You are on page 1of 218

TOASTMASTERS INTERNATIONAL

DISTRICT 51 DIVISION B PRESENTS HOW TO BECOME A PROFESSIONAL MASTER OF CEREMONIES WORKSHOP SPEAKER: DTM JON TAN
VENUE: SUNWAY UNIVERSITY, PETALING JAYA, SELANGOR, MALAYSIA DATE: 17 AUGUST 2013

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. brandjontan@brandjontan.com

www.brandjontan.com

NO MATTER WHAT HAPPENED YESTERDAY NO MATTER HOW YOU FEEL RIGHT NOW... GET INTO THE RIGHT STATE-OF-BEING, AND

GIVE YOUR LIFES BEST PERFORMANCE TODAY!

PRO EMCEE PRINCIPLES AND CONCEPTS

ENGAGE YOUR AUDIENCE WITH S E X


SEX ACRONYM: NEXT SLIDE

SEX ACRONYM, STANDS FOR:

SHINE (LIKE A DIAMOND)


WITHOUT OUTSHINING THE STARS

EFFECTIVE COMMAND X-FACTOR PERSONA

SHINE 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? (1) EMCEE. (2) SPEAKER/PERFORMER. (3) AUDIENCE. (I) EMCEE IS NOT THE MAIN STAR/HERO OF AN EVENT. BUT IS, A MAIN PLAYEREMCEES PERFORMANCE SHOULD EQUAL TO, BUT NOT INTENTIONALLY HIGHER THAN PERFORMANCE OF SPEAKERS/PERFORMERS.

THE REAL ROLE OF THE EMCEE : CLARIFICATIONS OF MISCONCEPTIONS

(II) EMCEE IS EXPECTED TO SHOWCASE A PERSONA AND STANDARD OF PERFORMANCE THAT EQUATES TO THE EVENT.

THE REAL ROLE OF THE EMCEE : CLARIFICATIONS OF MISCONCEPTIONS


(B) WHAT AN EMCEE IS (I) RESPONSIBLE FOR SUCCESS OF EVENT: (a) PROBABLE PROBLEMS/CRISES ARISING. (b) LESS-THAN-PROFICIENT PEOPLE DIRECTLY, OR INDIRECTLY INVOLVED IN RUNNING OF EVENT.

THE REAL ROLE OF THE EMCEE : CLARIFICATIONS OF MISCONCEPTIONS


(II) MAIN PLAYER: STAR-MAKER, 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.

THE REAL ROLE OF THE EMCEE : CLARIFICATIONS OF MISCONCEPTIONS


(II) MAIN PLAYER: STAR-MAKER, NOT THE STAR:
(c) BE AN EMOTION-METER: PRE-SET THE ALREADY-DEFINED/DECIDED MOOD AND TONE OF A PARTICULAR EVENT.

THE REAL ROLE OF THE EMCEE : CLARIFICATIONS OF MISCONCEPTIONS


(II) MAIN PLAYER: STAR-MAKER, NOT THE STAR:
(d) BE PERSUASIVE, ENTERTAINING, MOTIVATING AND INSPIRING. (e) ALSO, CONTINUALLY EQUALIZE THE AMBIENCE/ ATMOSPHERIC MOOD AND TONE.

THE REAL ROLE OF THE EMCEE : CLARIFICATIONS OF MISCONCEPTIONS


(III) 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.

THE REAL ROLE OF THE EMCEE : CLARIFICATIONS OF MISCONCEPTIONS


(IV) RESCUEMAN FOR EMERGENCY:
BE THE COOL, PERSONABLE HOST/HOSTESS, DURING CRISIS MANAGEMENT.

THE REAL ROLE OF THE EMCEE : CLARIFICATIONS OF MISCONCEPTIONS


(IV) RESCUEMAN 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 RESPECTIVE PERSON-IN-CHARGE, WHO SHALL THEN REPORT TO THE ORGANIZING HEAD OR FLOOR MANAGER, DEPENDING ON THE ISSUE AT HAND.

THE REAL ROLE OF THE EMCEE : CLARIFICATIONS OF MISCONCEPTIONS


(V) CATALYST FOR AN EVENT:
(a) ALWAYS BE CHEERFUL. NEVER BE FLUSTERED NO MATTER WHAT. (b) BE AN ENERGIZERSO THAT AUDIENCE CAN FULLY ENJOY THE EVENT.

THE REAL ROLE OF THE EMCEE : CLARIFICATIONS OF MISCONCEPTIONS


(V) CATALYST FOR AN EVENT:
(c) BE A CHEERLEADER, ALWAYS LEADING THE APPLAUSE.

THE REAL ROLE OF THE EMCEE : CLARIFICATIONS OF MISCONCEPTIONS


(C) WHAT AN EMCEE IS NOT (I) THE MAIN STAR OR HERO OF AN EVENT: YOU ARE THE STAR-MAKER. (II) AN UNIMPORTANT ROLE: YOU PLAY A HIGHLY IMPORTANT ROLE.

THE REAL ROLE OF THE EMCEE : CLARIFICATIONS OF MISCONCEPTIONS


(C) WHAT AN EMCEE IS NOT (III) A GLAMOUR-ROLE PER SE. (IV) A PRIMA DONNA.

THE REAL ROLE OF THE EMCEE : CLARIFICATIONS OF MISCONCEPTIONS


(C) WHAT AN EMCEE IS NOT (V) A SMART-ALEC / KNOW-IT-ALL / STOPPED-LEARNING-TYPE-OF-PERSON. (VI) A LAST-MINUTE JOHNNY.

THE REAL ROLE OF THE EMCEE : CLARIFICATIONS OF MISCONCEPTIONS


(C) WHAT AN EMCEE IS NOT (VII) A KNIGHT IN SHINING ARMOUR: MAKING FIRST APPEARANCE EVER AT AN EVENT, WITHOUT GOING THROUGH PRE-PREP AND PREP STAGES.

THE REAL ROLE OF THE EMCEE : CLARIFICATIONS OF MISCONCEPTIONS


(D) THE SHOULDs: (I) PERSONAL QUALITIES: (i) PERSONAL ATTRIBUTES:

(a) WELL-GROOMED (DRESS TO THE OCCASION). (b) FRIENDLY AND COURTEOUS (HUMBLE NOT COCKY). (c) CREATIVE/INVENTIVE. (d) DECISIVE.

THE REAL ROLE OF THE EMCEE : CLARIFICATIONS OF MISCONCEPTIONS


(D) THE SHOULDs: (I) PERSONAL QUALITIES: (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.

THE REAL ROLE OF THE EMCEE : CLARIFICATIONS OF MISCONCEPTIONS


(D) THE SHOULDs: (I) PERSONAL QUALITIES: (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.

THE REAL ROLE OF THE EMCEE : CLARIFICATIONS OF MISCONCEPTIONS


(D) THE SHOULDs: (I) PERSONAL QUALITIES: (iii) CATALYST FOR EVENT: ENERGIZER (CONDUIT FOR AUDIENCE) AND CHEERLEADER (d) LIGHTEN-UP AUDIENCE, WITH WIT/HUMOUR, OR WHATEVER ENTERTAINING WAY.

(e) REMAIN RELAXED AND CALM, EVEN WHEN UNDER PRESSURE.

THE REAL ROLE OF THE EMCEE : CLARIFICATIONS OF MISCONCEPTIONS


(D) THE SHOULDs: (I) PERSONAL QUALITIES: (iii) CATALYST FOR EVENT: ENERGIZER (CONDUIT FOR AUDIENCE) AND CHEERLEADER (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.

THE REAL ROLE OF THE EMCEE : CLARIFICATIONS OF MISCONCEPTIONS


(D) THE SHOULDs: (I) PERSONAL QUALITIES: (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.

THE REAL ROLE OF THE EMCEE : CLARIFICATIONS OF MISCONCEPTIONS


(D) THE SHOULDs: (I) PERSONAL QUALITIES: (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.

THE REAL ROLE OF THE EMCEE : CLARIFICATIONS OF MISCONCEPTIONS


(D) THE SHOULDs: (I) PERSONAL QUALITIES: (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.

THE REAL ROLE OF THE EMCEE : CLARIFICATIONS OF MISCONCEPTIONS


(D) THE SHOULDs: (I) PERSONAL QUALITIES: (vii) BE IN CONSTANT LIAISON WITH ORGANIZING COMMITTEE HEAD: (a) ENSURE THAT THE ORGANIZING HEAD, HAS EMPOWERED THE INDIVIDUAL COMMITTEE PERSONS-INCHARGE, AND SUB-COMMITTEE HEADS, TO BE ON-THEJOB, ON TIMING AND EXECUTION.

THE REAL ROLE OF THE EMCEE : CLARIFICATIONS OF MISCONCEPTIONS


(D) THE SHOULDs: (I) PERSONAL QUALITIES: (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.

THE REAL ROLE OF THE EMCEE : CLARIFICATIONS OF MISCONCEPTIONS


(D) THE SHOULDs: (I) PERSONAL QUALITIES: (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.

THE REAL ROLE OF THE EMCEE : CLARIFICATIONS OF MISCONCEPTIONS


(D) THE SHOULDs: (II) 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.

THE REAL ROLE OF THE EMCEE : CLARIFICATIONS OF MISCONCEPTIONS


(D) THE SHOULDs: (III) RESPECT: ALSO, BE SOCIALLY AND POLITICALLY CORRECT.

(i) NAMES AND TITLES.


(ii) SENSITIVITY TO: (a) RACE/CULTURE. (b) RELIGION. (c) POLITICS.

THE REAL ROLE OF THE EMCEE : CLARIFICATIONS OF MISCONCEPTIONS


(D) THE SHOULDs: (IV) RAPPORT: (i) NEAR THE VERY BEGINNING, GIVE ASSURANCE, YOU HAVE THE AUDIENCES INTEREST AT HEART. (ii) ALWAYS AIM TO HAVE A GREAT START. (iii) SUSTAIN BONDING THROUGHOUT.

THE REAL ROLE OF THE EMCEE : CLARIFICATIONS OF MISCONCEPTIONS


(D) THE SHOULD NOTs: (I) 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.

THE REAL ROLE OF THE EMCEE : CLARIFICATIONS OF MISCONCEPTIONS


(D) THE SHOULD NOTs: (I) RESPONSIBILITIES: (iii) SHOULD NOT BE THE HANDYMAN, OR JACK-OF-ALLTRADES. (TO FOCUS ON SOLELY BEING THE EMCEE.) (iv) SHOULD NOT BE LOOKING AFTER STAGE LOGISTICS, PROPS ARRANGEMENT AND REMOVAL, OR CHANGE OF STAGE DCOR/SCENARIO.

THE REAL ROLE OF THE EMCEE : CLARIFICATIONS OF MISCONCEPTIONS


(D) THE SHOULD NOTs: (I) RESPONSIBILITIES: (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.

THE REAL ROLE OF THE EMCEE : CLARIFICATIONS OF MISCONCEPTIONS


(D) THE SHOULD NOTs: (I) RESPONSIBILITIES: (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.

THE REAL ROLE OF THE EMCEE : CLARIFICATIONS OF MISCONCEPTIONS


(D) THE SHOULD NOTs: (I) RESPONSIBILITIES: (ix) SHOULD NOT BE COORDINATING THE EVENT, OR EVENT PREPARATION. (x) SHOULD NOT BE COORDINATING THE NEXT-TOAPPEAR AVAILABILITY OF SPEAKERS, PERFORMERS OR RELEVANT PERSONNEL, FOR EFFECTING THE NEXT ELEMENT ON THE PROGRAM.

THE REAL ROLE OF THE EMCEE : CLARIFICATIONS OF MISCONCEPTIONS


(D) THE SHOULD NOTs: (II) 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.

THE REAL ROLE OF THE EMCEE : CLARIFICATIONS OF MISCONCEPTIONS


(D) THE SHOULD NOTs: (III) 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.

THE REAL ROLE OF THE EMCEE : CLARIFICATIONS OF MISCONCEPTIONS


(D) THE SHOULD NOTs: (IV) 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.)

THE REAL ROLE OF THE EMCEE : CLARIFICATIONS OF MISCONCEPTIONS


(D) THE SHOULD NOTs: (V) MOOD & TONE: (MUST: YOU SET THE MOOD & TONE, MOULDING IT AS AND WHEN NECESSARY: WHEN THE AUDIENCES MOOD IS DOWN, YOU RAISE ITWHEN THE MOOD IS UP, YOU RAISE IT EVEN HIGHER.)

THE REAL ROLE OF THE EMCEE : CLARIFICATIONS OF MISCONCEPTIONS


(D) THE SHOULD NOTs: (V) 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.

THE REAL ROLE OF THE EMCEE : CLARIFICATIONS OF MISCONCEPTIONS


(E) PRO EMCEE TABOOS: TO ENSURE THAT YOUR ARE (A) MOST ALERT (B) ON FULL-DUTY (C) DIGNIFIED TO AVOID THE FOLLOWING PRO EMCEE TABOOS:

THE REAL ROLE OF THE EMCEE : CLARIFICATIONS OF MISCONCEPTIONS


(E) 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.

THE REAL ROLE OF THE EMCEE : CLARIFICATIONS OF MISCONCEPTIONS


(E) PRO EMCEE TABOOS: (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.)

THE REAL ROLE OF THE EMCEE : CLARIFICATIONS OF MISCONCEPTIONS


(E) PRO EMCEE TABOOS: (7) SOCIALIZE BIG-TIME. (SOCIAL, BUSINESS, CASANOVA.)

(8) FLAUNTING YOURSELF.

EFFECTIVE COMMAND EMCEES LOVE RELATIONSHIP WITH THE EVENT

EMCEES LOVE RELATIONSHIP WITH THE EVENT


THE EMCEE IS NOT ONE WHO APPEARS, LIKE A KNIGHT IN SHINING ARMOUR, FOR THE FIRST TIME, AT THE SCENE 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.

EMCEES LOVE RELATIONSHIP WITH THE EVENT


(A) ITS A START-TO-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.

EMCEES LOVE RELATIONSHIP WITH THE EVENT


(B) THE NEED TO ORIENTATE YOURSELF TO THE TOTALITY OF THE EVENT: (I) PERSON ELEMENTS.

(II) NON-PERSON ELEMENTS.


(III) OVERALL BRAND IMAGE.

EMCEES LOVE RELATIONSHIP WITH THE EVENT


(B) THE NEED TO ORIENTATE YOURSELF TO THE TOTALITY OF THE EVENT: (I) PERSON ELEMENTS OF THE EVENT: (1) ORGANIZING CHAIR. (2) ORGANIZING COMMITTEE.

(3) SUB-COMMITTEES, INCLUDING PROTOCOL.

EMCEES LOVE RELATIONSHIP WITH THE EVENT


(B) THE NEED TO ORIENTATE YOURSELF TO THE TOTALITY OF THE EVENT: (I) PERSON ELEMENTS OF THE EVENT: (4) SPEAKERS, PERFORMERS. (5) AWARD PRESENTERS/RECIPIENTS.

(6) GAMES MASTER, CONDUCTOR, ASSISTANTS.

EMCEES LOVE RELATIONSHIP WITH THE EVENT


(B) THE NEED TO ORIENTATE YOURSELF TO THE TOTALITY OF THE EVENT: (I) PERSON ELEMENTS OF THE EVENT: (7) CEREMONY MASTER (VARIOUS TYPES)/ASSISTANTS. (8) STAGE PERSONNEL (INCLUSIVE OF AV, SOUND & LIGHTING, ETC).

EMCEES LOVE RELATIONSHIP WITH THE EVENT


(B) THE NEED TO ORIENTATE YOURSELF TO THE TOTALITY OF THE EVENT: (II) NON-PERSON ELEMENTS OF THE EVENT: (1) MUSIC/SOUND & LIGHTING SYSTEM, AV, TECHNOLOGY, GADGETS, GIMMICKS. (2) PRESENTATION FACILITIES. (3) VENUE DCOR & LAYOUT.

EMCEES LOVE RELATIONSHIP WITH THE EVENT


(B) THE NEED TO ORIENTATE YOURSELF TO THE TOTALITY OF THE EVENT: (II) NON-PERSON ELEMENTS OF THE EVENT: (4) PROMOTIONAL ASPECTS AT VENUE. (5) ADVERTISING & PROMOTIONS. (6) PUBLICITY & PR.

EMCEES LOVE RELATIONSHIP WITH THE EVENT


(B) THE NEED TO ORIENTATE YOURSELF TO THE TOTALITY OF THE EVENT: (II) NON-PERSON ELEMENTS OF THE EVENT: (7) ALL RELEVANT ACTIVITIES PERTAINING TO THE EVENT (THAT YOU ARE TO EMCEE).

EMCEES LOVE RELATIONSHIP WITH THE EVENT


(B) THE NEED TO ORIENTATE YOURSELF TO THE TOTALITY OF THE EVENT: (III) THE NEED FOR CONSISTENCY IN COMMUNICATING THE OVERALL BRAND IMAGE OF THE UMBRELLA 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.

EMCEES LOVE RELATIONSHIP WITH THE EVENT


(B) THE NEED TO ORIENTATE YOURSELF TO THE TOTALITY OF THE EVENT: (III) THE NEED FOR CONSISTENCY IN COMMUNICATING THE OVERALL BRAND IMAGE OF THE UMBRELLA EVENT: (1) CONGRUENCY TO OVERALL BRAND OBJECTIVE/THEME.

(2) KNOW THE BIG PICTURE, LEADING TO SIDEWAY-EXTENSION, DOWNWARD-CASCADING.

EMCEES LOVE RELATIONSHIP WITH THE EVENT


(B) THE NEED TO ORIENTATE YOURSELF TO THE TOTALITY OF THE EVENT: (III) THE NEED FOR CONSISTENCY IN COMMUNICATING THE OVERALL BRAND IMAGE OF THE UMBRELLA EVENT: (3) IS THIS EVENT (THAT YOU ARE TO EMCEE) PART OF A LARGER ENTITY/SCHEME?

EMCEES LOVE RELATIONSHIP WITH THE EVENT


(C) UNDERSTAND THE PURPOSE OF EACH AND EVERY ELEMENT OF AN EVENT (THAT YOU ARE GOING TO EMCEE): (1) ACTIVITIES THAT SURROUND THE EVENT. (2) PROGRAM ELEMENTS. (3) ANY AREAS OF SIGNIFICANCE, OR SENSITIVITY?

X-FACTOR PERSONA QUALITY TRAITS: EMCEE PAR EXCELLENCE

QUALITY TRAITS: EMCEE PAR EXCELLENCE


(A) X-FACTOR PERSONA: (I) DEVELOP AND RADIATE YOUR PERSONAL BRAND: (1) STAND OUT WITH YOUR UNIQUE X-FACTOR POSITIONING. (a) ESSENCE: WHAT DO YOU STAND FOR? (b) INTRINSIC EMOTIONAL CONNECTORS: WHAT SPECIAL TALENTS/SKILLS?

QUALITY TRAITS: EMCEE PAR EXCELLENCE

(c) SOCIAL CAUSE: CONGRUENT TO YOUR INTRINSIC VALUES AND BELIEFS, WHAT SOCIAL CAUSE ARE YOU CHAMPIONING, OR INSPIRING, OR PROMOTING?

QUALITY TRAITS: EMCEE PAR EXCELLENCE

(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?

WHATS YOUR SIGNATURE STYLE?

QUALITY TRAITS: EMCEE PAR EXCELLENCE


(A) X-FACTOR PERSONA: (I) DEVELOP AND RADIATE YOUR PERSONAL BRAND: (2) STAY RELEVANT TO PEOPLE AND EVENT: CONNECT EMOTIONALLY AND PSYCHOSOCIALLY. (a) IN TUNE WITH THE CHANGING TIMES. (b) IN SYNC WITH PSYCHOGRAPHICS OF SPECIFIC AUDIENCE.

QUALITY TRAITS: EMCEE PAR EXCELLENCE


(A) X-FACTOR PERSONA: (I) DEVELOP AND RADIATE YOUR PERSONAL BRAND: (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?

QUALITY TRAITS: EMCEE PAR EXCELLENCE


(A) X-FACTOR PERSONA: (I) DEVELOP AND RADIATE YOUR PERSONAL BRAND: (3) CREATE BRAND AFFINITY: BE LIKEABLE.

(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.

QUALITY TRAITS: EMCEE PAR EXCELLENCE


(A) X-FACTOR PERSONA: (I) DEVELOP AND RADIATE YOUR PERSONAL BRAND: (3) CREATE BRAND AFFINITY: BE LIKEABLE.

(c) CHARISMA WITH HUMILITY.

QUALITY TRAITS: EMCEE PAR EXCELLENCE


(A) X-FACTOR PERSONA: (II) DEVELOP CHARISMATIC STAGE PRESENCE: (1) HOW TO ENHANCE YOUR CHARISMA: BE A PEOPLE MAGNET, GIFTED WITH ART OF PERSUASION.

QUALITY TRAITS: EMCEE PAR EXCELLENCE


(A) X-FACTOR PERSONA: (II) DEVELOP CHARISMATIC STAGE PRESENCE: (2) HOW TO ACQUIRE STAGE PRESENCE: OWN THE STAGE.

QUALITY TRAITS: EMCEE PAR EXCELLENCE


(A) X-FACTOR PERSONA: (III) GET INTO BEINGNESS: (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).

QUALITY TRAITS: EMCEE PAR EXCELLENCE


(A) X-FACTOR PERSONA: (III) GET INTO BEINGNESS: (2) DECLARE STATE-OF-BEING: INTERNALIZE , TO GET INTO THE RIGHT STATE-OF-MIND AND STATE-OF-HEART.

THEN, FLOW FROM YOUR UNCONSCIOUS.

QUALITY TRAITS: EMCEE PAR EXCELLENCE


(B) 10 QUALITY TRAITS TO SUPPLEMENT YOUR X-FACTOR PERSONA (1) THE POWER OF SELF-ESTEEM.

(2) THE DISCIPLINE TO TAKE FULL RESPONSIBILITY.


(3) THE POWER TO HARMONIZE, AND MOTIVATE AND INSPIRE.

QUALITY TRAITS: EMCEE PAR EXCELLENCE

(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.

QUALITY TRAITS: EMCEE PAR EXCELLENCE

(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.

QUALITY TRAITS: EMCEE PAR EXCELLENCE


(C) 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.

QUALITY TRAITS: EMCEE PAR EXCELLENCE


(C) CRISIS MANAGEMENT: (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.

QUALITY TRAITS: EMCEE PAR EXCELLENCE


(C) CRISIS MANAGEMENT: (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.

QUALITY TRAITS: EMCEE PAR EXCELLENCE


(C) CRISIS MANAGEMENT: (ii) TAKE CONTROL OF THE SITUATION. TAKE RESPONSIBILITY FOR DECIDED ACTION.

(iii) STAY COOL, AND COURTEOUS.

QUALITY TRAITS: EMCEE PAR EXCELLENCE


(C) CRISIS MANAGEMENT: (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.

QUALITY TRAITS: EMCEE PAR EXCELLENCE


(C) CRISIS MANAGEMENT: (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.)

QUALITY TRAITS: EMCEE PAR EXCELLENCE


(D) HALLMARK 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.

QUALITY TRAITS: EMCEE PAR EXCELLENCE


(D) HALLMARK OF A PRO EMCEE PAR EXCELLENCE:

(1) SHARP, FOCUSED, ALERT. PLUS, PRE-EMPTIVE OF CRISIS. (2) ADDING-VALUE, WITHOUT WASTING WORDS. (STAR-MAKER.) (3) ARTICULATE WITH IMPROMPTU

SITUATIONAL SPEAKING PERSUASION.

QUALITY TRAITS: EMCEE PAR EXCELLENCE


(D) HALLMARK OF A PRO EMCEE PAR EXCELLENCE:
(4) EMOTION-METER AND ENERGY BUILDER FOR AUDIENCE. (5) PR-SAVVY. (6) TIME-MANAGEMENT.

SCRIPTING GUIDE
INTRODUCTORY 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 OVERALL: 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 ~ (I) USE OF HUMOUR


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 ~ (I) USE OF HUMOUR


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 ~ (I) USE OF HUMOUR


TYPES OF HUMOUR AND MERITS OF EACH TYPE: (4) WIT. (5) ROAST. (6) SATIRE. (7) ETC.

NOTE: IDENTIFY YOUR INTRINSIC TALENT/SKILL FOR TYPE OF HUMOUR.

SCRIPTING GUIDE ~ (I) USE OF HUMOUR


TYPES OF HUMOUR AND MERITS OF EACH TYPE:

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) USE OF 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.

SCRIPTING GUIDE ~ (I) USE OF HUMOUR

(4) BRIDGING DEVICE.


(5) REPARTEE.

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


(7) ALLEVIATE CRISIS.

(8) BREAK MONOTONY.

SCRIPTING GUIDE ~ (I) USE OF 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 YOURE NOT GOOD AT HUMOUR!

(2) SOMBRE EVENTS, SUCH AS REFUGEE PLIGHT, FUNERAL EULOGY SERVICE, SERIOUS CHURCH WEDDING, ETC.

SCRIPTING GUIDE ~ (I) USE OF HUMOUR

(3) OFFICIOUS EVENTS, SUCH AS ROYALTY-PATRONAGE, BLACK-TIE AFFAIR.


(4) SPEAKER WITH SERIOUS MESSAGE. (5) PERFORMER OF SERIOUS NATURE.

SCRIPTING GUIDE ~ (II) AWARD PRESENTATION


AWARD PRESENTATION: INTRODUCTION: TYPES OF AWARDS (1) CONTEST. (2) EXCELLENCE IN SERVICE. | LONG-SERVICE. (3) RECOGNITION. (5) ETC. (4) ACHIEVEMENT.

SCRIPTING GUIDE ~ (II) AWARD PRESENTATION


AWARD PRESENTATION:

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).

SCRIPTING GUIDE ~ (II) AWARD PRESENTATION


AWARD PRESENTATION:

DOs:
(1) (B) INTRODUCING/CONDUCTING AWARD PRESENTATION: (a) DO STAY IN NEUTRAL MODE (PERSONA) ~ TOWARDS RESULTS OF NOMINATIONS OR WINNERS.

(b) DO BE DIGNIFIED.

SCRIPTING GUIDE ~ (II) AWARD PRESENTATION


AWARD PRESENTATION:

DO NOTs:
(2) (A) INTRODUCING/CONDUCTING AWARD PRESENTATION: (a) DO NOT EXPRESS SURPRISE, DISMAY, DISAPPOINTMENT, DISAGREEMENT TO RESULTS.

(b) DO NOT PRAISE THE WINNER.

SCRIPTING GUIDE ~ (IV) AWARD PRESENTATION


AWARD PRESENTATION: (c) DO NOT POKE FUN. (b) DO NOT COMMENT ON JUDGING/JUDGES.

SCRIPTING GUIDE ~ (III) 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 ~ (III) 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 ~ (IV) INTRODUCING SPEAKER


INTRODUCING SPEAKER: (1) FORMAT: (a) MENTION NAME OF SPEAKER. (b) SEMBLANCE OF SUBJECT. (c) CREDENTIALS: CREDIBILITY. PERSONAL BACKGROUND, ONLY WHERE

RELEVANT TO THE SUBECT TO BE PRESENTED.

SCRIPTING GUIDE ~ (IV) INTRODUCING SPEAKER


INTRODUCING SPEAKER: (d) FINAL ANNOUNCEMENT FLOW: NAME OF SPEAKER. TITLE OF SPEECH/PRESENTATION. (PAUSE.) TITLE AGAIN. NAME OF SPEAKER. (e) LEAD APPLAUSE.

SCRIPTING GUIDE ~ (IV) INTRODUCING SPEAKER


INTRODUCING SPEAKER: (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.

SCRIPTING GUIDE ~ (IV) INTRODUCING SPEAKER

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


CREATE ENOUGH INTEREST OR EXCITEMENT AND CREDIBILITY FOR AUDIENCE TO WANT TO LISTEN TO SPEAKER.

SCRIPTING GUIDE ~ (IV) INTRODUCING 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.

SCRIPTING GUIDE ~ (IV) INTRODUCING SPEAKER

(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) EMCEES RELATIONSHIP WITH SPEAKER. (C) PRESTIGE OF SPEAKER. (D) ETC.

SCRIPTING GUIDE ~ (IV) INTRODUCING SPEAKER

(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.

SCRIPTING GUIDE ~ (IV) INTRODUCING SPEAKER


INTRODUCING SPEAKER:

(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.)

SCRIPTING GUIDE ~ (IV) INTRODUCING SPEAKER

INTRODUCING SPEAKER:
(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.

SCRIPTING GUIDE ~ (IV) INTRODUCING SPEAKER


INTRODUCING SPEAKER: (c) DO NOT EXTRACT SOME OF SPEAKERS SCRIPT. (d) AT INTRODUCTION, OR PRIOR TO INTRODUCING SPEAKER, DO NOT: (i) OFFER LENGTHY OPINION, OR, (ii) MAKE A SPEECH ON THE SPEAKERS SAME SUBJECT OR TOPIC.

SCRIPTING GUIDE ~ (IV) INTRODUCING SPEAKER


INTRODUCING SPEAKER: (e) DO NOT STEAL THE THUNDER OR LIMELIGHT FROM THE SPEAKER.

YOUR TASK IS TO UPLIFT SPEAKER AND AUDIENCE, AND KEEP PROCEEDINGS SMOOTH.

SCRIPTING GUIDE ~ (IV) INTRODUCING SPEAKER


INTRODUCING SPEAKER: (h) DO NOT DISCLOSE CONTENTS OF SPEECH. (i) DO NOT SHOCK SPEAKER WITH IRRELEVANT OR CONTRADICTORY INTRO.

SCRIPTING GUIDE ~ (IV) INTRODUCING SPEAKER


INTRODUCING SPEAKER: (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 ~ (V) INTRODUCING PERFORMER


INTRODUCING PERFORMER:

(1) DOs:
(a) DO KNOW WHATS 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.

SCRIPTING GUIDE ~ (V) INTRODUCING PERFORMER


INTRODUCING PERFORMER: (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!

SCRIPTING GUIDE ~ (V) INTRODUCING PERFORMER


INTRODUCING PERFORMER: (e) BETTER STILL, FAKE YOUR INTEREST OR EXCITEMENT FOR THE NATURE OF PERFORMANCE, OR TYPE OF PERFORMANCE.

SCRIPTING GUIDE ~ (V) INTRODUCING PERFORMER


INTRODUCING PERFORMER:

(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.

SCRIPTING GUIDE ~ (V) INTRODUCING PERFORMER


INTRODUCING PERFORMER:

(2) DO NOTs:
(d) DO NOT MAKE PERFORMER OUT TO BE AMATEURISH, INEXPERIENCED. (e) DO NOT EXPECT AUDIENCE TO SYMPATHISE.

SCRIPTING GUIDE ~ (VI) PROGRAM


PROGRAM:

(1) DOs:
(a) DO INFORM AUDIENCE, AS EARLY AS POSSIBLE, OF WHATS 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 ~ (VI) PROGRAM


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.

SCRIPTING GUIDE ~ (VI) PROGRAM


PROGRAM: (e) DO KEEP FINALE TO BE THE MOST IMPORTANT TO AUDIENCE (DEPENDING ON OCCASION), TO MAXIMIZE AUDIENCE STAYING TILL THE END.

SCRIPTING GUIDE ~ (VI) PROGRAM


PROGRAM:

(2) DO NOTs:
(a) DO NOT CHANGE PROGRAM ELEMENTS, WITHOUT NOTICE. (b) DO NOT INTERCHANGE PROGRAM ELEMENTS, WITHOUT NOTICE.

SCRIPTING GUIDE ~ (VII) 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 ~ (VII) 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 ~ (VIII) 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.)

SCRIPTING GUIDE ~ (VIII) JUDGES/JUDGING

JUDGES/JUDGING:

(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.

SCRIPTING GUIDE ~ (VIII) JUDGES/JUDGING

JUDGES/JUDGING:
(d) DO NOT BE OPINIONATED.

(e) DO NOT JUDGE THE JUDGES.

SCRIPTING GUIDE ~ (IX) 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 ~ (IX) ORGANIZING COMMITTEE/ORGANIZING CHAIR


ORGANIZING COMMITTEE/ORGANIZING CHAIR:

(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 ~ (IX) ORGANIZING COMMITTEE/ORGANIZING CHAIR


ORGANIZING COMMITTEE/ORGANIZING CHAIR:

(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 GUIDE
I. MUSIC, SONGS, SOUND, SFX.

II. AUDIO VIDEO, MULTIMEDIA, ICT, LIGHTING, TECHNOLOGY, STAGE PROPS, STAGE HISTRIONICS.

ENHANCEMENT GUIDE ~ I. MUSIC, SONGS, SOUND, SFX


(1) 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 ~ I. MUSIC, SONGS, SOUND, SFX


(2) 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 ~ I. MUSIC, SONGS, SOUND, SFX


(2) 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 ~ I. MUSIC, SONGS, SOUND, SFX


(3) 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 ~ I. MUSIC, SONGS, SOUND, SFX


(4) WHERE (TO USE) ? (i) STAGE. (ii) NEAR STAGE ~ FRONT. (iii) CEILING. (iv) AND AS A SURPRISE FACTOR, ANYWHERE!

ENHANCEMENT GUIDE ~ I. MUSIC, SONGS, SOUND, SFX


(5) 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 ~ I. MUSIC, SONGS, SOUND, SFX


(5) WHO (TO EXECUTE) ? (iii) IN LIEU OF ABOVE PROFESSIONALS, EMCEE TO ENSURE ORGANIZING COMMITTEE ASSIGNS A FLOOR MANAGER FOR THIS ROLE, PLUS A MUSICMACHINE MANAGER.

ENHANCEMENT GUIDE ~ I. MUSIC, SONGS, SOUND, SFX


(6) 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 ~ I. MUSIC, SONGS, SOUND, SFX


(6) HOW (TO EXECUTE) ?

OTHERWISE, TO DROP IT

(USE OF MUSIC, SONGS, SOUND, SFX) FROM EVENT ENTIRELY!

ENHANCEMENT GUIDE ~ II. AUDIO-VIDEO, MULTIMEDIA, ICT, LIGHTING, TECHNOLOGY, STAGE HISTRIONICS, PROPS
(1) 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 ~ II. AUDIO-VIDEO, MULTIMEDIA, ICT, LIGHTING, TECHNOLOGY, STAGE HISTRIONICS, PROPS
(2) 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.

ENHANCEMENT GUIDE ~ II. AUDIO-VIDEO, MULTIMEDIA, ICT, LIGHTING, TECHNOLOGY, STAGE HISTRIONICS, PROPS
(2) WHEN (TO USE) ? (ii) LIGHTING, TECHNOLOGY: FOR STYLIZED IMPACT.

(iii) STAGE HISTRIONICS, PROPS: TO HEIGHTEN EXCITEMENT LEVEL.

ENHANCEMENT GUIDE ~ II. AUDIO-VIDEO, MULTIMEDIA, ICT, LIGHTING, TECHNOLOGY, STAGE HISTRIONICS, PROPS
(3) 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 ~ II. AUDIO-VIDEO, MULTIMEDIA, ICT, LIGHTING, TECHNOLOGY, STAGE HISTRIONICS, PROPS
(4) WHERE (TO USE) ? (i) STAGE. (ii) NEAR STAGE ~ FRONT. (iii) CEILING. (iv) AND AS A SURPRISE FACTOR, ANYWHERE!

ENHANCEMENT GUIDE ~ II. AUDIO-VIDEO, MULTIMEDIA, ICT, LIGHTING, TECHNOLOGY, STAGE HISTRIONICS, PROPS
(5) 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.

ENHANCEMENT GUIDE ~ II. AUDIO-VIDEO, MULTIMEDIA, ICT, LIGHTING, TECHNOLOGY, STAGE HISTRIONICS, PROPS
(6) 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.

ENHANCEMENT GUIDE ~ II. AUDIO-VIDEO, MULTIMEDIA, ICT, LIGHTING, TECHNOLOGY, STAGE HISTRIONICS, PROPS
(6) HOW (TO EXECUTE) ?

OTHERWISE, TO DROP IT

(USE OF AUDIO-VIDEO, MULTIMEDIA, ICT, LIGHTING, TECHNOLOGY, STAGE HISTRIONICS, PROPS) 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: (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) PRE-PREPARATION PHASE (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.

HOW TO PREPARE FOR EVENT~ II. PHASE BY PHASE PREPARATION


(A) PRE-PREPARATION PHASE (i) FIRM UP THE OBJECTIVE AND THEME FOR THE EVENT: (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.

HOW TO PREPARE FOR EVENT~ II. PHASE BY PHASE PREPARATION


(A) PRE-PREPARATION PHASE (i) FIRM UP THE OBJECTIVE AND THEME FOR THE EVENT: (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.

HOW TO PREPARE FOR EVENT~ II. PHASE BY PHASE PREPARATION


(A) PRE-PREPARATION PHASE (i) FIRM UP THE OBJECTIVE AND THEME FOR THE EVENT: (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.

HOW TO PREPARE FOR EVENT~ II. PHASE BY PHASE PREPARATION


(A) PRE-PREPARATION PHASE (i) FIRM UP THE OBJECTIVE AND THEME FOR THE EVENT: (3) KNOW THE TEAM: ENSURE THE RESPECTIVE AREAS OF ORGANIZING AN EVENT ARE TAKEN CARE OF BY THE COMMITTEE OR SUBCOMMITTEES. IF NECESSARY, MEET UP WITH THE RESPECTIVE PERSONSIN-CHARGETO CHECK WHETHER THEY HAVE THE EXPERIENCE TO HANDLE THEIR AREAS OF RESPONSIBILITIES.

HOW TO PREPARE FOR EVENT~ II. PHASE BY PHASE PREPARATION


(A) PRE-PREPARATION PHASE (ii) DEFINE 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:

HOW TO PREPARE FOR EVENT~ II. PHASE BY PHASE PREPARATION


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

HOW TO PREPARE FOR EVENT~ II. PHASE BY PHASE PREPARATION


(A) PRE-PREPARATION PHASE (ii) DEFINE THE RESPECTIVE AREAS OF RESPONSIBILITIES: (d) STAGE LOGISTICS. (e) PRESENTATION FACILITIES. (f) ASSISTANTS TO PRESENTERS/SPEAKERS/PERFORMERS, INCLUDING HANDLING/OPERATING COMPUTER NOTEBOOKS, ETC.

HOW TO PREPARE FOR EVENT~ II. PHASE BY PHASE PREPARATION


(A) PRE-PREPARATION PHASE (ii) DEFINE THE RESPECTIVE AREAS OF RESPONSIBILITIES: (g) PERSON COORDINATING WITH PRESENTERS/SPEAKERS/PERFORMERS. (h) FOOD & BEVERAGE. (i) AWARD PRESENTATION/SOUVENIR PRESENTATION.

HOW TO PREPARE FOR EVENT~ II. PHASE BY PHASE PREPARATION


(B) FINAL PREPARATION PHASE:

ALIGNING EVERYTHING TO CONFIRMED OBJECTIVE AND THEME, TO ACHIEVE CONGRUENCY.

HOW TO PREPARE FOR EVENT~ II. PHASE BY PHASE PREPARATION


(B) FINAL PREPARATION PHASE: (i) EVENT DETAILING (a) DEFINITION OF: * OBJECTIVE OF EVENT. * THEME OF EVENT.

HOW TO PREPARE FOR EVENT~ II. PHASE BY PHASE PREPARATION


(B) FINAL PREPARATION PHASE: (i) EVENT DETAILING (b) RESEARCH AND SOURCING FOR RELEVANT PERSONS, OUTFITS, PROPS, MATERIALS: * COSTUMING. * MUSIC & SONGS/SOUND/SFX/GIMMICKS. * STAGE DESIGN/DCOR/ETC. * ENTERTAINMENT: PRODUCTION HOUSES, ENTERTAINMENT AND PERFORMING ARTS PROVIDERS, MODELLING AGENCIES, ETC.

HOW TO PREPARE FOR EVENT~ II. PHASE BY PHASE PREPARATION


(B) FINAL PREPARATION PHASE: (i) EVENT DETAILING (b) RESEARCH AND SOURCING FOR RELEVANT PERSONS, OUTFITS, PROPS, MATERIALS: * SPEAKERS/PERFORMERS/ENTERTAINERS. * LAUNCH IDEAS/OPENING GAMBIT.

HOW TO PREPARE FOR EVENT~ II. PHASE BY PHASE PREPARATION


(B) FINAL PREPARATION PHASE: (ii) FINALIZING PROGRAM ELEMENTS AND FLOW: (a) RECONFIRM PROGRAM ELEMENTS WITH ORGANIZER/CLIENT. (b) MEET UP WITH SPEAKERS, PERFORMERS, ENTERTAINERS. (c) PROCEED WITH SCRIPTING STRUCTURE.

HOW TO PREPARE FOR EVENT~ II. PHASE BY PHASE PREPARATION


(B) FINAL PREPARATION PHASE: (iii) EMCEE GROOMING AND APPEARANCE: (a) DRESSING GUIDE: * DRESS TO THE OCCASION/THEME. * SAME LEVEL AS AUDIENCE, OR HIGHER.

HOW TO PREPARE FOR EVENT~ II. PHASE BY PHASE PREPARATION


(B) FINAL PREPARATION PHASE: (iv) FINAL CHECK WITH ORGANIZER/CLIENT, TO GET ENDORSEMENT: (a) PROGRAM ELEMENTS AND FLOW. (b) EMCEES GROOMING AND APPEARANCE. (c) EMCEES SCRIPT ~ CONFIRM/MAKE FINAL ADJUSTMENTS. (d) ACTUAL NARRATON OF FINAL SCRIPT, AND ACTUAL EXECUTION OF PROGRAM ACTIVITIES ~ NO SURPRISE FOR ORGANIZER/CLIENT.

HOW TO PREPARE FOR EVENT~ II. PHASE BY PHASE PREPARATION


(B) FINAL PREPARATION PHASE: (v) 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.

HOW TO PREPARE FOR EVENT~ II. PHASE BY PHASE PREPARATION


(B) FINAL PREPARATION PHASE: > ONE 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.

HOW TO PREPARE FOR EVENT~ II. PHASE BY PHASE PREPARATION


(B) FINAL PREPARATION PHASE: > ONE 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.

HOW TO PREPARE FOR EVENT~ II. PHASE BY PHASE PREPARATION


(B) FINAL PREPARATION PHASE: > DAY OF EVENT: (a) VENUE/LOGISTICS CHECK * ARRIVE VERY EARLY, FOR LAST CHECK, USING YOUR

EMCEE CHECKLIST.
PLUS: * GET ORIENTED TO ENVIRONMENT, AUDIENCE AND GOINGS-ON.

HOW TO PREPARE FOR EVENT~ II. PHASE BY PHASE PREPARATION


(B) FINAL PREPARATION PHASE: > DAY OF EVENT: * 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.

HOW TO PREPARE FOR EVENT~ II. PHASE BY PHASE PREPARATION


(B) FINAL PREPARATION PHASE: > DAY OF EVENT: (b) STATE OF PERSONA OF EMCEE

* BUILD CONFIDENCE THROUGH RAPPORT WITH SPEAKERS, PERFORMERS, AUDIENCE.


* STAY IN RELAXED AND RESOURCEFUL STATE.

HOW TO PREPARE FOR EVENT~ II. PHASE BY PHASE PREPARATION


(B) FINAL PREPARATION PHASE: > DAY OF EVENT: (b) STATE OF PERSONA OF EMCEE

* CHARISMA: PRESENCE, POSITIVE ENERGY, POISE, CHARM-PERSONALITY, SELF-ESTEEM (SELF-COFIDENCE & SELF-RESPECT), BEING IN COMMAND.

HOW TO PREPARE FOR EVENT~ II. PHASE BY PHASE PREPARATION


(B) FINAL PREPARATION PHASE: > DAY OF EVENT: (b) STATE OF PERSONA OF EMCEE

* MOOD & TONE: USE HUMOUR (WHEN RELEVANT), ONELINERS, SHORT QUIPS, TO BRIDGE SPEAKERS OR PERFORMERS. BUT, NOT TO REHASH SPEAKERS WORDS. * NEVER OVERTALK.
* DO NOT STEAL THE LIMELIGHT FROM THE STARS.

HOW TO PREPARE FOR EVENT~ II. PHASE BY PHASE PREPARATION


(B) FINAL PREPARATION PHASE: > DAY OF EVENT: (b) STATE OF PERSONA OF EMCEE

* FOCUS ON THE EVENTS OBJECTIVE/THEME: MIRROR THE OBJECTIVE AND THEME OF THE EVENT, VIA CONGRUENT SCRIPT, KEY MESSAGE AND BRIDGING PHRASESENHANCED BY WORD-MASTERY, VOCAL TONALITY SPECTRUM AND PURPOSEFUL BODY LANGUAGE.

HOW TO PREPARE FOR EVENT~ II. PHASE BY PHASE PREPARATION


(B) FINAL PREPARATION PHASE: > DAY OF EVENT: (b) STATE OF PERSONA OF EMCEE

* RESONATE EHTHUSIASM FROM START TO FINISH.


* KEEP THE AUDIENCES ENERGY UP.

HOW TO PREPARE FOR EVENT~ II. PHASE BY PHASE PREPARATION


(B) FINAL PREPARATION PHASE: > DAY OF EVENT: (b) STATE OF PERSONA OF EMCEE

* (WHILE INDIVIDUALS COULD BE ASSIGNED TO LOOK INTO PROBLEM AREAS) THE EMCEE SHOULD KEEP AN

EYE ON DISSATISFACTION AREAS, AND ADDRESS THEM SOONEST.

HOW TO PREPARE FOR EVENT~ II. PHASE BY PHASE PREPARATION


(B) FINAL PREPARATION PHASE: > DAY OF EVENT: (b) STATE OF PERSONA OF EMCEE

* IN THE FACE OF CRISES, ALWAYS STAY COURTEOUS. YOU ARE TO BE NEVER AFFECTED BY PROBLEMS OR TECHNICAL HITCH-UPS, ETC.

HOW TO PREPARE FOR EVENT~ II. PHASE BY PHASE PREPARATION


(B) FINAL PREPARATION PHASE: > DAY OF EVENT: (c) LET THE SHOW BEGIN!

* HOLD ON TO YOUR SCRIPT!


* STAY TO THE PREPARED SCRIPT, OR THE ESSENCE OF THE PREPARED SCRIPT.

HOW TO PREPARE FOR EVENT~ II. PHASE BY PHASE PREPARATION


(B) FINAL PREPARATION PHASE: > DAY OF EVENT: (c) LET THE SHOW BEGIN!

* (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.

HOW TO PREPARE FOR EVENT~ II. PHASE BY PHASE PREPARATION


(B) FINAL PREPARATION PHASE: > DAY OF EVENT: (c) LET THE SHOW BEGIN!

* KEEP TO YOUR OWN TERRITORY.


* KEEP PEOPLE/BUSYBODIES AWAY FROM YOUR EMCEE TERRITORY. * DO NOT SOCIALIZE.

HOW TO PREPARE FOR EVENT~ II. PHASE BY PHASE PREPARATION


(B) FINAL PREPARATION PHASE: > DAY OF EVENT: (c) LET THE SHOW BEGIN!

* 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.

HOW TO PREPARE FOR EVENT~ II. PHASE BY PHASE PREPARATION


(B) FINAL PREPARATION PHASE: > DAY OF EVENT: (c) LET THE SHOW BEGIN!

* 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.

HOW TO PREPARE FOR EVENT~ II. PHASE BY PHASE PREPARATION


(B) FINAL PREPARATION PHASE: > DAY OF EVENT: (c) LET THE SHOW BEGIN!

* 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 GUIDE: EVALUATION FOR SELF-IMPROVEMENT, AND TO SET NEW 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.

REVIEW FOR FUTURE PROGRESS


(A) LEARN FROM EXPERIENCES AND FEEDBACKS. * OWN SELF-EVALUATION. * AUDIENCE FEEDBACKS. * ORGANIZERS/CLIENTS FEEDBACKS

REVIEW FOR FUTURE PROGRESS


(B) GROW FROM EXPERIENCES AND FEEDBACKS. IDENTIFY STRENGTHS AND WEAKNESSES (i) SELF: > PRO EMCEE STRENGTHS IDENTIFY, AND STRATEGIZE TO HIGHER EFFECTIVENESS. > PRO EMCEE WEAKNESSES IDENTIFY, AND CLOSE THE GAP.

REVIEW FOR FUTURE PROGRESS


(B) GROW FROM EXPERIENCES AND FEEDBACKS. IDENTIFY STRENGTHS AND WEAKNESSES (ii) NON-SELF (OTHERS): EXAMPLE : SLIP-UPS, OVERSIGHTS (a) ORGANIZER. (b) LOGISTICS. (c) MUSIC/SONGS/SOUND/SFX (d) AUDIO-VIDEO/MULTIMEDIA/ICT/TECHNOLOGY/ STAGE HISTRIONICS/PROPS

REVIEW FOR FUTURE PROGRESS


(C) POST-MORTEM WITH ORGANIZER/CLIENT. (a) EDUCATE YOURSELF FOR FUTURE EMCEE ASSIGNMENTS.

(b) EDUCATE THE ORGANIZER/CLIENT.

REVIEW FOR FUTURE PROGRESS


(D) 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) HOW TO PLAN AND TIME THE PROGRAM (1) THEME-FOCUS (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.

PROGRAMMING AND TIMING


(A) HOW TO PLAN AND TIME THE PROGRAM (1) THEME-FOCUS (ii) START WITH A BANG. (a) AN AROUSING OPENING GAMBIT, ESTABLISHES A QUICK BONDING WITH THE AUDIENCE.

PROGRAMMING AND TIMING


(A) HOW TO PLAN AND TIME THE PROGRAM (1) THEME-FOCUS (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.

PROGRAMMING AND TIMING


(A) HOW TO PLAN AND TIME THE PROGRAM (1) THEME-FOCUS (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.

PROGRAMMING AND TIMING


(A) HOW TO PLAN AND TIME THE PROGRAM (1) THEME-FOCUS (v) ALTERNATE TO FINALE. (a) A PROGRAM ELEMENT OF SELFISHINTEREST/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.

PROGRAMMING AND TIMING


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

PROGRAMMING AND TIMING


(A) HOW TO PLAN AND TIME THE PROGRAM (2) TIMING (iii) ALWAYS BUILD IN BUFFER FOR EVERY PROGRAM ELEMENT. (iv) FACTOR IN TIME FOR DELAY IN ARRIVAL OF HIGHLEVEL GUEST OF HONOUR, AND VIP DIGNITARIES.

PROGRAMMING AND TIMING


(B) MOCK PROGRAM

(REFER TO APPENDIX 1 IN WORKBOOK.)

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 (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 (1) FINALIZE PROGRAM ELEMENTS.

EMCEE CHECKLIST
(B) HOW TO PREPARE EMCEE CHECKLIST (2) CLASSIFY INTO CATEGORIES:

EXAMPLE:
(i) EMCEE PREREQUISITES.
(ii) PROGRAM FLOW AND LOGISTICS. (iii) ORGANIZING COMMITTEE.

EMCEE CHECKLIST
(B) HOW TO PREPARE EMCEE CHECKLIST (2) CLASSIFY INTO CATEGORIES:

EXAMPLE:
(iv) VENUE AND ALL FACILITIES/ACTIVITIES WITHIN AND WITHOUT.
(v) PROTOCOL/DECORUM/FORMALITIES. (vi) SPEAKERS AND PERFORMERS.

EMCEE CHECKLIST
(B) HOW TO PREPARE EMCEE CHECKLIST (2) CLASSIFY INTO CATEGORIES:

EXAMPLE:
(vii) LAUNCHING CEREMONY DEVICE/GIMMICK.
(viii) AWARD PRESENTATION CEREMONY.

(ix) TOKENS OF APPRECIATION/SOUVENIR PRESENTATION.

EMCEE CHECKLIST
(B) HOW TO PREPARE EMCEE CHECKLIST (2) CLASSIFY INTO CATEGORIES:

EXAMPLE:
(xi) CONTESTS.
(xii) LUCKY DRAW/CONTEST DRAW.

(xiii) FOOD & BEVERAGE.

EMCEE CHECKLIST
(B) HOW TO PREPARE EMCEE CHECKLIST (2) CLASSIFY INTO CATEGORIES:

EXAMPLE:
(xiv) AUDIENCES AND GUESTS COMFORT.
(xv) ETC.

EMCEE CHECKLIST
(C) SAMPLE EMCEE CHECKLIST

(REFER TO APPENDIX 2 IN WORKBOOK.)

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 PRACTICALS

(REFER TO APPENDIX 3 IN WORKBOOK.)

HOW TO BE A PROFESSIONAL EMCEE


Copyright 2002 by Author BRANDJONTAN Jon Tan All Rights Reserved.

brandjontan@brandjontan.com www.brandjontan.com