Capturing and Captivating Any Audience -- Virtual or Vital*: Exploring Substance and Style (*as in vital signs)

Remixing earlier writings, the Stress Doc takes an uncommon look at "Substance and Style," helping a presenter make the two parts synergistic dance partners. When you develop, embrace, and consistently share your own style and voice, this evolution becomes part of your essence or essential nature, the first definition of substance! In addition, the success of iconoclastic “style” is often based, paradoxically, on substantial essence. Take your presentations to a new performance high! And don't miss the outrageous pic of the Doc serenading an "en-rap-tured" audience member.

Capturing and Captivating Any Audience: Exploring Substance and Style

The Stress Doc’s proposition: both “substance and style” are necessary components for a presenter, whether addressing an in-room audience or mostly distance-learners. And while each has its own purposeful part to play, substance and style may fluidly interchange when engaging both a seen and an unseen audience. Substance may need to lay the ground for style; style may need to bring to life the bedrock substance. And there will be times when substance morphs into style and style becomes the yin to substantive yang. The “take home” purpose and concept of this essay is to challenge the reader to evolve “substance and style” as communicator, educator, and leader. Toward this end, two performance arenas have been analyzed regarding “substance and style.” The analysis defines:

a) the three components of “substance” – essential nature, underlying reality, and practical importance and

b) the three components of “style” – a distinctive manner of expression, custom of behaving, a particular manner or technique by which something is done, created, or performed.

The essay illustrates how substance and style evolve broadly in the performance arena and highlights when the Stress Doc morphs into a Shrink Rapper ?! It is clear, the synergistic dance of substance and style – the flowing interconnection between the two – can yield a compelling and captivating whole greater than the sum of its parts.

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As a speaker, whether one-on-one or with a group, whether in the classroom, board room, or bedroom, have you ever reflected on your communicational aptitude, attitude, and approach? Does the social context (that is, work or home), your personal or professional role, or the setting – virtual or live/in-room audience – affect your “substance and style”? Most likely. For example, what’s the difference in presentation motivation, method, and manner when you are a leader versus being a team member?

Communication Self-Inventory: The Blend of Substance and Style

In general, or temperamentally, are you logical or emotional; are you more serious or playful; are you low key or larger than life; do you ask questions or tend to make pronouncements? Do you choose your words carefully or have a rapid-fire delivery? Or do you purposefully choose words for their surprising or unsettling effect; is spontaneous wit your trademark? Are you fairly organized or fly by the seat of your pants? Do you embellish your words with pace, rhythm and/or rhyme, accent and tone, as well as flourishing facial and other nonverbal gestures? Would you judge yourself as more substance than style, or is style your driver; or perhaps a mask or even an impostor’s cover? Conversely, might a so-called lack of style, maybe a minimalist style, make a powerful statement? Strong silent type, anyone? (Hopefully not, “for me to be strong… you must be silent!”)

Digging Deeper into Substance and Style

Might we be ahead of ourselves? When it comes to communication – personal and professional – what comes to mind regarding “substance” and “style”? Is substance mostly “form” while style “flair” or the “aesthetic,” the “purpose” vs. the “polish,” “content” in contrast to “manner” of expression?

Of course, might the architectural structure of a bridge have both substantive function – linking and transporting –while possessing aesthetic or artistic style, that is, architectural form. (And speaking of form and function, for a bridge or structural span, form seems to dictate function and function seems to determine form.)

With this communicational and contextual complexity, if not cacophony, not surprisingly uncertainty may creep up: what is “substance,” what “style?” Can the two always be readily distinguished? Might either one be “form” the other “function”? Or, in the right hands, might substance and style, have a momentary and malleable identity, akin to function and form, but then merge and morph imperceptibly, in a yin/yang-like flow? 

When judging yourself regarding presentational substance and style, is one dominant, the other secondary? For example, in a presentation, are you into substantive “data” more than stylish “delivery” or vice versa? (And does “design” bridge the two)? Are you ever uncommonly ambidextrous? That is, are you aware of the synergistic possibilities when substance and style are kaleidoscopic partners, illuminating and infusing each other? The dance of substance and style – the flowing interconnection between the two – can yield a whole greater than the sum of its parts.

What Happens When Style Has Substance and Substance Has Style?

Let me continue this analysis of “Substance and Style” with two favorite self-generated mantras. Both are pithy and purposeful reflections, having a Marxist tone… though more the irreverent humorist than the revolutionary philosopher. The one-liners project a clever, alliterative, yet slightly outrageous oppositional essence, while capturing two of my ultimate goals in life: 

To be my fullest self… without being full of myself.

And even more to the point…

To be a wise man and a wise guy! (And, naturally, “wise man” is said slowly and thoughtfully; “wise guy” has a quick, sneaky if not slightly snarky tone.)

For me, “substance and style” permeate these one-liners in yin/yang-like fashion, imperceptibly flowing into and infusing each component of the aphorism. Though if pushed to identify the two phrases, “wise man,” for example, would connote “substance” while “wise guy” exudes style. But it’s the contrast and synthesis that gives the line punch, while revealing the quip’s paradoxical – contradictory qualities, i.e., positive and negative, yet higher truth – nature. Ideally, we may want to strive for light, strength, and compassion, but it usually requires recognizing if not embracing our dark – aggressive, unpredictable if not sometimes out of control – shadow side. One truly understands and exercises courage only from a place of fear and vulnerability!

Okay, time to come down to earth. According to Merriam-Webster/online dictionary, there are three main definitions of substance; each has relevance for “Capturing and Captivating a Mostly Distance-Learning Audience.”

The Three Basic Definitions of “Substance”:

1. essence or essential nature; a fundamental or characteristic part or quality

2. ultimate reality underlying all outward manifestations and change; part/whole relationship or system interaction

3. practical importance, that is, meaning, usefulness, and significance

Three Brief Ways of Looking at Substance: A Personal Perspective

As prologue, let me put some of my own flesh on the definitional “substance” skeleton:

1. essence or essential nature; a fundamental or characteristic part or quality: four personal fundamental or essential qualities for being a “Psychohumorist” – comedic (especially using self-effacing humor), authentic, knowledgeable, and empathic. (Or a piece of “CAKE”.) Actually, as will be explored in a future essay, when performing I try to bring a “Five ‘P’ Passion Power” essence – being Purposeful-Provocative-Passionate-Playful-Philosophical. And as the Five “P”s intimate, this essence is both substance and style!

2. ultimate reality underlying all outward manifestations and change; also, part/whole relationship or system interaction: by sharing some of my own personal family history, as well as behind the scenes fears, flaws, and foibles, I’m presenting both the out-front confident performer and the underlying vulnerable person. I’m secure enough to own and share my “Intimate FOE – Fear of Exposure!”

3. practical importance, that is, meaning, usefulness, and significance: sharing the value and potential of the concepts, tools, and techniques as they have been developed and applied in: a) my own life, and b) the lives of former clients and workshop participants; also, c) presenting the learning opportunities and possibilities for the personal and professional lives of the current “hybrid” attendees.

Elements and Synonyms of Style

As noted, for this “stage and page word artist,” substance and style have a yin/yang relationship – each can spawn and spur the other. Let’s define style before further illuminating the conceptual and applied dance of “substance and style” and “compelling and captivating.”

Akin to substance, I will shortly outline Three Basic Elements of Style:

1) a distinctive manner of expression,

2) a distinctive manner or custom of behaving or conducting oneself, and

3) a particular manner or technique by which something is done, created, or performed. 

The following synonyms certainly reflect and hopefully flesh out the somewhat overlapping yet nonetheless distinct definitions of style: approach, fashion, form, how, manner, method, methodology, recipe, strategy, system, tack, tactics, technique, way.

Let’s flesh out these definitions by bringing them to life conceptually in the context of a “hybrid” – small in-room/considerably larger distance learning – program/audience. I shall make the case that weaving all three components – manner of expression, custom of behaving, and performance technique and methodology – into a presentation is vital for generating compelling (information/insight-driven, i.e., head-focused) and captivating (imagination/innovation-driven, i.e., heart-flowing) presentations.

Key Performance Arena Components

For my “hybrid audience” analytic purposes, the performance arena has four basic components – presenter and audience, subject and setting. (And setting includes not just the physical location and seating structure – theatre style, ballroom circular tables, rectangular boardroom table, etc. – but also conference theme, time of (and for) the program and, if any, the digital platform.)

Substance Meets Performance Arena

Now let’s pose some substantial questions about the performance arena:

1. What is the essential nature (fundamental or characteristic part or quality) of presenter and audience, subject and setting? (One or more of the four performance arena components will be highlighted.)

Illustrating the concept. By way of example, let’s contemplate an engineering audience anticipating one of my Stress Management Programs. For engineers, their cognitive strength is analytic thinking. As a group, dealing with “soft” feelings in a workshop may not be their default position. Engineers tend to have a different essential nature (or temperament) and a different receptivity-motivation threshold for “people skills” than, let’s say, more emotionally aware or sensitive mental health professionals. I suspect the Myers-Briggs scores for these two groups would reveal meaningful statistical difference.

Applying the concept. I opened the “Stress” program with these engineers by acknowledging that their preference may not be for “soft” skills. And then unleashed my inner provocateur, my “Wise Guy”: “Have no worry, I’m a Type A New Yorka… My programs are a lot more ‘touchy punchy than touchy feely!’” Definitely got a laugh and broke the ice. And they rock and rolled with the group exercises, especially an aggressive/competitive power struggle mini-role play!

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2. What is the ultimate reality (underlying all outward manifestations and change) of presenter and audience, subject and setting?

Illustrating the concept. First, one component of underlying reality is a presenter’s level of experience and comfort with a particular audience, for example, one of a “hybrid” nature.  And within this arena-platform, knowledge and confidence with the subject matter, the program setting, time constraints, etc. will also impact the ultimate outcome. Next, how diversified is the presenter’s bag of tools and tricks? Program success often depends on a presenter’s ability to go “off script” or improvise. But, finally, when it comes to generating interpersonal connection, the underlying foundation may well be the ability to create a safe space, shared and/or engaging symbols, and emotional empathy. In other words, what is the underlying “Emotional Intelligence” of the presenter?

And finally, I am not one of those people who believe that communication impact is decidedly more nonverbal than verbal. Words matter, a lot! However, there are settings and social contexts where images, facial and bodily gestures, along with vocal intonations (especially for a non-video distance audience) have a major impact on the process of communication.

Applying the concept. Years back, just about to embark on one of my stress programs for a company of international travel agents, I was approached by a company manager. She warned me that many of the participants were not fluent in English. The diverse group of agents typically experience some difficulty generating discussion at their team meetings. It appeared that the manager did not want me to take their degree of participation personally. While considering her words, I always liked to assess an audience first hand. Fortunately, I had some cool small group “warm up” exercises that could be tweaked to incorporate both verbal and nonverbal expression, e.g., The Three ‘B’ Stress Barometer Exercise”: How does your Brain, Body, and Behavior let you know when you are more stressed than usual? With just a little encouragement people were scratching, yawning, making anxious and angry faces, simulating drinking, etc.

This was eventually followed by a group art therapy-like exercise where each team discussed sources of stress and conflict in their everyday operations… and then came up with a group picture that visualized the discussion points. Not only are the drawings on target (an army commander appreciated how the drawings revealed some oft-hidden issues); they also are a bit out-rage-ous. They often generate group and community knowing laughter. This occurs both while the team is drawing and during the “art gallery” and “show and tell” parts of the program. The exercise art-iculates thorny issues without it feeling like a gripe session. And perhaps the best sign of its effectiveness with a group not typically extrovertish in English: the manager said she was “amazed”; she had “never before seen such open (verbal) sharing” from her staff.

Moral Take Home. Starting with a meaningful problem or issue, we had created a safe and fun atmosphere for self-expression and collaboration, that could be addressed with imaginative images not just verbal language. When you facilitate the cross-cultural, nonverbal channels of communication, the verbal ventilation gates just may open. And a feeling of camaraderie and greater trust will likely permeate the community.

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3. How does practical importance (that is, meaning, usefulness, and significance) manifest in the performance arena, that is, at the synergistic nexus of presenter and audience, subject and setting?

The concept and its application. Likely in the first day of my Social Work Graduate Studies, the foundational quote of the profession was articulated: Start where the client is!  For most students, these five words helped guide the opening connection with an individual or a family. You want to truly hear the client’s presenting problem or concerns, especially sources of emotional stress, before eventually making an initial bio-psycho-social-ecological assessment of the client. And, at least early on, unless presented with a critical crisis, the proposed intervention – beginning with goal setting, evolving toward a treatment plan – should emerge from real problem-solving dialogue between client and helper. Grasp what the client is ready and willing to face honestly and work on at this particular moment in time. Go with their experience and energy, their pain, purpose, and passion. The client is encouraged to be an active participant, not a passive recipient! Otherwise you have a client who does not feel seen or heard; who will be understandably “resistant”; who will quickly tune out or drop out. Not surprisingly, this injunction – start where the client is – has relevance for engaging all kinds of social systems, including a hybrid, mostly-distance audience. 

Learning Point. One audience may prefer a mixture of cognitive bullet points and “hands on” group exercises that differs from the mix preferred by another audience. Also, time length and the time of the program may come into play. I’m often the closing speaker of a conference. Why? When attendees have spent most of the day or week in predominantly technical classes, the coordinators want the conference to close on an energizing, “high” note. They are more interested in “motivating and en-light-ening the troops” and fostering team- or community-spirit than cognitive skill-building. (Of course, there are other programs and time slots when hi-task take home tools take precedence over hi-touch ones.) Actually, by the end of the day, most attendees, to paraphrase Cyndi Lauper, “just want to have (some) fun!” Recognize where the client is.

Three Basic Elements of Style:

Now let’s illustrate the three “style” tracks:

1) a distinctive manner of expression (as in writing or speech); spec., a distinctive manner of putting ideas into words

Expression Illustration – From the Acronymic to the Poetic. As will be explored shortly, one distinctive Stress Doc manner of expression, is the love of acronyms for encapsulating ideas into words. Of course, acronyms do not necessarily form actual words, e.g., IMHO for “In my humble opinion.” (Though, over time and with sufficient usage, the Acronym, in fact, becomes the common descriptor or “brand name,” for example, GEICO – Govt. Employees Insurance Co). And the name can spark a marketing image or spokes-creature, i.e., the Gecko lizard.) However, acronyms may well have an added engaging impact when the acronymic concept evokes an idea or image that further elaborates the target concept. For example, my Stress Resilience program opening remarks let audiences know that my goal is to help folks “Get FIT”: this program will be FUN, Interactive, and Thought-provoking! In any manifestation, acronyms are a shorthand for highlighting a name or key points as well as supporting memory.

And when an acronym is paired with humorous expression along with an element of surprise (also having an aggressive edge), it really packs a punch. Consider this illustration: When reviewing stress smoke signals, I’ll ask if anyone knows the jaw-clenching symptom TMJ. Invariably a number of hands are raised. I’ll then declare, “We know what TMJ really stands for… Too Many Jerks!” Did that get a reaction? It certainly does with live audiences.

Poetic and Pithy Style of Expression

Finally, I like being poetic. And as many have demonstrated, including Dr. Seuss, poetry and humor make a highly engaging and memorable pair. (One of my goals is to be the Dr. Seuss of Stress for adults and children of all ages. ?? )

Pithy and playful sayings also work: A firm “No” a day keeps the ulcers away… and the hostilities, too!

As a bid for idiosyncratic and punchy expression, how about these pithy lines from my original Shrink Rap ??

When it comes to feelings do you stuff them inside?

Is tough John Wayne your emotional guide?

And it's not just men so proud and tight-lipped.

For every Rambo there seems to be a Rambette!

And I believe these uncommon or distinctive methods of expression, while effective with in-room audiences, are particularly engaging for the unseen masses in the electronic ether. Any communication that brings to life – memorably fleshes out, or playfully or poignantly humanizes – the vital purpose and passion of a concept has real value. This is especially true for an audience that can’t see a presenter’s facial expressions and body language. Voice and words (sometimes accompanied by music) should strive to provide a window to the soul of the presenter and the heart of the matter. Distance learners basically rely on words, vocal expression, Power Point, as well as Q & A for grasping message and meaning.

2) a distinctive manner or custom of behaving or conducting oneself

Outrageous Behavior Illustration. Sometimes a picture is really worth a thousand words! Yes, that’s me Shrink Rapping an audience of 150 mostly military spouses and some soldiers during a pre-deployment “Stress and Humor Program” at Ft. Hood, TX in 2005. However, the impact of Shrink Rap appears to be timeless and universal. I just received a strong request from the Director of the Association of Nepalese Nurses, who witnessed her first Shrink Rap ? at their community health fair in 2018. She definitely wants me to come back in two weeks to do my “Stress Dance. People loved it.” Perhaps some didn’t get all the witticisms, but folks could tell when a performer was not afraid to be a “little wild and crazy,” having a ball, definitely modeling playful joy and bringing a little stress relief.

[The “En-Rap-turing” Effect of Shrink Rap ? at Ft. Hood, TX; photo by Laurie Dunlop]

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Fashion as Style

If “fashion” is one synonym for style, my Shrink Rap costumery – Blues Brothers hat, dark sunglasses, and black tambourine – certainly reflect individual style, especially as subject matter expert. (Alas, the tambourine is hidden by the woman’s head.) I suspect that most folks would say that as a Shrink Rapper ? I have uncommon style. Now whether it’s a good thing or not… I’ll let audience members decide. (I suspect my confident and comedic manner throughout the presentation helps make my transition to Shrink Rapper surprising without being off-putting or too jolting. (Okay, there are some groans from the audience. My immediate reply: “Groan now… we’ll see who has the last groan!”) In fact, the audience soon becomes part of the performance, often clapping and swaying rhythmically. Not to mention, once “the shock subsides,” all the smartphones that come out.)

To Rap or Not to Rap?

While a distance-learning audience does not get the full verbal and visual impact of the Stress Doc performing a Shrink Rap, I have just added the above “one of a kind” picture to my Power Point Slides. Recently, I haven’t performed the Shrink Rap with a hybrid audience, both because of time constraints and my concern that folks would not be able to see me in full regalia. (Also, I wonder if the small numbers in the confined space of a conference room will feel overwhelmed by my “larger than life” Shrink Rapper persona.) However, with picture in tow, I’m ready to do a multi-audience experiment. I’ll be curious to: a) see how the in-roomers react or respond and b) hear/read the feedback of virtual attendees upon viewing the “en-rap-tured” photo while I’m rapping up. 

3) a particular manner or technique by which something is done, created, or performed

Creative Performance Illustration. I suspect the entire prelude to the “rap” performance – the surprise transformation into my Shrink Rap costume, the initial bantering with the audience; e.g., my mentioning that I am pioneering the field of psychologically humorous rap music, calling it, of course, Shrink Rap Productions!; then, in response to the audience groans and giggles, confidently, if not provocatively, retorting, “Groan now… We’ll see who has the last groan,” all are part of the engagingly creative gestalt. And prelude becomes the launch platform for prancing about the room in full regalia, banging on the tambourine, while belting out some clever lyrics…

Well the boss makes demands but gives little control

So you prey on chocolate and wish life were dull.

But office's desk's a mess, often skipping meals

Inside your car looks like a pocketbook on wheels!

I believe three words likely capture people’s perception of my performance style: quirky, gutsy, and outrageous! (Actually, these are words that have been shared in verbal feedback and written testimonials.) And it’s here we clearly see the interrelation between style and substance: when quirky, gutsy, and outrageous appear consistently in one’s personal and/or professional repertoire, perhaps this reflects a personality trait. And the public expression of such traits may enable this individual to be a role model helping others find and develop their own passionate energy and unique voice.

In addition, you are delivering a covert message: “don’t be so afraid to look or be silly”; that perfect image is way overrated. Actually, you have sufficient confidence to laugh at your own flaws and foibles. People appreciate a show of “comfortable in your own skin” courage. You may even project an authentic if not commanding presence in your own and in another’s eyes; even be a bit “larger than life.” In fact, one attendee stated that the reason I could get away with the outrageous personae and actions was “because people believe you are authentic.” In other words, the success of my iconoclastic “style” was based, paradoxically, on my “real self-substance.” When developing, embracing, and consistently sharing your own style and voice, this evolution becomes part of your essence or essential nature, the first definition of substance!

Closing Thoughts on Substance and Style

For my way of thinking, one’s style – that is, manner of behaving, manner of expression, and manner of executing or creating – especially in the performance arena, should spring from the three tributaries of substance – essential nature, connection to underlying reality, and practical importance. And one’s essential, underlying, and/or practical nature shall be animated by idiosyncratic style. In fact, I believe “substance” and “style” have a Yin/Yang relationship, each spawn, spur, and transform the other. And, this flowing interconnection can yield a compelling and captivating whole greater than the sum of its parts! Amen and women, to that!

 Mark Gorkin, MSW, LICSW, "The Stress Doc" ?, a nationally acclaimed speaker, author, and "Motivational Psychohumorist" ?. The Doc is becoming a distance-learning rock star for the Dept. of Health & Human Services and other Federal Agencies. Topics include Cross-Cultural Diversity, Stress, Change, and Conflict Resilience, The Four Faces of Anger, and Leading with Passion Power.  Mark is a founding partner and Stress Resilience Consultant for the Nepali Diaspora Be Well Initiative. The Doc is also a part-time Clinical Therapist for Inner City Family Services, Washington, DC. A former Stress and Violence Prevention Consultant for the US Postal Service, he has led numerous Pre-Deployment Stress Resilience-Humor-Team Building Retreats for the US Army. The Doc is the author of Practice Safe Stress, Preserving Human Touch in a Hi-Tech World, and The Four Faces of Anger: Transforming Hostility and Rage into Assertion and Passion. Mark’s award-winning, USA Today Online "HotSite" – www.stressdoc.com – was called a "workplace resource" by National Public Radio (NPR). For more info, email: [email protected].