Karin M. Reed is the CEO of Speaker Dynamics, a communications firm based in Raleigh, North Carolina. She has made a career out of communicating on camera as an award-winning broadcast journalist, spokesperson, and executive communications specialist. Karin has been a trusted trainer and consultant for organizations ranging from early-stage start-ups to Fortune 500companies. She empowers her clients, whether they come from the C-suiteor the sales force, to speak with ease to any audience on any platform. Her methodology is based on more than 20 years of personal presentation prowess and the understanding that the best speakers are steeped in authenticity.

• Wiley & SAS Business Series ii Preface xviiAcknowledgments xixSection One The Inescapable Reality—We All Have to Communicate through a Camera 1Chapter 1 Why You Need to Read This Book 3The Power and Pervasiveness of Video 5The Decline of the Professional Spokesperson 6The Global Communication Tool of Choice 7Hiring by Skype 8The Perils of Video 9How Reading This Book Can Improve Your On-Camera Performance 9What You Will Need 10Topics to Be Discussed 10Chapter Takeaways 11Notes 11Chapter 2 Why the Camera Changes Everything 13My “Aha!” Moment 16A Camera Changes Everything 17No Immediate Feedback 17Your Own Worst Critic 18Recorded for Posterity 19Unfamiliar Territory 20The Archenemy of Performance Success: You 21The Key to On-Camera Success: Authenticity 22Chapter Takeaways 24Section Two The MVPs of Performance Success 25Chapter 3 M—Mental Mind-set: The Prep before the Performance 27Reaching the Real Audience 28Visualize the Viewer 30Video Chat: Now You See Me, Now You Don’t 30Embrace Your Nervousness 32Passion Play 33Beware of Brain Cramps 33The Bottom Line: It’s Not about You 35Chapter Takeaways 38Note 39Chapter 4 V—Vocal Variety: Pacing and Pausing with Purpose 41The Musicality of Your Delivery—What’s Your Range? 42What Is Vocal Variety? 42Natural versus On-Camera Inflection 43Setting Your Pace with the Viewer in Mind 44Finishing Your Thoughts 45Using the Power of the Pause 45Pause for You 45Filler Words as Placeholders 47Pause for Them 47The Lowdown on Uptalk 49The Most Common Uptalk Trouble Spot 50Chapter Takeaways 54Note 54Chapter 5 P—Physical Factors: On-Camera Movement with Meaning 55On-Camera Gesturing: An Out-of-Body Experience 56Getting Familiar with Frame Size 58Gestures for a Tight Shot 58Gestures for a Medium Shot 58Gestures for a Wide Shot 59Gestures as a Retention Tool 60The Role of Off-Camera Movement 61Posture Pointers 61Standing While on Camera 62The Metronome Effect 62Going for a Walk 62Sitting While on Camera 63Crossed Legs 64Leaning In or Out 64Step In to Start 65Making Eye Contact When You Can’t See Your Audience 66Look Away 66Performance Pitfalls: Eye Contact Errors 67Vary Your Angle 68Look Up 68Chapter Takeaways 72Notes 72Section Three Ready to Wear . . . or Not 73Chapter 6 Looking the Part—Wardrobe 101 75Match Audience Expectations 77Boring Is Best 78Spin the Color Wheel 78Special Consideration: Green-Screen Shoots 79Solids: A Solid Choice 80Putting on the Pounds 82Dress Right for the Mic 82Pack Placement 83Microphone Placement 83Jewelry Jukebox and Light Show 84Your Fifth Appendage: A Smartphone 85Additional Considerations for Men 85Sock Style 86The Uniform Look 87To Button or Not to Button? 87Chapter Takeaways 88Notes 88Chapter 7 Hair and Makeup 89Hair Hassles 91On-Camera Makeup Musts for Women 92What You Need in Your Kit 93Moisturizer 93Foundation 93Powder 94Eye Makeup 94Cheeks 94Lip Color 95Makeup for Men 95Glasses or No Glasses 96Chapter Takeaways 97Section Four Best Practices for Creating Your On-Camera Message  99Chapter 8 Organizing for the Ear 101The Rule of Three 102Applying the Rule of Three On Camera 103Rule of Three via Skype 104Your Core Message 105The Rule of Three Expanded 106Repetition, Repetition, Repetition 107Chapter Takeaways 108Note 108Chapter 9 Writing for the Spoken Word 109The Challenges of Reading Written Prose Aloud 110Why the Whisper Test Won’t Work 111Writing Tip 1: Keep It Short 111Writing Tip 2: Don’t Fear the Grammar Police 112Writing Tip 3: See Spot . . . Be Bored 113Exercises for Writing the Way You Speak 113Chapter Takeaways 116Note 117Section Five How to Read without Sounding Like You Are  119Chapter 10 Marking Your Script 121Step One: Smooth Out the Script 123Step Two: Add Phonetics Where Appropriate 123Step Three: Mark with Meaning 125New vs. Old 126The Name Stress Principle 128How to Mark Your Copy for Emphasis 129Emphasis Obstacles 130Beware of Connotations 130Too Much Stress 131Step Four: Place Your Pauses 131The Short Pause 132The Power Pause 132Marking Your Pauses 134Pause Practice Example 134Pause Pitfalls 135It All Comes Down to This  136Chapter Takeaways 137Script Marking Exercises Answer Key 138Notes 140Chapter 11 Tackling the Teleprompter 141Lessons Learned from Michael Bay’s Implosion 143Lesson 1: Know Your Content 143Lesson 2: Know Your Script 143Lesson 3: Stay in the Moment 144Teleprompter-Friendly Copy: Best Practices 144Read Your Script in the Prompter before Your Performance 145Effective Visual Cues in Teleprompter Copy 146Options for Marking Emphasis 146Options for Marking Pauses 147Visual Cues Are Guides, Not Absolutes 149The Role of the Teleprompter Operator 149A Second Set of Eyes 150Adjusting Font Size 150Following the Leader 150Editing on the Fly 151No Mind Reading 151Adjusting the Read Line 152Prompter Practice Made Possible 152The Proliferation of Prompter Software 153Control the Scroll 153Watch Yourself 154Lost in the Teleprompter 154Chapter Takeaways 155Note 155Section Six The Most Common On-Camera Performance Scenarios 157Chapter 12 Presenting Directly to the Camera in a Studio Setting 159Considerations for Corporate Video 161A Lesson from TV News 161Does Length Matter? 162How Much Face Time Is Too Much? 163Preparing for the Shoot 164Creating Your Content 164Identifying Your Viewer 164Writing the Way You Speak 165Marking for Meaning 165Practice, Practice, Practice 166Looking the Part 167Microphone Matters 167Hair Issues 168Getting Rid of Your Fifth Appendage 168Orienting Yourself to the Studio 169Meet the Crew 169The Floor Director 169The Audio Technician 170The Camera Operator 171The Teleprompter Operator 171The Crew’s Mission 171Give Yourself the Once-Over 172Getting Familiar with Your Performance Space 172The Crew’s Final Prep 173Pulling Off a Great Performance 173Stay Focused Despite Distractions 174The Most Dangerous Part of Your Performance 176The Runaway Train Ramble 176Mentally Moving On 177Stopping the Performance before the Real End 177Reviewing Your Performance 178Chapter Takeaways 178Chapter 13 Videoconferencing and Interviews via Video Chat 181Changes in Where and How You Work 182Hiring by Skype 184Travel Cost Savings 185Fewer Scheduling Headaches 185Why You Want to Turn on Your Webcam 186Best Practices for VC 187Technical Considerations 187Setting Considerations 189Performance Considerations 191Recording a Videoconference 193Chapter Takeaways 197Notes 198Chapter 14 Webcasts—Best Practices for Panelists and Moderators 199Why a Webcast Is Easier to Master 200Best Practices for Panelists 202Prepare Your Points 202Plan Your Wardrobe 203Take Advantage of Rehearsal Time 203Focus on the Action 204Where You Should Look 205When Someone Asks You a Question 205When Presenting Uninterrupted to Viewers 205When Others Are Speaking 206Opting Out of Using a Teleprompter 207Handling the Unexpected Question 208Best Practices for Moderators 208Directing the Conversation 209Preparing to Be a Moderator 209Encouraging the Conversation 210Being the Ultimate Editor 211Staying Hydrated 212Chapter Takeaways 213Notes 213Chapter 15 Broadcast Interview Basics 215Before the TV Interview 216Find Out the Focus 217Simplify Your Talking Points 218Seek to Speak in Sound Bites 219Practice with a Peer 219During the TV Interview 220Establishing a Friendly Rapport 220Checking Yourself in the Mirror 220Realizing When the Camera Is On 221Orally Editing Your Sound Bite 221Controlling the Controllables 222Pause to Ponder 222Press Your Own Reset Button 222Keep Your Cool 223Answer Every Question as Best You Can 223After the TV Interview 224Interviews by Satellite 225Introducing the IFB 226Managing the Monitor 226Waiting for the All-Clear 227Chapter Takeaways 229Notes 230Conclusion: Embrace Communicating through the Camera 231About the Author 233Index 235