You’ve all seen it before. What would otherwise be a great presentation becomes one interrupted jumble of syllables. Instead of taking those key pauses to let the audience digest, every moment of hesitation is filled with a crutch word. Maybe it happens to you.
Eliminating crutch words is one of the fastest ways to improve yourself as a speaker. Not only does it display confidence to your audience, but you become easier to understand as your message gets across. It isn’t easy to do, but if you can nuke those um’s and ah’s you are one step closer to winning over the crowd.
Don’t Fear the Silence
Um’s and ah’s come because as a speaker you naturally want to avoid silence. You’ve been conditioned for two-way conversations. When you pause, you get feedback from the other person and the conversation continues. On the stage, it is only you talking and the silence can be terrifying.
The first way to combat crutch words is to realize silence is a good thing. Few speakers talk too slowly with too many pauses. Pauses help emphasize points and give listeners time to understand what you are talking about. Remember, although you may be an international expert and have a memorized speech, the audience needs more time to interpret what you plan to say.
How to Combat the Crutch
Here are some suggestions for becoming a pause artist and eliminating crutch words from your presentations:
Practice, practice, practice! – You should know your presentation backwards and forwards before giving it. If you spend all your time thinking of what to say next, you can’t put emphasis on avoiding crutch words. Once you eliminate crutch words you can deliver unprepared speeches more effectively, but it is hard to cut the um’s if you aren’t prepared.
Breathe In, Not Out – When you feel the temptation to ummm your way through a point, breathe in. This may add a pause to your presentation, but it will be far better than an ugly crutch word which blurs sentences together.
Avoid them in Conversation – You speak all the time. Watch your crutch words when chatting with friends and family. If it helps on stage it will help in a conversation. Plus you`ll get far more practice.
Get a Counter – If your giving an important speech, get a friend to count the amount of times you utter an um or ah. Keeping numbers makes you highly aware of when your using these speech-killers.
Comma = 1 pause – Make a note whenever you are doing a presentation that every comma you encounter should have a pause attached. You might want to run through a list of ten items as if they were one thought. But force yourself to give a short count in between each item. Your audience will thank you for the added emphasis and clarity.
Period = 2 pauses – The end of a sentence requires twice as much pause. There is a time-delay between hearing your words and registering their meaning. Don`t cut over this step by blurring together your sentences.
Double Underline – Underline key words and phrases and double underline especially important ones. This is a technique I learned from a former radio broadcaster. It helps you understand where to slow down and emphasize an individual word. When you slow down to emphasize words, this reduces the temptation to inject crutch words in between.
If Your Lost, Don`t Panic! – Um`s come in when you don`t have your next sentence ready. Your mind is still constructing what you want to say next, so you feel throwing a few um`s will fill the space until your ready. Don`t do this! Instead take a quick pause before moving on. The audience won`t notice and it will make your presentation smooth.
Enthusiasm Cuts Crunch – Imagine the presentation you have to give was the most critical information the audience needed to hear. When you engage emotionally with your speech topic, it becomes easier to emphasize points and avoid crutch words. If you aren`t engaged, you might feel the urge to preface statements with crutch words to downplay their importance.
Plan Tricky Parts – Know your conclusions and introductions word for word. Also plan out any tricky parts of a presentation you might have difficulty explaining. If you are preparing a business proposal and want to cover a sticky issue delicately, know that section word for word.
Quality over Quantity – Speaking is a fairly inefficient medium for delivering large volumes of information. Emphasize only a few points in a speech, but emphasize them well and with repetition. A good way to have a presentation filled with um`s and ah`s is to cram a five minute speech with twenty minutes of information.
Bonus Tip – Join Toastmasters
I strongly suggest joining Toastmasters to anyone wanting to improve their speaking and get rid of nasty crutch words. I was able to go from a fountain of um`s and ah`s to near elimination with just a few months of weekly meetings.
Toastmasters can also do more than just cut crutch words. They can also work with you on the finer points of presenting, such as gestures, tone of voice, body language and content. By working on these points you can master your craft and have the confidence to speak in front of any audience.
Josh Waitzkin has led a full life as a chess master and international martial arts champion, and as of this writing he isn’t yet 35. The Art of Learning: An Inner Journey to Optimal Performance chronicles his journey from chess prodigy (and the subject of the movie Searching for Bobby Fischer) to world championship Tai Chi Chuan with important lessons identified and explained along the way.
Marketing expert Seth Godin has written and said that one should resolve to change three things as a result of reading a business book; the reader will find many lessons in Waitzkin’s volume. Waitzkin has a list of principles that appear throughout the book, but it isn’t always clear exactly what the principles are and how they tie together. This doesn’t really hurt the book’s readability, though, and it is at best a minor inconvenience. There are many lessons for the educator or leader, and as one who teaches college, was president of the chess club in middle school, and who started studying martial arts about two years ago, I found the book engaging, edifying, and instructive.
Waitzkin’s chess career began among the hustlers of New York’s Washington Square, and he learned how to concentrate among the noise and distractions this brings. This experience taught him the ins and outs of aggressive chess-playing as well as the importance of endurance from the cagey players with whom he interacted. He was discovered in Washington Square by chess teacher Bruce Pandolfini, who became his first coach and developed him from a prodigious talent into one of the best young players in the world.
The book presents Waitzkin’s life as a study in contrasts; perhaps this is intentional given Waitzkin’s admitted fascination with eastern philosophy. Among the most useful lessons concern the aggression of the park chess players and young prodigies who brought their queens into the action early or who set elaborate traps and then pounced on opponents’ mistakes. These are excellent ways to rapidly dispatch weaker players, but it does not build endurance or skill. He contrasts these approaches with the attention to detail that leads to genuine mastery over the long run.
According to Waitzkin, an unfortunate reality in chess and martial arts—and perhaps by extension in education—is that people learn many superficial and sometimes impressive tricks and techniques without developing a subtle, nuanced command of the fundamental principles. Tricks and traps can impress (or vanquish) the credulous, but they are of limited usefulness against someone who really knows what he or she is doing. Strategies that rely on quick checkmates are likely to falter against players who can deflect attacks and get one into a long middle-game. Smashing inferior players with four-move checkmates is superficially satisfying, but it does little to better one’s game.
He offers one child as an anecdote who won many games against inferior opposition but who refused to embrace real challenges, settling for a long string of victories over clearly inferior players (pp. 36-37). This reminds me of advice I got from a friend recently: always try to make sure you’re the dumbest person in the room so that you’re always learning. Many of us, though, draw our self-worth from being big fish in small ponds.
Waitzkin’s discussions cast chess as an intellectual boxing match, and they are particularly apt given his discussion of martial arts later in the book. Those familiar with boxing will remember Muhammad Ali’s strategy against George Foreman in the 1970s: Foreman was a heavy hitter, but he had never been in a long bout before. Ali won with his “rope-a-dope” strategy, patiently absorbing Foreman’s blows and waiting for Foreman to exhaust himself. His lesson from chess is apt (p. 34-36) as he discusses promising young players who focused more intensely on winning fast rather than developing their games.
Waitzkin builds on these stories and contributes to our understanding of learning in chapter two by discussing the “entity” and “incremental” approaches to learning. Entity theorists believe things are innate; thus, one can play chess or do karate or be an economist because he or she was born to do so. Therefore, failure is deeply personal. By contrast, “incremental theorists” view losses as opportunities: “step by step, incrementally, the novice can become the master” (p. 30). They rise to the occasion when presented with difficult material because their approach is oriented toward mastering something over time. Entity theorists collapse under pressure. Waitzkin contrasts his approach, in which he spent a lot of time dealing with end-game strategies
where both players had very few pieces. By contrast, he said that many young students begin by learning a wide array of opening variations. This damaged their games over the long run: “(m)any very talented kids expected to win without much resistance. When the game was a struggle, they were emotionally unprepared.” For some of us, pressure becomes a source of paralysis and mistakes are the beginning of a downward spiral (pp. 60, 62). As Waitzkin argues, however, a different approach is necessary if we are to reach our full potential.
A fatal flaw of the shock-and-awe, blitzkrieg approach to chess, martial arts, and ultimately anything that has to be learned is that everything can be learned by rote. Waitzkin derides martial arts practitioners who become “form collectors with fancy kicks and twirls that have absolutely no martial value” (p. 117). One might say the same thing about problem sets. This is not to gainsay fundamentals—Waitzkin’s focus in Tai Chi was “to refine certain fundamental principles” (p. 117)—but there is a profound difference between technical proficiency and true understanding. Knowing the moves is one thing, but knowing how to determine what to do next is quite another. Waitzkin’s intense focus on refined fundamentals and processes meant that he remained strong in later round while his opponents withered. His approach to martial arts is summarized in this passage (p. 123):
“I had condensed my body mechanics into a potent state, while most of my opponents had large, elegant, and relatively impractical repertoires. The fact is that when there is intense competition, those who succeed have slightly more honed skills than the rest. It is rarely a mysterious technique that drives us to the top, but rather a profound mastery of what may well be a basic skill set. Depth beats breadth any day of the week, because it opens a channel for the intangible, unconscious, creative components of our hidden potential.”
This is about much more than smelling blood in the water. In chapter 14, he discusses “the illusion of the mystical,” whereby something is so clearly internalized that almost imperceptibly small movements are incredibly powerful as embodied in this quote from Wu Yu-hsiang, writing in the nineteenth century: “If the opponent does not move, then I do not move. At the opponent’s slightest move, I move first.” A learning-centered view of intelligence means associating effort with success through a process of instruction and encouragement (p. 32). In other words, genetics and raw talent can only get you so far before hard work has to pick up the slack (p. 37).
Another useful lesson concerns the use of adversity (cf. pp. 132-33). Waitzkin suggests using a problem in one area to adapt and strengthen other areas. I have a personal example to back this up. I will always regret quitting basketball in high school. I remember my sophomore year—my last year playing—I broke my thumb and, instead of focusing on cardiovascular conditioning and other aspects of my game (such as working with my left hand), I waited to recover before I got back to work.
Waitzkin offers another useful chapter entitled “slowing down time” in which he discusses ways to sharpen and harness intuition. He discusses the process of “chunking,” which is compartmentalizing problems into progressively larger problems until one does a complex set of calculations tacitly, without having to think about it. His technical example from chess is particularly instructive in the footnote on page 143. A chess grandmaster has internalized much about pieces and scenarios; the grandmaster can process a much greater amount of information with less effort than an expert. Mastery is the process of turning the articulated into the intuitive.
There is much that will be familiar to people who read books like this, such as the need to pace oneself, to set clearly defined goals, the need to relax, techniques for “getting in the zone,” and so forth. The anecdotes illustrate his points beautifully. Over the course of the book, he lays out his methodology for “getting in the zone,” another concept that people in performance-based occupations will find useful. He calls it “the soft zone” (chapter three), and it consists of being flexible, malleable, and able to adapt to circumstances. Martial artists and devotees of David Allen’s Getting Things Done might recognize this as having a “mind like water.” He contrasts this to “the hard zone,” which “demands a cooperative world for you to function. Like a dry twig, you are brittle, ready to snap under pressure” (p. 54). “The Soft Zone is resilient, like a flexible blade of grass that can move with and survive hurricane-force winds” (p. 54).
Another illustration refers to “making sandals” if one is confronted with a journeyacross a field of thorns (p. 55). Neither bases “success on a submissive world or overpowering force, but on intelligent preparation and cultivated resilience” (p. 55). Much here will be familiar to creative people: you’re trying to think, but that one song by that one band keeps blasting away in your head. Waitzkin’s “only option was to become at peace with the noise” (p. 56). In the language of economics, the constraints are given; we don’t get to choose them.
This is explored in greater detail in chapter 16. He discusses the top performers, Michael Jordan, Tiger Woods, and others who do not obsess over the last failure and who know how to relax when they need to (p. 179). The experience of NFL quarterback Jim Harbaugh is also useful as “the more he could let things go” while the defense was on the field, “the sharper he was in the next drive” (p. 179). Waitzkin discusses further things he learned while experimenting in human performance, particularly with respect to “cardiovascular interval training,” which “can have a profound effect on your ability to quickly release tension and recover from mental exhaustion” (p. 181). It is that last concept—to “recover from mental exhaustion”—that is likely what most academics need help with.
There is much here about pushing boundaries; however, one must earn the right to do so: as Waitzkin writes, “Jackson Pollock could draw like a camera, but instead he chose to splatter paint in a wild manner that pulsed with emotion” (p. 85). This is another good lesson for academics, managers, and educators. Waitzken emphasizes close attention to detail when receiving instruction, particularly from his Tai Chi instructor William C.C. Chen. Tai Chi is not about offering resistance or force, but about the ability “to blend with (an opponent’s) energy, yield to it, and overcome with softness” (p. 103).
The book is littered with stories of people who didn’t reach their potential because they didn’t seize opportunities to improve or because they refused to adapt to conditions. This lesson is emphasized in chapter 17, where he discusses “making sandals” when confronted with a thorny path, such as an underhanded competitor. The book offers several principles by which we can become better educators, scholars, and managers.
Celebrating outcomes should be secondary to celebrating the processes that produced those outcomes (pp. 45-47). There is also a study in contrasts beginning on page 185, and it is something I have struggled to learn. Waitzkin points to himself at tournaments being able to relax between matches while some of his opponents were pressured to analyze their games in between. This leads to extreme mental fatigue: “this tendency of competitors to exhaust themselves between rounds of tournaments is surprisingly widespread and very self-destructive” (p. 186).
The Art of Learning has much to teach us regardless of our field. I found it particularly relevant given my chosen profession and my decision to start studying martial arts when I started teaching. The insights are numerous and applicable, and the fact that Waitzkin has used the principles he now teaches to become a world-class competitor in two very demanding competitive enterprises makes it that much easier to read.
I recommend this book to anyone in a position of leadership or in a position that requires extensive learning and adaptation. That is to say, I recommend this book to everyone.