Ragan Speechwriters Conference: Day 2 – Lunch Panel

Networking Lunch: 30 ideas in 30 minutes

Rueben Bronee – Government of British Columbia
Fletcher Dean – Eastman Chemicals
Richard Feen – Freddie Mac
Bob Lehrman – Freelance
Elizabeth Mitchell – Freelance
Michele Nix – Office of Tom Ridge

  1. Use a simple Zen-like approach to writing.
  2. Audiences need to hear words that are short and familiar.
  3. Freelancers, know the company you work for: don’t FedEx a draft to executives at UPS.
  4. Turn track-changes on for drafts to allow the executive to see you’ve not ignored them.
  5. Use a ScriptMaster speaker box to manage script.
  6. Use music quotes as well as those from offbeat TV shows “Save the cheerleader, save the world�.
  7. Speeches are an oral contract with your organization, be careful what you say.
  8. Use Stephen Lucas’s The Art of Public Speaking as a template for success.
  9. Make speakers show they are passionate about a topic, don’t say “I am passionate about…�
  10. Develop a thick skin, don’t take things personally. They only yell at people they trust.
  11. Don’t agree to be on a panel after eating spinach. Find out if the speaker is on before or after the meal.
  12. Constantly listen to your speaker, whenever they are available. Use the speaking tones you hear in future scripts.
  13. Give feedback to executives to help them overcome challenges in natural speaking style or bolster goodness.
  14. Face-time is important. Don’t let VP of Communications wall you off (and so many of them will want to, won’t they?). You need to be able to ask the executive questions like “Tell me about your Dadâ€? to get true human stories.
  15. Don’t be afraid to punt on the podcast. Don’t just use technology for the sake of it.
  16. Take the time to remind yourself you can write.
  17. Include phrases in a speech that can be taken wholesale and quoted in press.
  18. Think twice about recycling speeches: like day old sushi it just smells bad.
  19. Keep speeches away from the lawyers. You own it.
  20. Bridge back to key messages in speeches at the end. Write two endings – one for the end of the speech proper, before Q&A and a second ending to hit them again with key messages.
  21. Get physical when you write a speech. Get up, walk around, take the dogs out, don’t become chained to the keyboard.
  22. Build in “How the Hell’s� into speech – references to group you are speaking to that are so specific they wonder “How the Hell did they know that?�

OK, so I missed 8 ideas. Whose counting? And if you have one I did miss, please leave it as a comment below.

Ragan Speechwriters Conference: Day 2 – Rob Friedman

Rob Friedman: Motivating the troops: The speech to boost morale and convince people to do hard things

Thanks to Rob for producing extensive handout notes which I’ve annotated as the main part of this blog report.

Rob Friedman is a senior writer for Eli Lilly & Co. and a former editor of Speechwriter’s Newsletter. He’s been attending Speechwriters Conferences for over twenty years.

“Reasons lead to conclusions; emotion leads to action.”
– Neurologist Donald Caine

Any organization going through change—in short, virtually every organization in the world today—needs leaders who can motivate employees to step up, overcome obstacles and achieve tough goals. But how to do it?

Motivation and emotion share the same root – the Latin word to move.

As with a persuasive speech, the goal of a motivational speech is to move an audience from one place to another. But while persuasion works mostly through logic, reason and argumentation, motivation – which aims at action – relies on emotions and feelings, such as pride, respect, belief, duty, fear and desire.

Ten techniques that stir feelings and move people to action.

1. Build a bond. Build the speaker’s credibility by establishing authority and empathy.

People want to know you know what you are talking about and you are with them, that you are an empathetic expert. The odds of getting people to do difficult things increase if they feel those doing the asking know what they’re talking about and understand what it takes.

Someone once said, “Morale is faith in the person on top.” Motivational speakers are authorities and experts. When college football coach Lou Holtz speaks on improving performance, he (or those introducing him) underscores that he inherited five losing teams and took them all to Bowl games within two years.
Motivators also make clear that “We’re all in this together” – not you must do this, but we will do it together.

Elizabeth I When Queen Elizabeth I visited her troops on the eve of the attack of the Spanish Armada, her authority emanated from the fact that she was the Queen. But she showed her bond by saying: “… I am come amongst you at this time, not as for my recreation or sport, but being resolved, in the midst and heat of the battle, to live or die amongst you all.”

Her visit illustrates an important point about credibility: it’s built not on rhetoric but on actions.

An executive who speaks heart-to-heart without notes shows how close to the audience they are. This establishes instant credibility.

Having leaders who make sacrifices gives credibility when calling for change from other employees.

2. Pump them up

Napoleon Good motivators stroke the ego, tell people how good they are, inspire confidence that they can get the job done. When a client is asked to speak, find out about the group’s accomplishments and recognize them. One common technique is to “compliment and stretch” – recognize their accomplishments but urge them onward, as Napoleon did, exhorting his troops in the Italian campaign of 1796:

“Soldiers, you are precipitated like a torrent from the heights of the Apennines; you have overthrown and dispersed all that dared to oppose your march … Yes soldiers, you have done much; but more still remains for you.”

3. Light the burning platform

People need a sense of urgency to be motivated to act or change. Better than the ‘don’t worry, be happy’ style, dramatize the magnitude of the challenge and the need to act now. State what is unacceptable. Dispense with the sugar-coating; give it to them straight.

FDR On December 8, 1941, with the U.S.S. Arizona still smoking, Franklin Roosevelt addressed the nation:
“We are now in this war. We are in it – all the way. It will not only be a long war, it will be a hard war … We don’t like it – we didn’t want to get in it – but we are in it and we’re going to fight it with everything we’ve got.”

4. Stretch them

To get high performance, you need to get people to do more than they believe they can. Among the ways to do this are to:

  • JFKSet high expectations, big challenges. Set standards for yourself higher than anyone else would set them. In spring of 1961, JFK committed the U.S. to landing a man on the moon and returning him safely to earth within the decade. The country had 12 minutes of human spaceflight experience when JFK made his challenge.
  • Stoke their pride: remind them how capable they are; tell them they’re part of a tradition, a legacy; describe why they’re better than the competition and why they’ll win. Patton does this. Vince Lombardi.
  • Appeal to something bigger than themselves. Describe how their accomplishment will make a difference to people; save the cause; uphold a moral imperative. Tap into whatever in your organization is bigger than individuals. What would world be like without your organization? Queen Elizabeth I. Russell Crowe in Master and Commander preparing his crew for battle: “This ship is England.”
  • 5. Examples to show them success

    Hero Identifying with high achievers helps people reach. Hold up a hero, an exemplar, or someone who has overcome adversity. Look into organizational history for inspiring stories. Hero was a character in Greek Mythology.

    Example:

    Wilma Rudolph Wilma Rudolph was born in Tennessee in 1940, premature at 4½ pounds. She suffered one illness after another and her left leg and foot were weak and deformed. Doctors told her she had polio and would never walk.

    But her mother never gave up on her. Unable to take her to the local hospital – which was segregated – she took her to a black medical college in Nashville – 50 miles away – twice a week for two years. Wilma was 12 before she walked without crutches, braces or corrective shoes.

    She then decided to become an athlete. She became a high school basketball star and track phenomenon.

    On September 7th, 1960, in Rome, Wilma Rudolph became the first American woman to win three gold medals in the Olympics. She won the 100-meter dash, the 200-meter dash, and ran anchor on the 400-meter relay team.

    She was named United Press Athlete of the Year for 1960.

    Cast your net wide; draw on examples of excellence in sports, the arts, business, exploration, leadership, your field and more. Exemplars can be institutions as well as individuals. Search the history of your organization for examples of heroic feats – and use them to motivate people to overcome current challenges.

    6. Show them the consequences of failure

    Some people crave winning; others fear losing. Many kids are motivated by the threat of “or else”.

    Patton fired up the troops by reminding them that “Americans don’t like to lose.”

    To keep the Catholic schoolboys in James Joyce’s Portrait of the Artist as a Young Man virtuous, the preacher paints a hell-raising picture of the agonies of hell.

    To motivate people to uphold the highest standards of ethics, describe the devastation caused by the leaders of Enron, Tyco, WorldCom, Cendant. Just mine the pages of the newspapers.

    Motivate by describing (among others):

  • The potential damage to your organization if someone bends the rules
  • The dangers if a law or regulation prevents your organization or products from helping people
  • The impact on society if your organization didn’t exist – or failed
  • 7. Tell them what you want them to do

    Be clear about the goals of the speech. Make sure the audience is clear about the action you want. Good leaders distill what is complex and make the actions seem doable. Enumerate the steps.

    MLK In August 1963, on the steps of the Lincoln Memorial, Martin Luther King was inspirational but also gave his followers explicit instructions:

    “Continue to work with the faith that unearned suffering is redemptive. Go back to Mississippi, go back to Alabama, go back to South Carolina, go back to Georgia, go back to Louisiana, go back to the slums and ghettos of our northern cities, knowing that somehow this situation can and will be changed.”

    GE under Jack Welch followed three priorities: globalization, services, and Six Sigma and quality. In each internal speech, Welch hammered home the actions employees needed to take to fulfill these priorities.

    8. Paint a Vision of future

    Show your audience why their struggle will be worth it – they will win, help humanity, be more fulfilled, sustain the legacy of a great institution. Paint the vision of the future, show what it’ll mean to accomplish the tasks.

    Again, King:

    “I have a dream that my four little children will one day live in a nation where they will not be judged by the color of their skin but by the content of their character.”

    Churchill Winston Churchill to the House of Commons, June 18, 1940, on the upcoming war against the Nazis:

    “Let us therefore brace ourselves to our duties, and so bear ourselves that, if the British Empire and its Commonwealth last for a thousand years, men will still say, ‘This was their finest hour.’”

    Eli Lilly executive Patty Martin spoke on diversity in a talk titled ‘Make Difference Matter’:

    One final question for each of you. What does success look like for you? I know what it looks like for me. I asked my daughter what she wants to be when she grows up. She answered, I want to work at Lilly, because you make good medicine. I want Lilly to be the kind of company in twenty years that will attract my daughter, motivate her and use every God-given talent she has to offer to help make great medicine. That’s what success looks like to me. That’s what matters to me. Ask yourself this question: what matters to you? And then, please, let that be your reason for doing everything you can to make difference matter.

    9. Conclude with the call to action or challenge

    Mine the preceding eight steps for ideas.

  • Restate the magnitude of the crisis or issue
  • Find the right quote, or tell a story of accomplishment that’s a metaphor for the action you’re asking for
  • Sum up your action steps – but then reinforce the impact of succeeding
  • Give them the reasons why they can do it
  • Remind them of a higher calling
  • Lilly CEO Sidney Taurel urging his leadership team to the hard task of transforming the company:

    “Now it falls to us to write a new and, I believe, luminous chapter in this story of transformation. As we set out, I want you to feel as I do that this is not what we are forced to do … this is what we are called to do. Let’s get to it!”

    10. Show your passion

    Ultimately a speaker’s passion can make the difference between motivating the audience and leaving them dispirited. This can be challenging for corporate speakers.

    Listen for your clients’ passions so you can incorporate them when they have to motivate. Learn what it is your speakers are passionate about. Write stories for them that will help. Listen to the clients. Write conversationally, drop the passive voice.

    Speaker training makes a big difference. Coach them to speak without notes and to make eye contact. Get a structure they’re comfortable with and encourage them to use their own words. Have them rehearse out loud. Passion shows up in the voice. Encourage them to show their passion. People are afraid of going over the top. There’s cognitive dissonance feeling goofy when it’s right on. Remind them what’s at stake.

    Find the human impact at the end of the desired action.

    At the end of the day have integrity. Temper good motivation with realism – drop the cheerleading. Be candid.

    Motivational Speech Samples

    Reading 1
    Queen Elizabeth I, visiting the troops at Tilbury on the eve of the battle with the invincible Spanish Armada, 1588

    “My loving people, we have been persuaded by some, that are careful of our safety, to take heed how we commit ourselves to armed multitudes, for fear of treachery; but I assure you, I do not desire to live to distrust my faithful and loving people. Let tyrants fear; I have always behaved myself that, under God, I have placed my chiefest strength and safeguard in the loyal hearts and good will of my subjects. And therefore I am come amongst you at this time, not as for my recreation or sport, but being resolved, in the midst and heat of the battle, to live or die amongst you all; to lay down, for my God, and for my kingdom, and for my people, my honor and my blood, even the dust.

    “I know I have but the body of a weak and feeble woman; but I have the heart of a king, and of a king of England, too; and think foul scorn that Parma or Spain, or any prince of Europe, should dare to invade the borders of my realms; to which, rather than any dishonor should grow by me, I myself will take up arms; I myself will be your general, judge, and rewarder of every one of your virtues in the field.

    “I know already, by your forwardness, that you have deserved rewards and crowns; and we do assure you, on the word of a prince, they shall be duly paid you. In the mean my lieutenant general shall be in my stead, than whom never prince commanded a more noble and worthy subject; not doubting by your obedience to my general, by your concord in the camp, and by your valor in the field, we shall shortly have a famous victory over the enemies of my God, of my kingdom, and of my people.”

    Motivational techniques she uses:

    – she links herself to her people, obliterating the distance with them
    – she appeals to national pride
    – she shows vulnerability and courage
    – she predicts victory
    – she’ll reward them with money

    Reading 2
    Napoleon exhorting his troops during the Italian campaign of 1796-7

    “Soldiers, you are precipitated like a torrent from the heights of the Apennines; you have overthrown and dispersed all that dared to oppose your march. Milan is yours; the dukes of Parma and Modena are indebted for their political existence only to your generosity.

    “The army, which so proudly menaced you, has had no other barrier that its dissolution to oppose your invincible courage. The Po, the Tessin, the Adds, could not retard you a single day. The vaunted bulwarks of Italy were insufficient.”

    “Yes soldiers, you have done much; but more still remains for you.”

    – The segue at the end both compliments and stretches the troops.

    Reading 3
    Sue Suter, former U.S. Commissioner of Rehabilitation Services, to New Zealand Rehabilitation Association

    “I contracted polio when I was two years old. I don’t remember it. But I do remember my parents telling me about the advice that the doctor gave when it was time to take me home from the hospital. He told them, ‘Just put her in bed. She’s going to be staying there the rest of her life.’

    “When I was in college, I decided to go after a Master’s degree in clinical psychology. But my career counselor advised against it. He warned that it was hard enough for a woman with a disability to get married. Having an advanced degree would only intimidate a man more.

    “When our son was born, the day before he and I were to leave the hospital a social worker visited me to inquire how I was going to possibly care for a newborn infant.

    “These were well-meaning professionals who believed that they knew what was best for me. But my life would be much different, and I probably wouldn’t be with you today, if I had followed their advice.”

    Reading 4
    Tim Russert at Commencement of the Catholic University of America’s Columbus School of Law

    “People with backgrounds like yours and mine can make a difference.

    “In Poland, it was a young electrician named Lech Walesa, the son of a carpenter, who transformed a nation from communism to democracy. In Czechoslovakia, a writer named Vaclav Havel, the son of an office clerk, who traded his pen for a podium and rallied his people to freedom. In South Africa, Nelson Mandela, a brave black man who worked his way through law school as a police officer, spent 28 years in jail to make one central point: we are all created equal.

    “All these leaders have one thing in common with you. Like the past, the future leaders of this country, of this world and of the legal profession were not born to the blood of kings, but to the blood of immigrants and pioneers.
    “Now it’s your turn.”

    Reading 5
    Sidney Taurel, Lilly’s 2006 Global Leadership Conference, on why his leadership will succeed in transforming our company

    “The road ahead will be tough – make no mistake about it. But it leads to a brighter future for those with the will and the skill to walk it.

    As we set off now, it may help to look back over our 130 years of history and realize that – as a company – we’ve traveled this way many times before.
    Over the years, the people of Eli Lilly and Company have repeatedly responded to a changing environment by bringing forth new technologies: insulin … polio vaccines … cephalosporin antibiotics … the first biotech products … breakthroughs in neuroscience.

    “At several points in our history, we have reinvented the company, along with our product line, evolving our business strategy to deal with new threats or opportunities – think of the creation of Elanco … the acquisitions of new business lines in cosmetics, medical devices, pharmacy benefits management … and then the subsequent divestment of these assets to refocus on pharmaceutical innovation … all of this is living proof of the vital capacity of the firm to learn and adapt and thrive in a world of constant change.

    “Now it falls to us to write a new and, I believe, luminous chapter in this story of transformation. As we set out, I want you to feel as I do that this is not what we are forced to do … this is what we are called to do.
    Let’s get to it!”

    Reading 6
    Dr. Robert McAfee, inaugural address as president of the American Medical Association, framed as a conversation with his son, who had recently begun his own practice as a physician, June, 1994

    “One last piece of advice.

    “More than anything else, I want you to remember to be a good physician, a good doctor. I want you to listen to your patients. I want you to touch them every day on your rounds. Hold their hand. Squeeze their shoulder. Pat them on the back. Look into their eyes.

    “Remember how lonely that person is; remember how lonely you were when you were a patient. Don’t be afraid to sit down with that patient rather than stand at the end of the bed. That small gesture can make such a big difference. Remember to take the medical chart into the room with you, and write your medical progress report in the patient’s room – it’s so much more meaningful.

    “Don’t forget to smile – it’s awfully important. And don’t be afraid to cry. Sometimes when you are alone with the patient, when you remember a special patient, a colleague, a loved one; sometimes when you are with the family, sometimes when you are home alone, sometimes in those quiet moments. Don’t be afraid to cry. It’s okay.

    “And don’t forget to call the family. Not just when big victories Occur – but sometime, some day, when there isn’t any reason. Just to say, ‘How are you getting along at home? Mother or dad is doing fine – be home in a few days – are you ready for them? How do you feel about things? Is there anything we can do for you?’”

    Reading 7
    How to tell a story

    A man traveling across a field encountered a tiger. He fled, the tiger after him. Coming to a precipice, he caught hold of the root of a wild vine and swung himself down over the edge. The tiger sniffed at him from above. Trembling, the man looked down to where, far below, another tiger was waiting to eat him. Only the vine sustained him.

    Two mice, one white and one black, little by little, started to gnaw away the vine. The man saw a luscious strawberry near him. Grasping the vine with one hand, he plucked the strawberry with the other. How sweet it tasted.

    — Buddhist parable

    Ragan Speechwriters Conference: Day 2 – Liam Scott

    Liam Scott: ‘Corporate theatre’: Innovative techniques for getting your speaker heard and remembered

    According to Scott, speechwriters are the Canadians of the business world – people don’t pay attention to us unless something goes wrong.

    “A day after a speech, people may not remember what you said, but they’ll remember what they think of you.� That’s why Liam Scott prefers not to write speeches but rather to present what he calls “corporate theatre.� He’s created dramatic and successful executive communication programs as elaborate as a six-act musical play and as simple as a no-PowerPoint speech.

    He has come to the conclusion that the formal speech is dying if not dead. These days, audiences put a premium on authenticity, not on ideas. “A day after a speech, people may not remember what you said, but they’ll remember what they think of you.” And if you read your speech yesterday, and used a slick TelePrompTer and hid behind your PowerPoint, they won’t think well of you today-especially if you delivered a typical corporate speech, Scott adds: “Ninety-five percent of the speeches I see read as if they were all written by the same computer.”

    Of course, most speechwriters know all this is true; many CEOs know it but do nothing to enliven their message. CEOs from hidebound industries like banking, Scott says, are “anxious to be on message all the time. They feel the need to be part of the machine, even though they know the audiences aren’t buying it.” In seven years since he quit his last traditional speechwriting job to found Sugarvision, Scott has been clever and lucky enough to find corporate leaders who are interested in communicating effectively with modern audiences-and willing to take the necessary chances.

    “I try to make it a little smarter,� Scott says. He took the time to show the conference how to make it smarter too, by:

  • Creating presentations that respect the intelligence of the audience
  • Saving money through creativity
  • Using nonprofessional “guest speakersâ€? to enliven corporate themes
  • Selling unconventional approaches to conservative clients
  • What is corporate theatre?

    The typical corporate event is a pep rally with the theme “Go Big” or “Pump It Up.” Scott’s productions are often much more elaborate.

    To wit: He created a six-act musical play for a meeting of car dealers in Las Vegas. The play, which involved a chorus girl and the ghosts of the Rat Pack, interspersed thematically and creatively supported executive presentations about the need for car companies to rise from the middle to the top of their industry.

    Not all of Scott’s case studies are so gaudy; many are simple, and most of them seem designed to involve humanizing corporate issues. In his first meeting with the CEO of a shopping-mall empire who wanted to meaningfully mark the 40th anniversary of its founding, Scott ascertained that the CEO himself was turning 40. The comparison between an organization turning 40 and a person turning 40-a time to consider your health, a time to evaluate your strengths and weaknesses, and the CEO bought it immediately.

    Some of Scott’s ideas, in fact, are characterized by their simplicity. A telecommunications CEO client was one of a series of speakers at a technology conference. Scott looked at the program and noted that all the other presentations were highly technical in nature and he surmised all of them would involve an impressive PowerPoint presentation. So he advised his client to do no PowerPoint and instead to get up there and just tell a story. The CEO, a longtime client, agreed only grudgingly, telling Scott, “I’ll try it. But if it bombs it’s your fault.” He didn’t blame Scott when conference-goers were slapping him on the back and thanking him for sparing them another PowerPoint snoozer.

    Scott says the common difference between traditional corporate meetings and his corporate theater is that his shows respect the intelligence of his audience. “I try to make it a little smarter,” he says.

    How to transform your work into corporate theater

    Add narrative, setting, and characters. The core of the idea is to generate a ‘shared experience’ among the audience.

    Scott measures the effectiveness of speeches by marking lines above, in middle and below sentences on the speech script to show if audience was engaged, indifferent, or disengaged at the time it is delivered. He found that off-the-cuff remarks were most appreciated by audiences. People liked the unscripted as more ‘in the moment’.

    There’s not much drama in a typical speech. Look for ways to recover unpredictability and shared experiences. Realize people won’t remember the facts you tell them. They’ll remember how to make them feel. Focus speech on that and build in theatricality.

    Corporate Theatre is all about finding common ground with another area of human endeavor and linking that to corporate messages.

    When structuring it look at Narrative and Setting:

    Research the history of the hotel, location, date of event – any unexpected elements? Where’s the nugget?

    What is company situation?

    Brainstorm by writing ideas that come to mind on big legal pad. Use free association.

    First And Best -> Fab -> Fab Four -> Band Together … lots of spin offs with videos and demonstrations. Photoshop salespeople to look like Beatles.

    Example: For a sales Award trip to Jamaica they used Reggae songs with a message that were played onstage by a live band. Drew links to corporate messages. Speakers were interviewed by a well-known Canadian TV Host.

    Example: Model a company convention on a political convention.

    In all these the element of uncertainty, wondering what’ll happen next, means people pay far more attention.

    Example: Doing a talk-show is one of the best and most effective ways to create a sense of shared experience. Lots of options: a Morning Show “Brand New Day�. Make up artists, animal trainers etc from everyday talk-shows are al applicable. Interviewing customers and executives onstage far more compelling than any prepared speech. People like the feeling better than being talked at.

    Execution is key — how speakers fit into creative presentations. Capture the persons’ character, how they talk on the golf course, how they make decisions. Screenwriters know: characters are defined by the decisions they make.

    Build in rehearsal time and minimize use of teleprompter which acts as a wall between the audience. Keep PowerPoint slides to a minimum, use images.

    How to sell these fancy ideas to the executive.

    What creative communicator wouldn’t prefer to create a fascinating event to a stale old speech? But how
    to sell big ideas to cautious clients?

    Scott says there are two essential ways:

    1. Building up trust with clients over time so that they’ll take a risk on your recommendation.
    2. “Having the confidence to suggest an idea right away” with a new client, Scott says.

    When you sell to conservative clients be sure to emphasize the links to their business interests. Bring these out in obvious ways. Start with VP Marketing to sell the idea. They can sell it to actual speakers. Focus first efforts internally not on higher-stakes external speeches. Look for measurements around company culture and employee satisfaction and turn-over.

    Ragan Speechwriters Conference: Day 2 – Todd Rubenson

    Todd Rubenson: Six Sigma for speechwriters: Apply process-improvement techniques to executive communications

    Speechwriting is an art, not a science. Can the processes embedded in executive communications work can be analyzed, improved and measured? That’s what 13-year tenured Bank of America Executive Communications Director Todd Rubenson and his 6-person team of internal and external communications professionals set out to discover by applying Six Sigma quality methodology to their executive communications work. Their results were mixed—but their bold effort had a lasting impact on how they practice the craft.

    Todd Rubenson is senior vice president and director of executive communications at Bank of America, where there’s a nice archive of executive speeches. He supports CEO Ken Lewis who focuses on business minutia in contrast to Hugh McCall the more flamboyant prior CEO. There’s now an executive communications team in place to support a range of executives, not just one rock-star. McCall drove growth through M&A. Lewis’s primary strategy is to grow organically.

    By centralizing an Exec Comms team Todd found a better level of integration of messaging across the company as well as focusing Exec Comms expertise within the company.

    Six Sigma and Process Excellence

    CEO Lewis is process driven. BofA aggressively adopted Six Sigma. It’s in place across the whole company, so to the degree it makes sense it’s been applied to Executive Communications. The Exec Comms struggled with strategic priorities around:

    1. Planning and metrics – where to accept speeches and measure effects
    2. Venue and calendar management – how to ensure executives are working as a team when they accept speaking engagements.
    3. Presentation skills and effectiveness
    4. Publishing – best way to re-purpose content in Op-Eds

    Tools used:

    Metric Baselines are compared to Targets and the Actual performance measured as a rate of ‘sigma’ deviance from goal in terms of sigma DMAIC.

    Primary metrics they aim move include:

    1. Planning and metrics:
      – Percent of the 12 executives they support with a communications plan in place
      – The percent of the speechwriters following a plan
    2. Venue and Calendar:
      – % of external speeches proactively places
    3. Effectiveness scores
    4. Increase in number of publications

    These were undertaken with the understanding that implementing them would not piss the executive off. Numbers were tracked for items like speeches accepted by executive. Attempts to quantify the opportunity in dollar terms were seen as a waste of time. Exec Comms is much ‘softer’ in terms of putting dollar costs on improvements compared to the shop floor processes where Six Sigma originated.

    Todd admires the Executive Communications team at Cisco who survey each speech by every executive and scores are posted openly inside company.

    BofA tracked the complexities of existing process for getting an article published. Fishbone diagrams mapped aspects of a process affecting final outcome. A Cause and Effect Matrix and Failure Modes and Effect Analysis weighs which processes had most dire effect on final outcomes.

    The analysis showed they should focus on:

  • The need for timely coordination with media team – last minute fire drills did not work to get Op Eds published
  • Having an up-to-date media contact list.
  • They developed an Annual Communications Plan for each executive. It documents the areas they are passionate about; where this intersects with business interests and how this maps to speaking opportunities for the year. They look at what each speech does for the company business goals. The CEO ‘s Plan runs to over 50 pages. Five linked Excel spreadsheets track and report metrics. It is not just a laundry list, it’s a way to quantify where efforts are spent. Simple Shared Outlook Calendars let people aggregate speaking engagements and make sure that there are not, say, five speeches in Miami where no-one has spoken in Seattle for two years.

    A 1-page checklist for each speech is stapled to the inside of the working file.

    Ragan Speechwriters Conference: Day 2 – Clark S. Judge

    Clark S. Judge: Opening Keynote – Your client is not a speaker! You are not a speechwriter!

    Clark S. Judge

    Clark S. Judge is managing director of the White House Writers Group. This group of two dozen communications professionals shares one thing in common — they’ve all worked for Republicans. The West Wing Writers, on the other hand, are staffed with freelance Democrats.

    Judge was a speechwriter in the West Wing during the Bush/Reagan years. After two-and-a-half years serving Vice President Bush, he joined President Reagan’s speechwriting staff in 1986 and remained with Mr. Reagan through the end of his term. A member of the Moscow Summit speechwriting team, he was also the lead writer for the Toronto Economic Summit in 1988 and helped shape the White House approach to the 1988 presidential campaign. He’s proud of helping these leaders speak to the world about freedom, bringing market forces to the world and reducing the threat of nuclear war by ending the influence of the Soviet Union. As Managing Director of the White House Writers Group, Clark Judge provides strategic communications counsel to clients in industries ranging from financial services to transportation to high technology.

    He offered the conference his strategic counsel, asking us to see and perform our work through a different lens and see a bigger picture.

    We know the drill: The speaking requests come in. The speeches get written. The speaker delivers them. And everybody gets paid. What’s wrong with that? It’s not satisfying to the speaker, it’s not interesting to the writer and, generally speaking, it’s not effective for the organization.

    “Speech making is part of a CEO’s job,� Judge says. “Clarity is part of leadership.�

    A strategic viewpoint is important for speechwriters who want to become the director of corporate clarity. Speechwriters have a unique overview of every aspect of an organization.

    US Presidents deliver speeches in different musical styles. Reagan was symphonic. Bush 1 was rock n’ roll. Clinton was improvisational jazz – brilliant riffs which sometimes clashed. Bush 2 is country music. Reagan had tremendous sensitivity to language. Bush 1 had respect for his audience. He did not want his speech cards to weigh too much. He’d ask “why are we doing this event, anyway?� Speechwriters hear this question a lot. It’s one we should take seriously. It raises questions about our role as speech advisors and causes us to ask if the speaker is carrying a message to an audience who matters?

    The three aspects of a strategic speechwriters role:

    Integration of the message into whole scope of messaging. Ask: does the work we do contribute to larger purpose of company?

    Negotiation involves communicating. When an executive talks to Wall St, customers, or employees they carry a core set of messages. These must be integrated with advertising, other executives’ messages, and so on. The more you integrate the speech with broader messaging the more powerful it is. This begins to answer question Why are we doing this event anyway?

    Integrity Words become powerful when they are used with integrity. Reagan’s “Mr. Gorbachev, tear down this Wallâ€? was drafted by speechwriter Peter Robison who went to Berlin on an advance trip, where the US Embassy advised he not mention the wall. At dinner ordinary Berliners told him personal stories about living with the wall. The hostess for the evening said if the Russians were serious about perestroika they’d tear down the wall. First drafts of speech included this — against the wishes of the State Department. Reagan demonstrated integrity when he used it. “The boys at State are going to kill me for this but it stays in.â€?

    Initiative Demonstrated by speechwriter who has unique license to go around the company and demonstrate leadership.

    Coaching tip: Corporate executives are already have skills in extemporaneous speaking. They’ve had to sell in one form or another and can persuade and communicate on the fly. Working with a prepared text or presentation is totally different: it requires they have the discipline to rehearse so they master the text. They can then move on to a state where they’re comfortable enough to sell the message of the text. This knowledge will start to come across in their delivery.

    Ragan Speechwriters Conference: Day 1 – Angela Sinickas

    Angela Sinickas: A practical guide to measuring the effectiveness of executive communication

    Angela Sinickas

    Twenty early birds took advantage of this pre-conference session presented by Angela Sinickas. She’s president of her own communication consultancy and the author of How to Measure your communications programs and a regular columnist for Strategic Communication Management Magazine. She’s a pioneer in the field of organizational communication measurement and has been measuring the effectiveness of communications since 1981.

    This was a great session for corporate speechwriters, communications managers and internal communications staff who have faced skeptical managers with one eye on their function as a potential ‘cost center’ which practices the squishy art of wordsmithing and does little to contribute to the bottom line.

    It’s all very well to say speechwriting is an art and the measure of good speechwriting is a satisfied client. But what do you say when your executives tire of the road—talking to yet another group on yet another topic—and ask if it’s really worth their time … or worth spending all that money on speechwriters?

    Angela promised to outline simple research techniques that can give ammunition for anyone who needs to show executives the business value of staying in front of all those key stakeholders. The class brochure made some pretty impressive claims, including:

  • How to use a quantitative evaluation form to decide which outside speaking opportunities would be the most productive for your speaker—before you send the executives out
  • Identify the topics your audiences want to hear about from senior executives—and which subjects are better handled by other subject matter experts in your company
  • Focus on the messages that are most likely to make an executive’s speech lead to desired business outcomes
  • Measure the impact of speaking engagements on audience knowledge, attitudes and behavior, including some techniques that cost nothing and take very little time
  • Objectively assess which executive spokespersons are the most effective in talking with the media
  • Find the right balance between written and oral communications from executives using research
  • Quantify to what extent the face-to-face communication “cascadeâ€? actually works in flowing information from executives to line employees within an organization
  • A quick poll at the start of the class showed that we wanted answers to a variety of familiar questions including how to meet requests for ROI measurement; how to filter a multiplicity of speaking requests; how to prove worth and value of exec comms; how to make what we do seem more valuable; quantify performance; gather the right metrics; measure the impact of new media and more.

    Planning and Measurement

    Angela began by advising us what NOT to measure:

  • Merely counting the number of speeches. This is a laundry list which does not reveal what happened at the events
  • Just checking on increases in awareness on a topic without a baseline
  • Unrelated cause/effect pairings (such as speeches and sales)
  • Better to measure:

  • Things that connect to an organizational goal
  • Aspects of the event which connect to the goal – it may just be to increase awareness, that’s OK
  • Attitudes that the communication affected
  • The effectiveness of different channels of communication to reach the goal
  • When measuring communications objectives move down this list for better results:

    1. Activities: Just measuring the number of speeches
    2. Attitudes & audience perceptions
    3. Behavior changes – actions taken
    4. Financial impact on organization goals

    Just by asking these behavior change questions can help you clarify the value of a speech; should the executive even do it? These questions will highlight if there’s a call to action included anywhere in the speech outline.

    Follow a linear path of reasoning to step up your appeal to the left-brained engineers and scientists we often support. It helps them see how the holistically right-brained speechwriter arrived at the messages we script for them:

    1. Identify stakeholder groups
    2. Identify their “stake�
    &#160 a. Why are they a stakeholder?
    &#160 b. What group are they part of?
    3. Identify their current behavior and ideal behavior to reach goal
    &#160 a. Are they customers already?
    &#160 b. Are they customers of the competition?
    &#160 c. Have they ever been customers?
    4. What knowledge affects their current behavior, where do they get this knowledge?
    &#160 a. What messages and basic facts affect current knowledge? What do their heads need to know?
    &#160 b. What current channels deliver facts in best way?
    5. What attitudes affect current behavior and where are these attitudes reinforced?
    &#160 a. What attitudes affect messages? Above and beyond ‘facts’ what do their hearts tell them?
    &#160 b. What channels affect attitudes: compelling face-to-face interaction, perhaps emotive video?
    6. What knowledge and attitudes affect ideal behavior, which sources are preferred?
    &#160 a. Same as for 4a/b and 5a/b for Ideal future
    &#160 b. What would it take for you to change this behavior?
    7. What research will help answer these questions?
    &#160 a. This does not have to be formal research.

    Angela then had use divide into small groups and experiment with the technique. The feedback given afterwards was:

  • This is easier to do as a group, other communications people gave it perspective. It would be useful as a team exercise in a large corporation or in an ad-hoc professional organization like the Washington Speechwriters Roundtable.
  • There will be many stakeholders, each with their own issues – survey as many as possible – this involves an increased investment of time.
  • A major event may require a full-blown process. Small shifts can be helped with parts of the process. It’s worth asking some questions to help the speechwriter get the right key messages included, rather than what the executive wants to say.
  • Research is only as effective as the speaker’s willingness to receive it. Are they willing to have someone tell them they have spinach between their teeth?
  • Post-event surveys can gauge how an audience’s knowledge, attitudes and behavior has changed.

    Measurement can be made along the axis of:

    1. Satisfaction – “Do you like me?â€?
    2. Efficiency – time and budget, in context
    3. Effectiveness – do messages achieve objectives?
    4. Outcomes – change in objective reality, not just opinions.

    And across:

    1. The activities of the communications event
    2. Audience Perceptions
    3. Changes in audience behavior
    4. Financial impact

    Tools to use

    A simple trick is to turn on the Flesch-Kincaid Grade Level test for readability in Microsoft Word under [Spelling and Grammar] [Options] [Show readability statistics] and make sure you are writing at a grade level sufficiently clear enough for members of your audience to understand. (This blog entry scores a 51, right around where Time Magazine sits.)

    Speechwriters can also measure number of times concepts like ‘Brand’ are used in an annual count of speeches or articles. Simply do a word count for key brand attributes, examine the totals in a given period of time as a percent of total communciations for that period.

    Interviews and focus groups can help ID messages that people want to hear. Quantify on a scale of 1-5.

    Conduct baseline surveys before a speech – allow respondents to see what others think.

    Knowledge quizzes should always include a ‘Don’t know’ response.
    Take pressure off them feeling dumb in the way you phrase questions.
    Do this at the event or online via web. Online surveys can let them click after they respond to see others’ results.

    Use the well-respected Starch test from the field of advertising to measure the effectiveness of different forms of communication:

    Soon after speech ask if they:

  • Snoozed
  • Remembered
  • Listened
  • to different segments of the presentation.

    Measuring different channels

    Measure pure volume – how many speeches are given at different times of year, measure percentages each quarter. Ask: Are these at best time for our industry and business?

    Measure content pf speech against things like revenue. This is more sophisticated than just measuring content in terms of brand attributes.

    Measure preferred and ideal sources of information.

    Outcomes

    Use demographic questions to see which variety of executive communications the audience has been exposed to. Then look at levels of favorable results and compare and contrast those who’ve been exposed to specific communications.

    Measure percentage differences of those exposed to different forms of communications.

    It’s that time again: I’m going to the Ragan Speechwriters Conference

    2007 Speechwriters Conference

    Washington DC

    Another year older, another year wiser.

    I leave Tuesday for Washington DC and the 2007 Ragan Speechwriters Conference.

    As I did last year, I plan to blog my impressions of the event. In 2006 I did one long entry for each day of the conference. This year I’ll do a separate posting for each presentation – the better to link back to them later.

    The Wizard of Ads: An Inspiration to begin a journey

    I’ve found inspiration as a speechwriter in the writings of Roy H. Williams. “The Wizard of Adsâ€? brilliantly analyses the impact of advertisements and other forms of communication. His wide-ranging ideas are sourced from fields as varied as neuroscience and historical analysis; mountaineering, religion and art. His three books in the Wizard series are a must-read for anyone interested in the impact of language on audiences, on sharpening their tools of persuasion.

    Wizard of Ads

    HINT: When reading, mentally find and replace all occurrences of ‘advertising’ and ‘ads’ with ‘speechwriting’ and ‘speeches’. Example:

    Speechwriters typically assume that people are seeing and hearing their speeches. Yet rarely is this the truth. In reality, the content of a speech that gushes toward the mind is like a fire hose aimed at a teacup: there’s simply too much coming at us to contain. Most of the information aimed at the brain is deflected, spilled, lost. At the end of the day precious little information is retained.

    Will your speech be part of that precious little, or is it being deflected, spilled, lost?

    The Journal of Cognitive Neuroscience is a publication read primarily by doctors and medical students who want to understand how human beings recognize and identify objects; use visual mental images; read, produce, and comprehend language; move and store new information in memory; and many other such things. (I think it makes sense for speechwriters to read this stuff, too.)

    Modified from Secret Formulas of the Wizard of Ads, p48

    Williams does not shy away from deep science to explain business behavior. He’s inspired me to embark on a series of blog entries I’ll categorize as the “Deep End” of speechwriting and public speaking. I plan to undertake an extended journey into academic theories (Sociology; Rhetoric; Criticism; Semiotics) and see what I can find that is of practical use in my day-to-day work as a speechwriter.

    I’ll still comment on the “Shallow End” of executive communications and write on the lighter side of life. All work and no play makes Ian a dull boy.

    Jane Genova on the value of blogging

    Interesting post from Jane on the value of blogging in establishing a personal brand for old-media types wanting to break into the new world of social media:

    Start a blog with Typepad.com. It only costs five bucks monthly and, again, gets you into new space. Progress on the learning curve takes about three months but, not to worry, you have a survival job or two, right. Having a blog is the new cost of entry. And while you’re blogging your heart out, learn about bells and whistles such as video feeds and digital photos. Will this be exhausting? Yes, the new economy hath murdered sleep.

    Some might find that the advice to journalists and speechwriters also applies to old-school public speakers and seminar leaders who limit their activity to face-to-face presentations to live audiences and don’t leverage their content with blogs, video feeds, DVD’s, CD’s and other ways to broker knowledge in a digital world.

    Guest Posting: A Speechwriter’s Take on the State of the Union Speech

    I was given permission by Clinton White House speechwriter Vinca LaFleur to post her article on President Bush’s State of the Union Speech. LaFleur was special assistant and foreign policy speechwriter for President Bill Clinton and wrote scores of speeches for the president and his national security advisors. It’s an honor to have her as a guest on my blog.

    Her comments form an interesting contrast with those of Communications expert Bert Decker, who takes a far more positive view of Bush’s speech, which he evaluates in terms of body language, mannerisms and behavior as well as content.

    It’s not surprising that people can disagree over the impact of a political speech. Pollsters report that there was an even split in the country, half the people liked the speech, half didn’t. Speechwriters and communications coaches are people too.

    Here’s Ms. LaFleur’s view:

    A Speechwriter’s Take on the Speech
    By Vinca LaFleur

    Vinca LaFleur

    As someone who has labored to meet tough deadlines and satisfy tough audiences myself, I sympathize with the task the White House speechwriters faced with this year’s State of the Union. Drafting this annual address to Congress is rarely an enjoyable exercise; my former Clinton administration colleague Michael Waldman once described it as boiling down “gallons of advice into a few tablespoons of intense sauce,� while former Bush speechwriter Michael Gerson reportedly dubbed the process the “seven-day death march.�

    This year, however, the White House speechwriting team faced an exceptionally difficult task.

    With President Bush’s approval rating at an all-time low, an emboldened Democratic majority in Congress, and the inescapable backdrop of carnage in Iraq, many critics had concluded the speech would flop well before the president stepped to the podium.

    The White House had tried to generate interest by promising a new and improved address – one that would focus on a few broad themes, not a lengthy list of initiatives. Yet, given President Bush’s lack of trust among Democrats and shrinking confidence and support among Republicans, he never had the political capital to propose a far-reaching agenda. Indeed, as spokesman Tony Snow admitted, part of the impulse behind the new formula was that the White House “want[ed] people to watch� – suggesting they feared the electorate was already turned off and tuning out.

    The president’s pens were thus multiply challenged in making their boss look good. It wasn’t within their power to turn small steps on domestic policy into giant leaps for mankind; nor could they reorient the president’s wildly unpopular position on Iraq. But they were the ones who would find the words with which the policies were presented, the ones who would articulate the arguments and bring the benefits of action to life.

    Unfortunately, words failed them.

    First, the president’s speech lacked a narrative structure to draw listeners in and along. The first part of the address half-heartedly employed the promise of a “future of hope and opportunity� to stitch its key points together, but that framework was jettisoned as soon as the president made the pivot to foreign policy. This was an odd decision, since winning what Bush calls a “decisive ideological struggle� presumably is essential to our nation’s hopeful future as well. By abandoning the phrase, however hackneyed it might have been, the speech’s authors undermined whatever impact it might have had – and lost a chance to connect the end of the address to the beginning.

    In contrast, Senator Jim Webb, in the Democratic response, made clear at the outset that he intended to explain the differences between the parties on two key issues – the economy and Iraq – and his speech proceeded to do just that, up to and including its dramatic conclusion.

    Second, the drafters missed opportunities to humanize the speech. People connect with people, not policies, yet even on issues like education and health care that lend themselves to real-life success stories, the president spoke primarily in dry terms and generalities. When compared to Senator Webb, who so effectively wove his family’s story of service and sacrifice into his remarks, President Bush’s address had a compulsory feel, as if it was an exercise he had to get through instead of a set of exciting ideas he cared about getting across.

    Finally, though the White House wisely resisted excess rhetorical flourish, the final text was more flat than fireside chat, bereft of compelling images or descriptions. President Bush’s supporters have praised his preference for plainspoken language, but excising anecdotes, allusions, and poetry from a speech does not automatically make it forceful; to the contrary, as Mark Oppenheimer recently argued in the Wall Street Journal, “The best speeches…depend for their power on the ability to strike chords that already exist within us.�

    Once again, the contrast with Senator Webb’s performance was stark. Despite the Senator’s inherent disadvantage of speaking before a television camera instead of a live audience, he was able to convey more personal intensity and engage more directly with his listeners by using language that was straightforward but not simplistic, and drawing effectively on history, quotations, and rhetorical devices to drive his arguments home.

    Thus, for the first time in history, the response to the State of the Union was far superior to the speech itself. But in fairness to President Bush’s speechwriting team, the substance and style of his national address were undoubtedly set from the top. The speechwriters wouldn’t have gotten the credit if the president’s speech had been a smash, and they are not the ones who should be blamed for its shortcomings. A successful State of the Union address is always more than words.

    Great speeches, as any speechwriter knows, depend on great ideas. That is why, despite the gracious nod to Speaker Pelosi at the start, and the uplifting stories of American heroism at the end, this State of the Union fell short on eloquence and failed to inspire enthusiasm.

    Vinca LaFleur was Director for Speechwriting and Special Assistant to President Clinton. She now runs Vinca LaFleur Communications, an executive speechwriting firm in Washington, D.C.