When you see professional improvisers on stage, in shows like Whose Line is it Anyway?, it looks like ‘winging it’ is all about what you say. Actually, improvisers first and foremost focus on listening. First, you can only respond accurately to what is in front of you if you’ve actually heard it. (How often do we get stuck in our heads when trying to wing it and lose focus on what’s going on around us?) Second, this reduces your anxiety as your focus is put on the other person. As improvisers say, ‘If you want to get out of you head, get into something else.’
A great hack for winging it is to use the improvisation concept of ‘Yes, and.’ This is all about noticing what is in front of you and building from what is there. If someone says something, are you accepting it (‘yes’) and then building off it? (The ‘and.’) Or are you saying ‘Yes, but…’? Or ignoring it entirely? This takes a lot of pressure off you as everything you need to be spontaneous is already there right in front of your nose.
When we are trying to be spontaneous we block ourselves off when we try and be too clever. Improvisers have a rule to help them get around this. They tell themselves to ‘be obvious.’ You might be thinking? Who wants to be obvious? But what is obvious to you, won’t be obvious to someone else. In fact, it will probably be original. This is a useful tip for being good at small talk. When you are trying to think of something to say, just notice what’s there and call it out. For example, on a Zoom call you might say, ‘Wow, what’s that painting in the background?’ And you are off. You really don’t need to overthink it.
Don’t prepare a script, but do prepare a structure. Preparing and learning a script before key conversations is not only unrealistic it is also inauthentic, taking you out of the present moment and stopping you being responsive. However, that doesn’t mean you want to go in entirely naked. Having three bullet points you want to cover will mean you leave room for improvisation. And if you go blank, just got back to the bullet points.
Many of us can’t simply get up on stage and perform off the cuff – what kind of skills can we learn to get better at public speaking?
When we speak in public, we want the audience to trust us. So often we try and achieve this with our content-our slides, our ideas, and so on. Content is important. It makes us credible. But what we need on top of credibility is congruence, how we present our content with our body and voice must be congruent with the material. In short, it’s pointless delivering good content without confident body language and vocal power: no one will believe you! How can you deliver with confidence? Here are some tips. First, tuck your bum underneath your back a little: this will give you a confident posture. Second, try to punch out the first and last words of your sentences with muscularity. This will give your voice impact. Third, watch your level of energy. Charismatic speakers match and then raise the energy in the room (or virtual room!) they are in. Are you an energizer or a sapper when you speak? Finally, don’t forget to use pauses where you want to add emphasis. Silences show huge confidence-as long as you own them.
Is there anything we can practice in daily life to improve our public speaking performance? (i.e, rehearsing in front of a mirror, singing in the shower, taking up certain hobbies)?
My biggest tip is to take an improv class! You don’t have to want to perform to take an improv class. The biggest thing you’ll get out of it is that you will lose your fear of failure, get lots of practice talking in front of others in a safe and encouraging environment, and you’ll learn not to be afraid of the unexpected.
How do the pros master the art of confident improvisation? What skills do they tend to share or develop and what skills can a public speaking coach teach you that you might not already have known?
When you see professional improvisers on stage, in shows like Whose Line is it Anyway?, they look like comedic geniuses. And, of course, they are talented. But what they are using is some secret techniques that anyone can learn to be more effective and confident speaking off the cuff. First, improvisers focus on listening rather than speaking. This might seem counter-intuitive. But you can only respond accurately to what is in front of you if you’ve actually heard it. (How often do we get stuck in our heads when we present and lose focus on what’s going on around us?) Also, focussing on other people reduces your anxiety as your focus is put outside of you. As improvisers say, ‘If you want to get out of you head, get into something else.’
The other key concept improvisers use is what we call ‘Yes, and.’ This is all about noticing what is in front of you and building from what is there. If someone says something, are you accepting it (‘yes’) and then building off it? (The ‘and.’) Or are you saying ‘Yes, but…’? Or ignoring it entirely? This takes a lot of pressure off you as everything you need to be spontaneous is already there right in front of your nose.
A quick caveat: if you are trying to speak off the cuff, it is wise not to totally improvise. Improvisers make it all up, but they do so within a previously defined structure. So, don’t prepare a script before you speak, but do prepare a very simple outline. Preparing and learning a script before key presentations is not only unrealistic it is also inauthentic, taking you out of the present moment and stopping you being responsive. However, that doesn’t mean you want to go in entirely naked. Having three bullet points you want to cover will mean you leave room for improvisation. And if you go blank, just got back to the bullet points.
1) Don’t prepare a script. But do prepare a structure. Improvisation is not just free wheeling B.S. It is about a balance between freedom and structure. Can you note down 3 short bullet points as your spine? Or, 3 words to represent beginning, middle and end? (Your brain-an amazing bit of kit-will do the rest.)
2) You don’t have to speak right away or all the time. Pausing before you begin or during the impromptu speaking is OK. As long as you own the silence. If you are in control of silence, the audience will be relaxed. You’ve got way more time than you think.
3) Embrace your mistakes. The goal is not perfection, the goal is communication. They are not the same thing. Owning errors is MASSIVELY charismatic. And our screw-ups, if we are charming with them, connect us with the audience.
4) Get them to do the work! How can you use audience interaction? And then feed off that? They are like Ferraris waiting to go off
Max Dickins is author of Improvise! Use the Secrets of Improv to Achieve Extraordinary Results at Work which is out now. He is co-director of improvisation training company Hoopla! Hoopla run improv classes, shows and corporate training.