How to be professional emcee - brandjontan Jon Tan

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“HOW TO BE A PROFESSIONAL “HOW TO BE A PROFESSIONAL “HOW TO BE A PROFESSIONAL “HOW TO BE A PROFESSIONAL

EMCEE” WORKSHOPEMCEE” WORKSHOPEMCEE” WORKSHOPEMCEE” WORKSHOPVENUE: BERJAYA TIMES SQUARE, KUALA LUMPUR. VENUE: BERJAYA TIMES SQUARE, KUALA LUMPUR. VENUE: BERJAYA TIMES SQUARE, KUALA LUMPUR. VENUE: BERJAYA TIMES SQUARE, KUALA LUMPUR.

DATE: 3 NOV 2012DATE: 3 NOV 2012DATE: 3 NOV 2012DATE: 3 NOV 2012

PROGRAM AUTHOR-SPEAKER: BRANDJONTAN (JON TAN)

WWW.BRANDJONTAN.COM

“HOW TO BE A PROFESSIONAL EMCEE”

Copyright © 2002 by Author BRANDJONTAN Jon Tan

All Rights Reserved.

No part of this publication may be reproduced for

professional or commercial purpose, without the

prior written consent of the Author.

[email protected]

www.brandjontan.com

NO MATTER WHAT HAPPENED YESTERDAY…NO MATTER WHAT HAPPENED YESTERDAY…NO MATTER WHAT HAPPENED YESTERDAY…NO MATTER WHAT HAPPENED YESTERDAY…

NO MATTER HOW YOU FEEL RIGHT NOW... NO MATTER HOW YOU FEEL RIGHT NOW... NO MATTER HOW YOU FEEL RIGHT NOW... NO MATTER HOW YOU FEEL RIGHT NOW...

GET INTO THE RIGHT STATEGET INTO THE RIGHT STATEGET INTO THE RIGHT STATEGET INTO THE RIGHT STATE%%%%OFOFOFOF%%%%BEING, AND…BEING, AND…BEING, AND…BEING, AND…

GIVE YOUR LIFE’S

BEST PERFORMANCE

TODAY!

PRO EMCEE

PRINCIPLES AND

CONCEPTS

ENGAGE

YOUR AUDIENCE

WITH S E X

SEX ACRONYM: NEXT SLIDE

SEX ACRONYM, STANDS FOR:

SSSSHINE (LIKE A DIAMOND)…WITHOUT OUTSHINING THE STARS

EEEEFFECTIVE COMMAND

XXXX%FACTOR PERSONA

SHINE LIKE A DIAMONDSHINE LIKE A DIAMONDSHINE LIKE A DIAMONDSHINE LIKE A DIAMOND

WITHOUT OUTSHINING

THE STARS

“THE REAL ROLE

OF THE EMCEE”

THE REAL ROLE OF THE EMCEE:

CLARIFICATIONS OF MISCONCEPTIONS

(A) WHO IS THE STAR? (A) WHO IS THE STAR? (A) WHO IS THE STAR? (A) WHO IS THE STAR?

(1) EMCEE. (2) SPEAKER/PERFORMER. (3) AUDIENCE.(1) EMCEE. (2) SPEAKER/PERFORMER. (3) AUDIENCE.(1) EMCEE. (2) SPEAKER/PERFORMER. (3) AUDIENCE.(1) EMCEE. (2) SPEAKER/PERFORMER. (3) AUDIENCE.

(I) EMCEE IS NOT THE MAIN STAR/HERO OF AN EVENT.

BUT IS, A MAIN PLAYER…EMCEE’S PERFORMANCE SHOULD

EQUAL TO, BUT NOT INTENTIONALLY HIGHER THAN

PERFORMANCE OF SPEAKERS/PERFORMERS.

THE REAL ROLE OF THE EMCEE :


(II) EMCEE IS EXPECTED TO SHOWCASE A PERSONA AND

STANDARD OF PERFORMANCE THAT EQUATES TO THE

EVENT.



(B) WHAT AN EMCEE IS…(B) WHAT AN EMCEE IS…(B) WHAT AN EMCEE IS…(B) WHAT AN EMCEE IS…

(I) (I) (I) (I) RESPONSIBLE FOR SUCCESS OF EVENTRESPONSIBLE FOR SUCCESS OF EVENTRESPONSIBLE FOR SUCCESS OF EVENTRESPONSIBLE FOR SUCCESS OF EVENT: : : :

(a) PROBABLE PROBLEMS/CRISES ARISING.

(b) LESS%THAN%PROFICIENT PEOPLE DIRECTLY, OR

INDIRECTLY INVOLVED IN RUNNING OF EVENT.



(II) (II) (II) (II) MAIN PLAYER: STARMAIN PLAYER: STARMAIN PLAYER: STARMAIN PLAYER: STAR%%%%MAKER, NOT THE STARMAKER, NOT THE STARMAKER, NOT THE STARMAKER, NOT THE STAR: : : :

(a) BRIDGE BETWEEN SPEAKERS/PERFORMERS

OF AN EVENT, TO THE AUDIENCE.

(b) HELP TO INSPIRE “STARS” OUT OF SPEAKERS AND

PERFORMERS, ESPECIALLY THE LESS%CELEBRATED ONES.



((((II) II) II) II) MAIN PLAYER: STARMAIN PLAYER: STARMAIN PLAYER: STARMAIN PLAYER: STAR%%%%MAKER, NOT THE STARMAKER, NOT THE STARMAKER, NOT THE STARMAKER, NOT THE STAR::::

(c) BE AN EMOTION%METER:

PRE%SET THE ALREADY%DEFINED/DECIDED MOOD AND

TONE OF A PARTICULAR EVENT.



(II) (II) (II) (II) MAIN PLAYER: STARMAIN PLAYER: STARMAIN PLAYER: STARMAIN PLAYER: STAR%%%%MAKER, NOT THE STARMAKER, NOT THE STARMAKER, NOT THE STARMAKER, NOT THE STAR: : : :

(d) BE PERSUASIVE, ENTERTAINING, MOTIVATING AND

INSPIRING.

(e) ALSO, CONTINUALLY “EQUALIZE” THE AMBIENCE/

ATMOSPHERIC MOOD AND TONE.



(III) (III) (III) (III) DIFFUSER OF TENSION (4 TYPES)DIFFUSER OF TENSION (4 TYPES)DIFFUSER OF TENSION (4 TYPES)DIFFUSER OF TENSION (4 TYPES): : : :

(a) AUDIENCE AND AUDIENCE.

(b) AUDIENCE AND EMCEE/SPEAKERS/PERFORMERS.

(c) AUDIENCE AND PROGRAM/PROPS/MATERIALS/ETC.

(d) AUDIENCE AND ENVIRONMENT.



(IV) (IV) (IV) (IV) RESCUEMAN FOR EMERGENCYRESCUEMAN FOR EMERGENCYRESCUEMAN FOR EMERGENCYRESCUEMAN FOR EMERGENCY: : : :

“BE THE COOL, PERSONABLE HOST/HOSTESS,

DURING CRISIS MANAGEMENT.”



(IV) (IV) (IV) (IV) RESCUEMAN FOR EMERGENCYRESCUEMAN FOR EMERGENCYRESCUEMAN FOR EMERGENCYRESCUEMAN FOR EMERGENCY: : : :

NOTE: THE PRO EMCEE DOES NOT “LEAVE CONTROL” OF

THE FORT, TO HANDLE ANY CRISIS OR PROBLEM.

THIS IS TO BE EFFECTED BY THE RESPECTIVEPERSON%IN%CHARGE, WHO SHALL THEN REPORT TO THE

ORGANIZING HEAD OR FLOOR MANAGER, DEPENDING ON

THE ISSUE AT HAND.



(V) (V) (V) (V) CATALYST FOR AN EVENTCATALYST FOR AN EVENTCATALYST FOR AN EVENTCATALYST FOR AN EVENT::::

(a) ALWAYS BE CHEERFUL. NEVER BE FLUSTERED…

NO MATTER WHAT.

(b) BE AN ENERGIZER…SO THAT AUDIENCE CAN FULLY

ENJOY THE EVENT.



(V) (V) (V) (V) CATALYST FOR AN EVENTCATALYST FOR AN EVENTCATALYST FOR AN EVENTCATALYST FOR AN EVENT::::

(c) BE A CHEERLEADER, ALWAYS

“LEADING THE APPLAUSE”.



(C) WHAT AN EMCEE IS NOT…(C) WHAT AN EMCEE IS NOT…(C) WHAT AN EMCEE IS NOT…(C) WHAT AN EMCEE IS NOT…

(I) (I) (I) (I) THE MAIN STAR OR HERO OF AN EVENT:THE MAIN STAR OR HERO OF AN EVENT:THE MAIN STAR OR HERO OF AN EVENT:THE MAIN STAR OR HERO OF AN EVENT:

“YOU ARE THE STAR%MAKER.”

(II) (II) (II) (II) AN “UNIMPORTANT ROLE”AN “UNIMPORTANT ROLE”AN “UNIMPORTANT ROLE”AN “UNIMPORTANT ROLE”::::

YOU PLAY A “HIGHLY IMPORTANT” ROLE.




(III) A GLAMOUR(III) A GLAMOUR(III) A GLAMOUR(III) A GLAMOUR%%%%ROLE ROLE ROLE ROLE PER SE.PER SE.PER SE.PER SE.

(IV) A “PRIMA DONNA”.(IV) A “PRIMA DONNA”.(IV) A “PRIMA DONNA”.(IV) A “PRIMA DONNA”.




(V) (V) (V) (V) A SMARTA SMARTA SMARTA SMART%%%%ALEC / KNOWALEC / KNOWALEC / KNOWALEC / KNOW%%%%ITITITIT%%%%ALL / ALL / ALL / ALL /

STOPPEDSTOPPEDSTOPPEDSTOPPED%%%%LEARNINGLEARNINGLEARNINGLEARNING%%%%TYPETYPETYPETYPE%%%%OFOFOFOF%%%%PERSONPERSONPERSONPERSON....

((((VVVVI) I) I) I) A “LASTA “LASTA “LASTA “LAST%%%%MINUTE JOHNNY”MINUTE JOHNNY”MINUTE JOHNNY”MINUTE JOHNNY”....




((((VVVVII) II) II) II) A “KNIGHT IN SHINING ARMOUR”A “KNIGHT IN SHINING ARMOUR”A “KNIGHT IN SHINING ARMOUR”A “KNIGHT IN SHINING ARMOUR”::::

MAKING FIRST APPEARANCE EVER AT AN EVENT,

WITHOUT GOING THROUGH PRE%PREP AND

PREP STAGES.



((((DDDD) THE “SHOULDs”:) THE “SHOULDs”:) THE “SHOULDs”:) THE “SHOULDs”:

(I) (I) (I) (I) PERSONAL QUALITIES:PERSONAL QUALITIES:PERSONAL QUALITIES:PERSONAL QUALITIES:

(i) PERSONAL ATTRIBUTES:

(a) WELL%GROOMED (DRESS TO THE OCCASION).

(b) FRIENDLY AND COURTEOUS (HUMBLE NOT COCKY).

(c) CREATIVE/INVENTIVE.

(d) DECISIVE.





(ii) SUAVE DIFFUSER OF TENSION:

(a) AUDIENCE AND AUDIENCE.

(b) AUDIENCE AND EMCEE/SPEAKERS/PERFORMERS.

(c) AUDIENCE AND PROGRAM/MATERIALS/PROPS/ETC.

(d) AUDIENCE AND ENVIRONMENT.





(iii) CATALYST FOR EVENT: ENERGIZER

(CONDUIT FOR AUDIENCE) AND CHEERLEADER

(a) VOICE: DYNAMIC WITH VITALITY.

(b) BODY LANGUAGE: ENTHUSIASTIC/ATTRACTING.

(c) “GOOD PRETENDER”, ALWAYS LEAD APPLAUSE.







(d) LIGHTEN%UP AUDIENCE, WITH WIT/HUMOUR,

OR WHATEVER ENTERTAINING WAY.

(e) REMAIN RELAXED AND CALM, EVEN WHEN

UNDER PRESSURE.







(f) NO MATTER WHAT, RAISE SPIRIT AND

SUSTAIN ENTHUSIASM OF AUDIENCE.

(g) NO MATTER WHAT, STAY CHEERFUL.

NEVER BE FLUSTERED, EVEN WHEN DURING DEEP CRISIS.





(iv) RESCUEMAN FOR EMERGENCY:

BE ALERT AND WATCHFUL

(a) MINDFUL OF GOINGS%ON.

(b) EYE FOR PROBABLE “TROUBLE%SPOTS”

(c) PROTECT MOOD OF AUDIENCE, AND ATMOSPHERE.





(v) BE IN COMMAND:

(a) BE IN “CONTROL” OF AUDIENCE, AND NOT

THE OTHER WAY AROUND.

(b) UPKEEP QUALITY, AND INCREASE QUALITY.

(c) HOLD THE FORT, AT SPEAKING/PERFORMANCE AREA.

(d) TIMING OF PROGRAM ELEMENTS, IS YOUR

JURISDICTION/DECISION, NOT OTHERS’.



(D) THE “SHOULDs”:(D) THE “SHOULDs”:(D) THE “SHOULDs”:(D) THE “SHOULDs”:


(vi) TIME MANAGEMENT:

(a) START ON TIME, END ON TIME.

(b) CATCH UP, IF BEHIND TIME.

(c) INTELLIGENTLY CUT%OUT OR SHORTEN

INTRA%PROGRAM ELEMENT, OR WHOLE PROGRAM

ELEMENT.





(vii) BE IN CONSTANT LIAISON WITH ORGANIZING

COMMITTEE HEAD:

(a) ENSURE THAT THE ORGANIZING HEAD, HAS

EMPOWERED THE INDIVIDUAL COMMITTEE PERSONS%IN%

CHARGE, AND SUB%COMMITTEE HEADS, TO BE “ON%THE%

JOB”, ON TIMING AND EXECUTION.





(viii) BE IN TOTAL SYNERGY WITH FLOOR MANAGER.

(a) THE FLOOR MANAGER (LIAISING WITH THE MUSIC/AV

MANAGER, SOUND & LIGHTING MANAGER, OR ICT &

MULTIMEDIA MANAGER) SHOULD BE YOUR ONLY LIAISON

PERSON FOR STAGE, PRESENTATION AREA, AND MUSIC,

AV, LIGHTING, MULTIMEDIA, TECHNOLOGY, OR

GIMMICKS.





(viii) BE IN TOTAL SYNERGY WITH FLOOR MANAGER.

(b) IN LIEU OF A FLOOR MANAGER, IF APPLICABLE, THE

MUSIC/AV MANAGER, SOUND & LIGHTING MANAGER, OR

ICT & MULTIMEDIA MANAGER SHOULD BE THE RESPECTIVE

LIAISON PERSON FOR STAGE, PRESENTATION AREA, AND

MUSIC, AV, LIGHTING, MULTIMEDIA, TECHNOLOGY, OR

GIMMICKS.




(II) (II) (II) (II) DICTION/CHOICE OF WORDS:DICTION/CHOICE OF WORDS:DICTION/CHOICE OF WORDS:DICTION/CHOICE OF WORDS:

(i) THEME%FOCUS. CONTEXT%SUITED.

OCCASION%ORIENTED. SPECIFIC SITUATIONAL.

(ii) PSYCHOGRAPHICS PROFILING OF SPECIFIC AUDIENCE.

(iii) IF DIVERSE AUDIENCE, TO REACH OUT TO DIFFERENT

PERSONALITY TYPES, CULTURAL TYPES, HIERARCHY,

LEVELS OF EXPERIENCE, ETC.




(III) (III) (III) (III) RESPECT: RESPECT: RESPECT: RESPECT:

ALSO, BE SOCIALLY AND POLITICALLY CORRECT.

(i) NAMES AND TITLES.

(ii) SENSITIVITY TO:

(a) RACE/CULTURE.

(b) RELIGION.

(c) POLITICS.




(IV) (IV) (IV) (IV) RAPPORT:RAPPORT:RAPPORT:RAPPORT:

(i) NEAR THE VERY BEGINNING, GIVE ASSURANCE, YOU

HAVE THE AUDIENCE’S INTEREST AT HEART.

(ii) ALWAYS AIM TO HAVE A GREAT START.

(iii) SUSTAIN BONDING THROUGHOUT.



(D) THE “SHOULD NOTs”:(D) THE “SHOULD NOTs”:(D) THE “SHOULD NOTs”:(D) THE “SHOULD NOTs”:

(I) (I) (I) (I) RESPONSIBILITIES:RESPONSIBILITIES:RESPONSIBILITIES:RESPONSIBILITIES:

(i) SHOULD NOT BE LOOKING AFTER SOUND AND MUSIC

SYSTEM, MIKE/LAPEL MIKE, ETC, OR

LIGHTING/TECHNOLOGY, OR EFFECTS/GIMMICKS.

(ROLE OF FLOOR MANAGER.)

(ii) SHOULD NOT BE IN CHARGE OF OPERATION OF

PROJECTOR, LAPTOP OR OTHER PRESENTATION

FACILITIES. NOT EVEN ASSISTING.





(iii) SHOULD NOT BE THE HANDYMAN, OR “JACK%OF%ALL%

TRADES”. (TO FOCUS ON SOLELY BEING THE EMCEE.)

(iv) SHOULD NOT BE LOOKING AFTER STAGE LOGISTICS,

PROPS ARRANGEMENT AND REMOVAL, OR CHANGE OF

STAGE DÉCOR/SCENARIO.





(v) SHOULD NOT SOURCE FOR SOUND SYSTEM/LIGHTING

SYSTEM.

(vi) SHOULD NOT BE SOURCING FOR PERFORMERS OR

ENTERTAINERS.

(vii) SHOULD NOT BE LOOKING AFTER F&B, NOR STARTING

TIME AND FLOW OF F&B AT EVENT.





(viii) SHOULD NOT BE TAKING CHARGE OF ANY OTHER

ELEMENTS/HAPPENINGS ON ACTUAL DAY, AND/OR

DURING THE EVENT. EXAMPLE: PRIZES CEREMONY,

AWARDS CEREMONY, GAMES PARAPHERNALIA, ETC.





(ix) SHOULD NOT BE COORDINATING THE EVENT,

OR EVENT PREPARATION.

(x) SHOULD NOT BE COORDINATING THE “NEXT%TO%

APPEAR” AVAILABILITY OF SPEAKERS, PERFORMERS OR

RELEVANT PERSONNEL, FOR EFFECTING THE NEXT

ELEMENT ON THE PROGRAM.




(II) (II) (II) (II) CHARACTER:CHARACTER:CHARACTER:CHARACTER:

HUMILITY | INTEGRITY | RESPONSIBILITY | SUPPORTIVENESS.

(i) SHOULD NOT OUTSTAGE SPEAKER OR PERFORMER.

(ii) SHOULD NOT BE UNPUNCTUAL.

(iii) SHOULD NOT BE CONDESCENDING, OR ARROGANT.

(iv) SHOULD NOT BELITTLE/MAKE FUN OF AUDIENCE.




(III) (III) (III) (III) VOICE PROTECTION:VOICE PROTECTION:VOICE PROTECTION:VOICE PROTECTION:

(DRINK LOTS OF WATER, TO HYDRATE VOCAL SYSTEM.)

(i) SHOULD NOT DRINK ALCOHOL/BEER.

(ii) SHOULD NOT OVEREAT.

(iii) SHOULD NOT CONSUME OILY, DEEP%FRIED, SPICY FOOD.

(iv) SHOULD NOT DRINK EXCESSIVE MILK.




(IV) (IV) (IV) (IV) ENERGY:ENERGY:ENERGY:ENERGY:

(EXERCISE OFTEN, TO STAY ENERGETIC.)

(i) SHOULD NOT SLEEP LATE, PRIOR TO EVENT.

(ii) SHOULD NOT GET “STRESSED%UP”.

(iii) SHOULD NOT DISCUSS PROBLEMS, PRIOR OR DURING

EVENT. (THIS IS TO SUSTAIN YOUR “STATE OF

POSITIVITY” PRESENCE.)




(V) (V) (V) (V) MOOD & TONE:MOOD & TONE:MOOD & TONE:MOOD & TONE:

(MUST: YOU SET THE MOOD & TONE, MOULDING IT AS

AND WHEN NECESSARY: WHEN THE AUDIENCE’S MOOD IS

DOWN, YOU RAISE IT…WHEN THE MOOD IS UP, YOU

RAISE IT EVEN HIGHER.)




(V) (V) (V) (V) MOOD & TONE:MOOD & TONE:MOOD & TONE:MOOD & TONE:

(i) SHOULD NOT BE “CONTROLLED” BY AUDIENCE.

(ii) SHOULD NOT “GRAVITATE” TO THE DESCENDING OR

LOW MOOD OF AUDIENCE.

(iii) SHOULD NOT GO WITH THE FLOW OF AUDIENCE.

ESPECIALLY WHEN AUDIENCE HAS SHIFTED TO A

CONTRADICTORY MOOD & TONE.



(E) PRO EMCEE TABOOS:(E) PRO EMCEE TABOOS:(E) PRO EMCEE TABOOS:(E) PRO EMCEE TABOOS:

TO ENSURE THAT YOUR ARE …TO ENSURE THAT YOUR ARE …TO ENSURE THAT YOUR ARE …TO ENSURE THAT YOUR ARE …

(A) MOST ALERT…(A) MOST ALERT…(A) MOST ALERT…(A) MOST ALERT…

(B) ON FULL(B) ON FULL(B) ON FULL(B) ON FULL%%%%DUTY…DUTY…DUTY…DUTY…

(C) DIGNIFIED…(C) DIGNIFIED…(C) DIGNIFIED…(C) DIGNIFIED…

…TO AVOID THE FOLLOWING PRO EMCEE TABOOS:…TO AVOID THE FOLLOWING PRO EMCEE TABOOS:…TO AVOID THE FOLLOWING PRO EMCEE TABOOS:…TO AVOID THE FOLLOWING PRO EMCEE TABOOS:




(1) GET HIGH ON ALCOHOL.

(2) DISAPPEAR OR MISSING FROM THE EMCEE CONTROL

AREA.

(3) UNPREPARED OR ILL%PREPARED.

EXAMPLE: FRANTIC SEARCHING FOR NOTES, ETC.




(4) RUDE, UNCOUTH, DISRESPECTFUL.

(5) OUT%OF%LINE. NOT AGREEABLE TO EVENT OBJECTIVE,

OR ORGANIZATION.

(6) GLUTTON.

(NOTE: MANY TOP PRO EMCEES DO NOT EAT AT ALL, AT

EVENT, OR DURING EVENT.)




(7) SOCIALIZE “BIG%TIME”.

(SOCIAL, BUSINESS, CASANOVA.)

(8) FLAUNTING YOURSELF.

EFFECTIVE COMMANDEFFECTIVE COMMANDEFFECTIVE COMMANDEFFECTIVE COMMAND

“EMCEE’S LOVE

RELATIONSHIP WITH THE

EVENT”

EMCEE’S LOVE RELATIONSHIP WITH THE EVENT

“THE EMCEE IS “THE EMCEE IS “THE EMCEE IS “THE EMCEE IS NOTNOTNOTNOT ONE WHO APPEARS, LIKE A KNIGHT ONE WHO APPEARS, LIKE A KNIGHT ONE WHO APPEARS, LIKE A KNIGHT ONE WHO APPEARS, LIKE A KNIGHT

IN SHINING ARMOUR, FOR THE FIRST TIME, AT THE SCENE IN SHINING ARMOUR, FOR THE FIRST TIME, AT THE SCENE IN SHINING ARMOUR, FOR THE FIRST TIME, AT THE SCENE IN SHINING ARMOUR, FOR THE FIRST TIME, AT THE SCENE

OF THE EVENT.”OF THE EVENT.”OF THE EVENT.”OF THE EVENT.”

YOU MUST LOVE TO WORK HAND%IN%HAND, WITH THE

ORGANIZING CHAIR AND COMMITTEE.

AND IN SOME INSTANCES, TAKE OVER THE ENTIRE ROLE

OF THE (INEXPERIENCED/IRRESPONSIBLE) ORGANIZING

PERSON ~ TO COORDINATE AND SEE THINGS TO

FRUITION.


(A) IT’S A START(A) IT’S A START(A) IT’S A START(A) IT’S A START%%%%TOTOTOTO%%%%FINISH INVOLVEMENT.FINISH INVOLVEMENT.FINISH INVOLVEMENT.FINISH INVOLVEMENT.

(I) START: INITIAL ORIENTATION TO EVENT.

(II) MID%WAY: PROGRAM FINALIZATION STAGE.

(III) FINAL STAGE: DRY%RUN / REHEARSAL /

LAST%MINUTE CHANGES. PLUS FINAL DRY%RUN.

(IV) ACTUAL DAY TILL COMPLETION OF EVENT.


(B) THE NEED TO ORIENTATE YOURSELF TO THE (B) THE NEED TO ORIENTATE YOURSELF TO THE (B) THE NEED TO ORIENTATE YOURSELF TO THE (B) THE NEED TO ORIENTATE YOURSELF TO THE TOTALITYTOTALITYTOTALITYTOTALITY

OF THE EVENT: OF THE EVENT: OF THE EVENT: OF THE EVENT:

(I) “PERSON” ELEMENTS.

(II) “NON%PERSON” ELEMENTS.

(III) OVERALL BRAND IMAGE.




(I) (I) (I) (I) “PERSON” ELEMENTS OF THE EVENT“PERSON” ELEMENTS OF THE EVENT“PERSON” ELEMENTS OF THE EVENT“PERSON” ELEMENTS OF THE EVENT::::

(1) ORGANIZING CHAIR.

(2) ORGANIZING COMMITTEE.

(3) SUB%COMMITTEES, INCLUDING “PROTOCOL”.





(4) SPEAKERS, PERFORMERS.

(5) AWARD PRESENTERS/RECIPIENTS.

(6) GAMES MASTER, CONDUCTOR, ASSISTANTS.





(7) CEREMONY MASTER (VARIOUS TYPES)/ASSISTANTS.

(8) STAGE PERSONNEL

(INCLUSIVE OF AV, SOUND & LIGHTING, ETC).




(II) (II) (II) (II) “NON“NON“NON“NON%%%%PERSON” ELEMENTS OF THE EVENTPERSON” ELEMENTS OF THE EVENTPERSON” ELEMENTS OF THE EVENTPERSON” ELEMENTS OF THE EVENT::::

(1) MUSIC/SOUND & LIGHTING SYSTEM, AV, TECHNOLOGY,

GADGETS, GIMMICKS.

(2) PRESENTATION FACILITIES.

(3) VENUE DÉCOR & LAYOUT.





(4) PROMOTIONAL ASPECTS AT VENUE.

(5) ADVERTISING & PROMOTIONS.

(6) PUBLICITY & PR.





(7) ALL RELEVANT ACTIVITIES PERTAINING TO THE EVENT

(THAT YOU ARE TO EMCEE).




(III) (III) (III) (III) THE NEED FOR CONSISTENCY IN COMMUNICATING THE NEED FOR CONSISTENCY IN COMMUNICATING THE NEED FOR CONSISTENCY IN COMMUNICATING THE NEED FOR CONSISTENCY IN COMMUNICATING

THE OVERALL “BRAND IMAGE” OF THE “UMBRELLA THE OVERALL “BRAND IMAGE” OF THE “UMBRELLA THE OVERALL “BRAND IMAGE” OF THE “UMBRELLA THE OVERALL “BRAND IMAGE” OF THE “UMBRELLA

EVENT”EVENT”EVENT”EVENT”::::

EXAMPLE: “BRAND IMAGE” AND SELECTED CONCEPTUAL

THEME FOR PARTICULAR OLYMPICS, COMMONWEALTH

GAMES, 50TH ANNIVERSARY CELEBRATION OF A GLOBAL

CORPORATION, ASIA%IN%MALAYSIA POSITIONING, ETC.







(1) CONGRUENCY TO OVERALL BRAND OBJECTIVE/THEME.

(2) KNOW THE “BIG PICTURE”, LEADING TO

SIDEWAY%EXTENSION, DOWNWARD%CASCADING.







(3) IS THIS EVENT (THAT YOU ARE TO EMCEE)

PART OF A LARGER ENTITY/SCHEME?


(C) UNDERSTAND THE PURPOSE OF EACH AND EVERY (C) UNDERSTAND THE PURPOSE OF EACH AND EVERY (C) UNDERSTAND THE PURPOSE OF EACH AND EVERY (C) UNDERSTAND THE PURPOSE OF EACH AND EVERY

ELEMENT OF AN EVENT (THAT YOU ARE GOING TO ELEMENT OF AN EVENT (THAT YOU ARE GOING TO ELEMENT OF AN EVENT (THAT YOU ARE GOING TO ELEMENT OF AN EVENT (THAT YOU ARE GOING TO

EMCEE):EMCEE):EMCEE):EMCEE):

(1) ACTIVITIES THAT SURROUND THE EVENT.

(2) PROGRAM ELEMENTS.

(3) ANY AREAS OF SIGNIFICANCE,

OR SENSITIVITY?

XXXX%%%%FACTOR PERSONAFACTOR PERSONAFACTOR PERSONAFACTOR PERSONA

“QUALITY TRAITS:

EMCEE PAR

EXCELLENCE”

QUALITY TRAITS: EMCEE PAR EXCELLENCE

(A) (A) (A) (A) XXXX%%%%FACTORFACTORFACTORFACTOR PERSONAPERSONAPERSONAPERSONA: : : :

(I) DEVELOP AND RADIATE YOUR PERSONAL BRAND:(I) DEVELOP AND RADIATE YOUR PERSONAL BRAND:(I) DEVELOP AND RADIATE YOUR PERSONAL BRAND:(I) DEVELOP AND RADIATE YOUR PERSONAL BRAND:

(1) STAND OUT WITH YOUR UNIQUE X(1) STAND OUT WITH YOUR UNIQUE X(1) STAND OUT WITH YOUR UNIQUE X(1) STAND OUT WITH YOUR UNIQUE X%%%%FACTOR FACTOR FACTOR FACTOR

POSITIONING.POSITIONING.POSITIONING.POSITIONING.

(a) ESSENCE: WHAT DO YOU STAND FOR?

(b) INTRINSIC EMOTIONAL CONNECTORS:

WHAT SPECIAL TALENTS/SKILLS?


(c) SOCIAL CAUSE:

CONGRUENT TO YOUR INTRINSIC VALUES AND BELIEFS,

WHAT SOCIAL CAUSE ARE YOU CHAMPIONING, OR

INSPIRING, OR PROMOTING?


(d) PERSONALITY:

(i) OUTLOOK: HOW DO YOU THINK?

HOW DO YOU DRESS? HOW DO YOU GROOM YOUR

PERSONAL BRAND?

(ii) STYLE: HOW DO YOU DO THINGS, YOUR UNIQUE WAY?

WHAT’S YOUR SIGNATURE STYLE?




(2) STAY RELEVANT TO PEOPLE AND EVENT: (2) STAY RELEVANT TO PEOPLE AND EVENT: (2) STAY RELEVANT TO PEOPLE AND EVENT: (2) STAY RELEVANT TO PEOPLE AND EVENT:

CONNECT EMOTIONALLY AND PSYCHOSOCIALLY.CONNECT EMOTIONALLY AND PSYCHOSOCIALLY.CONNECT EMOTIONALLY AND PSYCHOSOCIALLY.CONNECT EMOTIONALLY AND PSYCHOSOCIALLY.

(a) IN TUNE WITH THE CHANGING TIMES.

(b) IN SYNC WITH PSYCHOGRAPHICS OF SPECIFIC

AUDIENCE.




(3) CREATE BRAND AFFINITY: “BE LIKEABLE”.(3) CREATE BRAND AFFINITY: “BE LIKEABLE”.(3) CREATE BRAND AFFINITY: “BE LIKEABLE”.(3) CREATE BRAND AFFINITY: “BE LIKEABLE”.

(a) WHAT DRIVES YOU?

INTRINSIC PASSION OR EGO?

HOW DO YOU OPERATE?

OTHER%CENTRIC OR SELF%CENTRIC/NARCISSISTIC?

DO YOU HAVE THE SPIRIT OF GENEROSITY?





(b) OPTIMIZE “HALO EFFECT” FOR YOUR REPUTATION:

CREATE A “LARGER%THAN%LIFE” PERSONAL BRAND IMAGE:

(i) BRAND REPUTATION/CREDIBILITY ENHANCERS.

(ii) BRAND ADVOCATES.

(iii) BRAND ENDORSERS.

(iv) BRAND%LEVERAGING.


(A) (A) (A) (A) XXXX%%%%FACTOR FACTOR FACTOR FACTOR PERSONAPERSONAPERSONAPERSONA: : : :



(c) CHARISMA WITH HUMILITY.



(II) DEVELOP CHARISMATIC “STAGE PRESENCE”:(II) DEVELOP CHARISMATIC “STAGE PRESENCE”:(II) DEVELOP CHARISMATIC “STAGE PRESENCE”:(II) DEVELOP CHARISMATIC “STAGE PRESENCE”:

(1) HOW TO ENHANCE YOUR CHARISMA: (1) HOW TO ENHANCE YOUR CHARISMA: (1) HOW TO ENHANCE YOUR CHARISMA: (1) HOW TO ENHANCE YOUR CHARISMA:

BE A PEOPLE MAGNET,

GIFTED WITH ART OF PERSUASION.



(II) DEVELOP CHARISMATIC “STAGE PRESENCE”:(II) DEVELOP CHARISMATIC “STAGE PRESENCE”:(II) DEVELOP CHARISMATIC “STAGE PRESENCE”:(II) DEVELOP CHARISMATIC “STAGE PRESENCE”:

(2) HOW TO ACQUIRE “STAGE PRESENCE”: (2) HOW TO ACQUIRE “STAGE PRESENCE”: (2) HOW TO ACQUIRE “STAGE PRESENCE”: (2) HOW TO ACQUIRE “STAGE PRESENCE”:

“OWN THE STAGE.”



(III) GET INTO “BEINGNESS”:(III) GET INTO “BEINGNESS”:(III) GET INTO “BEINGNESS”:(III) GET INTO “BEINGNESS”:

(1) PSYCHOGRAPHICS COMMUNICATION:(1) PSYCHOGRAPHICS COMMUNICATION:(1) PSYCHOGRAPHICS COMMUNICATION:(1) PSYCHOGRAPHICS COMMUNICATION:

UNDERSTAND, THEN EMBRACE THE THEME, THE PRECISE

CONTEXT, AND THE PSYCHOGRAPHICS OF THE SPECIFIC

AUDIENCE, AS WELL AS THE SPECIFIC OCCASION (AND

SITUATION/S WITHIN).



(III) GET INTO “BEINGNESS”:(III) GET INTO “BEINGNESS”:(III) GET INTO “BEINGNESS”:(III) GET INTO “BEINGNESS”:

(2) DECLARE “STATE(2) DECLARE “STATE(2) DECLARE “STATE(2) DECLARE “STATE%%%%OFOFOFOF%%%%BEING”:BEING”:BEING”:BEING”:

INTERNALIZE , TO GET INTO THE RIGHT STATE%OF%MIND

AND STATE%OF%HEART.

THEN, FLOW FROM YOUR UNCONSCIOUS.


(B)(B)(B)(B) 10 QUALITY TRAITS 10 QUALITY TRAITS 10 QUALITY TRAITS 10 QUALITY TRAITS

TO SUPPLEMENT YOUR TO SUPPLEMENT YOUR TO SUPPLEMENT YOUR TO SUPPLEMENT YOUR XXXX%%%%FACTOR PERSONAFACTOR PERSONAFACTOR PERSONAFACTOR PERSONA

(1) THE POWER OF SELF%ESTEEM.

(2) THE DISCIPLINE TO TAKE FULL RESPONSIBILITY.

(3) THE POWER TO HARMONIZE, AND MOTIVATE

AND INSPIRE.


(4) CRISIS MANAGEMENT – THE ACID TEST:

PRE%EMPTING CRISES/TWISTS & TURNS

(5) THE POWER TO UPLIFT SPIRITS ALL THROUGH

THE EVENT.

(6) THE MASTERY OF PSYCHOGRAPHICS:

PSYCHOLOGY OF COMMUNICATION.

(7) VERSATILITY AND FLEXIBILITY.


(8) FINE ART OF SCRIPTING, PUBLIC SPEAKING,

IMPROMPTU SPEAKING.

(9) “SPEAKING TO UNIFY” AND NOT

“SPEAKING TO DIVIDE”.

(10) CREATE AND ACHIEVE EMOTIONAL

ACCEPTANCE: IDENTIFY AND FULFIL THEIR NEED.


(C) (C) (C) (C) CRISIS MANAGEMENT:CRISIS MANAGEMENT:CRISIS MANAGEMENT:CRISIS MANAGEMENT:

(1) KEY TO EFFECTIVE CRISIS MANAGEMENT:(1) KEY TO EFFECTIVE CRISIS MANAGEMENT:(1) KEY TO EFFECTIVE CRISIS MANAGEMENT:(1) KEY TO EFFECTIVE CRISIS MANAGEMENT:

PRE%EMPT PROBABLE “TWISTS AND TURNS”, AHEAD OF

EVENT, SO AS TO BE MENTALLY AND EMOTIONALLY

PREPARED.

PLUS, STRATEGIZE AHEAD OF AN EVENT, HOW TO

ADDRESS THESE PRE%EMPTIVE PROBABLE “TWISTS AND

TURNS”.



(I) NEED FOR PERSUASIVE, UNIFYING IMPROMPTU

SPEAKING. ARTICULATE THE SITUATION.

EMPATHISE WITH AUDIENCE. BRING MOOD OF AUDIENCE

UP AGAIN.

(II) BE INVENTIVE, WITH CONTINGENCY ARRANGEMENT,

IN TANDEM WITH ORGANIZING HEAD.



(III) MAKE DECISION BY SELF (IF NOT MAJOR).

PROPOSE POSSIBLE DECISION TO ORGANIZING HEAD.

(i) ALWAYS HAVE ON STANDBY, THE ORGANIZING HEAD,

AS WELL AS KEY AND RELEVANT SUB%COMMITTEE HEADS

AND ROLE PLAYERS.



(ii) TAKE CONTROL OF THE SITUATION.

TAKE RESPONSIBILITY FOR DECIDED ACTION.

(iii) STAY COOL, AND COURTEOUS.



(IV) HOW TO DEAL WITH POSSIBILITY OF LAST%MINUTE

CHANGES TO PROGRAM, OR EMERGENCY ADJUSTMENT

TO PROGRAM:

STAY FOCUSED AND ALERT, GET INTO “FAST%THINKING”

MODE:

(i) COME UP WITH FAST DECISIONS, ON HOW

TO RESCHEDULE OR REORGANIZE THE PROGRAM.



(ii) CLOSE RAPPORT WITH ORGANIZING HEAD.

BE PROACTIVE AND RECOMMEND YOUR

ALTERNATE PLAN/S. MAKE A JOINT DECISION.

(iii) FLEX ACCORDINGLY, MAKE THE CHANGE.

(SUCH AS SHIFTING PROGRAM ELEMENTS AROUND.)


(D) (D) (D) (D) HALLMARK OF A PRO EMCEE PAR EXCELLENCEHALLMARK OF A PRO EMCEE PAR EXCELLENCEHALLMARK OF A PRO EMCEE PAR EXCELLENCEHALLMARK OF A PRO EMCEE PAR EXCELLENCE::::

PROPENSITY WITH THE “FEEL%GOOD” FACTOR, AND THE

ABILITY TO HARMONIZE OVERALL ENERGY, AS WELL AS

TO OPTIMIZE THE ENERGY%LEVEL AND ENTHUSIASM OF

THE AUDIENCE.



(1) SHARP, FOCUSED, ALERT. PLUS, PRE%EMPTIVE OF CRISIS.

(2) ADDING%VALUE, WITHOUT WASTING WORDS.

(STAR%MAKER.)

(3) ARTICULATE WITH IMPROMPTU

SITUATIONAL SPEAKING PERSUASION.



(4) EMOTION%METER AND ENERGY BUILDER

FOR AUDIENCE.

(5) PR%SAVVY.

(6) TIME%MANAGEMENT.

SCRIPTING GUIDEINTRODUCTORY GUIDE

I. USE OF HUMOUR

II. AWARD PRESENTATION

III. PROTOCOL/DECORUM/FORMALITIES

IV. INTRODUCING SPEAKER

V. INTRODUCING PERFORMER

VI. PROGRAM

VII. CONTESTS

VIII. JUDGES/JUDGING

IX. ORGANIZING CHAIRPERSON/COMMITTEE

SCRIPTING GUIDE ~ INTRODUCTORY GUIDE

HOW/WHAT/WHEN TO SAY AT ACTUAL EVENT HOW/WHAT/WHEN TO SAY AT ACTUAL EVENT HOW/WHAT/WHEN TO SAY AT ACTUAL EVENT HOW/WHAT/WHEN TO SAY AT ACTUAL EVENT

INTRODUCTION:

THE NEED FOR FLUID/FLOWING IMPROMPTU SPEAKING,

IN TANDEM WITH ORGANIC PREPARED SCRIPT.

PARAPHRASE, NOT SCRIPT%FIXATED.

SCRIPTING GUIDE ~ INTRODUCTORY GUIDE

CHECKPOINTS:

(1) ORIGINAL SCRIPT FRAMEWORK:

FOUNDATION/ESSENCE. KEEP TO THE ESSENCE.

(2) HOW ORGANIC? THE LESS FORMAL,

THE MORE ORGANIC. KEEP IT SITUATIONAL.

(3) SEAMLESS BRIDGING, FROM START TO FINISH.

SCRIPTING GUIDE

WHY USE HUMOUR IN YOUR COMMUNICATION?WHY USE HUMOUR IN YOUR COMMUNICATION?WHY USE HUMOUR IN YOUR COMMUNICATION?WHY USE HUMOUR IN YOUR COMMUNICATION?

(1) BUILD RAPPORT WITH AUDIENCE.

(2) RELAX THE AUDIENCE. (REDUCE AUDIENCE “TENSION”).

(3) UPLIFT SPIRIT AND SUPPORTIVENESS OF AUDIENCE.

IMPORTANT NOTE: MAKE FUN OF SELF OR SPECIFIC

INDIVIDUAL, BUT NOT THE AUDIENCE.

SCRIPTING GUIDE

TYPES OF HUMOUR AND MERITS OF EACH TYPE:TYPES OF HUMOUR AND MERITS OF EACH TYPE:TYPES OF HUMOUR AND MERITS OF EACH TYPE:TYPES OF HUMOUR AND MERITS OF EACH TYPE:

(1) SLAPSTICK.

(2) GENERAL HUMOUR:

(a) ONE%LINER. (b) ANECDOTE. (c) VERY SHORT STORY.

(d) PREPARED JOKES. (e) ETC.

(3) PUN OR PUNNY PHRASES/STATEMENTS.

SCRIPTING GUIDE


(4) WIT.

(5) “ROAST”.

(6) SATIRE.

(7) ETC.

NOTE: IDENTIFY YOUR INTRINSIC TALENT/SKILL FOR TYPE

OF HUMOUR.

SCRIPTING GUIDE


NOTE ON WHAT TYPE OF HUMOUR TO USE:

IDENTIFY YOUR INTRINSIC TALENT/SKILL OR INTRINSIC

INTEREST OR PASSION FOR TYPE OF HUMOUR.

THIS IS IMPORTANT, SO THAT YOU DO NOT HAVE TO

“STRUGGLE” TO DISPENSE HUMOUR, OR LOOK

ARTIFICIAL.

SCRIPTING GUIDE ~ I. HUMOUR

WHEN TO USE HUMOUR:WHEN TO USE HUMOUR:WHEN TO USE HUMOUR:WHEN TO USE HUMOUR:

ANSWER: WHENEVER APPROPRIATE.

BUT THE HUMOUR MUST BE RELEVANT.

EXAMPLES:

(1) GOOD START (WITH RELEVANT SUITABLE HUMOUR).

(2) LIVEN UP ATMOSPHERE.

(3) JOLT PEOPLE OUT OF “SEDATIVE STATE”.


(4) “BRIDGING” DEVICE.

(5) REPARTEE.

(6) RELIEVE TENSION. (GENERAL, VARIOUS SITUATIONS.)

(7) ALLEVIATE CRISIS.

(8) BREAK “MONOTONY”.


WHEN NOT TO USE HUMOUR:WHEN NOT TO USE HUMOUR:WHEN NOT TO USE HUMOUR:WHEN NOT TO USE HUMOUR:

ANSWER: *WHEN NOT APPROPRIATE,

OR *WHEN IT IS CONFLICTING WITH THE INTENTION OR

GENRE OF PERFORMER.

EXAMPLES:

(1) WHEN YOU’RE NOT GOOD AT HUMOUR!

(2) SOMBRE EVENTS, SUCH AS REFUGEE PLIGHT, FUNERAL

EULOGY SERVICE, “SERIOUS” CHURCH WEDDING, ETC.


(3) OFFICIOUS EVENTS, SUCH AS ROYALTY%PATRONAGE,

BLACK%TIE AFFAIR.

(4) SPEAKER WITH SERIOUS MESSAGE.

(5) PERFORMER OF SERIOUS NATURE.

SCRIPTING GUIDE ~ AWARD PRESENTATION

AWARD PRESENTATION:AWARD PRESENTATION:AWARD PRESENTATION:AWARD PRESENTATION:

INTRODUCTION: TYPES OF AWARDS

(1) CONTEST.

(2) EXCELLENCE IN SERVICE. | LONG%SERVICE.

(3) RECOGNITION. (4) ACHIEVEMENT.

(5) ETC.



DOs:

(1) (A) FORMAT:

(a) NAME OF AWARD. PURPOSE OF AWARD.

(b) PROCEDURE OR STAGES OF SELECTION/CONTEST.

(c) CRITERIA FOR SELECTION/JUDGING.

(d) ANNOUNCE NAME OF RECIPIENT: FROM WHERE

(DEPT/DIVISION/ORGANIZATION, COUNTRY, ETC).



DOs:

(1) (B) INTRODUCING/CONDUCTING AWARD

PRESENTATION:

(a) DO STAY IN “NEUTRAL MODE” (PERSONA) ~

TOWARDS RESULTS OF NOMINATIONS OR WINNERS.

(b) DO BE “DIGNIFIED”.



DO NOTs:

(2) (A) INTRODUCING/CONDUCTING AWARD

PRESENTATION:

(a) DO NOT EXPRESS SURPRISE, DISMAY, DISAPPOINTMENT,

DISAGREEMENT TO RESULTS.

(b) DO NOT PRAISE THE WINNER.



(c) DO NOT POKE FUN.

(b) DO NOT COMMENT ON JUDGING/JUDGES.

SCRIPTING GUIDE ~

PROTOCOL/DECORUM/FORMALITIES

PROTOCOL /DECORUM / FORMALITIES:PROTOCOL /DECORUM / FORMALITIES:PROTOCOL /DECORUM / FORMALITIES:PROTOCOL /DECORUM / FORMALITIES:

DOs:

(1) INSIST ON ONE PERSON IN CHARGE OF PROTOCOL:

(a) DO CHECK/RECHECK PROTOCOL ACCURACY AND

HIERARCHY. VIA INFO MINISTRY, OR ROYAL HOUSEHOLD.

(b) DO RESPECT HIERARCHY OF POSITIONS, RE

SOCIETY/CLUB/ASSOCIATION/CORPORATE PROTOCOL.

SCRIPTING GUIDE ~

PROTOCOL/DECORUM/FORMALITIES

PROTOCOL /DECORUM / FORMALITIES:PROTOCOL /DECORUM / FORMALITIES:PROTOCOL /DECORUM / FORMALITIES:PROTOCOL /DECORUM / FORMALITIES:

DO NOTs:

(1) NEVER VOICE YOUR PERSONAL FEELING:

(a) DO NOT COMMENT ON PROTOCOL.

(b) DO NOT CHALLENGE LEVEL OF PROTOCOL, DECORUM,

FORMALITIES SET.

NOTE: AGREE, OR TURN DOWN PRO EMCEE ASSIGNMENT.

SCRIPTING GUIDE ~ INTRODUCING SPEAKER

INTRODUCING SPEAKER: INTRODUCING SPEAKER: INTRODUCING SPEAKER: INTRODUCING SPEAKER:

(1) (1) (1) (1) FORMATFORMATFORMATFORMAT::::

(a) MENTION NAME OF SPEAKER.

(b) SEMBLANCE OF SUBJECT.

(c) CREDENTIALS: CREDIBILITY.

PERSONAL BACKGROUND, ONLY WHERE

RELEVANT TO THE SUBECT TO BE PRESENTED.



(d) FINAL ANNOUNCEMENT FLOW:

NAME OF SPEAKER. TITLE OF SPEECH/PRESENTATION.

(PAUSE.) TITLE AGAIN. NAME OF SPEAKER.

(e) LEAD APPLAUSE.



(2) DOs:

SETTING THE MOOD AND TONE. PRE%EMPT THE SAME

MOOD AND TONE OF NEXT SPEAKER/PERFORMER.

(a) FIND OUT FROM SPEAKER: “TITLE” AND CONTEXT

OF SPEECH.


(b) BRIEF INTRO (MAXIMUM 1%2MIN).

CREATE ENOUGH INTEREST OR EXCITEMENT

AND CREDIBILITY FOR AUDIENCE TO WANT

TO LISTEN TO SPEAKER.


(c) CREATE IMAGE OF A COMPETENT, WELL%QUALIFIED

PERSON TO SPEAK ON SELECTED SUBJECT OR TOPIC.

CREDIBILITY CHECKPOINTS:

(i) EXPERIENTIAL SUCCESS OR ACADEMIC/ PROFESSIONAL

QUALIFICATION.

(ii) FORMAL OR INFORMAL KNOWLEDGE.

(iii) “SERIOUS” PART%TIMER OR HOBBYIST.

(iv) INTRINSIC INTEREST, MATCHING LEVEL OF

SPEECH/PRESENTATION.


(d) BUILD RAPPORT BETWEEN SPEAKER AND AUDIENCE:

ANY COMMONALITY?

(FOR THE PURPOSE OF BONDING AUDIENCE TO SPEAKER.)

(e) LEVEL OF “DIGNITY” OR INFORMALITY, IS RELATED TO:

(A) OCCASION.

(B) EMCEE’S RELATIONSHIP WITH SPEAKER.

(C) PRESTIGE OF SPEAKER.

(D) ETC.


(f) USE “INTRO CREDENTIALS” PROVIDED BY SPEAKER,

IF HE/SHE WISHES TO, PROVIDED THAT THE “INTRO

CREDENTIALS/BIODATA/PROFILE” IS:

* WITHIN DECIDED TIMEFRAME (NUMBER OF WORDS).

* RELEVANT TO SUBJECT AND OCCASION.

* PROPERLY WRITTEN/CONSTRUCTED.

IF NOT, PROVIDE FORMAT TO SPEAKER, TO FOLLOW.

OR, REWRITE YOURSELF.



(2) DO NOTs:

(a) DO NOT GIVE LIFE HISTORY, ESPECIALLY WHEN

NOT RELEVANT, TO THE THEME OR CONTEXT OF THE

SPEECH/PRESENTATION. (DO NOT WASTE ANY WORDS, OR

DILUTE THE CREDENTIALS.)



(b) DO NOT “OUTSTAGE” SPEAKER, OR TRY

TO SHARE THE SPOTLIGHT, BY:

(i) GIVING SPEECH OF YOURSELF.

(ii) BEING A COMEDIAN OR “CLOWN”.

(iii) OVERSHADOWING THE SPEAKER SOMEWHAT.



(c) DO NOT “EXTRACT” SOME OF SPEAKER’S SCRIPT.

(d) AT INTRODUCTION, OR PRIOR TO INTRODUCING

SPEAKER, DO NOT:

(i) OFFER LENGTHY OPINION, OR,

(ii) MAKE A SPEECH ON THE SPEAKER’S SAME SUBJECT

OR TOPIC.



(e) DO NOT “STEAL THE THUNDER”

OR LIMELIGHT FROM THE SPEAKER.

YOUR TASK IS TO UPLIFT SPEAKER AND AUDIENCE,

AND KEEP PROCEEDINGS SMOOTH.



(h) DO NOT DISCLOSE CONTENTS OF SPEECH.

(i) DO NOT SHOCK SPEAKER WITH IRRELEVANT

OR CONTRADICTORY INTRO.



(f) DO NOT PUT SPEAKER, ON A PEDESTAL.

(g) DO NOT PUT UNDUE PRESSURE ON SPEAKER,

BY SETTING VERY HIGH EXPECTATIONS,

OR UNREALISTIC EXPECTATIONS.

SCRIPTING GUIDE ~ INTRODUCING PERFORMER

INTRODUCING PERFORMER: INTRODUCING PERFORMER: INTRODUCING PERFORMER: INTRODUCING PERFORMER:

(1) DOs:

(a) DO KNOW WHAT’S THE NATURE OF PERFORMANCE,

AND THE FLOW OF PERFORMANCE.

(b) DO REFLECT TONE OF, OR GENRE OF PERFORMANCE.

(c) DO KNOW “REPERTOIRE” OF SONGS, ELEMENTS OF

PERFORMANCE, SYNOPSIS OF ACT.



(d) DO BE “IN TUNE” WITH THE NATURE

OF PERFORMANCE, OR TYPE OF PERFORMANCE.

* SHOW YOUR INTEREST (EVEN IF YOU ARE PERSONALLY

NOT KEEN WITH THE NATURE OF PERFORMANCE,

OR TYPE OF PERFORMANCE).

* STAY NEUTRAL, IF YOU CANNOT GET EXCITED

ABOUT IT!



(e) BETTER STILL, “FAKE” YOUR INTEREST

OR EXCITEMENT FOR THE NATURE OF PERFORMANCE, OR

TYPE OF PERFORMANCE.



(2) DO NOTs:

(a) DO NOT GO OFF%TANGENT/OUT%OF%CONTEXT.

(b) DO NOT MAKE COMPARISON WITH “THE BEST”

OR HIGHER%LEVEL BENCHMARKS, THUS DOWNGRADING

THIS PARTICULAR PERFORMANCE.

(c) DO NOT TELL AUDIENCE OF LACK OF PREPARATION BY

THE PERFORMER/S.



(2) DO NOTs:

(d) DO NOT MAKE PERFORMER OUT TO BE AMATEURISH,

INEXPERIENCED.

(e) DO NOT EXPECT AUDIENCE TO SYMPATHISE.

SCRIPTING GUIDE ~ PROGRAM

PROGRAM: PROGRAM: PROGRAM: PROGRAM:

(1) DOs:

(a) DO INFORM AUDIENCE, AS EARLY AS POSSIBLE,

OF WHAT’S IN STORE, TO (i) DIFFUSE TENSION,

(ii) TO GENERATE EXCITEMENT.

(b) DO WARN OF “SURPRISES” AHEAD.

NOT NECESSARY TO GIVE DETAILS. BUT GIVE NOTICE.

SCRIPTING GUIDE ~PROGRAM


(c) DO MENTION “HIGHLIGHTS” EARLY, AS A MEANS

TO GET AUDIENCE TO STAY THROUGHOUT THE

PROGRAM.

(d) DO DRUM UP EXCITEMENT OF UPCOMING HIGHLIGHTS,

TO INCREASE “SUSPENSE” AND ENTHUSIASM, AND TO

KEEP AUDIENCE STAYING BACK.



(e) DO KEEP “FINALE” TO BE THE MOST IMPORTANT

TO AUDIENCE (DEPENDING ON OCCASION), TO MAXIMIZE

AUDIENCE STAYING TILL THE END.



(2) DO NOTs:

(a) DO NOT CHANGE PROGRAM ELEMENTS, WITHOUT

NOTICE.

(b) DO NOT INTERCHANGE PROGRAM ELEMENTS,

WITHOUT NOTICE.

SCRIPTING GUIDE ~ CONTESTS

CONTESTS: CONTESTS: CONTESTS: CONTESTS:

(1) DOs:

(a) DO STAY NEUTRAL.

(b) DO ENCOURAGE ALL PARTICIPANTS.

(c) DO PRACTISE “FAIRNESS OF COMMENT”, AS WELL

AS TIME SPENT WITH EACH.

SCRIPTING GUIDE ~ CONTESTS

CONTESTS: CONTESTS: CONTESTS: CONTESTS:

(2) DO NOTs:

(a) DO NOT RIDICULE ANY CONTESTANT.

(b) DO NOT GET PERSONAL.

(c) DO NOT VICTIMIZE.

(d) DO NOT DISCUSS WITH OTHERS, ANYTHING

RELATED TO PARTICIPANTS OR THE CONTEST.

SCRIPTING GUIDE ~ JUDGES/JUDGING

JUDGES/JUDGING: JUDGES/JUDGING: JUDGES/JUDGING: JUDGES/JUDGING:

(1) DOs:

(a) DO SHOW DECORUM TO JUDGING SYSTEM.

(b) DO RESPECT ALL JUDGES ALIKE.

(NOT TO CREATE ANY DOUBT ABOUT INTEGRITY

OF ANY ONE OF THE JUDGES.)



(2) DO NOTs:

(a) DO NOT MAKE FUN OF JUDGING PROCESS.

(b) DO NOT COMMENT ON INTEGRITY.

(c) DO NOT SINGLE%OUT ANY “ILLUSTRIOUS”

PERSONALITY.



(d) DO NOT BE OPINIONATED.

(e) DO NOT JUDGE THE JUDGES.

SCRIPTING GUIDE ~

ORGANIZING COMMITTEE/ORGANIZING CHAIR

ORGANIZING COMMITTEE/ORGANIZING CHAIR: ORGANIZING COMMITTEE/ORGANIZING CHAIR: ORGANIZING COMMITTEE/ORGANIZING CHAIR: ORGANIZING COMMITTEE/ORGANIZING CHAIR:

(1) DOs:

(a) DO ACKNOWLEDGE EFFORT/COMMITMENT OF WHOLE

ORGANIZING COMMITTEE (AND ALL SUB%COMMITTEES)

ALIKE.

SCRIPTING GUIDE ~



(2) DO NOTs:

(a) DO NOT CRITICIZE INEFFICIENCY OF COMMITTEE OR

PART OF THE COMMITTEE, OR SHOW YOUR DISDAIN.

(b) DO NOT DISASSOCIATE FROM THE COMMITTEE.

(AS A PRO EMCEE, YOU ARE “PART OF THE EVENT”.)

SCRIPTING GUIDE ~



(2) DO NOTs:

(c) DO NOT:

(i) PRAISE ORGANIZING CHAIRPERSON IN EXCESS, OR

(ii) SINGLE%OUT THE ORGANIZING CHAIRPERSON,

AT THE EXPENSE OF “STEALING THE THUNDER” FROM THE

COMMITTEE (WHO MAY FEEL UNAPPRECIATED, SLIGHTED,

DISAPPOINTED). NOT GOOD FOR YOUR FUTURE

REPUTATION (OR BUSINESS) AS A PRO EMCEE.

ENHANCEMENT GUIDEI. MUSIC, SONGS, SOUND, SFX.

II. AUDIO VIDEO, MULTIMEDIA, ICT, LIGHTING,

TECHNOLOGY, STAGE HISTRIONICS, PROPS.

ENHANCEMENT GUIDE ~

I. MUSIC, SONGS, SOUND, SFX

(1) (1) (1) (1) WHY (USE) WHY (USE) WHY (USE) WHY (USE) ????

(A) INCREASE IMPACT OF EVENT.

(B) PROVIDE MULTI%SENSORY STIMULATION.

(C) DRAMATIZE OR HIGHLIGHT SPECIFIC SCENARIOS

OR INDIVIDUALS.

(D) SERVE AS BRIDGING BETWEEN PROGRAM ELEMENTS.

ENHANCEMENT GUIDE ~


(2) (2) (2) (2) WHEN (TO USE) WHEN (TO USE) WHEN (TO USE) WHEN (TO USE) ????

WHEN APPROPRIATE TO PROGRAM SEGMENT

OR PARTICULAR SCENARIO, AND THE EVENT THEME.

EXAMPLES:

(A) ACCOMPANYING MUSIC FANFARE TO INTRODUCING:

(i) VIP.

(ii) SPEAKER.

(iii) PERFORMER OR ENTERTAINER

ENHANCEMENT GUIDE ~


(2) (2) (2) (2) WHEN (TO USE) WHEN (TO USE) WHEN (TO USE) WHEN (TO USE) ????

(B) PRELUDE TO EVENT.

(C) INTERLUDE.

(D) “LAUNCH” THEME.

(E) GAME ACCOMPANIMENT.

(F) BACKDROP MUSIC TO PRESENTATION.

(G) FASHION SHOW | PERFORMANCE | DANCE | ETC.

(H) WHENEVER IT SERVES TO ENHANCE THE SCENARIO,

AND NOT DISTRACT OR “FIGHT” WITH THE SCENARIO.

ENHANCEMENT GUIDE ~


(3) (3) (3) (3) WHAT (SELECTION) WHAT (SELECTION) WHAT (SELECTION) WHAT (SELECTION) ????

(i) IN TANDEM WITH THE OVERALL THEME/CONCEPT

OF EVENT.

(ii) SUITED TO SPECIFIC MOOD AND TONE OF A

PARTICULAR PROGRAM ELEMENT, AS WELL AS IN%SYNC

WITH THE TEMPO AND PACE.

ENHANCEMENT GUIDE ~


(4) (4) (4) (4) WHERE (TO USE) WHERE (TO USE) WHERE (TO USE) WHERE (TO USE) ????

(i) STAGE.

(ii) NEAR STAGE ~ FRONT.

(iii) CEILING.

(iv) AND AS A SURPRISE FACTOR, ANYWHERE!

ENHANCEMENT GUIDE ~


(5) (5) (5) (5) WHO (TO EXECUTE) WHO (TO EXECUTE) WHO (TO EXECUTE) WHO (TO EXECUTE) ????

(i) EVENT MANAGEMENT COMPANY, AND THEIR CREW.

(ii) PROFESSIONAL MUSIC/AV DIRECTOR, OR

SOUND & LIGHTING (& TECHNOLOGY) DIRECTOR, AND

THEIR CREW.

ENHANCEMENT GUIDE ~


(5) (5) (5) (5) WHO (TO EXECUTE) WHO (TO EXECUTE) WHO (TO EXECUTE) WHO (TO EXECUTE) ????

(iii) IN LIEU OF ABOVE PROFESSIONALS,

EMCEE TO ENSURE ORGANIZING COMMITTEE ASSIGNS A

FLOOR MANAGER FOR THIS ROLE, PLUS A MUSIC%

MACHINE MANAGER.

ENHANCEMENT GUIDE ~


(6) (6) (6) (6) HOW (TO EXECUTE) HOW (TO EXECUTE) HOW (TO EXECUTE) HOW (TO EXECUTE) ????

PURPOSE: TO ENHANCE THE PROGRAM ELEMENTS

AND THE OVERALL EVENT.

THEREFORE, IT MUST BE DONE SUPERBLY, WITH:

(i) TIME PRECISION.

(ii) HIGH QUALITY STANDARDS OF MUSIC, SONGS,

SOUND, SFX.

(iii) RELEVANT SELECTION STRATEGY.

(iv) SLICK EXECUTION.

ENHANCEMENT GUIDE ~


(6) (6) (6) (6) HOW (TO EXECUTE) HOW (TO EXECUTE) HOW (TO EXECUTE) HOW (TO EXECUTE) ????

…OTHERWISE, TO DROP IT DROP IT DROP IT DROP IT

(USE OF MUSIC, SONGS, SOUND, SFX)

FROM EVENT FROM EVENT FROM EVENT FROM EVENT ENTIRELY!

ENHANCEMENT GUIDE ~ II. AUDIO%VIDEO,

MULTIMEDIA, ICT, LIGHTING, TECHNOLOGY,

STAGE HISTRIONICS, PROPS

(1) (1) (1) (1) WHY (USE)WHY (USE)WHY (USE)WHY (USE) ????

(A) INCREASE IMPACT OF EVENT.

(B) PROVIDE MULTI%SENSORY STIMULATION.

(C) DRAMATIZE OR HIGHLIGHT SPECIFIC SCENARIOS

OR INDIVIDUALS.

(D) SERVE AS BRIDGING BETWEEN PROGRAM ELEMENTS.




(2) (2) (2) (2) WHEN (TO USE)WHEN (TO USE)WHEN (TO USE)WHEN (TO USE) ????

WHEN APPROPRIATE TO PROGRAM SEGMENT

OR PARTICULAR SCENARIO, AND THE EVENT THEME.

(i) AUDIO%VIDEO, MULTIMEDIA, ICT:

FOR VISUAL PRESENTATION, AND FOR

DRAMATIZING EFFECT.




(2) (2) (2) (2) WHEN (TO USE)WHEN (TO USE)WHEN (TO USE)WHEN (TO USE) ????

(ii) LIGHTING, TECHNOLOGY:

FOR STYLIZED IMPACT.

(iii) STAGE HISTRIONICS, PROPS:

TO HEIGHTEN EXCITEMENT LEVEL.




(3) (3) (3) (3) WHAT (SELECTION)WHAT (SELECTION)WHAT (SELECTION)WHAT (SELECTION) ????

(i) IN TANDEM WITH THE OVERALL THEME/CONCEPT

OF EVENT.

(ii) SUITED TO SPECIFIC MOOD AND TONE OF A

PARTICULAR PROGRAM ELEMENT, AS WELL AS IN%SYNC

WITH THE TEMPO AND PACE.




(4) (4) (4) (4) WHERE (TO USE)WHERE (TO USE)WHERE (TO USE)WHERE (TO USE) ????

(i) STAGE.

(ii) NEAR STAGE ~ FRONT.

(iii) CEILING.

(iv) AND AS A SURPRISE FACTOR, ANYWHERE!




(5) (5) (5) (5) WHO (TO EXECUTE)WHO (TO EXECUTE)WHO (TO EXECUTE)WHO (TO EXECUTE) ????

(i) EVENT MANAGEMENT COMPANY, AND THEIR CREW.

(ii) SOUND & LIGHTING DIRECTOR OR TECHNOLOGY

DIRECTOR, AND THEIR CREW.

(iii) IN LIEU OF ABOVE PROFESSIONALS,

EMCEE TO ENSURE ORGANIZING COMMITTEE ASSIGNS A

FLOOR MANAGER FOR THIS ROLE.




(6) (6) (6) (6) HOW (TO EXECUTE)HOW (TO EXECUTE)HOW (TO EXECUTE)HOW (TO EXECUTE) ????

PURPOSE: TO ENHANCE THE PROGRAM ELEMENTS

AND THE OVERALL EVENT.

THEREFORE, IT MUST BE DONE SUPERBLY, WITH:

(i) TIME PRECISION.

(ii) HIGH QUALITY STANDARDS OF AV, MULTIMEDIA, ICT,

LIGHTING, TECHNOLOGY.

(iii) RELEVANT PRODUCTION AND REPRODUCTION

STRATEGY.

(iv) SLICK EXECUTION.




(6) (6) (6) (6) HOW (TO EXECUTE)HOW (TO EXECUTE)HOW (TO EXECUTE)HOW (TO EXECUTE) ????

…OTHERWISE, TO DROP IT DROP IT DROP IT DROP IT

(USE OF AUDIO%VIDEO, MULTIMEDIA, ICT, LIGHTING,

TECHNOLOGY, STAGE HISTRIONICS, PROPS)

FROM EVENT FROM EVENT FROM EVENT FROM EVENT ENTIRELY!

HOW TO PREPARE

FOR EVENT

I. INVOLVE FROM START%TO%FINISH.

II. PHASE%BY%PHASE PREPARATION.

(A) PRE%PREPARATION PHASE.

(B) FINAL PREPARATION PHASE.

(a) ONE DAY BEFORE.

(b) DAY OF EVENT.

HOW TO PREPARE FOR EVENT ~

I. INVOLVE FROM START%TO%FINISH

KEY STAGES OF ACTIVE INVOLVEMENT BY PRO EMCEE:KEY STAGES OF ACTIVE INVOLVEMENT BY PRO EMCEE:KEY STAGES OF ACTIVE INVOLVEMENT BY PRO EMCEE:KEY STAGES OF ACTIVE INVOLVEMENT BY PRO EMCEE:

(I) START: INITIAL ORIENTATION TO EVENT.

(II) MID%WAY: PROGRAM FINALIZATION STAGE.

(III) FINAL STAGE: DRY%RUN / REHEARSAL /

LAST%MINUTE CHANGES. PLUS FINAL DRY%RUN.

(IV) ACTUAL DAY TILL COMPLETION OF EVENT.

HOW TO PREPARE FOR EVENT~

II. PHASE BY PHASE PREPARATION

(A) (A) (A) (A) PREPREPREPRE%%%%PREPARATION PHASEPREPARATION PHASEPREPARATION PHASEPREPARATION PHASE

(i) FIRM UP THE OBJECTIVE AND THEME FOR THE EVENT:(i) FIRM UP THE OBJECTIVE AND THEME FOR THE EVENT:(i) FIRM UP THE OBJECTIVE AND THEME FOR THE EVENT:(i) FIRM UP THE OBJECTIVE AND THEME FOR THE EVENT:

PLAN INITIAL GROUNDWORK CHECKLIST TO ASSESS

(a) SUITABILITY OF LOCATION, AND,

(b) COMPETENCY LEVEL OF PERSONS%IN%CHARGE.





(1) THE PROGRAM/THEME/OBJECTIVE:

MEET UP WITH ORGANIZER/CLIENT TO DISCUSS PROGRAM

AND ALL PERSON ELEMENTS (INCLUDING PROTOCOL) AND

NON%PERSON ELEMENTS, AS WELL AS OVERALL BRAND

IMAGE.





(2) VENUE & LOGISTICS:

(a) VENUE: ARRANGE IMMEDIATE VISIT TO VENUE (HOTEL,

RESORT, WHATEVER PLACE), TO ALIGN TO THEME AND

OBJECTIVE OF THE EVENT.

EXAMPLE: TROPICAL JUNGLE THEME.





(2) VENUE & LOGISTICS:

(b) LOGISTICS: TO RECCE TO CONFIRM WHETHER

FACILITIES (SUCH AS STAGE, BACKDROP, HALL DESIGN,

SOUND & LIGHTING SYSTEM, PRESENTATION FACILITIES,

ETC, CAN “SUPPORT” THE THEME AND OBJECTIVE.

EXAMPLE: TROPICAL JUNGLE THEME.





(3) KNOW THE TEAM:

ENSURE THE RESPECTIVE AREAS OF ORGANIZING AN

EVENT ARE TAKEN CARE OF BY THE COMMITTEE OR SUB%

COMMITTEES.

IF NECESSARY, MEET UP WITH THE RESPECTIVE PERSONS%

IN%CHARGE…TO CHECK WHETHER THEY HAVE THE

EXPERIENCE TO HANDLE THEIR AREAS OF

RESPONSIBILITIES.




(ii) (ii) (ii) (ii) DEFINE THE RESPECTIVE AREAS OF RESPONSIBILITIESDEFINE THE RESPECTIVE AREAS OF RESPONSIBILITIESDEFINE THE RESPECTIVE AREAS OF RESPONSIBILITIESDEFINE THE RESPECTIVE AREAS OF RESPONSIBILITIES::::

SINCE ON THE ACTUAL DAY OF THE EVENT, AND DURING

THE RUNNING OF THE EVENT, THE EMCEE CAN NEVER BE

THE “HANDYMAN” AND SHOULD NOT BE, SO INSIST ON

THE FOLLOWING:

*THE APPOINTMENT OF SPECIFIC INDIVIDUALS INTO

CIRTICAL ROLES DURING THE RUNNING OF THE EVENT,

SUCH AS:




(a) KEY COORDINATING PERSON

(ORGANIZING CHAIRPERSON/CLIENT).

(b) SOUND & LIGHTING/AUDIO%VIDEO

(FLOOR MANAGER).

(c) PERSON COORDINATING TIMING AND PLAYING

OF SPECIFIC FANFARES/MUSIC/SFX.





(d) STAGE LOGISTICS.

(e) PRESENTATION FACILITIES.

(f) ASSISTANTS TO PRESENTERS/SPEAKERS/PERFORMERS,

INCLUDING HANDLING/OPERATING COMPUTER

NOTEBOOKS, ETC.





(g) PERSON COORDINATING WITH

PRESENTERS/SPEAKERS/PERFORMERS.

(h) FOOD & BEVERAGE.

(i) AWARD PRESENTATION/SOUVENIR PRESENTATION.



(B) (B) (B) (B) FINAL PREPARATION PHASE:FINAL PREPARATION PHASE:FINAL PREPARATION PHASE:FINAL PREPARATION PHASE:

ALIGNING EVERYTHING

TO CONFIRMED OBJECTIVE AND THEME,

TO ACHIEVE CONGRUENCY.




(i) (i) (i) (i) EVENT DETAILINGEVENT DETAILINGEVENT DETAILINGEVENT DETAILING

(a) DEFINITION OF:

* OBJECTIVE OF EVENT.

* THEME OF EVENT.





(b) RESEARCH AND SOURCING FOR RELEVANT PERSONS,

OUTFITS, PROPS, MATERIALS:

* COSTUMING.

* MUSIC & SONGS/SOUND/SFX/GIMMICKS.

* STAGE DESIGN/DÉCOR/ETC.

* ENTERTAINMENT: PRODUCTION HOUSES,

ENTERTAINMENT AND PERFORMING ARTS PROVIDERS,

MODELLING AGENCIES, ETC.





(b) RESEARCH AND SOURCING FOR RELEVANT PERSONS,

OUTFITS, PROPS, MATERIALS:

* SPEAKERS/PERFORMERS/ENTERTAINERS.

* LAUNCH IDEAS/OPENING GAMBIT.




(ii) (ii) (ii) (ii) FINALIZING PROGRAM ELEMENTS AND FLOW:FINALIZING PROGRAM ELEMENTS AND FLOW:FINALIZING PROGRAM ELEMENTS AND FLOW:FINALIZING PROGRAM ELEMENTS AND FLOW:

(a) RECONFIRM PROGRAM ELEMENTS WITH

ORGANIZER/CLIENT.

(b) MEET UP WITH SPEAKERS, PERFORMERS, ENTERTAINERS.

(c) PROCEED WITH SCRIPTING STRUCTURE.




(iii) (iii) (iii) (iii) EMCEE GROOMING AND APPEARANCE:EMCEE GROOMING AND APPEARANCE:EMCEE GROOMING AND APPEARANCE:EMCEE GROOMING AND APPEARANCE:

(a) DRESSING GUIDE:

* DRESS TO THE OCCASION/THEME.

* SAME LEVEL AS AUDIENCE, OR HIGHER.




(iv) (iv) (iv) (iv) FINAL CHECK WITH ORGANIZER/CLIENT, FINAL CHECK WITH ORGANIZER/CLIENT, FINAL CHECK WITH ORGANIZER/CLIENT, FINAL CHECK WITH ORGANIZER/CLIENT,

TO GET ENDORSEMENT:TO GET ENDORSEMENT:TO GET ENDORSEMENT:TO GET ENDORSEMENT:

(a) PROGRAM ELEMENTS AND FLOW.

(b) EMCEE’S GROOMING AND APPEARANCE.

(c) EMCEE’S SCRIPT ~ CONFIRM/MAKE FINAL

ADJUSTMENTS.

(d) ACTUAL NARRATON OF FINAL SCRIPT, AND ACTUAL

EXECUTION OF PROGRAM ACTIVITIES ~

NO SURPRISE FOR ORGANIZER/CLIENT.




(v) (v) (v) (v) FINAL CHECKLIST ON WHOLE EVENT LOGISTICS:FINAL CHECKLIST ON WHOLE EVENT LOGISTICS:FINAL CHECKLIST ON WHOLE EVENT LOGISTICS:FINAL CHECKLIST ON WHOLE EVENT LOGISTICS:

WAY BEFORE ACTUAL DAY/EVENT:

COUNTERCHECK, “SUPERVISE”, OVERSEE THAT ALL

RELEVANT PERSONS%IN%CHARGE HAVE PERFORMED THEIR

DUTIES OR COORDINATIONS.




> ONE DAY BEFOREONE DAY BEFOREONE DAY BEFOREONE DAY BEFORE: : : :

(a) FINAL CHECK: USING THE EMCEE CHECKLIST.

(REFER TO APPENDIX 2 IN WORKBOOK.)

(IF YOU ARE LUCKY, A TOP%RATE ORGANIZER/CLIENT WILL

ACTUALLY BE VERY CONCERNED, TO ENSURE THE “FINAL

CHECK” IS EFFECTED. BUT BE “PROFESSIONAL” – BE THERE.




> > > > ONE DAY BEFOREONE DAY BEFOREONE DAY BEFOREONE DAY BEFORE::::

(b) DRY%RUN AT VENUE: TEST OUT FINAL SCRIPT,

THROUGH SOUND SYSTEM.

(c) STAY THROUGH THE FULL%DRESS REHEARSAL, TO

CHECK AND DOUBLE%CHECK TIMING AND LOGISTICS.




> > > > DAY OF EVENT:DAY OF EVENT:DAY OF EVENT:DAY OF EVENT:

(a) VENUE/LOGISTICS CHECK(a) VENUE/LOGISTICS CHECK(a) VENUE/LOGISTICS CHECK(a) VENUE/LOGISTICS CHECK

* ARRIVE VERY EARLY, FOR LAST CHECK, USING YOUR

EMCEE CHECKLIST.

PLUS:PLUS:PLUS:PLUS:

* GET ORIENTED TO ENVIRONMENT, AUDIENCE AND

GOINGS%ON.





* ENSURE KEY PEOPLE ARE READY TO COORDINATE FAST

WITH YOU, TO UPKEEP THE ATMOSPHERE AND SMOOTH

RUNNING OF PROGRAM.

* PREFERABLY, LET ALL “COMPLAINTS”,

ANNOUNCEMENTS, CHANGES, TO BE CHANNELED

THROUGH ONE PERSON.





(b) STATE OF PERSONA OF EMCEE(b) STATE OF PERSONA OF EMCEE(b) STATE OF PERSONA OF EMCEE(b) STATE OF PERSONA OF EMCEE

* BUILD CONFIDENCE THROUGH RAPPORT WITH SPEAKERS,

PERFORMERS, AUDIENCE.

* STAY IN “RELAXED AND RESOURCEFUL” STATE.






* CHARISMA: “PRESENCE”, POSITIVE ENERGY, POISE,

CHARM%PERSONALITY, SELF%ESTEEM (SELF%COFIDENCE &

SELF%RESPECT), BEING IN COMMAND.






* MOOD & TONE: USE HUMOUR (WHEN RELEVANT), ONE%

LINERS, SHORT QUIPS, TO BRIDGE SPEAKERS OR

PERFORMERS. BUT, NOT TO REHASH SPEAKERS’ WORDS.

* NEVER OVERTALK.

* DO NOT STEAL THE LIMELIGHT FROM THE STARS.






* FOCUS ON THE EVENT’S OBJECTIVE/THEME:

MIRROR THE OBJECTIVE AND THEME OF THE EVENT, VIA

CONGRUENT SCRIPT, KEY MESSAGE AND BRIDGING

PHRASES…ENHANCED BY WORD%MASTERY, VOCAL

TONALITY SPECTRUM AND PURPOSEFUL BODY

LANGUAGE.






* RESONATE EHTHUSIASM FROM START TO FINISH.

* KEEP THE AUDIENCE’S ENERGY UP.






* (WHILE INDIVIDUALS COULD BE ASSIGNED TO LOOK

INTO “PROBLEM AREAS”…) THE EMCEE SHOULD KEEP AN

EYE ON DISSATISFACTION AREAS, AND ADDRESS THEM

SOONEST.






* IN THE FACE OF CRISES, ALWAYS STAY COURTEOUS.

YOU ARE TO BE NEVER AFFECTED BY “PROBLEMS” OR

“TECHNICAL HITCH%UPS, ETC.





(c) LET THE SHOW BEGIN!(c) LET THE SHOW BEGIN!(c) LET THE SHOW BEGIN!(c) LET THE SHOW BEGIN!

* HOLD ON TO YOUR SCRIPT!

* STAY TO THE PREPARED SCRIPT, OR THE “ESSENCE” OF

THE PREPARED SCRIPT.






* (IF YOU ARE ALREADY VERY PROFICIENT…) YOU CAN

GET INTO THE “IMPROMPTU PERSUASIVE SPEAKING”

MODE.

BUT ALWAYS KEEP TO THE “ESSENCE”, WHEN YOU SPEAK

EXTEMPORANEOUSLY.






* KEEP TO YOUR OWN TERRITORY.

* KEEP PEOPLE/BUSYBODIES AWAY FROM YOUR EMCEE

TERRITORY.

* DO NOT SOCIALIZE.






* DO NOT BE A GLUTTON. (SHOULD YOU NEED TO EAT,

DO SO WAY BEFORE THE START OF THE EVENT.)

* DO NOT BE A BUSYBODY: STAY TO YOUR ROLE AS

EMCEE, WHICH IS TO BE ON “CONSTANT ALERT”.






* YOU ARE AT THE FUNCTION, NOT PRINCIPALLY TO

“ENJOY YOURSELF”. YOUR PRIMARY PURPOSE IS TO KEEP

THE AUDIENCE ENTERTAINED, AND TO KEEP THEIR SPIRITS

HIGH.






* IN FACT, SHOULD UNFORESEEN OR UNEXPECTED

HITCHES OCCUR, YOU HAVE TO ENSURE THAT THAT THE

SPIRIT OF THE AUDIENCE WOULD NOT BE DAMPENED.

ENSURE THAT THE AUDIENCE COULD STILL ENJOY THE

EVENT.

ALWAYS SAVE THE OCCASION, TO YOUR BEST ABILITY.

REVIEW FOR FUTURE

PROGRESS

INTRODUCTORY GUIDE:

EVALUATION FOR SELF%IMPROVEMENT, AND TO SET

NEW STANDARDS OF PERFORMANCE FOR FUTURE.

A. LEARN FROM EXPERIENCES AND FEEDBACKS.

B. GROW FROM EXPERIENCES AND FEEDBACKS.

C. POST%MORTEM WITH ORGANIZER/CLIENT.

D. LOOK FOR NEW BIGGER CHALLENGES.

REVIEW FOR FUTURE PROGRESS

INTRODUCTORY GUIDEINTRODUCTORY GUIDEINTRODUCTORY GUIDEINTRODUCTORY GUIDE::::

EVALUATION FOR SELFEVALUATION FOR SELFEVALUATION FOR SELFEVALUATION FOR SELF%%%%IMPROVEMENT, AND TO SET NEW IMPROVEMENT, AND TO SET NEW IMPROVEMENT, AND TO SET NEW IMPROVEMENT, AND TO SET NEW

STANDARDS OF PERFORMANCE FOR FUTURE.STANDARDS OF PERFORMANCE FOR FUTURE.STANDARDS OF PERFORMANCE FOR FUTURE.STANDARDS OF PERFORMANCE FOR FUTURE.

* CELEBRATION FACTOR: AFTER GIVING YOUR BEST

EFFORT AT EMCEEING AN EVENT, IMMEDIATELY

CELEBRATE, NO MATTER WHAT THE OUTCOME!

* RATIONAL ANALYSIS: AT PRE%ASSIGNED TIME (SAY, ONE

DAY LATER), THEN ONLY GO THROUGH THE STRENGTHS

AND “AREAS FOR IMPROVEMENT”.


(A) (A) (A) (A) LEARN FROM EXPERIENCES AND FEEDBACKS.LEARN FROM EXPERIENCES AND FEEDBACKS.LEARN FROM EXPERIENCES AND FEEDBACKS.LEARN FROM EXPERIENCES AND FEEDBACKS.

* OWN SELF%EVALUATION.

* AUDIENCE FEEDBACKS.

* ORGANIZER’S/CLIENT’S FEEDBACKS


(B) (B) (B) (B) GROW FROM EXPERIENCES AND FEEDBACKS.GROW FROM EXPERIENCES AND FEEDBACKS.GROW FROM EXPERIENCES AND FEEDBACKS.GROW FROM EXPERIENCES AND FEEDBACKS.

IDENTIFY STRENGTHS AND WEAKNESSES

(i) SELF:(i) SELF:(i) SELF:(i) SELF:

> PRO EMCEE STRENGTHS

IDENTIFY, AND STRATEGIZE TO HIGHER EFFECTIVENESS.

> PRO EMCEE WEAKNESSES

IDENTIFY, AND CLOSE THE GAP.


(B) (B) (B) (B) GROW FROM EXPERIENCES AND FEEDBACKS.GROW FROM EXPERIENCES AND FEEDBACKS.GROW FROM EXPERIENCES AND FEEDBACKS.GROW FROM EXPERIENCES AND FEEDBACKS.

IDENTIFY STRENGTHS AND WEAKNESSES

(ii) NON(ii) NON(ii) NON(ii) NON%%%%SELF (OTHERS):SELF (OTHERS):SELF (OTHERS):SELF (OTHERS):

EXAMPLE : SLIP%UPS, OVERSIGHTS

(a) ORGANIZER.

(b) LOGISTICS.

(c) MUSIC/SONGS/SOUND/SFX

(d) AUDIO%VIDEO/MULTIMEDIA/ICT/TECHNOLOGY/

STAGE HISTRIONICS/PROPS


(C) (C) (C) (C) POSTPOSTPOSTPOST%%%%MORTEM WITH ORGANIZER/CLIENT.MORTEM WITH ORGANIZER/CLIENT.MORTEM WITH ORGANIZER/CLIENT.MORTEM WITH ORGANIZER/CLIENT.

(a) EDUCATE YOURSELF FOR FUTURE EMCEE

ASSIGNMENTS.

(b) EDUCATE THE ORGANIZER/CLIENT.


(D) (D) (D) (D) LOOK FOR NEW BIGGER CHALLENGES. SUCH AS:LOOK FOR NEW BIGGER CHALLENGES. SUCH AS:LOOK FOR NEW BIGGER CHALLENGES. SUCH AS:LOOK FOR NEW BIGGER CHALLENGES. SUCH AS:

(a) INTRICATE/COMPLEX THEME%EVENTS.

(b) MEGA EVENTS – AT A BIG STADIUM, ISLAND

RESORT, ETC.

(c) INNOVATIVE EVENTS.

PROGRAMMING

AND TIMING

A. HOW TO PLAN AND TIME THE PROGRAM.

B. MOCK PROGRAM.

APPENDIX 1

PROGRAMMING AND TIMING

(A)(A)(A)(A) HOW TO PLAN AND TIME THE PROGRAMHOW TO PLAN AND TIME THE PROGRAMHOW TO PLAN AND TIME THE PROGRAMHOW TO PLAN AND TIME THE PROGRAM

(1) THEME(1) THEME(1) THEME(1) THEME%%%%FOCUSFOCUSFOCUSFOCUS

(i) PLAN TO THE THEME.

(a) MIND%MAP ALL POSSIBLE ACTIVITIES, A%Z,

INCLUSIVE OF BRIDGING, MUSIC, ETC.

(b) DOUBLE%CONFIRM THE EXACT TIMING FOR EACH

PROGRAM ELEMENT.




(ii) START WITH A BANG.

(a) AN AROUSING OPENING GAMBIT, ESTABLISHES A

QUICK BONDING WITH THE AUDIENCE.




(iii) BUILD UP EXCITEMENT INTEREST LEVEL.

(a) INTERSPERSE PROGRAM WITH ELEMENTS THAT PROVIDE

THE HIGHEST%EXCITEMENT APPEAL.

(b) PRO EMCEE TO CREATE AND BUILD UP SUSPENSE LEVEL,

AT ACTUAL EVENT.




(iv) “FINALE”: BRING ON THE MAIN EVENT.

(a) AWARDS PRESENTATION. PROVIDED THIS HAS GREAT

APPEAL TO ALL OF AUDIENCE, OR A HUGE MAJORITY OF

AUDIENCE.

(b) PERFORMANCE. THIS HAS TO BE OF HIGH APPEAL TO

AUDIENCE.




(v) ALTERNATE TO “FINALE”.

(a) A PROGRAM ELEMENT OF “SELFISH%

INTEREST”/PERSONAL MATERIAL GAIN TO INDIVIDUALS

WITHIN AUDIENCE.

(b) GREATEST APPEAL FOR MOST OF THE AUDIENCE, TO

STAY TILL THE END OF EVENT.

EXAMPLE: GRAND LUCKY DRAW.



(2) TIMING(2) TIMING(2) TIMING(2) TIMING

(i) DOUBLE%CHECK WITH ORGANIZER, AND (TO BE SAFE)

EVEN SPEAKERS AND PERFORMERS, ON THE TIMING

ALLOCATED.

(ii) CONSIDER RELIGIOUS BREAK/S, WHERE RELEVANT.



(2) TIMING(2) TIMING(2) TIMING(2) TIMING

(iii) ALWAYS BUILD IN BUFFER FOR EVERY PROGRAM

ELEMENT.

(iv) FACTOR IN TIME FOR DELAY IN ARRIVAL OF HIGH%

LEVEL GUEST OF HONOUR, AND VIP DIGNITARIES.


(B) (B) (B) (B) MOCK PROGRAMMOCK PROGRAMMOCK PROGRAMMOCK PROGRAM


EMCEE CHECKLIST

A. WHY THE NEED TO PREPARE EMCEE CHECKLIST.

B. HOW TO PREPARE EMCEE CHECKLIST.

C. SAMPLE EMCEE CHECKLIST.

APPENDIX 2

EMCEE CHECKLIST

(A) WHY THE NEED TO PREPARE EMCEE CHECKLIST(A) WHY THE NEED TO PREPARE EMCEE CHECKLIST(A) WHY THE NEED TO PREPARE EMCEE CHECKLIST(A) WHY THE NEED TO PREPARE EMCEE CHECKLIST

(1) SLICKNESS AND PROFESSIONALISM.

(2) OPTIMIZING SUCCESS OF EVENT.

(3) OPTIMIZING SUCCESS OF YOUR PRO EMCEE

PERFORMANCE

EMCEE CHECKLIST

(B) HOW TO PREPARE EMCEE CHECKLIST(B) HOW TO PREPARE EMCEE CHECKLIST(B) HOW TO PREPARE EMCEE CHECKLIST(B) HOW TO PREPARE EMCEE CHECKLIST

(1) FINALIZE PROGRAM ELEMENTS.

EMCEE CHECKLIST


(2) CLASSIFY INTO CATEGORIES:

EXAMPLE:

(i) EMCEE PREREQUISITES.

(ii) PROGRAM FLOW AND LOGISTICS.

(iii) ORGANIZING COMMITTEE.

EMCEE CHECKLIST



EXAMPLE:

(iv) VENUE AND ALL FACILITIES/ACTIVITIES WITHIN

AND WITHOUT.

(v) PROTOCOL/DECORUM/FORMALITIES.

(vi) SPEAKERS AND PERFORMERS.

EMCEE CHECKLIST



EXAMPLE:

(vii) LAUNCHING CEREMONY DEVICE/GIMMICK.

(viii) AWARD PRESENTATION CEREMONY.

(ix) TOKENS OF APPRECIATION/SOUVENIR PRESENTATION.

EMCEE CHECKLIST



EXAMPLE:

(xi) CONTESTS.

(xii) LUCKY DRAW/CONTEST DRAW.

(xiii) FOOD & BEVERAGE.

EMCEE CHECKLIST



EXAMPLE:

(xiv) AUDIENCE’S AND GUESTS’ COMFORT.

(xv) ETC.

EMCEE CHECKLIST

(C) SAMPLE EMCEE CHECKLIST(C) SAMPLE EMCEE CHECKLIST(C) SAMPLE EMCEE CHECKLIST(C) SAMPLE EMCEE CHECKLIST


PROFESSIONAL EMCEE

WORKSHOP PRACTICALS

I. AUDIENCE BAROMETER.

II. PROTOCOL, DECORUM, FORMALITIES.

III. PSYCHOGRAPHICS: PSYCHOLOGY

OF COMMUNICATION.

IV. EMCEEING ETHICS AND PROFESSIONALISM.

APPENDIX 3

PROFESSIONAL EMCEE WORKSHOP PRACTICALS

PROFESSIONAL EMCEE WORKSHOP PRACTICALSPROFESSIONAL EMCEE WORKSHOP PRACTICALSPROFESSIONAL EMCEE WORKSHOP PRACTICALSPROFESSIONAL EMCEE WORKSHOP PRACTICALS


“HOW TO BE A PROFESSIONAL EMCEE”

[email protected]

www.brandjontan.com

How to be professional emcee - brandjontan Jon Tan

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