Speaking outdoors is one of the most difficult challenges faced by a public speaker.

Do you know how to overcome the obstacles in this difficult scenario?

An anonymous Six Minutes reader asks:

Every speech I’ve heard given outdoors has been pretty much a disaster. Have I just been unlucky, or is this an impossible venue? Is there any way to succeed?

In this article, we’ll examine the unique challenges of speaking outdoors, and give several tips for effectively getting your message across.

The Challenges of Speaking Outdoors

While it’s great to be outside in the fresh air, it’s usually a terrible venue for speaking. Yet, as long as people continue to congregate outside, there will be speeches delivered outside. Just a few examples include:

• Addressing co-workers at a summer event.
• Delivering a toast at an outdoor wedding or beach barbecue.
• Giving a pep talk to a sports team.
• Speaking to supporters at an outdoor political rally.
• Commemorating an event or speaking at a ribbon-cutting ceremony.

The benefits of speaking outdoors are… ah, yes, of course…

1. The lighting is usually very good.

That’s the only one I can think of. Seriously.

On the other hand, the drawbacks of speaking outdoors include:

1. Visual distractions abound, including people walking by, animals, scenery, and even the sky! All of these are competing for the visual attention of your audience. Consider that when you speak indoors, your audience has a relatively narrow choice of things to look at (you, your slides, their mobile device, or the walls)
2. Sound quality is poor as well. Not only do you have to compete with outdoor sounds of all variety (e.g. barking dogs; motored vehicles; sirens; airplanes; even a whistling wind), but your voice may not carry as well either because you are usually standing much farther away from your audience than you would be indoors.
3. As a whole, outdoor events tend to be less structured than those indoors. Getting and retaining their attention can be a difficult or futile activity.

8 Tips for Successfully Speaking Outdoors

Despite all the challenges, there are many things that you can do to improve your effectiveness the next time you speak outdoors.

1. Get attention. If the speech is not part of a planned agenda, it can be difficult even getting the group to look in your direction, much less listen to a speech. How do you get attention? A booming voice, helpful assistants, or a noisy instrument helps.
2. Gather people as close as you can. Outdoor events tend to be fairly relaxed (that’s why you are outdoors!), and people are spread out much more than they would be at a comparable event indoors. By gathering people closer, you improve sight lines, make it easier for everyone to hear you, and increase audience connection. It is well worth your effort to ask people to move in closer. (Not everyone will, but some will, and that’s an improvement.)
3. Move up higher. If there’s a podium to speak from, great. But there usually isn’t. To help everyone see you (and your gestures) better, figure out some way to get higher. Sometimes the landscape will provide for you (e.g. a raised mound; a big rock). Other times, you have to get more creative (e.g. a chair; a milk crate; a picnic table; a tree stump). But please, be careful of your footing.
4. Speak loudly. If you have a timid voice, you are going to have a very difficult time in this environment. Speaking loud is often necessary for you to to be heard at all, and will help you to keep your audience’s attention when distracting sounds invade.
5. Arrange for audio help, if possible. Megaphones and microphones can be tricky to use, but if they are available, I encourage you to use them. If your audience has to strain too hard to hear you, they may give up and watch the clouds instead.
6. Use broad gestures. There are so many moving distractions outside that you’ll often need to be particularly expressive to compete with them.
7. Position yourself so the sun is not in your audience’s eyes. Looking into the sun is too much to ask for most audiences. Position yourself so the sun is off to the side or, if necessary, in your eyes. Hope for clouds (but not rain).
8. Keep your remarks brief. You have a captive audience in a lecture theater, but outdoors, most people want to get back to relaxing, talking, or joining the burger line-up. If you respect this, your audience will thank you.

Good luck!

Your Turn: What’s Your Opinion?

Have you had success speaking outdoors? Or been in the audience for a particularly good speech? What was the key to success?

Please share in the comments.

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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.

Have you ever been at an industry conference, a PTA meeting, or a community gathering where you wanted to stand up and voice your opinion, but couldn’t find the words or didn’t have the confidence to put yourself out there?

This article shows how you can gain public speaking confidence using an unlikely method — by practicing improv comedy.

What is improvisational comedy?

Remember the TV show, Who’s Line Is It Anyway? The stars would be placed in a scene or character, and they would entertain us with their on-the-spot confidence and skills.

Improvisational comedy — or just plain improv — is the trained skill of improvised acting and spontaneously creating hilarity. If you are like me, you may view spontaneity as creating new things on the spot — creativity on demand. But spontaneity is something you already possess. It is about removing the mental blocks to your innate creativity, and letting your inner self shine.

We often have a gut instinct about what is funny in the moment and that can serve us well. Training in improv comedy allows you to recognize those moments, relax, and let your spontaneity flow. You will stress less about what is and isn’t allowed, and speak up more freely.

Learning by playing

One of the first things you learn at improv is to get in a playful state. What this means is that you let go of the need for perfection. Let go of the wish to affect the outcome – to always want to be successful and to avoid failure. Just play. Regardless of the outcome.

When you are doing improv, you learn to do before you think too much. Act as soon as the thought appears. If you start to think about it, and imagining what can go wrong, you won’t express the creativity. Be willing to reveal that inner self that usually gets censored. When you play, you can be any character you want to be.

Improv games you can play

Find a friend or group of friends who are open to learning new skills.

You can practice these exercises as long as you want, but each round should last about two minutes.

Game 1: Word-at-a-time storytelling

This is an exercise for two people. The goal is to tell a story one word at a time alternating between the two people.

For example: (Person A) Once, (Person B) upon, (A) a, (B) time, (A) I, (B) walked, (A) into, (B) a, (A) tree, and so on.

When starting out, you may find it easier to frame what the story is about before starting. This gives the participants an idea of the direction of the story. For example, “Go into a forest and kill a monster.” Then leave the details up to the participants.

Game 2: Speaking in Gibberish

This can be practiced alone. However, to get the best effect, you need to get feedback, so at least two people are recommended.

Act out a scene without using your verbal skills. You’ll notice how much of communication is actually non-verbal as you can still tell a lot with non-verbal cues (e.g. pointing to a watch or showing a surprised or angry expression).

Game 3: Questions are the answer

This is a game for two people who get placed in a scene and then they share a dialogue around it. The rule is that you can only ask questions. No answers, statements or explanations – always answer a question with a question.

Keep trying to move the conversation forward, so stay clear of circular arguments, i.e. why? Why not?

For example, suppose the scene is a pet shop.

• Person A: Do you have any puppies?
• Person B: What kind of puppies do you like?
• Person A: What about german sheppard puppies?
• Person B: Male or female puppies?
• … and so on.

Game 4: Play with an imaginary object

Stand in a circle with your group of friends. One-by-one, pick up an imaginary object from a the table in front of you, interact with it, and pass it on to person next to you. They will then take it, interact with it, and put it back on the table.

You have to make it clear what the object is, so that the person next to you knows how to interact with it.

For example, pick up an imaginary lollipop, lick it a few times, put it in your mouth (with the tongue bulging out your cheek), before taking it out and passing it to the next person.

Game 5: Narrating a story

Two people play this game. One person narrates while the other acts out the story.

There are two variations you can play. In variation A, the narrator prescribes what the other person should act out. In variation B, the actor acts out a story, and the narrator responds by describing it.

For example:

• Variation A: Narrator says “The man saw a big monster and took out his sword” (and the actor then performs the action as described).
• Variation B: The actor acts surprised and exaggerates taking a sword out of a sheath (and the narrator describes what is happening).

Improv lessons will boost your speaking confidence

The lessons you learn in improv are valuable, and will improve your confidence as a speaker.

• In improv, you learn to think on your feet; this will hone your on-the-spot speaking skills too.
• Improv works best if you make the other participants look good; in speaking, you look good if you make the audience feel good about their chances to succeed.
• When you are having fun doing improv, the audience has fun too; with public speaking, the audience will enjoy themselves if you are enjoying yourself.
• In improv, you learn the outcome isn’t always controlled by you; the same goes with public speaking: you need to take the pulse of the audience continuously and adjust where necessary to keep them engaged.
• In improv, you practice and gain expertise in many speaking tools. Vivid body language to engage the audience; setting a scene and playing a character; good storytelling skills; and directing attention through asking questions are just a few critical speaking skills.

Try it out!

If you have the opportunity to join an improv course or workshop, do it. Or, gather a group of friends and hold your own event. Improv comedy isn’t as scary as it is made out to be. It is not just for performers but anyone wishing to become more confident in front of an audience. So, sign up and have a blast, and become a more confident speaker in the process.

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Leon van der Walt has been a member of Toastmasters in Johannesburg and London and has served as club VP of Education. He constantly seeks to improve his public speaking and communication skills and sharing what he has learned through his website. His guiding principle is that life is about communication, and having fun while communicating is what makes life worth living.

People at the back of the room kept saying, “Project!” and “Louder, please.” We were already having trouble hearing the speaker, even before the room was full of people, but their approach wasn’t working.

Frankly, I wasn’t surprised. Just telling someone to yell doesn’t solve the problem of projection. Similarly, just speaking louder doesn’t create a powerful voice.

The Three Key Components of a Powerful Sound

The key components of a powerful sound are:

1. personality,
2. passion, and
3. strong vocal physique.

The first two components are achieved by being yourself and by being clear about your intention. The third, through awareness and practice.

1. Personality

Personality is “you” and the unique gifts you share with your audience. Personality is the unique imprint your thought leaves on your voice, making it distinguishable from other voices and revealing things about your particular experiences and perspective. You cannot escape the revelatory nature of your voice. The essence of who you are is in your voice for all to hear.

If you want to be heard, it’s vital that you celebrate your authentic self. In a New York Times interview Ursula Burns, the impressive new head of Xerox Corporation, wisely remarked,  “I can’t try to say it in somebody else’s voice. I have to say it in my voice.”

2. Passion

Passion is the power of intention aligned with content and personality. We have already covered personality, so what about intention and content?

Content is simply what you have to say. It’s your message, your words, your ideas manifested in spoken form. Intention, on the other hand, is what you have in mind to do or bring about. It is why you are speaking in the first place, why you are standing in front of an audience, what you hope to accomplish. When intention, content and personality align, we have passion. And when there is passion, powerful things happen.

When a speaker is passionate, they seem authentic and genuine. For that reason, actors are trained to pour intent in their lines and speak with passion. We are so tuned in to this aspect of voices that babies as young as six months old can discern intention in voices. I have written about this subject in my blog.

If your intention is unclear, if it conflicts with your message or even with the reason people think you are there, your vocal power will diminish and you’ll lose your audience.

3. Strong Vocal Physique

Strong vocal physique is the ability to produce a vibrantly resonant sound and to have a good command of breathing technique.

Because sound travels on air, resonance and air are intimately connected in the voice. In an earlier Six Minutes article, I focus on good breathing technique for speaking. This is important because air itself makes the voice work. As you exhale, air moves from your lungs through your trachea (or windpipe). It then passes between your vocal folds (also called arytenoids and vocal cords) and brings those muscles together. As they vibrate, sound happens. You use your throat, tongue, lips, and jaw to shape the sound into words.

Now, if someone tells you to speak up, there is a good chance you will use more air as you increase your volume. That’s an improvement. But speaking more loudly may just come across as yelling — and you also risk straining your voice. It is more correct to suggest that you stand up straight, take a big breath, and use more air to carry the sound as you speak up, but that is a very long set of instructions for even the best of sound men! Better that you know what “project” means so you do it right.

Developing Resonance through Awareness and Practice

Resonance is the reverberation or repetition of sound in the environment in which it was created. When someone speaks, resonance is created in the body as well as in the surrounding area. The resonance in the body can be felt by the speaker. The two extremes of resonance are “head voice,” which is where high sounds resonate, and “chest voice,” which is where low sounds resonate.

However, most sounds the human voice makes can also resonate in the mask, or the front of the face. A voice with plenty of mask resonance is strong, and clear, no matter how loud or soft. A voice with good mask resonance is pleasant to listen to and flexible, allowing for rich vocal variety.

Mask resonance is a combination of nasal and mouth resonance. The sound you are looking for will produce a pronounced vibration in the front of your face.

Exercise…

Try it now. Say “Mmmmm.” See if you can feel the buzzy sensation in the front of your face. (I’ve had a lot of fun doing this on radio interviews.) That’s mask resonance. Another way to produce it is to simply say “Mmm-hmm,” like an enthusiastic “yes.” Now say, “Mmm-hmm one. Mmm-hmm two. Mmm-hmm three.” Can you feel that sensation carry over into the words “one,” “two,” and “three?”

Daily Practice…

Use mask resonance at the beginning of a sentence and try to keep that sensation in the words that follow. For example, say “Mmmmmm. It’s great to see you.”

Did you feel the resonance in the mask as you spoke “It’s great to see you,” or did it fade away?

Try it again. This does require some practice. Spend 20 minutes a day working with this, and add it to your awareness as you practice your presentations.

Don’t be afraid of nasal resonance, but know that you need a good combination of mouth and nose, which is why the focus is in the front of the face, not just the nose. If a voice sounds too nasal, it is as bad as one that has no mask resonance. Eventually, you will learn to use mask resonance all the time. As a bonus, according to Swedish researchers, mask resonance is also good for your health.

Being Heard

The next time someone tells you to “project” or to “speak up,” remember that projecting your voice is much more than just making it louder.

1. You project your voice by allowing it to shine with your personality, and having confidence that you have something unique to say.
2. You project your voice with passion for your message by setting a clear intention.
3. And you project your voice by developing a resonant sound that is supported with your whole body through air and energy.

When you do these three things, you will be heard.

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

Kate Peters is a singer/actor, voice coach, speaker, and the author of Can You Hear Me Now? Harnessing the power of your vocal impact in 31 days. Through her presentations, seminars, workshops and private coaching, Kate helps executives, speakers, and performers find the strengths in their voices to better express themselves in their professional and personal lives. For more information, visit Kate’s blog.

However, if you ask singers to name the most important part of vocal technique, 9 out of 10 will say “breathing.”

So, is there some special way to breathe that makes your voice better?  Yes!

In this article, we explore breathing as it relates to vocal variety as a speaker. I’ll provide you an easy to follow technique, as well as tips to improve your voice through better use of air.

The results of applying these tips will be more Power, better Pacing, more interesting Pitch and more effective Pauses in your speaking.

Contents

• Lose Your Breath, Lose Your Voice
• Overview of Breathing
  • Breathing 101
• Breathing and Vocal Variety
  • Pace
  • Pitch
  • Pause
  • Power
• Practical Advice for Daily Life

Lose Your Breath, Lose Your Voice

In Edgar Allen Poe’s short story, “Loss of Breath”, the narrator loses his breath as he is about to berate his wife. Except for some frog-like utterances, his voice also stops with his breath. Shocked by this, he agonizes, philosophizes, and tries to hide his condition, all to no avail. Eventually, he finds his voice when he finds his breath. (Did I mention that someone stole it? This is Poe, after all!)  Although the story is a bit macabre, it underlines the fact that if you lose your breath, you lose your voice … and it’s never a good idea to berate your wife.

Overview of Breathing

So how does one breathe for better speaking and singing? Well, watch a baby breathe. You’ll see that she seems to breath from her stomach, but she is really using her abdominal muscles. It’s breathing 101 — so easy a baby can do it. Here’s how it’s done:

Breathing 101

Read the following instructions out loud carefully, and then try them. (An audio file of these instructions can be heard by clicking here.)

1. Sit forward in a chair and let your stomach muscles relax.
2. Breathe in through your nose and imagine that you are a vessel filling up with air as you would pour water into a vase. Fill up your abdomen first, then your lower ribs (you should feel them expand) and then all the way up to your chin.
3. Hold this breath for a count of ten.
4. Now exhale slowly. As you exhale, keep your ribs expanded and tighten your abdomen as you would if you were doing a “crunch”—that is, the lower abdominal muscles should come in first as though you were rolling up a tube of toothpaste. (Since you are not a tube of toothpaste, keep your chest up as you exhale.)
5. Repeat. Once you have mastered the exercise sitting down, practice incorporating it into your speaking and singing. You may need to do it slowly at first until you can coordinate all the actions smoothly.

The key thing to remember is that breathing should be low and expansive. If you do the exercise correctly, your stomach will go in while your chest stays out and expands. Practicing this technique will provide many benefits, including:

• Awareness of your breathing will enable you to breathe more effectively.
• Proper posture for breathing creates a confident, strong appearance. Deeper breathing makes you feel more confident and strong as well.  Andrew Weil, MD writes, “You cannot always center yourself emotionally by an act of will, but you can use your voluntary nerves to make your breathing slow, deep, quiet, and regular, and the rest will follow.”
• Deep breathing decreases tension and helps to focus intellectual activity.  Charles Kirk describes how proper breathing technique helps him to remain calm on the trading floor.

Breathing and Vocal Variety

An earlier Six Minutes article advised you to “use your voice to complement your message.” This is what I refer to as vocal image: how you are perceived by the sound of your voice.

Ideally, you want your content to align with your delivery method and both to align with the sound of your voice.  Vocal variety is all about the sound of the voice and, in this case, that vocal image is created through several aspects of your sound, including pace, pitch, pause, and power.

Pace

Pace is the speed of your delivery. In general, for vocal variety you are encouraged to vary your pace by speeding up and slowing down appropriately for the message you are delivering. However, some people have trouble with pacing due to poor breathing. If you speak too quickly, or if your speaking is labored or too slow, consider the following:

• Speaking too fast is often the result of not stopping to breathe often enough.
  Solution: To slow down your speaking with the breath, consciously take a breath before you begin. Remember to stop and breathe between ideas. The next time you practice a presentation, take time to inhale and exhale deeply five times before you start to speak. Then take one more deep breath and exhale vigorously into your first words.

• Speaking too slowly can also be caused by not taking in and using enough air.
  Solution: Not using enough air can cause a person to sound dull and lifeless. This may also be caused by poor posture. Practice the breathing technique above, paying special attention to posture. Be sure you move that air with the abdominal muscles as you speak. Overdo the latter when you practice so you really feel the breath in the sound. By breathing deeper and then using all the air in your sound, you create a more energetic sound and you feel more energized, too.

Pitch

Pitch is determined by the notes we use when we speak. Yes, we use notes when speaking just as we do for singing. Speaking notes, however, are random, informally ordered, and usually of shorter duration than notes we sing. To create vocal variety, one uses different pitches to make their sound more interesting.  Sometimes problems with creating variety in pitch can be the result of poor breathing technique. Here are two such problems, their likely causes, and some ways to fix them:

• A voice that is too high-pitched and thin can be the result of shallow breathing (without abdominal expansion and support).
  Solution: The solution to shallow breathing is to relax the abdomen and drop the air in lower. This also relaxes the larynx so it doesn’t ride so high. A high larynx can create a higher, thinner sound.

• If your voice sounds squeezed or strained, or too low, you may not be using all the air you take in.
  Lisa Braithwaite comments rightly that speaking too low can do vocal damage.
  Another lesson from Poe’s prose is that you can produce a sound without breath. He writes:

I discovered that had I, at that interesting crisis, dropped my voice to a singularly deep guttural, I might still have continued … this pitch of voice (the guttural) depending, I find, not upon the current of the breath, but upon a certain spasmodic action of the muscles of the throat.

If you don’t want to be limited to a guttural growl, air should flow freely in your voice. You can improve a strained sound by practicing a breathy sound and then gradually adding more and more vocal sound to it. I call this “energizing the voice.” It also has the effect of making pitch variety much easier to achieve because the voice becomes free to move and create more pitches. If you do this correctly, you will definitely feel the freedom in your voice!

Pause

When speaking, pauses are the golden silences that allow your listeners to take in what you are saying. They are the “beats” an actor uses between phrases; they are that special something that leads to “comedic timing.” Importantly, pauses also give us time to breathe.

Here’s how to apply breathing to your pauses:

• Breathe before speaking your first words.
  Taking that first breath allows you to align everything physically, mentally, and emotionally. It also allows your larynx to be stimulated but relaxed. And finally, it gets the oxygen flowing so that you can think more clearly and look your best.

• Be aware of your breathing.
  It is amazing to see how many people simply forget to breathe when they are in front of an audience. As you may have experienced, nerves can play a big part in forgetting to breathe and feeling out of breath. So the short term solution to this, as blogger Denise Graveline mentions, is to pause and breathe!  The long-term solution, however, is to practice being aware of your breathing all day long. Awareness of breathing makes for natural pauses. The more you practice, the more likely it is you’ll remember to breathe when you’re speaking in public.

Power

A common misconception about Power is that it is the same thing as volume.  The truth is that vocal power is so much more than how loud you are. Vocal power is all about the impact your sound has on others. Your personal vocal power may be found in the tone of your sound or in how you phrase a thought.  Many people are surprised to learn that power can be heightened or lessened by how they breathe and how they use their breath.

• Sound moves on air, so you need to have air to get a powerful sound.  You can speak loudly, but if you aren’t incorporating that air into your sound, you will be shouting. Your impact on others may be quite different than you intended! In addition, keeping the air moving with the sound allows for wonderful control of your voice so that you can use all of your vocal variety techniques more effectively.

• A powerful speaker is one who is relaxed and comfortable. A powerful voice is relaxed and comfortable. Breathing deeply relaxes the larynx so the voice can settle into a comfortable, natural sound rather than one that is contrived or forced.

Practical Advice for Daily Life

Try to practice good breathing technique several times a day and soon you will naturally incorporate it into your everyday speaking. Here are a few tips for practicing breathing:

• Practice breathing while driving. Your hands are raised as you drive which makes it easier to keep your chest high. And practicing breathing can also ease road rage significantly!

• Practice breathing while sitting at your desk when you would normally be slumped over in your chair. Sit on the edge of your chair and take 10 practice breaths three times a day.

• Practice breathing when you are about to go to sleep or lying down on the floor at the end of a workout session. When you are lying down, it is easier to isolate the abdominal muscles and strengthen them for proper breathing. (You can even put a book on your abdomen to exaggerate the way you use those muscles for even better awareness of how to do this correctly. Watch the book go up and down as you breathe “with your stomach.”)

The final and real test, of course, will come in how well you incorporate good breathing into your presentations. On the day of your big presentation, remember to consciously practice using the air you take in. Take time to inhale and exhale deeply five times before you start to speak, then take one more deep breath and breathe into your first words. Don’t forget to slow down and breathe from time to time during the course of a talk in front of an audience.

As they say, practice makes perfect. So practice and it won’t be long before you are able to make your learned breathing as natural as the breathing you are using now, and the benefits will be enormous.

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

Kate Peters is a singer/actor, voice coach, speaker, and the author of Can You Hear Me Now? Harnessing the power of your vocal impact in 31 days. Through her presentations, seminars, workshops and private coaching, Kate helps executives, speakers, and performers find the strengths in their voices to better express themselves in their professional and personal lives. For more information, visit Kate’s blog.

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

Do you find it hard to convey 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 aims for this speech project are to use your voice to complement your message by enhancing your:

• pace,
• pitch,
• power, and
• pauses.

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 examines Toastmasters Speech 7: Research Your Topic.

Similar Articles You May Like... Breathing: The Seductive Key to Unlocking Your Vocal Variety How to Stop Saying Um, Uh, and Other Filler Words Speech Critique: Elizabeth Gilbert @ TED (Author of Eat, Pray, Love) Speech Preparation #7: Choreograph Your Speech with Staging, Gestures, and Vocal Variety How to Thrive When Speaking Outside Powers of 10: Time Scales in Public Speaking

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.

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.

Similar Articles You May Like... Speech Critique: Elizabeth Gilbert @ TED (Author of Eat, Pray, Love) Boost Your Speaking Confidence Through Improv Breathing: The Seductive Key to Unlocking Your Vocal Variety Toastmasters Speech 6: Vocal Variety How to Thrive When Speaking Outside How to Stop Saying Um, Uh, and Other Filler Words

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.