香港六合彩

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蹿至屏幕中央,齐声大喊:啊!可以吸的火腿肠!
不过我的创意是白想了,因为那人告诉香港六合彩不用拍,是用走的.
用走就可以了?那是什么广告?!
香港六合彩最终从另一间办公室拿出两套有活人那么高的火腿肠装束,说香港六合彩就穿上这个到街上走一走吧,挺简单的活儿!
原来只是要香港六合彩扮演大火腿肠中的猪肉馅而已,这活儿的确很简单!
于是那个星期天长沙街头就出现了两根直立行走的巨大火腿肠!原来这个广告真的是用走的,好有创意!
两根巨大的火腿肠在长沙街头胜似闲庭信步!
有趣儿的是,香港六合彩走在路上时居然还迎面碰上了两支巨大的直立行走的牙膏!香港六合彩也走得风度翩翩并很友好地朝香港六合彩打招呼.
于是幸福的长沙人们就在那一天看到这么一幅奇景:两支大牙膏对着两大截火腿肠打着招呼,然后四个怪物还在路上驻足聊了一会儿,就好象地球已经被它们侵占了一样!!
原来那俩牙膏是另一所大学的大学生,香港六合彩也是要锻炼锻炼——有道理,饭后百步走活到九十九嘛!长寿牌牙膏!
然后香港六合彩继续走,不巧的是我最怕碰上的人远远地出现了.赵玉周日是上午上课,香港六合彩去教少儿英语正好要经过这条路,我居然把这码事儿给忘了——可能是因为白天我一般不接香港六合彩的缘故吧;也有可能是我装火腿肠实在是装得太象了,所以也变得跟火腿肠一样没脑子了!

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香港六合彩

  1. 1. Build a Balanced Speech <ul><li>Introduction-10% of the speech </li></ul><ul><ul><li>Gain audience attention via an example, quote, statistics or a visual aid </li></ul></ul><ul><ul><li>State the Central Thesis (the main idea) </li></ul></ul><ul><ul><li>Establish your credibility </li></ul></ul><ul><ul><li>Identify with the audience and recognize the occasion </li></ul></ul><ul><ul><li>Preview the main points, in the same order they will appear in the speech </li></ul></ul>
  2. 2. Build a Balanced Speech (continued) <ul><li>Body-80% of the speech </li></ul><ul><ul><li>Use 3-5 main points </li></ul></ul><ul><ul><li>Give balanced attention to each section </li></ul></ul><ul><li>Conclusion-10% of the speech </li></ul><ul><ul><li>This is a mirror image of introduction, with a review </li></ul></ul><ul><ul><li>Refer back to the attention-getter in the introduction (e.g., a vivid example) </li></ul></ul><ul><ul><li>Don’t introduce new information </li></ul></ul><ul><ul><li>End with authority, and always on time </li></ul></ul>
  3. 3. Employ Frequent Transitions <ul><li>Transitions help adult learners know what to expect </li></ul><ul><li>Transitions link the main parts of the speech, and create a smooth flow </li></ul><ul><li>Transitions can review, and then preview main points </li></ul><ul><li>Transitions can be long or short </li></ul><ul><ul><li>Single words, phrases or sentences </li></ul></ul><ul><ul><li>Numbers </li></ul></ul>
  4. 4. Examples of Transitions <ul><li>“Now that we have reviewed the problem of homelessness, let’s examine three main causes…” </li></ul><ul><li>“The second major problem is…” </li></ul><ul><li>“Next, we will consider..” </li></ul><ul><li>“That brings us to…” </li></ul><ul><li>“The final point…” </li></ul>
  5. 5. Employ Humor With Care <ul><li>Where humor is concerned, there are no standards - no one can say what is good or bad, although you can be sure that everyone will! </li></ul><ul><li>John Kenneth Galbraith </li></ul>
  6. 6. Use Varied and Multiple Types of Evidence and Support <ul><li>Examples </li></ul><ul><ul><li>Vivid success stories or brief scenarios </li></ul></ul><ul><li>Visual aids or models </li></ul><ul><li>Expert testimony </li></ul><ul><ul><li>Quotes attributed to an expert enhance the speaker’s credibility </li></ul></ul><ul><li>Statistics </li></ul><ul><ul><li>Be sure to round off and interpret </li></ul></ul>
  7. 7. There are three kinds of lies: lies, damned lies and statistics . Benjamin Disraeli
  8. 8. Statistics always remind me of the fellow who drowned in a river whose average depth was three feet. Woody Hayes Coach, Ohio State Football
  9. 9. Always provide people with a context to help them understand. Richard E. Moran
  10. 10. A talk is a voyage with a purpose, and it must be charted. The man who starts out going nowhere, generally gets there. Dale Carnegie
  11. 11. Strategically Choose Your Organizational Pattern(s) <ul><li>Chronological (in order of occurrence, as in a historical perspective) </li></ul><ul><li>Topical (by subject) </li></ul><ul><li>Spatial (by physical position, as in geographic) </li></ul><ul><li>Problem-Cause-Solution </li></ul><ul><li>Problem-Solution </li></ul><ul><li>Monroe’s Motivated Sequence </li></ul>
  12. 12. Monroe’s Motivated Sequence <ul><li>Attention </li></ul><ul><ul><li>Create interest in the problem </li></ul></ul><ul><li>Need </li></ul><ul><ul><li>Analyze problem characteristics and relate these to the audience needs </li></ul></ul><ul><li>Satisfaction </li></ul><ul><ul><li>Propose a course of action that eliminates the problem and satisfies audience needs, desires and wants </li></ul></ul>
  13. 13. Monroe’s Motivated Sequence (continued) <ul><li>Visualization </li></ul><ul><ul><li>Verbally depict the world as it will exist if the plan is or is not instituted, and contrast these possibilities </li></ul></ul><ul><li>Action </li></ul><ul><ul><li>Call for audience commitment and action </li></ul></ul><ul><ul><li>Be specific </li></ul></ul><ul><ul><li>Monroe’s Motivated Sequence is commonly used in advertising to persuade… </li></ul></ul>
  14. 14. Delivery Tips <ul><li>A speaker is always “on stage” </li></ul><ul><ul><li>They are “on” from moment they are announced, to the time they return to their place in the audience </li></ul></ul><ul><li>Pause before beginning </li></ul><ul><li>Vary intonation </li></ul><ul><li>A slightly faster pace increases audience comprehension </li></ul><ul><li>Maintain good eye contact </li></ul><ul><li>Assume a relaxed, open posture, with few self-adaptors/touch </li></ul>
  15. 15. (Sometimes, “less” is “more”) Talk low, talk slow and don’t say too much. John Wayne
  16. 16. The right word may be effective, but no word was ever as effective as a rightly timed pause. Mark Twain
  17. 17. To Minimize Anxiety <ul><li>Convert anxiety to presentational energy </li></ul><ul><ul><li>Recognize that mild arousal is normal </li></ul></ul><ul><li>Seek public speaking opportunities </li></ul><ul><ul><li>More speaking experience=less anxiety </li></ul></ul><ul><li>Avoid stimulants </li></ul><ul><li>Eat and sleep enough </li></ul><ul><li>Deep breathing, activity and relaxation may help </li></ul>
  18. 18. Practice the Presentation <ul><li>Rehearse </li></ul><ul><ul><li>Your emotional state </li></ul></ul><ul><ul><li>Transitions (this is where many speakers experience the most difficulty) </li></ul></ul><ul><ul><li>Introduction and Conclusion </li></ul></ul>
  19. 19. Become Familiar With the Room <ul><li>Messages are perceived better in an attractive room </li></ul><ul><li>Check-out the sound system and lighting </li></ul><ul><li>Become familiar with audiovisual (AV) technologies </li></ul><ul><li>Plan for water, pointer, etc. </li></ul>
  20. 20. Always Have A Back-Up Plan <ul><li>What if the AV fails? </li></ul><ul><ul><li>Have a lo-tech back-up </li></ul></ul><ul><li>What if your available time is diminished? </li></ul><ul><ul><li>Eliminate sub-points </li></ul></ul><ul><ul><li>Don’t speed rate </li></ul></ul><ul><li>What if you misplace your speech? </li></ul><ul><ul><li>Keep an extra copy, or quickly construct an outline </li></ul></ul>
  21. 21. FAQ’s <ul><li>What if I make a mistake? </li></ul><ul><ul><li>Remember that most speakers make them </li></ul></ul><ul><ul><li>Correct it; humor is ok </li></ul></ul><ul><ul><li>Move ahead </li></ul></ul><ul><ul><li>Don’t apologize profusely or start over </li></ul></ul><ul><li>How can I avoid saying “Um?” </li></ul><ul><ul><li>Employ speaking transitions </li></ul></ul><ul><ul><li>Tolerate silence </li></ul></ul>
  22. 22. FAQ’s <ul><li>How can I slow down? </li></ul><ul><ul><li>Pause between sections. Stop at the end of sentences. Underline key words. </li></ul></ul><ul><ul><li>Tape record your practice sessions and count the words per minute. Then, practice speaking at a deliberately slower rate to gain conscious control over rate. </li></ul></ul>
  23. 23. FAQ’s <ul><li>What about eye contact? </li></ul><ul><ul><li>Don’t bob your head up and down </li></ul></ul><ul><ul><li>Don’t fix your gaze at one person </li></ul></ul><ul><ul><li>Look up at the end of a section, rather than lose your place, or train of thought </li></ul></ul><ul><ul><li>Face the audience, not your slides </li></ul></ul><ul><ul><li>Look more at friendly, supportive people </li></ul></ul><ul><ul><li>Don’t favor one side of the room </li></ul></ul><ul><ul><li>Increased eye contact increases audience learning </li></ul></ul>
  24. 24. FAQ’s <ul><li>What do I do with my hands? </li></ul><ul><ul><li>Don’t play with your hair, clothes, objects or jingle money in your pockets </li></ul></ul><ul><ul><li>Don’t worry about your gestures--they will emerge naturally </li></ul></ul><ul><ul><li>Keep your hands on or near the podium, or at your sides. Don’t cross your arms, or clasp your hands in front of your body. </li></ul></ul>
  25. 25. Audience Q&As <ul><li>Anticipate potential questions </li></ul><ul><ul><li>Draft answers </li></ul></ul><ul><li>Listen to the question </li></ul><ul><ul><li>Read the emotion </li></ul></ul><ul><li>Don’t get defensive and never embarrass an audience member </li></ul><ul><li>Maintain an open and relaxed posture </li></ul><ul><li>Admit to not having an answer </li></ul><ul><ul><li>“I really can’t speak to that; I will refer that concern to….” </li></ul></ul>
  26. 26. I’m glad this question came up, in a way, because there are so many ways to answer it that one if them is bound to be right. Robert Benchley I was gratified to be able to answer promptly. I said, “I don’t know.” Mark Twain
  27. 27. In Closing <ul><li>Speaking in public represents an opportunity to enhance knowledge, change attitudes, and promote action </li></ul><ul><li>Most importantly, strive to communicate with your audience and to meet their unique needs </li></ul><ul><li>The speaker has a responsibility to communicate publicly in an informed and ethical manner </li></ul>
  28. 28. Source: Cohn, E. Public Speaking, University of Pittsburgh Center for Instructional Development & Distance Education, Fifth Edition, January 2001.

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