1personality Development Final

Module 1 Personality
Development
PERSONALITY DEVELOPMENT
Personality Development
Personality Development is an improvement in all spheres of an individual's life, be it with
friends, in the office or in any other environment.
Improvement in cognition i.e. perception, affect i.e. feelings and conation i.e. response
Improvement physique, instincts, emotions, intelligence, perspective and spirit
Improvement cognitive, affective, psychomotor and productive domain
Improvement in personal, family and social relations and contributions
Improvement in the rate of inner blossoming
Personality:
Personality refers to the total behavior of the individual, but particularly to the relatively
enduring and consistent aspect of personality. Personality is a very vast term, it encompasses a
number of factors like - he way you look! he way you dress! he way you talk! he way your
listen! he way you act! "our habits! "our philosophy of life! "our versatility! "our willingness
to help other etc.# Personality is defined as the sum total of ways in which an individual reacts to
and interacts with others.#
Personality determinants:
$. %eredity
It refers to those factors that were determined at conception. Physical stature, facial
attractiveness, gender, temperament, muscle composition and refle&es, energy level, and
biological rhythms are characteristics that are generally considered to be either
completely or substantially influenced by who your parents are! that is, by their
biological, physiological, and inherent psychological makeup. he heredity approach
argues that the ultimate e&planation of an individual's personality is the molecular
structure of the genes, located in the chromosomes.
(. )nvironment
*mong the other factors that e&erts pressures on our personality formation are the
+ulture in which we are raised! our early conditioning! the norms among our family,
friends, and social groups! and other influences that we e&perience. hese environmental
factors play a substantial role in shaping our personalities.
,. -ituation
-ituation influences the effects of heredity and environment on personality. *n
individual's personality although generally stable and consistent, does change in different
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situations. he different demands of different situations call forth different aspects of
one's personality. -o, personality shouldn't be looked at in isolation.
Personality is a hypothetical construct that we use in an attempt to understand two noticeable
things about human behavior. he first is that, within an individual, there is a consistency in
behavior from time to time and across situations. he second is that the pattern of consistency
differs from person to person
here are several general perspectives on personality within which specific theories of
personality are generated. he oldest of these is the type approach, which argues that there are
only a limited number of personality types, which are largely genetically determined.
he trait approach sees personality as consisting of a set of internal characteristics, or traits,
which are substantially determined by genes. -ince personality is genetically determined, there
is little to say about the development of personality
he psychodynamic approach /modeled on 0reud's theory1 sees personality as the action of
internal structures of the mind /psyche1, operating primarily outside consciousness. 2vert
behavior results from the interaction of these internal structures and e&ternal events.
Psychodynamic theories generally have a great deal to say about the course of personality
development. 3lah, blah...
Success principles
)ach factor is an essential building block that supports a larger structure, a stepping stone to sure
success. "our knowledge and ability to use these success principles will determine your relative
level of performance at everything you attempt.
Perseverant:
"ou should develop the ability to continue on your course of action despite difficulties or
opposition. "ou should work hard in the achievement of your goal.
Empathetic:
"ou should have the ability to put your self mentally in the other persons shoes. It is the skill to
e&perience other person's feelings and emotions imaginatively.
Resilient:
"ou should bounce back from disappointment and recover strength quickly. If you encounter
failure let it not negatively influence your functioning.
Sincere:
"ou should be genuine honest. "ou should always do what you say.
Open-Minded:
"ou should not have a pre4udiced narrow-minded view. "ou should be open to the opinion and
views of others and make effort to learn from your e&periences.
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Neatness:
"ou should be neat in your appearance and work. he place where you live.
Ambition to be successful:
"ou should have and if not then inculcate a desire to achieve your predetermined ob4ectives.
"our ambition must be coupled with an active determination to achieve your personal and
academic goals.
oyal:
"ou should be totally faithful to people around you.
Self confident:
"ou should have full faith and confidence in yourself and your abilities. It is the stepping stone
to all success.
!ommon sense:
"ou should have the ability to absorb facts and learn from new e&periences. "ou should be able
to focus your strengths and efforts on the task in hand.
!o-operative:
"ou should be able to work with your peers, siblings, superiors as a team trying to achieve one
common goal. In such situations you should put aside petty differences of opinion for the sake of
the ultimate goal.
Enthusiastic:
"ou should have the burning inner drive that helps you in your goal achievement. It is the magic
spark that gets support without ever having to ask for it. It is a great motivator.
Simplicity:
"ou should be able to communicate your thoughts and ideas to others in a manner that is
acceptable and easily understood.
"Change your thought and you change your world."
- Norman Vincent Peale
%ave you ever wondered what distinguishes a successful person from somebody who is not, the
reason why one person is able to achieve more success than another5
6ook around you at people who are successful. "ou will notice that they have -elf-confidence,
they are self-motivated, and they are full of energy. his energy is positive and is sustains them
through good and bad times, through luck and adversity, it draws people to them like a magnet.
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0inally it helps them accomplish what they wish to do and lead fulfilling lives. -elf-confidence is
the internal battery that keeps us moving towards our goals.
!onfidence Development
3e +onfident7 3elieve in yourself7 * humble, but reasonable confidence in your abilities, your
being, is the key to achievement, success contentment and happiness. * sense of inferiority and
inadequacy interferes with the attainment of your hopes but self-confidence leads to successful
achievement. he following section will help you believe in yourself, increase your confidence,
and release your inner potential.
+onfidence is the corner stone of success and happiness. It is the key towards unlocking your
potentials and thus the most important fact of Personality Development.
0eeling of inferiority and lack of self-confidence have their origins in childhood and
adolescence. )arly failure and re4ections leave an indelible impression on us. he key to
effective living is coming to terms with our past.
/$1 0orgive yourself for your past 8mistakes'.
/(1 If you can do something to absolve yourself, do it. /0or e&ample by saying sorry1
/,1 alking to somebody about it, may give help by giving you a different perspective, and a
positive feeling when you are accepted by others. 9emember, whenever you talk to someone,
choose the person with care - someone, you can trust and who loves you.
"ealth and "y#iene
%ygiene is an essential component of healthy living, integral to achieving health and preventing
disease. :ot 4ust selecting the right food choices but also cooking ; consuming them in a
hygienic way is equally important in preventing the infectious diseases. *dopting hygienic
practices and promoting hygiene in the community, schools and workplace prevents innumerable
infectious disease. -ome of the infectious diseases prevented through hygienic practices are
diarrhea, amoebiasis, giardiasis, worm infections, typhoid, 4aundice, bacterial pharyngitis, skin
infections, tuberculosis, con4unctivitis etc. <any chronic diseases have also been linked to
infections, especially unhygienic food, gastric ulcers, certain types of cancers and there is some
evidence for cardiovascular disease.
0ollowing are some points which should be inculcated in day-to-day life.
=ash hands thoroughly with soap after urination, after using the toilet and also after changing
diapers,
=ash your hands with soap and water after handling pets
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3efore touching any food item, wash your hands with soap and water.
>eep nails short and clean. +lean ; rim the nails of both hands.
"our hair should be tied when you cook.
Preferably the cooking area and the area used for washing utensils should be separate and
dedicated for that purpose and not connected to the bathrooms or any other source of potential
fecal matter like washing clothes.
>itchen should be well lighted ; ventilated /with either chimney?e&haust fan1 ; with meshed
windows.
he cooking and eating area should be preferably elevated .
>eep the cooking, washing, and utility area and kitchen clothes clean . he kitchen surface and
the floor should be regularly cleaned. *dditionally, clean the kitchen in the night. >itchens left
dirty in the night tend to attract pests which are carriers of infection.
+over all foods, cooked as well as uncooked, at all times.
If a house fly or any insect has even fleetingly sat on a food item, then, that food item needs to
be discarded.
Protect the kitchen ; food items from insects, pests ; other animals.
$ody lan#ua#e
$ody lan#ua#e is a term for communication using body movements or gestures instead of, or in
addition to, sounds, verbal language or other communication. It forms part of the category of
paralanguage, which describes all forms of human communication that are not verbal language. his
includes the most subtle of movements that many people are not aware of, including winking and
slight movement of the eyebrows. In addition body language can also incorporate the use of facial
e&pressions.
*lthough they are generally not aware of it, many people send and receive non-verbal signals all the
time. he technique of 'reading' people is used frequently. 0or e&ample, the idea of mirroring body
language to put people at ease is commonly used in interviews. It sets the person being interviewed at
ease. <irroring the body language of someone else indicates that they are understood.
3ody language signals may have a goal other than communication. 3oth people would keep this in
mind. 2bservers limit the weight they place on non-verbal cues. -ignallers clarify their signals to
indicate the biological origin of their actions.
2ne of the most basic and powerful body-language signals is when a person crosses his or her
arms across the chest. his can indicate that a person is putting up an unconscious barrier
between themselves and others. It can also indicate that the person's arms are cold which
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would be clarified by rubbing the arms or huddling. =hen the overall situation is amicable, it
can mean that a person is thinking deeply about what is being discussed. 3ut in a serious or
confrontational situation, it can mean that a person is e&pressing opposition. his is especially
so if the person is leaning away from the speaker. * harsh or blank facial e&pression often
indicates outright hostility. -uch a person is not an ally, and may be considering contentious
tactics.
+onsistent eye contact can indicate that a person is thinking positively of what the speaker is
saying. It can also mean that the other person doesn't trust the speaker enough to @take his eyes
off@ the speaker. 6ack of eye contact can indicate negativity. 2n the other hand, individuals
with an&iety disorders are often unable to make eye contact without discomfort. )ye contact is
often a secondary and misleading gesture because we are taught from an early age to make eye
contact when speaking. If a person is looking at you but is making the arms-across-chest
signal, the eye contact could be indicative that something is bothering the person, and that he
wants to talk about it. 2r if while making direct eye contact a person is fiddling with
something, even while directly looking at you, it could indicate the attention is elsewhere.
Disbelief is often indicated by averted gaAe, or by touching the ear or scratching the chin.
=hen a person is not being convinced by what someone is saying, the attention invariably
wanders, and the eyes will stare away for an e&tended period.
3oredom is indicated by the head tilting to one side, or by the eyes looking straight at the
speaker but becoming slightly unfocused. * head tilt may also indicate a sore neck, and
unfocused eyes may indicate ocular problems in the listener.
Interest can be indicated through posture or e&tended eye contact.
Deceit or the act of withholding information can sometimes be indicated by touching the face
during conversation.
Non verbal $ehaviour:
-ome researchers put the level of nonverbal communication as high as BC percent of all
communication. <ore reasonably it could be at around DC-ED percent. hat's e&actly what <ehrabian
discovered in his communication study. %e found that only F percent of communication comes from
spoken words, ,B percent is from the tone of the voice, and DD percent comes from body language.
%owever, <ehrabian was only referring to cases of e&pressing feelings or attitudes, such as when a
person says @I do not have a problem with you7@ when people commonly focus on the tone of voice,
and body language of the person, rather than the actual words said. It is a common misconception that
these percentages apply to all communication.
G$H
$ody lan#ua#e in #roups
In groups there is typically one person speaking at a time but many more can be showing their
responses via body language
G(H
. his may be an important reason behind groups tending to be more
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emotional and less rational than individuals.
Personal Space as it Relates to $ody an#ua#e
Ienerally, if you are closer than arm's reach, then you are in someone's personal space. o create
more space in crowded areas such as elevators and bars, people often tense up and use their arms as
protection. hey will hold them close to their body J often crossed J and will also avoid eye contact.
People guard their intimate space passionately, wherever it is, and do not appreciate others invading it.
9especting people's intimate space involves not invading it with ob4ects like bags or 4ackets, or with
body parts unless they are welcomed. Intimate space is closer then DC centimetres /$B inches1, social is
at around DC centimeters /$B inches1 - $.D meters /D feet1 and casual /for strangers1 is at $.D - , metres
/D-$C feet1. hese distances differ from culture to culture! in +hina for e&ample, they are smaller.
3ody language is an important part of communication which can constitute DCK or more of what we
are communicating. If you wish to communicate well, then it makes sense to understand how you
can /and cannot1 use your body to say what you mean.
<essage clusters
3ody language comes in clusters of signals and postures, depending on the internal emotions and
mental states. 9ecogniAing a whole cluster is thus far more reliable than trying to interpret individual
elements.
A##ressive body lan#ua#e- * significant cluster of body movements is used to signal aggression.
%&'hreat
(acial si#nals
<uch aggression can be shown in the face, from disapproving frowns and pursed lips to sneers and
full snarls. he eyes can be used to stare and hold the gaAe for long period. hey may also squint,
preventing the other person seeing where you are looking.
Attac) si#nals
=hen somebody is about to attack, they give visual signal such as clenching of fists ready to strike
and lowering and spreading of the body for stability. hey are also likely to give anger signs such as
redness of the face.
E*posin# oneself
)&posing oneself to attack is also a form of aggression. It is saying 'Io on - I dare you. I will still
win.' It can include not looking at the other person, crotch displays, rela&ing the body, turning away
and so on.
+nvasion
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Invading the space of the other person in some way is an act of aggression that is equivalent to one
country invading another.
(alse friendship
Invasion is often done under the cloak of of familiarity, where you act as if you are being friendly
and move into a space reserved for friends, but without being invited. his gives the other person a
dilemma of whether to repel a 'friendly' advance or to accept dominance of the other.
Approach
=hen you go inside the comfort Aone of others without permission, you are effectively invading
their territory. he close you get, the greater your ability to have 'first strike', from which an
opponent may not recover.
'ouchin#
ouching the person is another form of invasion. )ven touching social touch Aones such as arm and
back can be aggressive.
,& -estures
+nsultin# #estures
here are many, many gestures that have the primary intent of insulting the other person and hence
inciting them to anger and a perhaps unwise battle. -ingle and double fingers pointed up, arm
thrusts, chin tilts and so on are used, although many of these do vary across cultures /which can
make for haAardous accidental movements when you are overseas1.
<any gestures are se&ual in nature, indicating that the other person should go away and fornicate,
that you /or someone else1 are having se& with their partner, and so on.
Moc) attac)s
Iestures may include symbolic action that mimics actual attacks, including waving fingers /the
beating baton1, shaking fists, head-butts and so on. his is saying '%ere is what I will do to you7'
Physical items may be used as substitutes, for e&ample banging of tables and doors or throwing .
*gain, this is saying 'his could be you7'
Sudden movements
*ll of these gestures may be done suddenly, signaling your level of aggression and testing the other
person's reactions.
ar#e #estures
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he siAe of gestures may also be used to signal levels of aggression, from simple finger movements
to whole arm sweeps, sometimes even with e&aggerated movements of the entire body
Attentive body lan#ua#e
=hen you are in conversation or otherwise attending to what others are saying or doing, you body
sends signals to the other person as to how interested you really are. *ttentive body language sends a
strong signal of real and deep interest that is both flattering and likely to result in reciprocal
attention.
It was said that if you met with the )nglish $Lth century politician =illiam Iladstone, you would
come away thinking he was the most intelligent and witty person in the country. If, however, you
met his peer 3en4amin Disraeli, then you would come away thinking that you were the most
intelligent and witty person. Disraeli, it would seem, was somewhat more skilled at paying attention.

%&istenin#
* person who is attentive is first of all listening. his can be of varying intensity though attentive
listening is deep and interested.
+#norin# distractions
here are many competing stimuli that demand our attention. If a person ignores distraction, from
phone calls to other people interrupting, then they send strong and flattering 'I am interested in you'
signals.
Stillness
3ody movement often betrays distracting thoughts and feelings. =hen the listener is largely still, the
implication is of forgetting everything else e&cept the other person, with not even internal dialogue
being allowed to distract.
eanin# for.ard
=hen I am interested in you and what you have to say I will likely lean slightly towards you,
perhaps better to hear everything you have to say.
'ilted head
*n attentive head may be tilted slightly forward. It also may show curiosity when tilted to the side
/although this may also indicate uncertainty1.
-a/e
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*n attentive person looks at the other person without taking their gaAe away. hey will likely blink
less, almost for fear of missing something.
(urro.ed bro.
+oncentration may also be shown in the forehead as the eyebrows are brought together as the
listener seeks to hear and understand the other person.
0antin# more
*n attentive person seeks not 4ust to hear but to be ready to listen to everything the other person has
to say.
Patience
=hen you want to hear more from the other person you are patient, listening until they have finished
speaking and not butting in with your views. )ven when you have something to say or when they
pause, you still patiently seek a full understanding of them and give them space in which to
complete what they have to say.
,&Open body
2pen body language shows that you are not feeling defensive and are mentally open to what they
have to say /and hence not closed to their thoughts1.
Slo. noddin#
:odding shows agreement and also encourages the other person to keep talking. 0ast nodding may
show impatience, whilst a slower nod indicates understanding and approval.
+nterest noises
6ittle noises such as 'uh huh' and 'mmm' show that you are interested, understand and want to hear
more. hey thus encourage the other person to keep talking.
Reflectin#
=hen you reflect the other person back to them they feel affirmed and that you are aligned with
them. 9eflecting activities range from matching body language to paraphrasing what they say.
$ored body lan#ua#e

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=hen a person is bored, they whole body is telling you. -o if you are trying to persuade them, don't
bother /unless you are trying to bore them into submission1.
%&an#ua#e of boredom
* ready body is poised for action.
Distraction
* bored person looks anywhere but at the person who is talking to them. hey find other things to
do, from doodling to talking with others to staring around the room. hey may also keep looking at
their watch or a wall clock.
Repetition
3ored people often repeat actions such as tapping toes, swinging feet or drumming fingers. he
repetition may escalate as they try to signal their boredom.
'iredness
* person who feels that they are unable to act to relieve their boredom may show signs of tiredness.
hey may yawn and their whole body may sag as they slouch down in their seat, lean against a wall
or 4ust sag where they are standing. heir face may also show a distinct lack of interest and appear
blank.
,& Reasons for boredom
ac) of interest
If the person is not interested in their surroundings or what is going on, then they may become
bored. he disinterest may also be feigned if they do not want you to see that they are interested.
=atch for leaking signs of readiness in these cases.
Readiness
* bored person may actually be ready for the actions you want, such as closing a sale. -ales people
are known to keep on the sales patter long after the customer is ready to sign on the dotted line.
!losed body lan#ua#e

* significant cluster of body movements are all about closing. his is sometimes misinterpreted
solely as indicating defensiveness.
%&an#ua#e of closure
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+losure literally closes the body up. It may range from a slight bringing together of the limbs to
curled up into a tight ball. )&treme cases may also include rhythmic rocking of the body to and fro.
Arms across
In a closed positions one or both arms cross the central line of the body. hey may be folded or
tightly clasped or holding one another. here may also be holding one another.
6ighter arm crossing may include resting an arm on a table or leg, or loosely crossed with wrists
crossing.
Marying levels of tension may be seen in the arms and shoulders, from a rela&ed droop to tight
tension and holding on to the body or other arms.
e#s across
6egs, likewise can be crossed. here are several styles of leg crossing, including the ankle cross, the
knee cross, the figure-four /ankle on opposite knee1 and the tense wrap-around.
6egs may also wrap around convenient other ob4ects, such as chair legs.
=hen legs are crossed but arms are not, it can show deliberate attempts to appear rela&ed. his is
particularly true when legs are hidden under a table.
oo)in# do.n or a.ay
he head may be inclined away from the person, and particularly may be tucked down.
,&Reasons for closin#
here can be several reasons for closed body language. his is one reason why reading body
language can be haAardous and you should take into account other factors. In particular look for the
transition when the body closes and the triggers that may have caused this change.
Defendin#
=hen we feel threatened, our body language becomes defensive. =e use closure to place the
barriers of our arms and legs across in front of us to defend ourselves from attack. =hen we close,
we also make our body smaller, reducing the siAe of the target. =hen we tuck our chin down, we are
protecting the e&posed throat.
=e also may be signaling to the other person that we are not a threat to them. hus the held-in arms
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shows that we are not attacking and looking away from them removes aggressive staring.
In a variant of this, particularly where the person is holding themselves, a closed position may
indicate self-nurturing. he person is effectively holding or hugging themselves in an imitation of a
parent or other caring person.
"idin#
+losing also may serve the purpose of hiding something that we do not want the other person to see.
%olding the body still prevents it from betraying our thoughts. 6ooking away prevents the other
person from seeing our e&pression that may show dislike or lying.
!old
* more pragmatic form of closure is when we are cold. %uddling up reduces e&posed body area and
reduces heat loss. %olding warmer parts of the body against colder parts evens the temperature and
prevents e&tremities from being chilled too much.
Rela*in#
*nd we also cross our arms and legs when we are rela&ing. It can 4ust be a comfortable place to put
those gangly limbs. =e may look away because we are thinking, nothing more.
Openin#
=hen you are trying to persuade a person, then their standing or sitting in a closed position is
usually a signal that they are not ready to be persuaded. <oving them to an open position can
significantly increase your chances of persuading them.
(orce hand use
* common method sales people use to break a crossed-arms closed position is to give the person
something to hold or otherwise ask them to use their hands, for e&ample asking them to hand over
something, turn over a page, stand up and so on.
(ollo.in#
he other common method of opening a person is to first adopt a closed position like them. hen
some effort is put into building a bond with them, such that they start to like you and are attaching
their identity to yours. 0inally, you then open your position, unfolding arms and legs. If they are
sufficiently bonded then they will follow you.
his should be done naturally and steadily, for e&ample unfolding your arms in order to use your
hands to illustrate what you are saying. If they do not follow you, return to the closed position and
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work further at bonding before trying again.
Deceptive body lan#ua#e
=hen a person is seeking to trick or deceive you, there are many different body signal they may
use.
%&an#ua#e of deception
* deceptive body is concerned about being found out -- and this concern may show.
An*iety
* deceptive person is typically an&ious that they might be found out /unless they are psychopathic
or good at acting1, so they may send signals of tension. his may include sweating, sudden
movements, minor twitches of muscles /especially around the mouth and eyes1, changes in voice
tone and speed.
<any of us have hidden an&iety signals. 0or e&ample. 3iting the inside of the mouth /Ieorge =.
3ush1, patting head /Prince =illiam1, hands in pockets /ony 3lair1.
hese signals are almost impossible to stop as we start them very young.
!ontrol
In order to avoid being caught, there may be various signs of over-control. 0or e&ample, there may
be signs of attempted friendly body language, such as forced smiles /mouth smiles but eyes do not1,
4erky movements and clumsiness or oscillation between open body language and defensive body
language.
he person may also try to hold their body still, to avoid tell-tale signals. 0or e&ample they may hold
their arms in or put their hands in their pockets.
Distracted
* person who is trying to deceive needs to think more about what they are doing, so they may drift
off or pause as they think about what to say or hesitate during speech.
hey may also be distracted by the need to cover up. hus their natural timing may go astray and
they may over- or under-react to events.
*n&iety may be displaced into actions such as fidgeting, moving around the place or paying
attention to unusual places.
,&Reasons for deception
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here can be many good reasons for deception.
Persuadin#
Deception may be an act that is intended to get another person to say or do something.
Avoidin# detection
Deception also may be more self-oriented, where the sole goal is to get away with something,
perhaps by avoiding answering incriminating questions.
Defensive body lan#ua#e
=hen a person is feeling threatened in some ways, they will take defensive body postures.
Defendin# from attac)
he basic defensive body language has a primitive basis and assumes that the other person will
physically attack, even when this is highly unlikely.
!overin# vital or#ans and points of vulnerability
In physical defense, the defensive person will automatically tend to cover those parts of the body
that could damaged by an attack.
he chin is held down, covering the neck. he groin is protected with knees together, crossed legs or
covering with hands. he arms may be held across the chest or face.
(endin# off
*rms may be held out to fend off attacker, possibly straight out or curved to deflect incoming
attacks.
1sin# a barrier
*ny physical ob4ect may be placed held in front of the person to act as a literal or figurative barrier.
his can be a small as a pen or as large as a table. -traddling a reversed chair makes some people
comfortable in conversation as they look rela&ed whilst feeling defensive.
3arriers can also protect the other person and if I am powerful, I may use a simple barrier to make
you feel less defensive. It also means I control the barrier.
$ecomin# small
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2ne way of defending against attack is to reduce the siAe of the target. People may thus huddle into
a smaller position, keeping their arms and legs in.
Ri#idity
*nother primitive response is to tense up, making the muscles harder in order to withstand a
physical attack.
9igidity also freeAes the body, possibly avoiding movements being noticed or being interpreted as
preparing for attack.
See)in# escape
0licking the eyes from side to side shows that the person is looking for a way out.
Pre-emptin# attac)
-ivin# in
Pre-empting the attack, the defensive person may reduce the, generally using submissive body
language, avoiding looking at the other person, keeping the head down and possibly crouching into a
lower body position.
Attac)in# first
*ggressive body language may also appear, as the person uses 'attack as the best form of defense'.
he body may thus be erect, thrust forward and with attacking movements.
=here attack and defense both appear together, there may be conflicting signs appearing together.
hus the upper body may e&hibit aggression whilst the legs are twisted together
Dominant body lan#ua#e
Dominant body language is related to aggressive body language, though with a less emotional
content.
Si/e si#nals
he body in dominant stances is generally open, and may also include additional aspects.
Ma)in# the body bi#
%ands on hips makes the elbows go wide and make the body seem larger. -o also does standing
upright and erect, with the chin up and the chest thrust out. 6egs may be placed apart to increase
siAe.
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Ramya R
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Ma)in# the body hi#h
%eight is also important as it gives an attack advantage. his can be achieved by standing up straight
or somehow getting the other person lower than you, for e&ample by putting them on a lower seat or
by your standing on a step or plinth.
Occupyin# territory
3y invading and occupying territory that others may own or use, control and dominance is indicated.
* dominant person may thus stand with feet akimbo and hands on hips.
Superiority si#nals
$rea)in# social rules
9ulers do not need to follow rules. they make the rules. his power to decide one's own path is often
displayed in breaking of social rules, from invasion and interruption to casual swearing in polite
company.
O.nership
2wning something that others covet provides a status symbol. his can be territorial, such as a larger
office, or displays of wealth or power, such as a 9ole& watch or having many subordinates.
Nust owning things is an initial symbol, but in body language it is the flaunting of these, often
casually, that is the power display. hus a senior manager will casually take out their <ont 3lanc
pen whilst telling their secretary to fetch the %avana cigars.
+nvasion
* dominant act is to disrespect the ownership of others, invading their territory, for e&ample getting
to close to them by moving into their body space. 2ther actions include sitting on their chairs,
leaning on their cars, putting feet up on their furniture and being over-friendly with their romantic
partners.
Invasion says '=hat's yours is mine' and 'I can take anything of yours that I want and you cannot
stop me'.
$elittlin# others
-uperiority signals are found both in saying 'I am important' and also '"ou are not important'. hus a
dominant person may ignore or interrupt another person who is speaking or turn away from them.
hey may also criticiAe the inferior person, including when the other person can hear them.
(acial si#nals
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<uch dominance can be shown in the face, from disapproving frowns and pursed lips to sneers and
snarls /sometimes disguised as smiles1.
he eyes can be used to stare and hold the gaAe for long period. hey may also squint, preventing
the other person seeing where you are looking. hey may also look at anywhere but the other
person, effectively saying that 'you are not even worth looking at'.
0aces can also look bored, amused or e&press other e&pressions that belittle the other person.
Dominant people often smile much less than submissive people.
Phallic displays
Dominant men will often e&pose their crotch, effectively saying to other men 'I am safe from attack'
or 'my penis is bigger than yours', whilst showing off. hey may also be offering 'come and get it7' to
women. =hen women do this, it is to some e&tent a tease or invitation to men but may also be an
emulation of the male display, thus saying 'I am as strong as a man'.
his appears in standing or sitting where the legs are apart. It may be emphasiAed by scratching or
ad4usting of the crotch.
'he dominant #reetin#
=hen people first meet and greet, their first interaction sets the pattern for the future relationship.
=hen a person is dominant here, then they will most likely continue to be dominant.
'he handsha)e
* classic dominant handshake is with the palm down, symbolically being on top. *nother form of
dominant handshake is to use strength to squeeAe the other person.
%olding the other person's hand for longer than normal also shows that you are in control.
Eyes
Prolonged, unblinking eye contact acts like overplaying the handshake -- it says 'I am powerful, I
can break the rules.' he dominant person may alternatively prevent eye contact, saying '"ou are
beneath me and I do not want even to look at you.'
Spea)in#
he person who speaks first often gets to control the conversation, either by talking for longer or by
managing the questions.
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Respondin# to dominance
If others display dominant body language you have a range of options.
he simplest response is simply not to submit, which is what they probably want. +ontinue to
appear friendly and ignore their subtle signals.
*nother response is to fight dominance with dominance, for e&ample.
2ut-stare them /a trick here is to look at the bridge of their nose, not their eyes1.
ouch them, either before they touch you or immediately when they touch you.
=hen they do a power handshake, grab their elbow and step to the side.
=hen they butt in to your speech, speed up, talk more loudly and say 'let me finish7'
*nother approach is to name the game. *sk them why they are using dominant body language. *
good way to do this is in a curious, unafraid way.
Emotional body lan#ua#e
=ith careful observation, emotions may be detected from non-verbal signs. 9emember that these
are indicators and not certain guarantees. +onte&tual clues may also be used, in particular what is
being said to the person or what else is happening around then.
An#er
*nger occurs when achievement of goals are frustrated.
:eck and?or face is red or flushed.
3aring of teeth and snarling.
+lenched fists.
6eaning forward and invasion of body space.
2ther aggressive body language.
Ose of power body language.
(ear2 an*iety and nervousness
0ear occurs when basic needs are threatened. here are many levels of fear, from mild an&iety to
blind terror. he many bodily changes caused by fear make it easy to detect.
* 'cold sweat'.
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Ramya R
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Pale face.
Dry mouth, which may be indicated by licking lips, drinking water, rubbing throat.
:ot looking at the other person.
Damp eyes.
rembling lip.
Marying speech tone.
-peech errors.
Moice tremors.
Misible high pulse /noticeable on the neck or movement of crossed leg.
-weating.
ension in muscles. clenched hands or arms, elbows drawn in to the side, 4erky movements,
legs wrapped around things.
Iasping and holding breath.
0idgeting.
Defensive body language, including crossed arms and legs and generally drawing in of limbs.
9eady body language /for fight-or-flight1
2ther symptoms of stress
Sadness
-adness is the opposite of happiness and indicates a depressive state.
Drooping of the body.
rembling lip.
0lat speech tone.
ears.
Embarrassment
)mbarrassment may be caused by guilt or transgression of values.
:eck and? or face is red or flushed.
6ooking down or away from others. :ot looking them in the eye.
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Ramya R
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Irimacing, false smile, changing the topic or otherwise trying to cover up the embarrassment.
Surprise
-urprise occurs when things occur that were not e&pected.
9aised eyebrows.
=idening of eyes.
2pen mouth.
-udden backward movement.
"appiness
%appiness occurs when goals and needs are met.
Ieneral rela&ation of muscles.
-miling /including eyes1.
2pen body language
Evaluatin# body lan#ua#e
* notable cluster of body movements happens when a person is thinking, 4udging or making some
decision.
%&an#ua#e of evaluation
"and movements
he classic signal of evaluation is the steepled hands which are clasped together, either looking like
they are praying, with both hands pressed together, or with linked fingers and with inde& fingers
only pointing upwards. he fingers pointing upwards may touch the lips.
*nother common evaluative movement is stroking, often of the chin but possibly other parts of the
face.
Other actions
2ther evaluative signals include pursing lips, stroking the side of the nose and /if worn1 peering over
the top of spectacles /'o look more carefully at you'1.
Rela*ed intensity
he body may well be rela&ed and open. he person seems to be unafraid or even unaware of
danger. %owever there is also a level of concentration, perhaps with pursed lips and an intense gaAe.
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Ramya R
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he chin may be resting in one or both palms.
,&Reasons for evaluation
here can be several reasons for a ready body language.
Decidin#
* person who is evaluating may be making an important decision. If they are buying from you, they
may be close to the point of closure.
3ud#in#
In their decision-making, they may be 4udging. Perhaps this is you, something you are saying or
something else. =atch how they change with what you say and try to figure this one out.
'hin)in#
-ometimes the evaluation is only on an internal point. =hen they are deep inside their own world,
they may be mentally trying out ideas to see if they will work. If you have suggested something,
they may be trying to fit your idea into their own model of the world
Open body lan#ua#e
* significant cluster of body movements are all about being open. his is sometimes misinterpreted
solely as indicating being rela&ed and untense.
9emember that perhaps the most significant part of being open or close is the act of opening or
closing. =hen you open or close, you are signaling a change in the way you are thinking or feeling,
which is likely to be in response to what the other person has said or done.
%& an#ua#e of openness
he open stance has arms and legs not crossed in any way. hey may also be moving in various
ways.
Arms open
*rms are not crossed and may be animated and moving in synchroniAation with what is being said
or held wide.
Palms are also rela&ed and may be quite e&pressive, for e&ample appearing to hold things and form
more detailed shapes. 2pen hands show that nothing is being concealed.
e#s open
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Ramya R
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2pen legs are not crossed. 2ften they are parallel. hey may even be stretched apart.
he feet are of interest in open legs and may point forward or to the side or at something or someone
of interest.
oo)in# around and at the other person
he head may be directed solely towards the other person or may be looking around. )ye contact is
likely to be rela&ed and prolonged.
Rela*ed clothin#
+lothing is likely to hang loosely and actions to loosen clothing may take place, such as removing a
4acket and unbuttoning a collar.
,& Reasons for openin#
here can be several reasons for open body language. In particular look for the transition when the
body opens and the triggers that may have caused this change.
Acceptin#
=hen arms rounded and palms are sideways, the person may be offering a 'mock hug', showing that
they care for the other person. Iestures may be slower and symboliAe gentleness.
Passive threat
*n open posture may also be associated with a passive threat. =hen the person casually 'e&poses
them self', for e&ample by opening their body and looking away they are opening themselves for
attack. =hen this is rela&ed, it may be saying 'I am so powerful and you are so weak, you are unable
to attack me even when I am e&posed.'
<ales with knees apart are also doing a crotch display, which, as well as casually e&posing
vulnerabilities is effectively says to other males '6ook. I have a large penis than you7'
A##ression
=hen there is tension in the open body, especially if fists are clenched, then this may be a sign of
significant aggression. he person is effectively holding their bodies open in readiness for a fight.
*ggression is also seen when the body is square on to the other person and is relatively close to
them. <ovements may be particularly sudden and designed to test the other person's reactions.
Supplicatin#
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Ramya R
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=hen palms are held upwards, this may form a pleading gesture and may be combined with
lowering of the body. his is saying 'Please don't hurt me'.
2pening the body in supplication is also saying '%ere, you can hurt me if you wish' and is equivalent
to a dog who rolls over on its back and e&poses itself to indicate that it is not a threat.
Rela*in#
*nd finally, the open body may simply be the body at rest, rela&ed and comfortable.
Po.er body lan#ua#e
Power is often e&pressed in communication as a combination of strength and humanity. his is very
attractive and is a form of %urt and 9escue.
-reetin#
"andsha)e
*s the other person approaches, move to left side, e&tend your arm horiAontally, palm down /be first
to do this1. Irab their palm firmly, pull them in and hold their elbow with your left hand.
he horiAontal arm is a dominant signal. Palm on top is being dominant, putting yourself on top.
%olding the elbow further controls them.
he royal handshake is outstretched arm to keep the other at their distance. * limp hand, palm down,
stops them doing a power shake.
'ouchin#
ouching is power symbol. ouching people can be threatening, and is used by leaders to
demonstrate power.
he handshake is, of course, a touch, and can lead to further touching, such as the elbow grip and
patting shoulders and back.
Iuide people with a palm in the small of the back. Ireet them with a hand on the back. ouch them
on the elbow or other 'safe' areas.
Spea)in#
'al)in#
alk with confidence and use the body beat in time with assertions. 3eat with a finger, a palm or
even a fist /which is rather aggressive1. )mphasiAe and e&aggerate your points.
Ose silences too. Pause in the middle of speaking and look around at everyone. If you are not
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interrupted they are probably respecting your power. -tand confidently without speaking. 6ook
around, gaAing into people's eyes for slightly longer than usual.
Emotin#
It is powerful to show that you have emotion, but in the right place only. It shows you are human. *t
other times it emphasiAes how you are in control. * neat trick is to bite the lower lip, as it shows
both emotion and control /3ill +linton did it $D times in ( minutes during the <onica 6ewinsky
'confession'1.
And&&&0al)in#
=alk with e&aggerated swinging of arms, palm down and out. >ink elbows outwards, making the
body seem wider. *dd a slight swagger.
=hen walking with others, be in front of them. =hen going through doors, if you are going to an
audience, go first. If you are going from an audience, go last /guiding others through shows
dominance1.
Position
Ienerally be higher. -it on a higher chair. -tand over people. =ear heels. Drive a higher car.
Ready body lan#ua#e
* significant cluster of body movements are all about being ready for something.
%&an#ua#e of readiness
* ready body is poised for action.
Pointin#
*ny part of the body may be pointing at where the person is thinking about. his may be another
person or the door. his may be as subtle as a foot or as obvious as the whole body leaning. )yes
may also repeated flash over in the intended direction.
'ension
he body is tensed up and ready for action. If sitting, hands may hold onto armrests in readiness to
get up. 6egs are tensed ready to lift the body. hings in the hand are gripped. *ttention is away from
everything e&cept the intended direction.
"oo)in#
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Ramya R
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he hands may slightly hook clothing, in particular with thumbs hooked into the waistband. his is
like a not-quite putting of hands in pockets, indicating the person is rela&ed but ready to move
quickly.
Movement
=here there is movement, it is in preparation for further movement. 6egs uncross. %ands grab bags,
straighten clothing, and so on. he whole body leans in the intended direction.
,&Reasons for readiness
here can be several reasons for a ready body language.
eavin#
he person may want to leave. Perhaps they have another appointment. Perhaps they are
uncomfortable with the situation and 4ust want to get out of there.
Ready to buy
=hen a person is ready to buy, then they may send readiness signals. hey point at the thing they
want to buy or the contract that needs selling.
!ontinuin# conversation
9eadiness may also be to talk more. =hen you are talking and they show readiness signals, maybe
they 4ust want to say something.
Ready to fi#ht
=hen a person sees a real or verbal fight coming up, they put their body in a position where they can
move quickly, either to attack or to defend.
Rela*ed body lan#ua#e
* rela&ed body generally lacks tension. <uscles are rela&ed and loose. <ovement is fluid and the
person seems happy or unconcerned overall.
Rela*ed body
'orso
he torso may sag slightly to one side /but not be held there by irregular tension1. It may also be
well-balanced, with the shoulders balanced above the pelvis. It does not curl up with fear, though it
may curl up in a restful pose.
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-houlders are not tensed up and generally hang loosely down.
$reathin#
3reathing is steady and slower. his may make the voice a little lower than usual.
!olor
he color of the skin is generally normal, being neither reddened by anger or embarrassment, nor
pale with fear. here are no unusual patches, for e&ample on the neck or cheeks.
Rela*ed limbs
9ela&ed limbs hang loosely. hey do not twitch and seldom cross one another, unless as a position
of comfort.
Arms
ense arms are rigid and may be held close to the body. hey may move in suddenly, a staccato
manner. 9ela&ed arms either hang loosely or move smoothly.
If arms cross one another, they hand loosely. *ny crossing, of course can indicate some tension.
0olding arms may 4ust be comfortable.
"ands
=hen we are an&ious, we often use our hands to touch ourselves, hold ourselves or otherwise show
tension. 9ela&ed hands hang loose or are used to enhance what we are saying. hey are generally
open and may shape ideas in the air. Iestures are open and gentle, not sudden nor tense.
e#s
6egs when sitting may sit gently on the floor or may be casually flung out. hey may move in time
to music, with tapping toes. hey may be crossed, but are not wound around one another.
:ote that legs can be a particular sign of hidden tension when the person is controlling the upper
body and arms. =hen they are sitting at a table, what you see may be rela&ed, but the legs may be
held tense and wrapped.
Rela*ed head
here are ma4or signs of a rela&ed person in their face.
Mouth
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Ramya R
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he person may smile gently or broadly without any signs of grimacing. 2therwise the mouth is
relatively still.
=hen talking, the mouth opens moderately, neither with small movements nor large movement. he
voice sounds rela&ed without unusually high pitch and without sudden changes in pitch or speed.
Eyes
he eyes smile with the mouth, particularly in the little creases at the side of the eyes.
* rela&ed gaAe will look directly at another person without staring, and with little blinking. he eyes
are generally dry.
)yebrows are stable or may move with speech. hey do not frown.
Other areas
2ther muscles in the face are generally rela&ed he forehead is a ma4or indicator and lines only
appear in gentle e&pression. he sides of the face are not drawn back.
=hen the head moves, it is smoothly and in time with rela&ed talk or other e&pression
Romantic body lan#ua#e
* significant cluster of body movements has to do with romance, signaling to a person of the
opposite se& that you are interested in partnering with them.
(rom afar
0rom afar, the first task of body language is to signal interest /and then to watch for reciprocal body
language1.
Eyes
he eyes do much signaling. Initially and from a distance, a person may look at you for slightly
longer than normal, then look away, then look back up at you, again for a longer period.
Preenin#
here are many preening gestures. =hat you are basically saying with this is 'I am making myself
look good for you'. his includes tossing of the head, brushing hair with hand, polishing spectacles
and brushing clothes.
Enactin#
9emote romantic language may also include enactment of se&ually stimulating activities, for
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Ramya R
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e&ample caressing oneself, for e&ample stroking arms, leg or face. his may either say 'I would like
to stroke you like this' or 'I would like you to stroke me like this'.
-imilarly, the person /women in particular1 may lick and purse their lips into a kiss shape and leave
their mouth slightly open in imitation of se&ual readiness.
2b4ects held may be also used in enactment displays, including cigarettes and wine glasses, for
e&ample rolling and stroking them.
Displayin#
*ttractive parts of the body may be e&posed, thrust forward, wiggled or otherwise highlighted. 0or
women this includes breasts, neck, bottom and legs. 0or men it includes a muscular torso, arms or
legs, and particularly the crotch /note that women seldom do this1.
0aking often happens. Pressing together muscles gives the impression of higher muscle tone.
Pressing together and lifting breasts /sometimes helped with an appropriate brassiere1 makes them
look firmer and larger. %olding out shoulders and arms makes the body look bigger. %olding in the
abdomen gives the impression of a firm tummy.
his is often playing to primitive needs. =omen show that they are healthy and that they are able to
bear and feed the man's child. he man shows he is virile, strong and able to protect the woman and
her child.
eanin#
6eaning your body towards another person says 'I would like to be closer to you'. It also tests to see
whether they lean towards you or away from you. It can start with the head with a simple tilt or may
use the entire torso. his may be coupled with listening intently to what they say, again showing
particular interest in them.
Pointin#
* person who is interested in you may subtly point at you with a foot, knee, arm or head. It is
effectively a signal that says 'I would like to go in this direction'.
Other displays
2ther forms of more distant display that are intended to attract include.
-ensual or dramatic dancing /too dramatic, and it can have the opposite effect1.
+rotch display, where /particularly male1 legs are held apart to show off genitalia.
0aked interest in others, to invoke envy or hurry a closer engagement.
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Ramya R
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:odding gently, as if to say '"es, I do like you.'
1p close
=hen you are close to the other person, the body language progressively gets more intimate until
one person signals 'enough'.
!lose in and personal
In moving closer to the other person, you move from social space into their personal body space,
showing how you would like to get even closer to them, perhaps holding them and more...
-tanding square-on to them also blocks anyone else from 4oining the conversation and signals to
others to stay away.
!opyin#
Imitating the person in some way shows 'I am like you'. his can range from a similar body position
to using the same gestures and language.
overs4 #a/e
=hen you are standing close to them, you will holding each other's gaAe for longer and longer
periods before looking away. "ou many also use what are called 'doe eyes' or 'bedroom eyes', which
are often slightly moist and with the head inclined slightly down.
* very subtle signal that few realiAe is that the eyes will dilate such that the dark pupils get much
bigger /this is one reason why dark-eyed people can seem attractive1.
'ouchin#
ouching signals even closer intimacy. It may start with 'accidental' brushing, followed by touching
of 'safe' parts of the body such as arms or back.
+aressing is gentle stroking that may start in the safer regions and then stray /especially when alone1
to se&ual regions.
Submissive body lan#ua#e
* significant cluster of body movements is used to signal fear and readiness to submit.
his is common in animals, where fighting /that could terminally harm each animal1 is avoided by
displays of aggression or submission.
$ody positions
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Ramya R
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he body in fearful stances is generally closed, and may also include additional aspects.
Ma)in# the body small
%unching inwards reduces the siAe of the body, limiting the potential of being hit and protecting
vital areas. In a natural setting, being small may also reduce the chance of being seen. *rms are held
in. * crouching position may be taken, even slightly with knees slightly bent. his is approaching
the curled-up regressive fetal position.
Motionlessness
3y staying still, the chance of being seen is, in a natural setting, reduced /which is why many
animals freeAe when they are fearful1. =hen e&posed, it also reduces the chance of accidentally
sending signals which may be interpreted as being aggressive. It also signals submission in that you
are ready to be struck and will not fight back.
"ead do.n
urning the chin and head down protects the vulnerable neck from attack. It also avoids looking the
other person in the face /staring is a sign of aggression1.
Eyes
=idening the eyes makes you look more like a baby and hence signals your vulnerability.
6ooking attentively at the other person shows that you are hanging on their every word.
Mouth
-ubmissive people smile more at dominant people, but they often smile with the mouth but not with
the eyes.
-estures
Submissive #estures
here are many gestures that have the primary intent of showing submission and that there is no
intent to harm the other person. %ands out and palms up shows that no weapons are held and is a
common pleading gesture.
2ther gestures and actions that indicate tension may indicate the state of fear. his includes hair
tugging, face touching and 4erky movement. here may also be signs such as whiteness of the face
and sweating.
Small #estures
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Ramya R
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=hen the submissive person must move, then small gestures are often made. hese may be slow to
avoid alarming the other person, although tension may make them 4erky.
5erbal !ommunication
he basis of communication is the interaction between people. Merbal communication is one way for
people to communicate face-to-face. -ome of the key components of verbal communication are
sound, words, speaking, and language.
*t birth, most people have vocal cords, which produce sounds. *s a child grows it learns how to form
these sounds into words. -ome words may be imitative of natural sounds, but others may come from
e&pressions of emotion, such as laughter or crying. =ords alone have no meaning. 2nly people can
put meaning into words. *s meaning is assigned to words, language develops, which leads to the
development of speaking.
he actual origin of language is sub4ect to considerable speculation. -ome theorists believe it is an
outgrowth of group activities such as working together or dancing. 2thers believe that language
developed from basic sounds and gestures.
2ver ,,CCC languages and ma4or dialects are spoken in the world today. he development of
languages reflects class, gender, profession, age group, and other social factors. he huge variety of
languages usually creates difficulties between different languages, but even within a single language
there can be many problems in understanding.
hrough speaking we try to eliminate this misunderstanding, but sometimes this is a very hard thing to
do. Nust as we assume that our messages are clearly received, so we assume that because something is
important to us, it is important to others. *s time has proven this is not at all true. <any problems
can arise is speaking and the only way to solve these problems is through e&perience.
-peaking can be looked at in two ma4or areas. interpersonal and public speaking. -ince the ma4ority
of speaking is an interpersonal process, to communicate effectively we must not simply clean up our
language, but learn to relate to people.
In interpersonal spea)in#, etiquette is very important. o be an effective communicator one must
speak in a manner that is not offending to the receiver. )tiquette also plays an important role in an
area that has developed in most all business settings. hierarchical communication. In business today,
hierarchical communication is of utmost importance to all members involved.
he other ma4or area of speaking is public spea)in#. 0rom the origin of time, it has been obvious
that some people are 4ust better public speakers than others. 3ecause of this, today a good speaker can
earn a living by speaking to people in a public setting. -ome of the ma4or areas of public speaking are
speaking to persuade, speaking to inform, and speaking to inspire or motivate
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=hen we communicate verbally with others, either in a conversation or in a presentation, our usual
goal is to have people understand what we are trying to say. In order to accomplish this, we should
remember the acronym >I-- />eep It -hort and -imple1. =hen we talk to others, we assume they
will understand us. =e know what we are trying to say, so obviously our message will get through.
9ight5 :ot necessarily. People bring their own attitudes, opinions, emotions and e&periences to an
encounter and this often clouds their perception of our message.
=hen we speak, only appro&imately $CK of the words we use get through to others. -poken words
are unlike written words where a person can go over a passage several times to ensure understanding.
It is our responsibility to make sure our message gets across to our audience. herefore, if we want our
message to be understood, we must be careful of the words we use.
=hen we communicate, we need to put ourselves in our listeners' shoes. Put yourself on the other side
of the table. %ow would the message sound if you were not fully versed in the topic5 =ould you
understand the message or would its meaning be lost on you5
!hoose .ords carefully
Mery often when individuals are e&tremely well versed in a particular field, they might have a
tendency to use industry 4argon in conversations or presentations. =hile this might be comfortable for
the e&pert, it often causes confusion on the part of the listener. If, for e&ample, you are discussing
computers, you might be talking about bits, bytes, +PO's and controllers. %owever, unless you are
speaking to someone who is equally well informed about computers, that person will have no idea
what you are saying
2ther people believe they are like +harles Dickens who got paid for every word he used to tell his
stories. hey think the more words they use to describe an idea or concept, the more effective they
will be in getting their message across to others. It might have been advantageous for Dickens to use
many words to e&press his ideas, but for most of us keeping our words succinct and to the point allows
our listeners to understand what we mean
-till other people believe that using long or difficult words will impress their audiences. =hile using
an e&tended vocabulary is impressive, if someone needs a dictionary to decipher your meaning your
message will be lost. If people have to work hard at trying to understand what you are saying, they
probably will not put forth the effort
2nce again, our ob4ective in verbal communication is to have our message understood by our
listeners.
5erbal communication. is when we communicate our message verbally to whoever is receiving the
message
Nonverbal communication. is usually understood as the process of communication through sending
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and receiving wordless messages. -uch messages can be communicated through gesture! body
language or posture! facial e&pression and eye contact! ob4ect communication such as clothing,
hairstyles or even architecture! symbols and infographics! prosodic features of speech such as
intonation and stress and other paralinguistic features of speech such as voice quality, emotion and
speaking style
.
+ntrapersonal communication. is language use or thought internal to the communicator.
Intrapersonal communication is the active internal involvement of the individual in symbolic
processing of messages. he individual becomes his or her own sender and receiver, providing
feedback to him or herself in an ongoing internal process. It can be useful to envision intrapersonal
communication occurring in the mind of the individual in a model which contains a sender, receiver,
and feedback loop.
+nterpersonal Spea)in#
Merbal communication is an essential part of business and when it is e&ecuted correctly, good things
happen. %ere are a few different ideas and styles to remember when speaking to anyone in a business
setting.
3ecause speaking is such an indelible activity, we tend to do it without much thought. 3ut, that casual
approach can be a problem in business. %ave you ever wished you could make a second, first
impression because you said something that was out of character or embarressing5 hat comment that
you didn't think about before you said, has created an image in someone's mind that can not be
replaced even when you meant something totally different. =hen it comes to oral communication,
your goal should be to take advantage of its positive characteristics while minimiAing the dangers.
-peaking can be used as a tool to accomplish your ob4ectives. 3ut, first you must break the habit of
talking spontaneously without planning what you're going to say or how you're going to say it. "ou
must learn to manage the impression you create by consciously tailoring your remarks and delivery
style to suit the situation. %ere are some things which will make you an effective communicator.
-9emember to become aware of what you are saying.
-*pply the same process you use in written communication when you are communicating orally.
-3efore you speak, think about your purpose, your main idea, and your audience.
-2rganiAe your thoughts in a logical way.
-Decide on a style that that suits the occasion and then edit your remarks mentally.
-*s you speak, watch the other person to see whether your message is making the desired impression.
If not, revise it and try again.
-9emember that various situations call for different speaking styles, 4ust as various writitng
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assignments call for different writing styles. %ere are four different styles that will suit every occasion.
1. Expressive Style is spontaneous, conversational, and uninhibited. Use this when you are expressing
your feelings, joking, complaining, or socialiing.
!or example" #$o way am % going to let that nerd force an incentive&pay plan on U'S workers.#
(. )irective Style is an authoritative and judgemental style. *e use this style to give orders, exert
leadership, pass judgement, or state our opinions.
!or example" #% want +ike ,omig to explain the new pay plan to each manager.#
-. 'roblem&Solving Style is rational, objective, unbiased, and bland. .his is the style most commonly
used in business dealings. *e use it when we are solving problems and conveying routine information.
!or example" #Stacy /ee might be able to present the plan more favorably.#
0. +eta Style is used to discuss the communication process itself. +eta language enable us to talk
about our interactions.
!or example" #*e seem to be having a hard time agreeing on the specifics of the incentive&pay plan.#
"ierarchical !ommunication
People communicate in businesses with each other most often by oral communication. his talking
takes place between mangers, coworkers and subordinates alike. In organiAations, communication skill
is used to send messages EPK of the time. hat is why it is important to understand all the concept of
communication.
%ave you ever noticed how people communicate differently to their bosses than they would
communicate to their coworkers5 his difference in communication is due to the chain of command.
<anagers or @bosses@ are typically in an influential position over their employees. <anagers have
authority or the right to give orders and e&pect the orders to be obeyed. <any employees may feel that
any bad attitude or disagreement with their superior may result in a bad relationship with the boss and
therefore create a bad work environment or 4ob description.
In most cases employees talk to their coworkers in a friendly manner. he overall standard is that
workers will speak more freely and openly to their fellow workers than to their superiors. =hen
workers talk to each other and relay information on to other workers it is called the @grapevine@. he
grapevine is the unofficial way that communication takes place in an organiAation. It is neither
authoriAed nor supported by the organiAation. Information is spread by word or mouth and even
through electronic means today. he grapevine can be used by an @open@ company and it will have
accurate information however, in an authoritative culture the rumor mill may not be accurate.
+ommunication from a manager to a subordinate is also different. 2ne reason for this may be because
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of the arising concern by managers not to offend their workers or say the wrong thing. In today's
society, lawsuits run rapid over conversations that some employees may take offensive from their
bosses. <anagers have a responsibility to know and follow guidelines of good business
communication etiquette.
he last type of difference in communication is between the male and female se&es. It was found that
when men talk, they do so to emphasiAe status and independence. =omen are found to talk to create
connections and intimacy. =omen speak about a problem as a means of promoting closeness and to
gain support and connection while men talk to solve a problem or give advice.
Eti6uette
In today's competitive business environment, social skills and proper etiquette can mean the difference
between finding and winning the 4ob of your career and standing still in your career. he confidence of
knowing you can hold your own in any social setting, from the white-knuckled nervousness of a first
interview to a casual business lunch, can change the way people perceive and 4udge you. he key to
proper business etiquette is. @Do unto others as they would want you to do unto them.@
o be successful in the business world, a person must use proper verbal etiquette. 2ne important
aspect of verbal etiquette is a proper introduction. )very day we encounter people in a variety of
business and social situations. he way we meet and greet them creates lasting impressions and paves
the way for a productive encounter. Introductions pro4ect information. 3esides the obvious elements of
name, title, and affiliation, an introduction conveys a level of respect and reflects how the person
making the introduction views the other person's status. <astering the art of the introduction will help
put you and the people you are introducing at ease. 6earning the basics - and they are not very difficult
- is the first step.
3asic points to remember when making introductions.
he most important point about introductions is to always make them, even if you can't
remember names. 0ailing to do so causes embarrassment and discomfort. If given a choice,
most people would prefer you to make the introduction incorrectly, even if you forgot their
name, rather than stand there unacknowledged and disregarded.
* second important point in any introduction is the order of names. he name of the person
being introduced is mentioned last, and the person to whom the introduction is made is
mentioned first. In a business setting, introductions are based on power and hierarchy. -imply,
persons of lesser authority are introduced to persons of greater authority. Iender plays no role
in business etiquette! nor does it affect the order of introductions.
*nother important aspect of verbal etiquette is the way in which people address others in a business
setting. 2nce introduced, improperly addressing superiors, colleagues, customers and clients, or
subordinates at future meetings may create tension and will create a negative impression. Ienerally, it
is appropriate to address subordinates and others with whom an informal relationship has been
established by their first name. In formal relationships, or when the relationship status is unknown, it
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is necessary to refer to the individual using the appropriate gender-specific title. =hen gender-specific
titles are necessary, use <ister /<r.1 to address men, <isses /<rs.1 to address married women, and
<iss /<s.1 to address women who are single or whose marital status is unknown. 0ollowing are more
specific rules for addressing others in business settings.
-uperiors. *lways address superiors with the appropriate gender-specific title, unless he?she
gives e&press permission to do otherwise.
+olleagues. It is generally accepted procedure to address colleagues by first name. )&ceptions
arise when the relationship is formal or unfamiliar.
-ubordinates. If the superior has established an informal relationship with the subordinate, use
of first names is appropriate. If the relationship is formal or unfamiliar, the appropriate gender-
specific title is necessary.
+lients and +ustomers. <ost relationships with clients or customers are formal, dictating
appropriate gender-specific titles. 2ccasionally, though, an amiable relationship has been
established and would allow the use of first names.
* third aspect of business etiquette is proper telephone procedure. -ince much of today's business is
done over the phone, using correct telephone etiquette is more important than ever. 6asting
impressions may be formed during and after telephone conversations, and business people, in order to
be successful, must maintain a positive impression. his dictates that people use proper telephone
etiquette.

here are seven different aspects of telephone etiquette to consider.
$. Ieneral elephone )tiquette
Identify yourself, with your first and last name, when answering the phone.
9eturn phones calls within (P hours, and apologiAe if the call is late.
Identify yourself when you place a call. -ay your name, the company, business or
department you represent. hen state the nature of your call. If you do not identify yourself,
e&pect to be asked and do not take offense.
(. Interoffice Phone )tiquette
Don't hover outside a coworker's office or cubicle waiting for him or her to finish up a
phone call.
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6eave, and try again later.
Don't listen in on coworkers' phone conversations. If you share office space with someone,
this may be unavoidable, but try to keep busy while the person is talking J and never comment
on what you've 4ust overheard7
,. Moice <ail
2utgoing messages should include your name and company name. If applicable, mention
the 4ob you handle to prevent having to route the message to someone else.
6et the caller know how to reach a live person in an emergency.
>eep your outgoing message current. If you're going to be out of the office, your message
should say so. =hen you go away, state the date you'll be back and whether or not you'll be
calling in for messages, or whom to contact in your absence.
P. +all-=aiting
Onless you are e&pecting an urgent call and say so, it's impolite to continually put the
person to whom you're speaking on hold while you take another call. -ay, @I have another call,
can you hold 4ust a second5@ ake the other call, e&plain you're on another line and will call
back shortly. hen quickly return to your first caller.
D. -peakerphones
*lthough a speakerphone is a great convenience when several people need to participate in
a conference call, in a two-person conversation, it often annoys or offends the person whose
voice is broadcast. Ose it sparingly, and always tell the person on the other end that a
speakerphone is being used. ry to avoid using it with a client.
E. +ellular phones
ry to remove yourself from a public area to a quiet corner of the room so as not to bother
others.
If you must make or take a call, keep it short and as discrete as possible.
F. Placing someone on hold
<ake sure it's for a good reason, such as pulling the person's file or answering another
line.
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*sk the person if he or she will hold, and wait for a response rather than assuming the
answer is yes.
:ever keep a caller on hold for more than a minute. If you have to take longer than that,
return to the person and tell them that you absolute have to take a few minutes longer, and ask
if she wouldn't prefer that you call her back.@
=hen you return to the caller, thank them for holding.
$etter Public Spea)in# and Presentation
Ensure 7our 0ords Are Al.ays 1nderstood
hink of the last really memorable talk or presentation that you attended. :ow, was that easy to do, or
did you really have to rack your brains to remember one5 -adly, too many presentations are easy to
forget. *nd that's a big problem because the only reason the presenter gave the talk was to
communicate something to you7
%owever, there are three basic things that you can do to ensure that your verbal messages are
understood J and remembered J time and time again.
*lthough somewhat obvious and deceptively simple, these are.
Onderstand the purpose of the presentation
>eep the message clear and concise
3e prepared
3e vivid when delivering the message
1nderstand .hat you .ant to achieve
3efore you start working on your talk or presentation, it's vital that you really understand what you
want to say, who you want to tell and why they might want to hear it. o do this, ask yourself. 0ho8
0hat8 "o.8 0hen8 0here8 0hy8
0ho are you speaking to5 =hat are their interests, presuppositions and values5 =hat do they share in
common with others! how are they unique5
0hat do you wish to communicate5 2ne way of answering this question is to ask yourself about the
8success criteria'. %ow do you know if and when you have successfully communicated what you have
in mind5
"o. can you best convey your message5 6anguage is important here, as are the nonverbal cues
discussed earlier. +hoose your words and your nonverbal cues with your audience in mind. Plan a
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beginning, middle and end. If time and place allow, consider and prepare audio-visual aids.
0hen8 iming is important here. Develop a sense of timing, so that your contributions are seen and
heard as relevant to the issue or matter at hand. here is a time to speak and a time to be silent. 8It's
better to be silent than sing a bad tune.'
0here8 =hat is the physical conte&t of the communication in mind5 "ou may have time to visit the
room, for e&ample, and rearrange the furniture. +heck for availability and visibility if you are using
audio or visual aids.
0hy8 In order to convert hearers into listeners, you need to know why they should listen to you J and
tell them if necessary. =hat disposes them to listen5 hat implies that you know yourself why you are
seeking to communicate J the value or worth or interest of what you are going to say.
9eep it simple
=hen it comes to wording your message, less is more. "ou're giving your audience headlines. hey
don't need to and are usually not e&pecting to become e&perts on the sub4ect as a result of hearing your
talk.
If you're using slides, limit the content of each one to a few bullet points, or one statement or a very
simple diagram
$e prepared
Preparation is underrated. In fact, it is one of the most important factors in determining your
communication successes. =hen possible, set meeting times and speaking and presentation times well
in advance, thus allowing yourself the time you need to prepare your communications, mindful of the
entire communication process. 3y paying close attention to each of these stages and preparing
accordingly, you ensure your communications will be more effective and better understood.
2f course, not all communications can be scheduled. In this case, preparation may mean having a
good, thorough understanding of the office goings-on, enabling you to communicate with the
knowledge you need to be effective, both through verbal and written communications.
1nfor#ettable delivery
"our delivery of your speech or presentation will make or break it, no matter how well you've
prepared and crafted your clear, concise message. -ome useful tips for keeping your presentation vivid
include.
Ose e&amples to bring your points to life
>eep your body language up-beat J don't stay stuck behind a rostrum
Don't talk to fast. 6ess is more here too. Pauses are effective.
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Ose a variety of tones of voice
Ose visual aids.
Public Spea)in#
"o. do you spea) naturally .hile all those people are .atchin# you8
his document covers hints and tips on public speaking and presentation skills, dealing with public
speaking nerves and an&iety, public speaking skills, public speaking techniques and public speaking
training.
Public Spea)in# (ear
Public Spea)in# An*iety - 0hy Do 0e -et +t8
(ear of Public Spea)in#
$uildin# !onfidence in Public Spea)in#
Public Spea)in# 'rainin#
Public Spea)in# "ints and 'ips
!ommon (ears of Public Spea)in#
*hat happens when you have to speak in public1
Did you know that public speaking tops the list of phobias for most people5 :ot spiders or heights -
public speaking - speech in public7
=ell, if you didn't know that, we bet your body does. It will do all kinds of unpleasant things to you
when you have to stand up and face a sea of faces with the hope of getting your message across in a
compelling and interesting way.
"our hands may sweat and your mouth goes dry. "our knees may shake and a quaver affects your
voice. "our heart may race and those well known butterflies invade your stomach.
=hen all that happens most people don't think of getting their message across in a compelling and
interesting way! they 4ust think of getting off the 'stage' as quickly as possible7
2ave we frightened you sufficiently yet1
It's normal
=e don't really mean to frighten you, 4ust remind you that your body reacts 'in e&tremis' when put
under pressure, and for most people, public speaking is 4ust about the worst pressure they can be put
under.
It's normal to be nervous and have a lot of an&iety when speaking in public. In a way, it's less normal
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not to have nerves or an&iety! in fact, to feel you have a phobia about public speaking.
0hy do .e #et Public Spea)in# an*iety8
!ight or flight
2ur bodies are geared to fight or flight from ancient time - fight that mastodon or get the hell out of
the way. =e don't have too many mastodons around these days, but the body still reacts as though we
do. -o, if we have to get up and speak in public, all that adrenalin and noradrenalin goes coursing
through our bodies - way more than we need.
=e can't run away /well, we could, but we'd be out of 4ob pretty quick if we did it too often1, so our
only option is to fight. 3ut in terms of speaking in public, it can be hard to define 4ust what we're
fighting.
*hy does public speaking do this to us1
Iood question. "ou'd think that for most people, being given the opportunity to impress their audience
would be a fantastic one. here you are in front of a group of people, the spotlight is on you and for
the length of time you've been give, the world is yours.
2r is it5
he very fact that the spotlight is you is enough to trigger every fear, an&iety and phobia you've ever
had about public speaking.
%ere's why
"ou may be 4udged by all those people, and 4udged badly
"ou may feel like a fool
"ou might make mistakes and lose your way
"ou'll be completely humiliated
"ou'll never be as good as QQQQQQQQQ /fill in the blank1
'hey' won't like you
'hey' won't 'get' what you're trying to say
"o. to overcome fear of Public Spea)in#
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*hat good are $erves
Public speaking may not be comfortable, but take our word for it, nerves are good. 3eing 'centre stage'
is not a good place to feel too comfortable.
:erves will keep you awake and ensure you don't get too complacent. %ard to feel complacent when
your heart is beating so hard you're sure everyone watching you can hear it.
If channeled well, nerves can make the difference between giving a humdrum presentation and giving
one that keeps people listening.
-et your attention off yourself
It's very tempting to keep focused on how you're feeling, especially if you're feeling really
uncomfortable. "ou'll start to notice every bead of sweat.
o make your nerves work for you, you need to focus on 4ust about anything other than yourself. "ou
can distract yourself by paying attention to the environment in which you're speaking and seeing how
you can make it work for you.
2nce you're actually in front of your audience, pay attention to them. If you can, notice how people
are dressed, who's wearing glasses, who has on bright colours. here will be doAens and doAens of
things you can pay attention to help you trick your mind into not noticing what's going on with you.
*nything will do and you will find that the less you concentrate on how you are feeling and the more
you concentrate on other things, the more confident you will feel.
"o. to build confidence in Public Spea)in#
3our audience can be your friend
Onless you know you're absolutely facing a hostile group of people, human nature is such that your
audience wants you succeed. hey're on your side7
herefore, rather than assuming they don't like you, give them the benefit of the doubt that they do.
hey aren't an anonymous sea of faces, but real people. -o to help you gain more confidence when
speaking in public, think of ways to engage your audience. 9emember, even if they aren't speaking,
you can still have a two-way conversation.
=hen you make an important point pay attention to the people who are nodding in agreement and the
ones who are frowning in disagreement. *s long as you are creating a reaction in your audience you
are in charge.
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4eep them awake
he one thing you don't want is for them to fall asleep7 3ut make no mistake public speaking arenas
are designed to do 4ust that. dim lights, cushy chairs, not having to open their mouths - a perfect
invitation to catch up on those AAAAs.
=ays to keep them away include
*sk rhetorical questions
<aintain eye contact for a second or two with as many people as possible
3e provocative
3e challenging
+hange the pace of your delivery
+hange the volume of your voice
Public Spea)in# 'rainin#
5et a coach
=hatever the presentation public speaking is tough, so get help.
-ince there are about a Aillion companies out there all ready to offer you public speaking training and
courses, here are some things to look for when deciding the training that's right for you.
!ocus on positives not negatives
*ny training you do to become more effective at public speaking should always focus on the positive
aspects of what you already do well.
:othing can undermine confidence more than telling someone what they aren't doing well.
"ou already do lots of things well good public speaking training should develop those instead of
telling you what you shouldn't do.
.urn your back on too many rules
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If you find a public speaking course that looks as though it's going to give you lots of dos and don'ts,
walk away7 "our brain is going to be so full of whatever it is you're going to be talking about that to
try to cram it full of a whole bunch of rules will 4ust be counterproductive.
*s far as we're concerned, aside from physical violence or inappropriately taking off your clothes,
there are no hard and fast rules about public speaking.
3ou are an individual not a clone
<ost importantly, good public speaking training should treat you as a unique individual, with your
own quirks and idiosyncrasies. "ou aren't like anybody else and your training course should help you
bring out your individuality, not try to turn you into someone you're not.
"ints and 'ips for Effective Public Spea)in#
%ere are 4ust a few hints, public speaking tips and techniques to help you develop your skills and
become far more effective as a public speaker.
+istakes
<istakes are all right
9ecovering from mistakes makes you appear more human
Iood recovery puts your audience at ease - they identify with you more.
2umour
ell 4okes if you're good at telling 4okes
If you aren't good, best to leave the 4okes behind
here's nothing worse than a punch line that has no punch
.Ientle humour is good in place of 4okes
.-elf-deprecation is good, but try not to lay it on too thick.
.ell stories
-tories make you a real person not 4ust a deliverer of information.
Ose personal e&periences to bring your material to life
:o matter how dry your material is, you can always find a way to humarise it.
2ow to use the public speaking environment
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ry not to get stuck in one place
Ose all the space that's available to you
.
<ove around
2ne way to do this is to leave your notes in one place and move to another.
If your space is confined /say a meeting room or even presenting at a table1 use stronger body
language to convey your message.
.echnology
-peak to your audience not your slides
.
"our slides are there to support you not the other way around
.Ideally, slides should be graphics and not words /people read faster than they hear and will be
impatient for you to get to the ne&t point1
If all the technology on offer fails, it's still you they've come to hear.
"ou can learn to en4oy public speaking and become far more effective at standing in front of a group
of people and delivering a potent message.
=hen it comes to improving your public speaking skills we have three words.
practise, practise, practise7
0ind the ne&t available 2pen Public -peaking +ourse
Public Spea)in# S)ills 'rainin# and Development

P1$+! SPEA9+N- S9+S
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(+5E SPEE!" S'AR'+N- DOs
$. 1se physical activity to #et the audience4s attention. * theme related physical activity can also
help the audience generate a visual image of your topic. 2ften you can draw on that later in the
speech. * speech on the importance of e&ercise could open with 4umping 4acks. * speech on child
abuse could open with the speaker striking an ob4ect with great force.
(. Ma)e a startlin# statement or present a startlin# statistic. @Iovernment officials in the Onited
-tates have murdered (, *merican citiAens7@ might open a speech opposing the death penalty. his
type of opening can create a feeling of suspense and anticipation of the statement's 4ustification.
,. 'ell a theme related :o)e& %umor isn't for everyone and it's a little risky if you aren't familiar with
the audience, but nothing wins audiences over as much as a good laugh.
P. Provide an apt 6uotation. In addition to framing the theme of the speech, you can generate
credibility by demonstrating that you are familiar enough with the topic literature to have found such
an appropriate quotation.
D. Relate a relevant story. <ost people give only a few formal public speeches in their lives, yet we
all tell stories every day. elling a story can be a comfortable and natural way to generate momentum
for the rest of the speech.
(+5E SPEE!" S'AR'+N- DON'Ts
$. $e#in .ith ;"i2 my name is@ he sentences most likely to be remembered by the audience are the
very first and the very last sentences you utter. Don't throw away the opportunity to do something
meaningful in the opening line.
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(. Ma)e a false start. *void apologies and tentative statements that can put your credibility in
question. -ome typical phrases to avoid are. @=ell, here goes,@ @=here shall I start5@ and @+an you
hear me 2> in the back5@
,. 1se a rhetorical 6uestion. ypically they result in an awkward moment. 3ecause the audience is
unsure if a response is really desired by the speaker. his can erode your confidence.
P. -o overboard. "ou want to be creative and innovative in attracting audience attention, but your
opening should be consistent with your personality and with the tone of the rest of the speech.
D. (ail to consider ho. you4ll #et to the podium& -peaking areas are often crowded and nothing
destroys your credibility like tripping on the way to the front of your audience. his happens to
someone famous every year7
'he ,< Essential Presentation S)ills for Public Spea)in#
Inspired by (D -kills )very <an -hould >now, I pondered a list of the ,< essential s)ills every
public spea)er should have. %ow did I do5

)very public speaker should be able to.
1. Research a topic - Iood speakers stick to what they know. Ireat speakers research
what they need to convey their message.
2. (ocus - %elp your audience grasp your message by focusing on your message. -tories,
humour, or other Rsidebars# should connect to the core idea. *nything that doesn't needs to
be edited out.
3. Or#ani/e ideas lo#ically - * well-organiAed presentation can be absorbed with
minimal mental strain. 3ridging is key.
4. Employ 6uotations2 facts2 and statistics - Don't include these for the sake of
including them, but do use them appropriately to complement your ideas.
5. Master metaphors - <etaphors enhance the understandability of the message in a way
that direct language often can not.
6. 'ell a story - )veryone loves a story. Points wrapped up in a story are more
memorable, too7
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7. Start stron# and close stron#er - he body of your presentation should be strong too,
but your audience will remember your first and last words /if, indeed, they remember
anything at all1.
8. +ncorporate humour - >nowing when to use humour is essential. -o is developing the
comedic timing to deliver it with greatest effect.
9. 5ary vocal pace2 tone2 and volume - * monotone voice is like fingernails on the
chalkboard.
10. Punctuate .ords .ith #estures - Iestures should complement your words in
harmony. ell them how big the fish was, and show them with your arms.
11. 1tili/e =-dimensional space - +haining yourself to the lectern limits the energy and
passion you can e&hibit. 6ose the notes, and lose the chain.
12. !omplement .ords .ith visual aids - Misual aids should aid the message! they
should not be the message. 9ead slide"ology or the 'resentation 6en book and adopt the
techniques.
13. Analy/e the audience - Deliver the message they want /or need1 to hear.
14. !onnect .ith the audience - )ye contact is only the first step. *im to have the
audience conclude Rhis speaker is 4ust like me7# he sooner, the better.
15. +nteract .ith the audience - *sk questions /and care about the answers1. -olicit
volunteers. <ake your presentation a dialogue.
16. !onduct a >?A session - :ot every speaking opportunity affords a S;* session, but
understand how to lead one productively. Ose the S;* to solidify the impression that you
are an e&pert, not /4ust1 a speaker.
17. ead a discussion - *gain, not every speaking opportunity affords time for a
discussion, but know how to engage the audience productively.
18. Obey time constraints - <aybe you have ( minutes. <aybe you have PD. )ither way,
customiAe your presentation to fit the time allowed, and respect your audience by not going
over time.
19. !raft an introduction - -et the conte&t and make sure the audience is ready to go,
whether the introduction is for you or for someone else.
20. E*hibit confidence and poise - hese qualities are sometimes difficult for a speaker to
attain, but easy for an audience to sense.
21. "andle une*pected issues smoothly - <aybe the lights will go out. <aybe the
pro4ector is dead. %ave a plan to handle every situation.
22. $e coherent .hen spea)in# off the cuff - Impromptu speaking /before, after, or
during a presentation1 leaves a lasting impression too. Doing it well tells the audience that
49
Ramya R
Development
you are personable, and that you are an e&pert who knows their stuff beyond the slides and
prepared speech.
23. See) and utili/e feedbac) - Onderstand that no presentation or presenter /yes, even
you71 is perfect. *im for continuous improvement, and understand that the best way to
improve is to solicit candid feedback from as many people as you can.
24. isten critically and analy/e other spea)ers - -tudy the strengths and weakness of
other speakers.
25. Act and spea) ethically - -ince public speaking fears are so common, realiAe the
tremendous power of influence that you hold. Ose this power responsibly.
50
Ramya R

1personality Development Final

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Module 1 Personality

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