| Like most good achievements, a magnificent | | | | you will fail to meet your conference mission. To |
| meeting depends on planning and preparation. | | | | ensure that you get the right speakers, prepare |
| These are essential to a good conference and this | | | | yourself a 'Speaker's Contract'. This is a list of |
| article explains the basics of what you need to | | | | requirements that you have of your speakers. |
| do.Planning | | | | When you invite someone to speak, you let them |
| The first stage in organising any conference is | | | | sign up to the contract; if they don't like it, there |
| planning. Your plan should start with these | | | | are plenty of other speakers around. Professional |
| questions: | | | | speakers never have a problem with such |
| What do we want our audience to go home and | | | | contracts. In fact, they like them. |
| say about the meeting, apart from the fact that | | | | Suitable speakers are those that can deliver your |
| they had a great time? | | | | key messages - not necessarily the most senior |
| What is the key message we want our audience | | | | people in the business or an expert. Base your |
| to remember? | | | | decision on who should speak based on their ability |
| What action do we want our audience to take | | | | to communicate with your audience - not on any |
| after attending this conference? | | | | other measure. This means, for instance, that the |
| In other words, start your planning with your | | | | best person to get a particular message across |
| meeting's overall objectives. Write these | | | | might be a senior manager, rather than the chief |
| objectives down and ensure that everyone | | | | executive. This does not matter - what does |
| involved knows them - from people who hand | | | | matter is that the audience gets the message, |
| out the coffee to the speakers themselves. The | | | | not who they get it from. Indeed, some large |
| answers to these questions will be your mission | | | | multinationals use actors to get important |
| statement for the meeting. You must have a | | | | messages across, rather then senior |
| clear set of simple objectives for your meeting | | | | executives.Speaker preparation |
| otherwise it will fail.Having set your objectives you | | | | Having selected your speakers and got them to |
| will need to work out how you will achieve them. | | | | sign up to your contract, the next stage of |
| Challenge all your assumptions about your | | | | preparation is working with them to write their |
| proposed conference. For instance: | | | | talks. Under no circumstances should you allow a |
| Do you actually need a conference to achieve | | | | speaker to do this alone. If you do, you will lose |
| your objectives? Will some other kind of meeting | | | | control over your messages and your overall |
| or even no meeting do? | | | | conference mission. In other words, speakers are |
| Do you need one big meeting or a number of | | | | going to need to work closely with you and |
| small, more intimate ones? | | | | accept their talks being edited - even written for |
| Does the meeting need to be a grand formal | | | | them. In fact, many top company conferences |
| affair, or an informal get-together? | | | | use scriptwriters who produce all of the talks for |
| | | | all of the speakers. That way the delivery of key |
| In other words, just because you have been set | | | | messages and the conference mission is tightly |
| the task of organising a conference, does not | | | | controlled. Of course, this does not mean your |
| mean you have to! If there is an alternative, | | | | speakers can have no input. Their contributions |
| superior method of achieving your objectives, | | | | are highly valuable. It just means you need to get |
| choose that route instead. Do not opt for a | | | | them to work with a professional writer who can |
| conference just because it seems a good | | | | take their material and shape into something that |
| idea.Choose your key messages | | | | fits with the overall conference objectives. |
| Assuming you have set your sights on a | | | | Speakers will usually only be interested in their |
| conference, you'll now need to work out what | | | | talk; hence they can disturb the balance of the |
| messages you want to convey. These will arise | | | | meeting as they are not properly focused on the |
| from your mission statement. It is worthwhile | | | | conference as a whole. Using a scriptwriter means |
| noting, though, that there is plenty of research to | | | | that you can ensure that the meeting does not |
| back up the fact that your audience - no matter | | | | become unbalanced in any way.Preparing audio |
| how expert - will only remember a handful of | | | | visuals |
| messages from your meeting. Typically, the | | | | The scripts for each talk can be the basis for |
| average conference day can only deliver four or | | | | the preparation of visuals for the conference. |
| five main messages. | | | | Often, speakers fall into the trap of preparing |
| Once you have set out your key messages, | | | | their slides and then trying to write their talk |
| work out the order in which these will make most | | | | around them. This means presentations can often |
| sense. Try to produce a logical sequence so that | | | | drift and lose the attention of the audience as |
| one key message clearly comes out of the | | | | they are not tightly controlled. By writing the |
| previous one. This will make it much easier for | | | | words first, it is possible to choose visuals that |
| your audience to remember the meeting. Do not | | | | are much more accurately linked to the material |
| put your messages together in some kind of | | | | being said. Also, being able to read the text of a |
| internal sequence, such as by company | | | | talk allows graphic artists to be more creative as |
| department. Instead, put your messages together | | | | they know exactly what the speaker is trying to |
| that would be seen as logical by the audience. If | | | | convey. Never start a talk with visuals - always |
| you do not know what would be logical to them, | | | | write the text first and add the visuals |
| you need to do some audience research to find | | | | later.Preparing the venue |
| out. Indeed, finding out as much as you can about | | | | You have now reached the stage where you |
| your audience is essential to any meeting.Describe | | | | have a detailed timetable of the programme, the |
| your audience | | | | words that will be said and the visuals that will |
| You now have a good idea as to what you want | | | | accompany them. You now need to make sure |
| to say at your conference. But who will be | | | | that the environment in which all this activity will |
| listening? You need a definition of your audience | | | | take place is set up to help you achieve your |
| that will help everyone involved. Your audience | | | | mission. You will need to visit the venue a number |
| definition should describe a typical member of the | | | | of times to prepare efficiently and effectively. |
| audience - age, gender, job title, work interests, | | | | You will need to look out for the ways in which |
| personal likes and dislikes, professional qualifications | | | | your audience will pass through the building - gain |
| etc. Together with your conference mission | | | | a good idea of 'foot flow'. Make sure the building is |
| statement and your key messages, your | | | | going to help you achieve what you want. If |
| audience description will provide you with a very | | | | modifications are needed, such as barriers or |
| clear outline of your meeting. Together these | | | | signage, get them organised now. You will also |
| three items will tell you: | | | | need to work out items like seating arrangements |
| What you will say | | | | for the audience and the speakers, as well as |
| Why you will say it | | | | lighting, acoustics and a host of other 'production' |
| Who will be listening | | | | factors. If you are not experienced in this aspect |
| What they will do | | | | of conference organisation, you will need the |
| | | | advice of a professional conference director or a |
| Your audience description will also provide your | | | | conference production company. Don't make the |
| speakers with a good guide as to what they need | | | | mistake of getting these people in after you have |
| to say in order to get their message across. | | | | made your decisions about the venue and your |
| Knowing who they are speaking to is a | | | | meeting. Get these people in early; seek their |
| tremendous boost for speakers as they can | | | | advice and their input to your preparation. These |
| much more accurately target their talks.You have | | | | people organise many conferences and know all |
| now completed all the main parts of your initial | | | | the problems - and more importantly can come |
| planning and your need to move on to detailed | | | | up with solutions to any difficulties you may face. |
| preparation.Preparing your conference | | | | If you have already organised your mission |
| The first stage of preparation is script writing. | | | | statement for the meeting and drawn up your list |
| You need at the very least an outline script of | | | | of key messages, a conference producer will be |
| your event. Often, people produce a conference | | | | so much more able to help.Practising |
| programme that shows the timings and the list of | | | | Under no circumstances should you allow a |
| speakers. But this is not enough. Your outline | | | | conference to go ahead without rehearsal. |
| script needs to be much more than a simple | | | | Otherwise, the event itself will be the first |
| programme. That's because everyone involved in | | | | rehearsal. Can you imagine seeing a play's first |
| the conference needs to know exactly what will | | | | rehearsal? Even professional actors can improve |
| happen, when it will occur and how it will take | | | | upon their first attempts. Yet, you are likely to be |
| place. Otherwise, it might not be possible to | | | | using people without such skills as your |
| ensure you meet your conference mission.Your | | | | presenters. Hence, their first rehearsal is almost |
| script should start with the logical order of your | | | | certainly going to be quite bad, compared with the |
| key messages you produced in the planning stage. | | | | final performance. If you do not have any |
| Then allocate some timing to each message. | | | | rehearsals, your conference will be nothing more |
| Generally, no key message should take longer | | | | than a bunch of amateurs trying to do their best, |
| than 20-30 minutes to deliver; the human | | | | and probably failing. You simply must rehearse; |
| attention span is comparatively short and you'll | | | | otherwise you will be unable to meet your |
| need plenty of breaks to keep your audience | | | | objectives.Ideally, you should rehearse each |
| 'alive' and 'fresh'. Also, at this stage, decide where | | | | speaker alone, several weeks in advance. Get a |
| to hold your long breaks, like coffee, lunch and so | | | | presentations coach to guide them through some |
| on. These long breaks should always come in your | | | | key improvements and to help them learn some |
| programme at dramatic points. You will want to | | | | stage skills. If you have people who are new to |
| leave your audience with something powerful to | | | | speaking at conferences, get them some basic |
| talk about so make sure the key message | | | | training. Then, get your speakers together so |
| delivered before a break is controversial, | | | | they can perform a 'run through'. In this way, |
| emotional or surprising in some way. This will keep | | | | everyone will know what will take place and the |
| your audience on their toes and wanting to come | | | | order of the event. They will also get a 'feel' for |
| back into the room for more. This means you | | | | the detailed timetable. These kinds of rehearsals |
| may well need to arrange breaks at unusual | | | | can be in any large room - a hotel, a village hall, it |
| timings - don't opt for coffee at 11am, for | | | | doesn't really matter. However, you will also want |
| instance, because that is 'normal'. Instead, put | | | | your speakers to feel comfortable with the |
| coffee immediately after a controversial | | | | venue, so you will need them to run through their |
| message, even if it means breaking for coffee at | | | | talks on the actual stage they will be using. Do this |
| 10.30 or 11.30. In other words, shape your | | | | a week or two in advance, so they can go away |
| meeting around the messages, not tradition. By | | | | and think about any changes in delivery they need |
| arranging your timing in this way, you will be | | | | to make and get a chance to practice them. |
| helping to ensure the maximum impact of your | | | | Finally, the day before the conference you should |
| key messages and therefore supporting your | | | | have a full 'dress rehearsal' - lights, cameras, |
| conference mission. | | | | visuals etc. Only then will your conference mission |
| Your conference script can now have some | | | | be achievable. To do any less is to accept second |
| detail added to it. For instance, you can now put | | | | best.Guiding your helpers |
| some specific times onto your programme. These | | | | Throughout the conference planning and |
| would include the length of each presentation, the | | | | organising process you will doubtless have a team |
| length of each link between talks and the timing | | | | of assistants, from admin to graphic artists to |
| of any music, video or other multimedia you are | | | | people who hand out the badges to the audience. |
| planning to include. In other words, your | | | | All of these people should know what is happening |
| conference script that determines how long a | | | | at every stage of the process. For this reason |
| video or a presentation will be - not the items | | | | you should produce a complete guide to the |
| that determine the programme timing. Essentially, | | | | conference - a manual for the team involved. This |
| you are working much like a TV producer; these | | | | should show all the detailed times, include |
| people have fixed times available to them - 30 | | | | important information about the venue, the hotels |
| minutes, 50 minutes, an hour. What they have to | | | | being used and so on. Make sure all the important |
| do is fit all the music, the dialogue and any breaks | | | | contact information is included and instructions are |
| into that time - no less and no more. That's what | | | | added as to what to do in all sorts of |
| a professional conference script will be like - | | | | eventualities. This manual will be the 'bible' which |
| detailed timings of every item to be included. Far | | | | every 'back stage' participant will need to use to |
| too many conferences decide what to include and | | | | ensure the event runs smoothly. In the |
| then try to work the timings out | | | | professional theatre, such manuals are an |
| afterwards.Choosing your speakers | | | | established means of ensuring the production runs |
| Your preparation can now move on to deciding | | | | smoothly. Initially developed by the producer, |
| whom you should use as speakers. You will realise | | | | these manuals eventually become the stage |
| that you have done a great deal of work already, | | | | manager's rulebook for running the show. Your |
| and that the speakers will have to fit in with your | | | | manual should do just the same.On the day |
| plans if the conference is to be a success. You do | | | | Firstly, don't worry. Secondly, don't panic. If you |
| not need prima donnas who say they need an | | | | have done all the planning and preparation |
| hour to give their talk when your script only | | | | thoroughly, any difficulties at this stage will be |
| allows 20 minutes. Nobody, absolutely nobody, is | | | | minor. Whatever happens 'the show must go on'. |
| more important than your audience. Hence, the | | | | So, sit back and enjoy watching the audience |
| script that has been prepared from their point of | | | | have a good time. If you have planned it |
| view is virtually sacrosanct. Speakers will need to | | | | effectively, they will. Well done.Graham Jones runs |
| be the kind of people who will fit in with your | | | | The Presentation Business at to help you make |
| requirements; you cannot allow yourself to fit | | | | great presentations and run magnificent meetings. |
| your programme around the speakers. Otherwise, | | | | |