Working with the Speaker

By this point, it should be clear that the speechwriter must work with the speaker on every phase of developing the speech. The word choices, even the length and rhythm of the sentences, must be appropriate to the indi­vidual speaking style. The speaker must feel familiar enough with the supporting data to field questions and defend his or her views. And fi­nally, the speaker must have a general confidence in the speech in order to give it with conviction. Ideally, the person selected to write a speech should have worked for some time in close conjunction with the speaker. If that is not the case, then the writer must have access to the speaker to go over the information, and there must be at least one session in which the writer hears the script read by the speaker. That way, the words can be tailored to the speaker, and the speaker can develop the necessary trust in the writer.

Every good writer is not necessarily a good speech writer. Corporations know that, and they often use the consultant services of a specialist who writes major speeches for chief executive officers.

Speechwriters don't necessarily have to be experts about the busi­ness of the company whose CEO they are writing for. That's because their job is to take the information provided by the public relations de­partment and shape it into easy-to-understand statements that are written for the ear, not for the eye.

The key trait for the consummate speechwriter is that he or she is widely read. In addition to absorbing the leading news media and busi­ness publications, the speechwriter also is familiar with the latest non-fiction books on a variety of public affairs topics, and probably also the current novels that deal with problems that affect society.

Part of the speechwriter's homework is to study the style of the CEO—observing the speaker in public situations—in order to choose phrases and expressions that will seem natural when read from a script. The speechwriter must have access to the CEO before the speech is writ­ten and when the first draft is ready for the speaker's comments, ques­tions, and suggestions.

Provide Coaching

Some executives welcome coaching and preparation. Others are insulted to think they must be rehearsed and trained in order to perform ade­quately. It may be advisable, therefore, to make it official management policy that all speakers undergo a "prep session." Professional speech consultants, using video tape, are available to conduct such training.

One consultant suggests that the checklist for preparing a speaker begins with a discussion of the proper attire for the occasion. Perhaps the topic can be overlooked in the case of a senior executive who rou­tinely dresses in a three-piece pinstripe suit and silk tie. But it may be necessary to suggest that a scientist leave his loud sportcoat in the lab and venture out to speak at a professional meeting wearing a dark blazer and coordinated slacks. The public relations department must do its homework: at certain conferences held in tropical resort areas, it is customary to wear good-looking golf attire, and the speaker in urban work clothes may make the audience and himself ill at ease.

Some managers allow that old bugaboo stage fright to become a self-fulfilling prophecy. They expect to be nervous and to stumble, and so they do. It may be so severe that the speaker experiences momentary paralysis. The public speaking volumes listed as Additional Reading at the end of this chapter all agree that a certain amount of apprehension is useful, because it gets the adrenalin running and pumps the speaker up to perform. If your manager has severe apprehension, a speech con­sultant may be used to teach him or her helpful relaxation techniques. (The two-page spread in the color section in the middle of this textbook shows Hill and Knowlton trainers preparing executives for speaking engagements and television appearances.)

Polish During Rehearsal

During the rehearsal of a speech, help the speaker to slow up delivery of the first few lines. Mark the script to indicate where a breath can be taken. Try to implant a substitute self-fulfilling prophecy: "You're going to do great, because this is a well-prepared speech tailored to your style, and it's got some information that the audience really wants to hear."

Give the speaker an opportunity to perform before an in-house group, such as a regularly scheduled department meeting. Some organi­zations routinely make use of their video studios to tape dry runs of pre­sentations, thus providing the speaker with valuable instant analysis. Stored copies of trial runs can also be used to train speakers in the future.

Notice that we didn't discuss visual aids earlier as a device for helping the speaker to overcome stage fright. Visual aids shouldn't be thrown in to compensate for a mediocre speaker. They should be used primarily because they make the presentation clearer and because they can add interest and variety.

The time to decide whether a visual aid will be useful is after the re­search and first draft are completed. Then the speechwriter must ana­lyze whether some data lend themselves to graphic display, or if a slide show, film, or video tape might make a major point come to life.

Another major concern is whether the visual aid will be appropriate for the meeting room where it is to be used. If you plan to show sales fig­ures and research expenditures using graphics on slide transparencies, make sure the room can be fully darkened. If charts and graphs are to be used, provide the speaker with an easel and cardboard-backed sign­boards that are nonreflecting so that they can be read no matter how harsh the lighting. (The best professional easels have a light source hang­ing from the top.)