Does your voice put your audience to sleep? Does it put you to sleep?

Do you find it hard to  conveying emotions with your voice?

Are you easy to listen to, or does your voice let you down?

The sixth Toastmasters speech project guides you to harness the power of your own voice. This article of the Toastmasters Speech Series examines the primary goals of this project, provides tips and techniques, and links to numerous sample speeches.

Why is This Speech Important?

The objectives for this speech project are to use your voice to complement your message:

• Use voice volume, pitch, rate, and quality to reflect and add meaning and interest to your message.
• Use pauses to enhance your message.
• Use vocal variety smoothly and naturally.

Your voice is the best tool in your delivery toolbox. You must learn to use it effectively to enhance your presentation.

Tips and Techniques

1. Plan Around the 4 P’s: Pace, Pitch, Power, and Pauses

Be conscious of all four major vocal variables, and work all of them into your speech.

1. Pace — One of the easiest ways to incorporate variable pace is to slow down through key statements.
2. Pitch — A convenient way to hit different pitch points is to play with different emotional content. A sad voice takes on a different pitch than a content voice, which is distinct from an excited voice, and so on. Stories are good speech building blocks for many reasons, including how they bring a speaker’s voice alive through different emotions.
3. Power (Volume) — Don’t overdo it with changes in volume. Again, align your variations in volume with emotional content. Anger or joy tends to bring out a loud voice. Fear or sadness calls for a quiet voice.
4. Pauses — There are a multitude of ways to incorporate pauses in a meaningful way (watch for a future Six Minutes article dedicated to pauses). For this speech, keep it straightforward. Make sure you’ve got short pauses following every sentence, and longer pauses at the ends of paragraphs or transitions within your speech.

2. Be Deliberate (Keep Score if You Have To)

Don’t just write a speech and try to incorporate vocal variety on the fly as you deliver it. You won’t get any value from this speech project if you take that approach.

As you write, edit, and rehearse your speech, select words or phrases where you will consciously vary your voice in each of the four P ways. As you grow as a speaker, you’ll hit all four of these unconsciously, but when you are learning, it’s okay to be a little more deliberate.

Consider annotating your speech with colored pen to highlight vocal variation opportunities.

You might even consider making a “scorecard” in the margin of your page, and giving yourself one point for each vocal manoeuver. Shoot for a score of at least 3 for each P.

3. Align Your Voice with Expressive Gestures

One of the best ways to bring out your most expressive voice is to use expressive gestures, particularly facial gestures!

If participate in teleconference calls or webinars, you may have learned this trick. Even though nobody can see you, it really helps to stand up in your office and give body, hand, and facial gestures as you talk on the phone. Your voice will naturally come alive, as if synchronized with your gestures.

The same trick applies to face-to-face presentations as well. If you are expressive with your face and other gestures, your voice tends to naturally align.

4. Ditch the Notes, Keep Your Head Up, and Project Your Voice

Maybe you have used notes for the five previous Competent Communicator projects, but now is a great time to break free of your notes.

• When you glance down to read notes, your neck and throat bend and can get contorted. Your voice tends to be low, or poor quality, and low volume.
• Without notes, you’ll be able to keep your head up high and your eyes on your audience. With your head high, your neck and throat will be stretched out, and the quality of your voice will be much more resonant.

5. Exaggerate Words

If your speech allows, find some words where you can play with the pronunciation to add some vocal spice to your delivery. For example:

• Instead of saying “The car was a long way from the beach,” you could say “The car was a looooooong way from the beach”.
• Instead of saying “The hamburger was delicious,” try “The hamburger was deeee-licious.”

6. Don’t Speak About Vocal Variety

When choosing your topic for this speech, avoid the temptation to speak about vocal variety, like this guy (who admits he “cheated”). If you do, you are missing the point of this speech project.

Your objective for this speech project is not to educate your audience about vocal variety. Your objective is to incorporate vocal variety to enhance your delivery.

You have infinite speech topics at your disposal… explore!

What I Did for Speech 6

I chose to deliver a biographical speech about Theodor Seuss Geisel, the children’s book author better known as Dr. Seuss.

This topic was fantastic as it begged for me to use my voice in a wonderful variety of ways:

• My “normal” speaking voice was used for “bones” of the speech — the biographical details which formed the framework. Even in this section of the speech, I used vocal variety to emphasize key words, phrases, and points.
• I included numerous quotations from his stories, each carefully selected to both (a) illustrate the biographical details and (b) allow me to convey a different emotion or mood. Each of these required varying the pitch, pace, and volume. For example, I included:
  • Happy, sing-songy passages from Fox in Sox and The Cat in the Hat
  • A stalwart, committed passage from Horton Hatches the Egg
  • An angry passage from The Lorax (this was one of my all-time favorite moments in Toastmasters as I used one of the audience members as a “prop” to be the source of my anger)
  • An optimistic passage from Oh, the Places You’ll Go

Reading Dr. Seuss books and other stories with my daughter is one of my favorite activities. Therefore, this topic revealed an inherent passion, and I knew this would come through in the quality of my voice.

Toastmasters Speech 6 Examples

Here are a few sample video speeches which may provide inspiration for you. As you watch some of these videos, ask yourself which speakers are using vocal variety to enhance their speeches, and which are missing opportunities. Then, try to emulate the best behaviors in your own speech.

• How to Communicate with Me by Shana(?)
  • Pauses are used effectively, particularly before/after transition statements. This (along with clear language) helps convey the structure of the speech.
  • Increase volume and pace when impersonating another person @ 2:00
  • Varying voice to mimic personality traits on “the person who needs love more than information” @ 2:35
  • Emphasis on the word “perturbed” (to make it sound perturbed!) @ 2:55, and the great emphasis on  “I wish you’d show me more respect” (in a way that is demanding respect)
  • “I was in this one loooooooooong class about muscles” @ 4:05
• For the Love of Animals by Emilie Staryak
  • Effective use of pauses throughout, particularly in the opening minute of the speech, to enhance the understandability. For example (starting @ 1:00), notice the pause after phrase  “herding, hauling, and hunting”; brief pauses after after “loyalty” and “security”; and then the longer pause after “companionship”.
  • Effective exaggeration used in the phrase “DESperate meOW” @ 2:08
  • Notice the variation in pitch @ 2:25 and 2:40, and also how this is accompanied by gestures
• The Art of Procrastination by Chance Litton
  • Effective vocal variety throughout.
  • The speaker’s variation in pace and pauses conveys much of the humor.
• Is Your Dream a Loud Gong or a Faint Whistle by Daniel
• Unknown Title by Anonymous
• Last Child in the Woods by Paul Miller
• That’s Just Rude by Dianne
• Friend or Foe: It’s All In Your Perspective by Robin
• Sioux Hockey Fan by John Sanders
• My Turn Around by Jerome Moore
• Who Wrote That Book? by Stephanie Bryant
• Beyond the Nineteenth Hole by Glenn Woodson
• It’s Your Money by Anonymous
• Unknown by Dick
• The Upside of Failure by John Armstrong

Next in the Toastmasters Speech Series

The next article in this series will examine Speech 7: Research Your Topic.

Similar Articles You May Like... Speech Preparation #7: Choreograph Your Speech with Staging, Gestures, and Vocal Variety 8 Faulty Speaker Assumptions and How to Fix Them Toastmasters Testimonials: 85 Years of Better Speakers Toastmasters: Please Share Your Story Toastmasters Speech 5: Your Body Speaks Are… um… Filler Words… ah… Okay?

Have a Question? Contact me anytime, or find me on Twitter: @6minutes

Andrew Dlugan is the editor and founder of Six Minutes. He teaches courses, leads seminars, coaches speakers, and strives to avoid Suicide by PowerPoint. He is an award-winning public speaker and speech evaluator. Andrew is a father and husband who resides in British Columbia, Canada.

No other two letter word says so much when a speaker says so little.

Except perhaps ah or uh or so.

Are filler words the most sensational speaking sin you can commit? Or do they make you imperfectly human and help you connect with your audience?

The topic has created quite a buzz in public speaking blogs recently, so read on to find out what the experts are saying.

Um… the Book

Authored by Michael Erard, Um… : Slips, Stumbles, and Verbal Blunders and What They Mean aims to be the most authoritative work on the topic.

Personally, I haven’t read it, but I am curious due to positive reviews from highly credible sources.

New York Times Book Review:

…An enjoyable tour of linguistic mishaps… …Rewarding.

Publishers Weekly:

…Challenges the reader to think about his or her own speech in an entirely new way.

Wall Street Journal:

Mr. Erard’s enthusiasm for his subject is infectious. He gets you wondering about blundering.

Oprah’s O Magazine:

…An absorbing survey of the (mis)spoken word, from ancient Egyptian cases of speechlessness to television bloopers…

You can listen to the author read chapter one here [MP3].

If you’ve read the whole book, please let me know whether this should be required reading for Six Minutes readers.

Perspective on Filler Words from Public Speaking Bloggers

If the book doesn’t grab you, maybe the opinions of several excellent public speaking bloggers will resonate with you?

• Jerry Weissman draws attention to Obama’s filler words.

… “er” or “um.” When spoken, those two sounds are known as “fillers” or “unwords,” because they have no meaning. Unwords are the bane of any speaker’s existence because they produce a perception of uncertainty. …

I can tell you with absolute certainty that unwords undercut any presenter’s effectiveness, including that of the current President of the United States and his far more often than not charismatic speaking style.

• Olivia Mitchell offers a cure — chunking — to eliminate ahs and ums.

To be effective at stopping the habit you have to focus on something else – something positive that you can do, as an alternative to um’ing. That alternative is chunking. Chunking is talking in short chunks of words with breaks in between the chunks. When you chunk you get into a rhythm: burst of words/break/burst of words/break….Focus on that rhythm and your um’s will go.

• Steve Arrowood lists “situations that motivate us to inadvertently utter ‘non-words’?”

1. We are processing at a deeper level than surface thoughts or well-rehearsed phrases, while at the same time we feel the expectations of people around us to speak.
2. We were asked a question and feel social pressure to start speaking quickly or we will look dumb.
3. We are running 0ut of allotted time and feel pressure.
4. We pressure ourselves to sound like what we think an expert should sound like.
5. We don’t want someone else to start speaking yet.

• Steve Arrowood argues that filler words are okay in moderation.

Because there are no defined rules in the court of public speaking law, somehow the rule of speaking just defaulted into: NEVER USE A SINGLE FILLER.

But that rule is wrong. It is a ‘letter of the law’ rule rather than a ’spirit of the law’ rule.

• Richard Garber summarizes an academic paper on the subject by Stephen M. Croucher (read the full paper here – PDF).

Croucher found that college men and women used about the same numbers of Uhs and Ums. However, women used both Like and You Know a LOT more than the men. He suggested this was due to a cultural influence from Southern California as humorously portrayed by Frank Zappa in the song, Valley Girl.

• Max Atkinson points out a possible correlation between “the” and “uh”.

Interestingly, the definite article often comes before ‘uhs’ and ‘ums’ when we’re speaking. Even more interesting is the fact that, when it does, speakers invariably use the ‘thee’ form: ‘thee-uh’.

• James Feudo questions whether Toastmasters needs the Ah Counter role.

… society has become less formal in recent years and therefore, the standards for what constitutes a good speech (or a good speaker) have dropped. …

Now if you can relay a powerful message, most audiences will forgive a few filler words…

What’s Your Opinion on Filler Words?

Credibility killer for a speaker, or nothing to worry about?

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• Speech Preparation #7: Choreograph Your Speech with Staging, Gestures, and Vocal Variety
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• Video Critique: Steve Jobs (Stanford, 2005)

Andrew Dlugan is the editor and founder of Six Minutes. He teaches courses, leads seminars, coaches speakers, and strives to avoid Suicide by PowerPoint. He is an award-winning public speaker and speech evaluator. Andrew is a father and husband who resides in British Columbia, Canada.

Wrong. You only have words on paper, and your audience doesn’t want to read your speech.

Your audience wants to see and hear your presentation. You will dazzle them by complementing your speech with staging, gestures, and vocal variety.

This article shows you how.

Vocal Variety: The Four P’s

Monotone delivery puts your audience to sleep, no matter how riveting your content. On the other hand, an energetic and varied voice will be music to their ears.

Vocal variety covers the 4 P’s:

1. Power (or volume)
2. Pitch
3. Pace
4. Pauses

Power

Power refers to the volume you project. At a minimum, be sure that your entire audience can easily hear you without straining.

• Turning your voice volume up or down adds interest. Use both variations when they match the emotion you want to convey. For example, speaking loud might be used to convey excitement. Speaking soft might convey sadness.
• Use a microphone to amplify your voice in large rooms.
• Eliminate outside noises, if you can. If you can’t, consider moving the audience closer to you, or moving into the audience.

Pitch

Pitch is the frequency of the sound you emit. To some extent, you are born with your voice pitch, whether it be soprano, mezzo-soprano, tenor, or baritone. However, if your speech contains dialogue for several characters, varying your pitch is an excellent way to distinguish between them.

Pace

Pace is your speaking rate, and varying it throughout the speech adds great interest. There are many effects that a variable pace can generate, but the most basic are:

• Speed up to heighten the emotion in a dramatic story.
• Slow down when delivering key phrases.

The most common pace problem is speaking too fast for the audience to absorb the material. There are two underlying reasons for this:

• Lack of editing leaves too much content and too little time. The resulting pace is far too fast for the audience to absorb.
• Nervousness also contributes to a rapid speaking rate.

For an example of rapid speaking rate, see Majora Carter in Greening the Ghetto.

Pauses

Pauses are magical. On the lips of master speakers, pauses can be used for a multitude of purposes.

• Short pauses can signal the end of a clause or sentence. Your audience needs these because they can’t read the punctuation in your text.
• Longer pauses signal the transition between major points or stories. Experienced speakers will often take a drink of water, ready a prop, or consult notes at these times.
• Pauses before and after key points are wonderful buffers. The preceding pause signals to the audience that you are about to say something important. The following pause gives the audience time to reflect on what you just said and internalize it.
• Pauses can also be used to enhance audience interaction (e.g. ask a rhetorical question, and then wait).

Example: Steve Jobs demonstrates a powerful pause in his Stanford Commencement speech.

Gestures / Body Language

Hundreds of gestures are available to help complement your words. Gestures throughout your speech make you interesting to watch. If you are interesting to watch, then your audience will be more attentive to your message. Failure to use gestures will lead your audience to watch the inside of their eyeballs.

Rather than attempting to itemize hundreds of different gestures, I’ll highlight a few general principles:

• Your body will naturally want to move as you speak. Don’t inhibit these natural gestures as they convey a sense that you are comfortable and confident in your message.
• Mix in deliberate gestures to coincide with key points. Mimic the actions of your speech (e.g. throwing a ball), or convey concepts through recognizable symbols (e.g. convey “censorship” by covering your mouth).
• Use a variety of gestures. Don’t use the same one over and over and over again.
• Increase the size of your gestures to match the size of the room. When presenting to three of your co-workers at a table, your gestures can be small (e.g. hand gestures that start at the wrist). When presenting to a packed auditorium, your gestures should be large (e.g. full-body gestures originating from the shoulders)
• Don’t neglect the power of facial gestures. Your audience will feed off the facial gestures you make.

For an outstanding demonstration of gestures which complement a speech, see J.A. Gamache deliver Being a Mr. G.

Staging

Staging your speech means utilizing the 3-dimensional space around you in the most effective way possible.

• Novice speakers will chain themselves to the lectern or stand in one spot on the middle of the stage.
• Intermediate speakers will meander randomly around the speaking area. Body movement appeals to the audience and keeps attention.
• Great speakers move around the speaking area with purpose. Every time they take a few steps, they are doing so with a distinct purpose in mind.

Like gestures, there are innumerable ways to stage your speech, but here are a few general principles:

• The simplest act of staging is to prepare the speaking area before you begin. Move the lectern to the side. Move obstacles away, or at least be aware of them. Make sure every person in the audience has a clear sight line to you (or your slides). Simple acts like this show the audience that you’ve thought of everything, and that you want no barriers between you and them.
• If you are using props or other visual aids, plan where they will be before and after you use them. When they are not being used, you want them out of sight.
• Just as long pauses can signal the transition between major points, so can considerable movement within the speaking area.
• You can map specific locations in the speaking area to be virtual locations for certain stories of your speech. Then, when you refer back to these stories, a simple gesture back to that area of the speaking area is valuable to help the audience make the connection.
• In very large rooms, be sure to balance your position on the left, center, and right of the speaking area.
• Not every speech allows for it, but don’t forget about the forward/backward direction as well as up/down. If you can meaningfully bring in these directions, it will make a powerful statement. For example, consider what climbing on a chair might allow you to do within your speech.

Example of Staging, Gestures, and Vocal Variety — Face the Wind

As I have done with previous articles in this series, I will use my 2007 contest speech Face the Wind to illustrate the use of staging, gestures, and vocal variety.

Below is an annotated summary of key staging, gestures, and vocal variety — the choreography of the speaking performance. The summary is time-indexed e.g. [1:15] according to the video.

Click here to view the embedded video.

• Staging: Throughout the speech, note how most of the humor “punch lines” are delivered looking right or left. Similarly, many of the serious lines are delivered front and center. This is a technique that I was exploring in this speech for the first time.
• Gesture: Arm gesture to left, then right to match the trading of house keys for condo keys. [0:27]
• Vocal variety: “escaped … loud vacuous whoosh“. Also complemented by arm gestures to the right [0:42]
• Gesture: Facial expressions on “yard work” [0:56]
• Gesture: Arm gesture referring to audience on “a Toastmasters club officer” because many in the audience were (or have been) officers. [1:00]
• Staging: The walk around my yard looking at numerous bushes and trees [1:26]
• Gesture/Staging: Introduction of the Japanese maple tree is with arms up to indicate the height of the tree. Notice how this stage position is mapped to the tree location. [1:34]
• Vocal variety: Vocal variety: “no, not wide enough” [2:10]
• Gesture/Staging: Difficult to see this on the video, but the hole-digging sequence involves stage movement from front to back, diagonally. [2:13]
• Gesture: Arms open wide to indicate the breadth of the “moat” [2:21]
• Staging: Drop to the floor to wrestle the tree. [2:30] This position was also the setup for the “roots like tentacles, as expansive as its branches” gesture [2:50]
• Gesture: Triumphant gesture [2:34]
• Staging: Note the location of the neighbour’s monster tree is off to the right (actually above the audience). This position is mapped for future reference to the monster tree. [3:12]. For example, notice reference to monster tree at [3:51] and again at [4:12].
• Gesture: Forceful gestures to mimic the gas BBQ being lifted up [4:05]
• Gesture: Double hand gesture for “force combined with direction” [4:30]
• Gesture/Staging: Full body gestures for wind blowing and tree resisting. Notice that for these gestures, I am facing to the side so that the majority of the audience will see these gestures in profile. This is more effective than facing the audience. Note also how the contrasting wind directions are indicated [4:39 to 4:55].
• Vocal variety: Voice is quieter at the start of the miscarriage story, then gets louder with “when that wind came for them, not once but twice” [5:05]
• Gesture: holding infant Maximus [6:22]
• Gesture: incubator [6:30]
• Gesture: Notice the gestures in the “yesterday-today-tomorrow” segment [6:45] It starts on the audience’s left, then middle, then right… just as if they were viewing a standard timeline from left to right.
• Vocal variety: Lengthy pause before “We are not trees” [7:04]
• Gesture: Emphatic gestures to indicate we are not trees [7:12] and roots going through the seat [7:13]. Energy here is amplified.

Next in the Speech Preparation Series

Your speech is finally ready. No… wait… you haven’t practiced it yet. The next article in the Speech Preparation Series discusses techniques to get maximum benefit from your rehearsal sessions.

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• Speech Preparation #9: Prepare Now for Your Next Speech

Andrew Dlugan is the editor and founder of Six Minutes. He teaches courses, leads seminars, coaches speakers, and strives to avoid Suicide by PowerPoint. He is an award-winning public speaker and speech evaluator. Andrew is a father and husband who resides in British Columbia, Canada.

Suppose you were delivering a speech to raise awareness in your community about school security. How would you open your speech?

• “I’m going to talk to you today about security in our schools…“
• “School security is an important issue that we must deal with…“

Both openings are direct, to-the-point, and boring! What if there was a better way?

A Better Speech Opening

Great speakers know how to open a speech in a way that hooks the audience into the presentation immediately. (Opening strong is one of the 25 essential skills for public speakers.) There are many ways to do this, including the use of drama and misdirection.

Imagine opening your speech with the following lines:

Tobacco. [long pause]
Alcohol. [long pause]
Guns. [long pause]
Criminal items seized in a search [slight pause] of a 6th grade locker in a bad school district.

Why does this speech opening work?

Beginning the speech in this way generates interest for several reasons:

• Employs a classical technique: the Rule of Three.
• “Seized in a search of a sixth…” uses alliteration.
• Pauses after the three opening words add drama.
• Drama also created because the danger increases with each item (i.e. guns are more dangerous than alcohol and tobacco)
• Mid-sentence pause after “search” signals an important statement coming up.
• Audience thinks these items were seized from some criminal hideout, and then surprised to learn they were found in a school locker.
• All this in just 19 words.

If these items really were seized from a nearby school district, then you’ve got a “ripped from the headlines” opening. Otherwise, you might transition into the rest of your speech with “We must act decisively to prevent this from becoming reality in our schools.”

Try adding drama and surprise to grab the audience early in your next speech! Begin strong and keep going…

This article is inspired by index card wisdom from Jessica Hagy.

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Andrew Dlugan is the editor and founder of Six Minutes. He teaches courses, leads seminars, coaches speakers, and strives to avoid Suicide by PowerPoint. He is an award-winning public speaker and speech evaluator. Andrew is a father and husband who resides in British Columbia, Canada.

Speak Like Churchill, Stand Like Lincoln came to me as a great Christmas gift — a stocking stuffer which will improve my speaking skills considerably.

I was skeptical at first. I guessed that this was another stuffy book filled with speeches and anecdotes from famous speakers who lived so long ago that their speeches are part of history and their anecdotes are no longer relevant. That’s what I thought as I opened the book.

What I discovered is not really a “book full of speeches and anecdotes” (although there are many, many speech excerpts and anecdotes). Rather, I discovered a practical book of speaking techniques that will bolster the repertoire of any speaker who aims to lead.

About the Author – James Humes

Author James Humes knows what he is talking about. He has written speeches for five American Presidents. He is a respected authority on the speaking habits of Winston Churchill, Abraham Lincoln, Benjamin Franklin, Ronald Reagan, and others. He is the author of many public speaking books, including several on these great orators alone.

Contents — Speak Like Churchill, Stand Like Lincoln

Speak Like Churchill, Stand Like Lincoln makes for easy reading with 21 chapters averaging about 10 pages each. Each chapter follows a straightforward pattern:

• Introduce one simple speaking technique;
• Surround it with demonstrative quotations from history’s greatest speakers;
• Summarize the technique in simple and memorable language; and
• Show how it can be used today when writing or delivering a speech
  e.g. in the remarks of a CEO speaking to a corporate audience.

The 21 chapters span the spectrum of writing, preparation, delivery, and even spontaneous speaking. This format makes it an excellent reference book to have on hand when approaching any speaking occasion.

1. Power Pause
2. Power Opener
3. Power Presence
4. Power Point (not what you think…)
5. Power Brief
6. Power Quote
7. Power Stat
8. Power Outage
9. Power Wit
10. Power Parable
11. Power Gesture
12. Power Reading
13. Power Poetry
14. Power Line
15. Power Question
16. Power Word
17. Power Active
18. Power Dollar
19. Power Button
20. Power Closer
21. Power Audacity

Example: Chapter 19 – Power Button

As an example of Humes’ instructive method, consider Chapter 19 — Power Button.

Now that you have worked up a dandy Power Line [Chapter 14], you need to know how to turn it on. You have to light your line so it stands out like a neon sign.

Look, you put in some time to work for that zinger of a line. Don’t you want to make sure it really registers? If you don’t know the secret of turning on your Power Line, you won’t turn on the audience.

The Power Button says to the audience “Ready — Set — Listen” to set them up for the Power Line that follows.

When writing an article, you can italicize. You can underline. But how can you italicize or underline in a talk? Listeners cannot hear the underlining of a sentence.

A lot of you may use a highlighter pen to emphasize a significant line when you read a report or survey. Well, the Power Button phrase is your highlighter pen, illuminating the Power Line that follows.

Humes highlights several examples. In these famous speech lines, the Power Button is in CAPITALS, while the Power Line (the one we remember) follows.

Winston Churchill:

I WOULD SAY TO THE HOUSE AS I SAID TO THOSE WHO JOINED THIS GOVERNMENT [pause]
I have nothing to offer but blood, toil, and sweat.

Patrick Henry:

I KNOW NOT WHAT OTHERS SAY, BUT AS FOR ME, [pause]
Give me liberty or give me death.

John Kennedy:

AND SO MY FELLOW AMERICANS: [pause]
Ask not what your country can do for you — ask what you can do for your country.

Five Reasons Why You Need to Read This Book

1. It delivers practical advice for speakers of all levels.
2. It shows how to apply the master tips and tricks apply to your speeches.
3. It emphasizes techniques to speak the language of leadership like a classical orator.
4. It is an entertaining historical view of history’s greatest speakers.
5. The author’s experience and expertise is unparalleled.

This is a book that I will read again and again. As one of my most used public speaking books, I will reference the advice within each time I prepare for a speech.

I wholeheartedly recommend reading this book to improve your public speaking skills.

Reviews from Public Speaking Experts

Tally Wilgis:

It’s an easy read from a literary perspective and it makes practical sense from a speaking perspective.

John Rallison:

The book is filled with practical tips for becoming an engaging speaker and driving your message home.

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Andrew Dlugan is the editor and founder of Six Minutes. He teaches courses, leads seminars, coaches speakers, and strives to avoid Suicide by PowerPoint. He is an award-winning public speaker and speech evaluator. Andrew is a father and husband who resides in British Columbia, Canada.

The style and content are very different from his Apple product launch presentations, but no less worthy of study.

Noteworthy elements of this wonderful speech include:

• strong opening;
• simple classical structure;
• the Rule of Three;
• rich figures of speech; and
• a recurring theme of birth/death/rebirth.

My suggestion is to:

1. Watch the video.
2. Read the analysis below.
3. If you like, read the full speech text to gain further insights.
4. Share your thoughts on this presentation. What did you like? What could have been done better?

Click here to view the embedded video.

Strong opening: Praise the audience and show some humility

Jobs opens with a compliment for the audience: “I am honored to be with you today for your commencement from one of the finest universities in the world.” He follows that by showing humility in admitting that he never graduated college. In just a few sentences, he has made the audience feel very good about themselves, and increased their receptiveness to his message.

Conversational Style

Contrast “Steven Wozniak and I started Apple” with “Woz and I started Apple.”

• The former is formal, and invokes an image of two entrepreneurs who founded Apple.
• The latter is conversational, and invokes an image of two close friends. Jobs chooses a conversational style, and this is a wise choice. His audience is composed of college graduates for whom graduation often means diverging paths from their close friends.

Simple structure and sentences

Jobs adopts a simple and traditional structure. Opening >> Three stories >> Conclusion. He guides the audience through the 14.5 minutes with simple sentences.

• “Today I want to tell you three stories.“
• “The first story is about connecting the dots.“
• “My second story is about love and loss.“
• “My third story is about death.“

Pauses and Timing

Jobs executes effective pauses before and particularly after key points to allow the audience time to digest his points.

• For example, he concludes his first story with an apparent reference to Robert Frost’s poem The Road Not Taken: “even when it leads you off the well-worn path… and that will make all the difference.” This is followed by a full six seconds of silence. (5:16 – 5:22)

This speech is littered with humour, but I felt the comedic delivery was a bit lacking. Perhaps this was intentional – was his goal to imitate an academic orator? Regardless, the timing was off on several punch lines.

• For example, consider his delivery of “I didn’t even know what a pancreas was.” (10:07) The line is delivered with only a hint of emphasis and barely any pausing before or after. I would have liked more. This is a particularly tense moment in the speech, and the audience would benefit from stress-relieving laughter.
• A minute and a half later, he does a better job of injecting humour in the midst of a serious point: “No one wants to die. Even people who want to go to heaven don’t want to die to get there.” (11:40) The timing is better here.

Rule of Three

Jobs structures his speech around three main points, and he applies the Rule of Three in many sentences and paragraphs.

• “I learned [1] about serif and san serif typefaces, [2] about varying the amount of space between different letter combinations, [3] about what makes great typography great.” (3:39)
• “It was [1] beautiful, [2] historical, [3] artistically subtle…” (3:47)
• “... [1] started a company named NeXT, [2] another company named Pixar, [3] and fell in love…” (7:16) Jobs follows this up with three sentences which demonstrate how each of those turned out great.
• “[1] all external expectations, [2] all pride, [3] all fear” (9:33)
• “[1] It means to try to tell your kids everything you thought you’d have the next 10 years to tell them in just a few months. [2] It means to make sure everything is buttoned up so that it will be as easy as possible for your family. [3] It means to say your goodbyes.” (10:28).
• “… [1] don’t waste it living someone else’s life. [2] Don’t be trapped by dogma — which is living with the results of other people’s thinking. [3] Don’t let the noise of others’ opinions drown out your own inner voice.” (12:18)

Several of those (marked in bold) are additionally examples of anaphora – repetition of a word or phrase at the beginning of successive clauses or sentences.

Figures of Speech Abound

Jobs employs numerous figures of speech in his remarks.

• An antithesis (or antitheton) is a figure of speech using the juxtaposition of contrasting words, often in a parallel structure. Jobs uses several well-crafted examples:
  • “If I had never dropped out, I would have never dropped in…” (4:34)
  • “Again, you can’t connect the dots looking forward; you can only connect them looking backwards.” (4:40)
  • “The heaviness of being successful was replaced by the lightness of being a beginner again…” (7:05) Note also the alliteration of “being a beginner.”
  • “…Death is very likely the single best invention of Life.” (11:55)
• Parallelism (and another example of anaphora): “… that my mother had never graduated from college and that my father had never graduated from high school.” (1:38)
• Anadiplosis (repeating a phrase from the end of one sentence at the beginning of the next): “the only way to be truly satisfied is to do what you believe is great work. And the only way to do great work is to love what you do.” (8:15) This example is effective, but rather loose due to the repetition of “the only way to.”
• Assonance (repetition of vowel sounds): “And whenever the answer has been “No” for too many days in a row, I know I need to change something.” (9:18)
• Repetition. In addition to the many examples highlighted previously, Jobs concludes his speech by repeating “Stay hungry. Stay foolish.” three times. Repetition adds strength to key arguments, especially in a conclusion.

Recurring Commencement Themes: Birth, Death, and Rebirth

In a literal sense, Jobs talks about his birth in his first story, and about confronting death in his third story. However, this speech contains numerous other metaphorical references to these “circle of life” concepts:

• In addition to his physical birth, he relates how the original couple decided they wanted a girl (a symbolic “death” since his life with them was “snuffed out” due to gender). He then tells about how he experienced “rebirth” with his parents.
• His college career had a short “life.” The “death” of his formal academic career made way for the “birth” of his informal learning process.
• His relationship to Apple (in his 20’s) was “born”, grew, and then “died.” Later, when NeXT was purchased by Apple, his career at Apple is reborn.
• He uses the word “renaissance” (a rebirth or revival) to describe the current state of Apple.
• He receives the cancer diagnosis (a “death sentence”), but later is saved by an operation (a rebirth).
• The Whole Earth Catalog. Stewart Brand “brought it to life“, and “then when it had run its course, they put out a final issue.”

Interspersed with these stories, Jobs repeatedly ties it back to his audience. This is particularly clear in the conclusion when he relates these metaphors to his college audience one last time with “as you graduate to begin anew.”

Your Thoughts?

Did you enjoy this speech? What did you like from a public speaking perspective? How could this presentation be enhanced?

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Andrew Dlugan is the editor and founder of Six Minutes. He teaches courses, leads seminars, coaches speakers, and strives to avoid Suicide by PowerPoint. He is an award-winning public speaker and speech evaluator. Andrew is a father and husband who resides in British Columbia, Canada.