROUGH SOUND SYSTEM.

(c) STAY THROUGH THE FULL DRESS REHEARSAL, TO
CHECK AND DOUBLE CHECK TIMING AND LOGISTICS.


> DAY OF EVENT:

(a) VENUE/LOGISTICS CHECK
* ARRIVE VERY EARLY, FOR LAST CHECK, USING YOUR
EMCEE CHECKLIST.

PLUS:
* GET ORIENTED TO ENVIRONMENT, AUDIENCE AND
GOINGS ON.


> DAY OF EVENT:

* ENSURE KEY PEOPLE ARE READY TO COORDINATE FAST
WITH YOU, TO UPKEEP THE ATMOSPHERE AND SMOOTH
RUNNING OF PROGRAM.

* PREFERABLY, LET ALL “COMPLAINTS”,
ANNOUNCEMENTS, CHANGES, TO BE CHANNELED
THROUGH ONE PERSON.


> DAY OF EVENT:

(b) STATE OF PERSONA OF EMCEE

* BUILD CONFIDENCE THROUGH RAPPORT WITH SPEAKERS,
PERFORMERS, AUDIENCE.

* STAY IN “RELAXED AND RESOURCEFUL” STATE.


> DAY OF EVENT:


* CHARISMA: “PRESENCE”, POSITIVE ENERGY, POISE,
CHARM PERSONALITY, SELF ESTEEM (SELF COFIDENCE &
SELF RESPECT), BEING IN COMMAND.


> DAY OF EVENT:


* MOOD & TONE: USE HUMOUR (WHEN RELEVANT), ONE
LINERS, SHORT QUIPS, TO BRIDGE SPEAKERS OR
PERFORMERS. BUT, NOT TO REHASH SPEAKERS’ WORDS.

* NEVER OVERTALK.

* DO NOT STEAL THE LIMELIGHT FROM THE STARS.


> DAY OF EVENT:


* FOCUS ON THE EVENT’S OBJECTIVE/THEME:
MIRROR THE OBJECTIVE AND THEME OF THE EVENT, VIA
CONGRUENT SCRIPT, KEY MESSAGE AND BRIDGING
PHRASES…ENHANCED BY WORD MASTERY, VOCAL
TONALITY SPECTRUM AND PURPOSEFUL BODY
LANGUAGE.


> DAY OF EVENT:


* RESONATE EHTHUSIASM FROM START TO FINISH.

* KEEP THE AUDIENCE’S ENERGY UP.


> DAY OF EVENT:


* (WHILE INDIVIDUALS COULD BE ASSIGNED TO LOOK
INTO “PROBLEM AREAS”…) THE EMCEE SHOULD KEEP AN
EYE ON DISSATISFACTION AREAS, AND ADDRESS THEM
SOONEST.


> DAY OF EVENT:


* IN THE FACE OF CRISES, ALWAYS STAY COURTEOUS.
YOU ARE TO BE NEVER AFFECTED BY “PROBLEMS” OR
“TECHNICAL HITCH UPS, ETC.


> DAY OF EVENT:

(c) LET THE SHOW BEGIN!

* HOLD ON TO YOUR SCRIPT!

* STAY TO THE PREPARED SCRIPT, OR THE “ESSENCE” OF
THE PREPARED SCRIPT.


> DAY OF EVENT:


* (IF YOU ARE ALREADY VERY PROFICIENT…) YOU CAN
GET INTO THE “IMPROMPTU PERSUASIVE SPEAKING”
MODE.

BUT ALWAYS KEEP TO THE “ESSENCE”, WHEN YOU SPEAK
EXTEMPORANEOUSLY.


> DAY OF EVENT:


* KEEP TO YOUR OWN TERRITORY.

* KEEP PEOPLE/BUSYBODIES AWAY FROM YOUR EMCEE
TERRITORY.

* DO NOT SOCIALIZE.


> DAY OF EVENT:


* DO NOT BE A GLUTTON. (SHOULD YOU NEED TO EAT,
DO SO WAY BEFORE THE START OF THE EVENT.)

* DO NOT BE A BUSYBODY: STAY TO YOUR ROLE AS
EMCEE, WHICH IS TO BE ON “CONSTANT ALERT”.


> DAY OF EVENT:


* YOU ARE AT THE FUNCTION, NOT PRINCIPALLY TO
“ENJOY YOURSELF”. YOUR PRIMARY PURPOSE IS TO KEEP
THE AUDIENCE ENTERTAINED, AND TO KEEP THEIR SPIRITS
HIGH.


> DAY OF EVENT:


* IN FACT, SHOULD UNFORESEEN OR UNEXPECTED
HITCHES OCCUR, YOU HAVE TO ENSURE THAT THAT THE
SPIRIT OF THE AUDIENCE WOULD NOT BE DAMPENED.
ENSURE THAT THE AUDIENCE COULD STILL ENJOY THE
EVENT.

ALWAYS SAVE THE OCCASION, TO YOUR BEST ABILITY.

REVIEW FOR FUTURE
PROGRESS
INTRODUCTORY GUIDE:
EVALUATION FOR SELF IMPROVEMENT, AND TO SET
NEW STANDARDS OF PERFORMANCE FOR FUTURE.
A. LEARN FROM EXPERIENCES AND FEEDBACKS.
B. GROW FROM EXPERIENCES AND FEEDBACKS.
C. POST MORTEM WITH ORGANIZER/CLIENT.
D. LOOK FOR NEW BIGGER CHALLENGES.

REVIEW FOR FUTURE PROGRESS

GUIDE:
INTRODUCTORY GUIDE:
EVALUATION FOR SELF IMPROVEMENT, AND TO SET NEW
STANDARDS OF PERFORMANCE FOR FUTURE.

* CELEBRATION FACTOR: AFTER GIVING YOUR BEST
EFFORT AT EMCEEING AN EVENT, IMMEDIATELY
CELEBRATE, NO MATTER WHAT THE OUTCOME!

* RATIONAL ANALYSIS: AT PRE ASSIGNED TIME (SAY, ONE
DAY LATER), THEN ONLY GO THROUGH THE STRENGTHS
AND “AREAS FOR IMPROVEMENT”.


(A) LEARN FROM EXPERIENCES AND FEEDBACKS.

* OWN SELF EVALUATION.

* AUDIENCE FEEDBACKS.

* ORGANIZER’S/CLIENT’S FEEDBACKS


(B) GROW FROM EXPERIENCES AND FEEDBACKS.

IDENTIFY STRENGTHS AND WEAKNESSES

(i) SELF:
> PRO EMCEE STRENGTHS
IDENTIFY, AND STRATEGIZE TO HIGHER EFFECTIVENESS.

> PRO EMCEE WEAKNESSES
IDENTIFY, AND CLOSE THE GAP.


(B) GROW FROM EXPERIENCES AND FEEDBACKS.

IDENTIFY STRENGTHS AND WEAKNESSES

(ii) NON SELF (OTHERS):
EXAMPLE : SLIP UPS, OVERSIGHTS

(a) ORGANIZER.
(b) LOGISTICS.
(c) MUSIC/SONGS/SOUND/SFX
(d) AUDIO VIDEO/MULTIMEDIA/ICT/TECHNOLOGY/
STAGE HISTRIONICS/PROPS


(C) POST MORTEM WITH ORGANIZER/CLIENT.

(a) EDUCATE YOURSELF FOR FUTURE EMCEE
ASSIGNMENTS.

(b) EDUCATE THE ORGANIZER/CLIENT.


(D) LOOK FOR NEW BIGGER CHALLENGES. SUCH AS:

(a) INTRICATE/COMPLEX THEME EVENTS.

(b) MEGA EVENTS – AT A BIG STADIUM, ISLAND
RESORT, ETC.

(c) INNOVATIVE EVENTS.

PROGRAMMING
AND TIMING
A. HOW TO PLAN AND TIME THE PROGRAM.
B. MOCK PROGRAM.

APPENDIX 1

PROGRAMMING AND TIMING

(A) HOW TO PLAN AND TIME THE PROGRAM

(1) THEME FOCUS

(i) PLAN TO THE THEME.
(a) MIND MAP ALL POSSIBLE ACTIVITIES, A Z,
INCLUSIVE OF BRIDGING, MUSIC, ETC.

(b) DOUBLE CONFIRM THE EXACT TIMING FOR EACH
PROGRAM ELEMENT.



(1) THEME FOCUS

(ii) START WITH A BANG.
(a) AN AROUSING OPENING GAMBIT, ESTABLISHES A
QUICK BONDING WITH THE AUDIENCE.



(1) THEME FOCUS

(iii) BUILD UP EXCITEMENT INTEREST LEVEL.
(a) INTERSPERSE PROGRAM WITH ELEMENTS THAT PROVIDE
THE HIGHEST EXCITEMENT APPEAL.

(b) PRO EMCEE TO CREATE AND BUILD UP SUSPENSE LEVEL,
AT ACTUAL EVENT.



(1) THEME FOCUS

(iv) “FINALE”: BRING ON THE MAIN EVENT.
(a) AWARDS PRESENTATION. PROVIDED THIS HAS GREAT
APPEAL TO ALL OF AUDIENCE, OR A HUGE MAJORITY OF
AUDIENCE.
(b) PERFORMANCE. THIS HAS TO BE OF HIGH APPEAL TO
AUDIENCE.



(1) THEME FOCUS

(v) ALTERNATE TO “FINALE”.
(a) A PROGRAM ELEMENT OF “SELFISH
INTEREST”/PERSONAL MATERIAL GAIN TO INDIVIDUALS
WITHIN AUDIENCE.

(b) GREATEST APPEAL FOR MOST OF THE AUDIENCE, TO
STAY TILL THE END OF EVENT.
EXAMPLE: GRAND LUCKY DRAW.



(2) TIMING

(i) DOUBLE CHECK WITH ORGANIZER, AND (TO BE SAFE)
EVEN SPEAKERS AND PERFORMERS, ON THE TIMING
ALLOCATED.

(ii) CONSIDER RELIGIOUS BREAK/S, WHERE RELEVANT.



(2) TIMING

(iii) ALWAYS BUILD IN BUFFER FOR EVERY PROGRAM
ELEMENT.

(iv) FACTOR IN TIME FOR DELAY IN ARRIVAL OF HIGH
LEVEL GUEST OF HONOUR, AND VIP DIGNITARIES.


(B) MOCK PROGRAM

EMCEE CHECKLIST
A. WHY THE NEED TO PREPARE EMCEE CHECKLIST.
B. HOW TO PREPARE EMCEE CHECKLIST.
C. SAMPLE EMCEE CHECKLIST.

APPENDIX 2

EMCEE CHECKLIST

(A) WHY THE NEED TO PREPARE EMCEE CHECKLIST

(1) SLICKNESS AND PROFESSIONALISM.

(2) OPTIMIZING SUCCESS OF EVENT.

(3) OPTIMIZING SUCCESS OF YOUR PRO EMCEE
PERFORMANCE

EMCEE CHECKLIST

(B) HOW TO PREPARE EMCEE CHECKLIST

(1) FINALIZE PROGRAM ELEMENTS.

EMCEE CHECKLIST


(2) CLASSIFY INTO CATEGORIES:

EXAMPLE:
(i) EMCEE PREREQUISITES.

(ii) PROGRAM FLOW AND LOGISTICS.

(iii) ORGANIZING COMMITTEE.

EMCEE CHECKLIST



EXAMPLE:
(iv) VENUE AND ALL FACILITIES/ACTIVITIES WITHIN
AND WITHOUT.

(v) PROTOCOL/DECORUM/FORMALITIES.

(vi) SPEAKERS AND PERFORMERS.

EMCEE CHECKLIST



EXAMPLE:
(vii) LAUNCHING CEREMONY DEVICE/GIMMICK.

(viii) AWARD PRESENTATION CEREMONY.

(ix) TOKENS OF APPRECIATION/SOUVENIR PRESENTATION.

EMCEE CHECKLIST



EXAMPLE:
(xi) CONTESTS.

(xii) LUCKY DRAW/CONTEST DRAW.

(xiii) FOOD & BEVERAGE.

EMCEE CHECKLIST



EXAMPLE:
(xiv) AUDIENCE’S AND GUESTS’ COMFORT.

(xv) ETC.

EMCEE CHECKLIST

(C) SAMPLE EMCEE CHECKLIST

PROFESSIONAL EMCEE
WORKSHOP PRACTICALS
I. AUDIENCE BAROMETER.
II. PROTOCOL, DECORUM, FORMALITIES.
III. PSYCHOGRAPHICS: PSYCHOLOGY
OF COMMUNICATION.
IV. EMCEEING ETHICS AND PROFESSIONALISM.

APPENDIX 3

PROFESSIONAL EMCEE WORKSHOP PRACTICALS

PROFESSIONAL EMCEE WORKSHOP PRACTICALS

“HOW TO BE A PROFESSIONAL EMCEE”

brandjontan@brandjontan.com

www.brandjontan.com

How to be professional emcee - brandjontan Jon Tan

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