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This discussion will help you think about delivering a presentation in an online format. You may use resources outside the linked article to help you answer the questions, but be sure to cite these sources in MLA format (including websites). For additional information about the MLA citation format, visit the

MLA Style for Electronic SourcesLinks to an external site.

webpage.

Read the article titled, Delivering Your Speech.
Create a discussion post (minimum 150 words) that responds to all of the following:
What are some of the challenges that you would need to consider regarding presenting in an online environment? Provide some examples of how you might overcome these challenges.
What types of presentation media are you considering for your final story presentation (e.g. Powerpoint with voice-over/ script; video; PowToons; etc.) to support your method of delivery? Discuss the pros and cons of each of these options.
Thinking about the final story presentation holistically (and based on the reading), what are some decisions that you plan to make in order to prepare for this culminating assignment? How will you specifically execute these plans to ensure your preparation?

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Public Speaking: The Virtual Text

www.publicspeakingproject.org

delivering

your speech

chapter 12

By Victor Capecce, M.F.A.

Millersville University, Millersville, PA

introduction
Imagine this. A speech topic is

perfectly chosen; the content is nicely
organized and flawlessly researched; a
great deal of work was invested in
preparing the “text” or “script” of the
speech, but the speech is poorly
delivered. Will the speech be
effective? Will the audience stay alert
and follow it? Will the audience
properly interpret the speaker’s
intended message? These last
questions contribute to the universal
fear of public speaking. It is not the
preparation of a speech that strikes
terror in the hearts of so many, but the
performance of a speech!

Don’t lower your
expectations to meet your
performance. Raise your
level of performance to meet
your expectations. Expect the
best of yourself, and then do
what is necessary to make it a
reality.

~ Ralph Marston

Since an audience does not usually

read the text of a speech, but simply
listens to it, all the preparation of the
content by the speaker must be encoded
into a complex combination of
communication channels (words,
sounds, visual elements, etc.) ready to
be performed. The purpose of this
chapter is to offer guidance to transfer
the speech from the page to the stage.

There is an old Burlesque joke:

One man on a New York
street comes up to another
and asks,
“How can I get to Carnegie
Hall?”
The second man answers,
“PRACTICE.”

Practice is the key to excellent

performance. Trite as it might sound
(or obvious), the basic foundation for a
good speech delivery involves the two
“P’s”: Preparation and Practice.
There is not an actor, athlete, or
musician worth his/her salary who does
not prepare and practice. Even when a

performance is given with spontaneity,
the “P’s” are crucial.

Stand-up comedy is everywhere; and
those who are successful comedians do

chapter objectives
After studying this chapter you should be able to:

1. Identify, define and give

an example of each of

the four main types of

delivery

2. Determine the best

speaking style for

different types of

speaking occasions

3. Identify and utilize voice

aspects of speaking

4. Recognize and utilize the

key “ingredients” of a

well-performed speech

5. Adapt to the physical

aspects of a speaking

venue

6. Plan the speech in

preparation for

delivery/performance of

a speech.

chapter outline

 Introduction

 Methods of

Delivery

o Manuscript Style

o Memorized Style

o Impromptu Style

o Extemporaneous Style

 Vocal Aspects of Delivery

o Articulation

o Pronunciation

o Accent, Dialect and

Regionalisms

o Vocal Quality

o Pitch and Inflection

o Rate of Speaking

o Pauses Versus Vocalized

Pauses

o Vocal Projection

 Nonverbal Aspects of Delivery

o Personal Appearance

o Movement and Gestures

o Facial Expressions

o Eye Contact

 Mastering the Location

o The Room

o The Podium

o The Equipment

o Using a Microphone

o Water Rules

 Preparation, Practice and

Delivery

o Preparing Notes

o Rehearsing the Speech

o Managing Stress

o Delivering the Speech

 Conclusion

 Review Questions and Activities

 Glossary

 References

Chapter 12 Delivering Your Speech www.publicspeakingproject.org

12-2

not make up their monologues on the
spot. The phrasing, the pauses, the
timing, is all rehearsed to assure the
laughs will happen on cue. Good stand
up comics are skilled in making it look
as though they are making up their
routine on the spot, which is part of the
success of a good comedy performance.
New speakers should think of
themselves as performers facing an
audience; actors ascending to stage;
athletes stepping up to bat.

This chapter will describe the basic
methods of delivery, and offer guidance
in the aspects of presentation (such as
voice, inflection, eye contact, and body
and facial language). Some basic
strategies for in setting up the room and
podium for speaking will also be
covered.

It is delivery that makes the
orator’s success.

~ Johann Wolfgang
Von Goethe

methods of

delivery

There are four basic methods

(sometimes called styles) of presenting
a speech: manuscript, memorized,
extemporaneous, and impromptu. Each
has a variety of uses in various forums
of communication.

manuscript style
The word manuscript is the clue to

the style. The speech is written and the
speaker reads it word for word to the
audience. Originally, it was done

from

the hand-written paper manuscript.
Today the manuscript style is
common, but the paper is gone. Who
reads the speech to the audience?
Answer: Newscasters and television
personalities. In the old days, the
manuscript was hand-lettered on cue
cards, which were held next to the
camera lens. Then paper scrolls, like
printed piano rolls were used,
especially in Soap Operas. Today, a
special teleprompter (working like a
periscope) is attached to the camera so
the newscaster is looking at the lens
while reading.

Why is the manuscript important and
in use? Precision. In the news-
reporting industry, every fraction of a
second counts because broadcast time
is costly. Also, the facts and names
must be exact and accurate so there is
no room for error. Errors in reporting
decrease the credibility of the news
organization and the newscaster.

The most regular use of the
teleprompter for manuscript delivery
is by the U.S. President. In fact, the
teleprompter, used by every President
since Reagan, is called a “Presidential
Teleprompter.” It is made of two
pieces of glass, each flanking the
podium. They reflect the text from a
monitor on the floor like a periscope.
The glass on both sides has the same
text, and the speaker looks alternately
from one glass to the other as though
looking at the audience through the
glass. The audience cannot see the
projected text. The speeches a President
gives will often reflect national policy,
define international relationships, and
the press will scrutinize every syllable.
It has to be more than brilliantly
accurate; it has to be impeccably
phased. Professional writers and policy
experts compose the speech; and the
President delivers it as though he not
only wrote it, but made it up on the
spot. That is the skill of a good
politician, actor, or speaker. Those
who are not skilled using a
teleprompter or manuscript will sound
stilted and boring.

memorized style
The memorized style of speaking is

when the manuscript is committed to
memory and recited to the audience
verbatim (word for word). In the days
when elocution was taught, this was a
typical approach. A speech was a
recitation. The Optimists Club (a
national organization) used to have a
“Oratory” contest for high school
students. Contestants wrote essays on a
given theme, to create a speech at a
specific time length (e.g.: three
minutes). The essay was memorized
and the delivery was judged by 1) the
quality of the writing, 2) the accuracy
with which it was recited; and 3) the
precise length of time. Such contests
seem archaic by today’s more casual
and somewhat less formal standards.

Where is a memorized delivery style
still common? Due to copyright laws
and licensing contract agreements
(other than scripts that are in the public
domain), actors on stage are obligated
to memorize the script of the play and
perform it verbatim exactly as written.
It is typical for speakers on high school
and university speech and debate teams
to memorize their competitive
speeches. Corporate conventions often
use large LCD monitors on the front of
the stage as teleprompters. This allows
the speaker to move more freely across
the stage while sticking to his or her
script. Some monologists (such as the
stand-up comics mentioned at the start
of the chapter) also use a memorized
delivery style. In all cases, they create
the impression that the speech is

Try This! Manuscript Delivery

Watch the local or national 6

p.m., 11 p.m. and 6 a.m.

newscasts on the same T.V.

station. Make notes on which

news items repeat and how

closely, or exactly, the

phrasing is, even if different

personalities are presenting

the same item.

Chapter 12 Delivering Your Speech www.publicspeakingproject.org

12-3

spontaneous. You might consider
using the memorized delivery style if
your speech is relatively short, or you
know you will have to deliver your
speech repeatedly such as a tour
operator would.

impromptu style
Theoretically, an “impromptu”

speech is “made up on the spot.” It is
unprepared and unrehearsed. Often
ceremonial toasts, grace before meals,
an acknowledgement, an introduction,
offering thanks and so on, fall into this
category. While there are some
occasions when a speech in those
categories is actually prepared (prepare
your acceptance for the Academy
Award BEFORE you are called!), there
are many occasions when there is little
or no opportunity to prepare.

Impromptu speeches are generally
short and are often given with little or
no notice. Notes are rare and the
speaker generally looks directly at the
audience. It would be presumptuous
and arrogant to declare rules for
Impromptu Speaking. It is fair to
explain that “impromptu” describes a
range from absolutely no preparation,
to a modest amount of preparation
(mostly thought) and rarely
incorporates research or the formalities
of outlines and citations that more
formal speeches would include.

Be still when you have
nothing to say; when genuine
passion moves you, say what
you’ve got to say, and say it
hot.
~ D. H. Lawrence

An indelibly memorable example

occurred to me when my siblings threw
a surprise 10th anniversary party for my
Mom (Margaret) and our stepdad
(Lidio). It was the third marriage for
both of them, and they were in their
60’s. As soon as the yells of “surprise”
subsided, Lidio picked up his wine
glass and proposed a toast:

“I can’t believe this surprise! I don’t
know what to say… um, Dino [his
brother] when was that Yankee game
Dad took us to when we were kids? It
was 4th of July, wasn’t it? 1939? And
it was like it was yesterday; and today
reminds me of that day, when Lou
Gehrig came out to the mound. He was
slow, but we were all cheering the
‘Pride of the Yankees.’ He wasn’t
playing anymore, he was too sick, but
he looked around the crowd, and said
‘I’m the luckiest man alive.’ That’s
how I feel with you all here today; to
celebrate our 10th anniversary. I’m
here with you and with Margaret; and
I’m the luckiest man alive.”

The speech was short, emotionally
charged, wonderfully articulate, and
absolutely unprepared. The speech had
one central emotionally charged
message; simple, in words and
phrasing, but complex by bringing an
image of great sentimentality to the
occasion. He was able to react to the
moment, and speak “from the heart.”

In contrast, legendary magician
Harry Houdini was often asked to
perform for the amusement of his
fellow passengers when sailing to
Europe. I always associate
“impromptu” with the stories of
Houdini’s shipboard conjuring.
Nothing was further from

“impromptu.” The skill of the great
magician was in making his illusions
seem spontaneous with what appeared
to be ordinary items that “happened” to
be on hand. Houdini spent endless
hours planning and rehearsing. The
true illusion was that they “appeared”
to be impromptu.

Take advantage of every
opportunity to practice your
communication skills so that
when important occasions
arise, you will have the gift,
the style, the sharpness, the
clarity, and the emotions to
affect other people.
~ Jim Rohn

extemporaneous style
Sandwiched between the memorized

and impromptu delivery styles you find
the extemporaneous speech style. For
this style, the speech is not completely
written out. It is usually delivered with
keynotes for reference. Most public
speaking courses and books describe
extemporaneous speeches as carefully
prepared and rehearsed, but delivered
using notes of key words and phrases to
support the speaker. Phrasing is pre-
rehearsed, words are pre-chosen, and
the organization is fluid and well
constructed. There should be no
fumbling for words, no rambling, and
length of time should be carefully
monitored. The style does offer the
speaker flexibility to include references
to the immediate surroundings,
previous speeches, news of the day, and
so on.

The trouble with talking too
fast is you may say something
you haven’t thought of yet.”
~ Ann Landers

How you develops the notes and

what they look like are up to the
individual, but a natural
extemporaneous delivery is difficult if

Chapter 12 Delivering Your Speech www.publicspeakingproject.org

12-4

you are relying on a manuscript. Under
no circumstances should the speaker be
spending more than 20% of the
speaking time looking at the notes. It
would be ideal to practice so you only
glance at your notes approximately 5%
of the time of the speech.

Those who have limited experience
in formal speaking find it helpful to
write out the speech as though it were
an essay, then read it, edit it, then
create speaking notes from the text.
This helps with editing and with
thinking through the phrases. This
process of public speaking was taught
decades ago to my contemporaries and
me and has fallen out of fashion. But it
is a useful way of thoroughly thinking
through the speech. If this procedure is
used, it is advisable to rehearse the
speech with the notes without the essay
prior to delivering the speech. But be
warned: having the fully written essay
at the podium might detract from the
delivery.

The extemporaneous style is the
method most often recommended (and
often required) in today’s public
speaking courses, and is generally the
best method in other settings as well.
While it is not the only method of
delivering a speech, it is the most
useful for presentations in other
courses, in the corporate world and in
pursuing future careers.

vocal aspects of delivery
Though we speak frequently during

the course of a day, a formal speech
requires extra attention to detail in
preparation of a more formal speech
presentation. What can one do in

advance to prepare for a speech? The
challenge is partly determined by the
speaker’s experience, background and
sometimes cultural influence and
existing habits of speaking.
Articulation, Pronunciation, Dialect,
Tone, Pitch, and Projection each
depends on long-term practice for
success. These aspects are like
signatures, and should be developed
and used by each speaker according to
his own persona.

Voice, or vocal sound, is made
when controlled air being exhaled from
the lungs, passes over the vocal cords
causing a controlled vibration. The
vibrating air resonates in the body,
chest cavity, mouth, and nasal
passages. The vibrating air causes a
chain reaction with the air in the room.
The room’s air, set in motion by the
voice, is captured by the listener’s ear.
The vibration of the air against the
eardrum is transferred to electrical
impulses that are interpreted by the
listener’s brain. Thus, the sounds we
can make are predicated on the breaths
that we take.

Try Thisl Breathing

Talk without breathing.

It cannot be done. So if you

are screaming (like a baby),

you are also breathing!

The first word of advice on

speaking to an audience:

BREATHE!

articulation
We are often judged by how well we

speak in general. A measure of
perceived intellect or education is how
well we articulate. That is: how well
and correctly we form our vowels and
consonants using our lips, jaw, tongue,
and palate to form the sounds that are
identified as speech. Diction and
enunciation are other terms that refer
to the same idea. For instance, saying
“going to” instead of “gonna” or “did
not” instead of “dint” are examples of
good versus poor articulation.
Consonant and vowels are spoken with
standard accepted precision, and
serious students and speakers will
strive to practice the clarity of their
sounds. Proper diction is as integral to
the English language as proper spelling,
but it takes practice.

Try Thisl Pronunciation

1. Flip though a book, article

or scholarly work until you

come to a word that is

unfamiliar and you can only

guess its pronunciation.

2. Go to the Merriam-

Webster Dictionary website,

and look up the word.

3. When the definition

appears, click the icon of

the loudspeaker. The word

is audibly pronounced for

you.

The online dictionary is

useful in both articulation as

well as pronunciation.

pronunciation
Proper articulation applied to a

given word is that word’s
pronunciation. The pronunciation
includes how the vowels and
consonants are produced as well as
which syllable is emphasized. For

Chapter 12 Delivering Your Speech www.publicspeakingproject.org

12-5

generations, speakers depended on
“markings (such as the International
Phonetics Alphabet or similar
Dictionary Symbols) to discover or
decide how words were officially
pronounced. With online dictionaries
now readily available, one needs only
to “look up” a word and select “play”
to hear an audible recording of the
official and precise way a word should
be pronounced. Now there is no excuse
for mispronouncing a word in a speech.
A mispronounced word will obliterate a
speaker’s credibility, and the
audience’s attention will be focused on
the fault rather than the message.

accent, dialect, and regionalisms
Subtleties in the way we pronounce

words and phrase our speech within a
given language are evident in accents,
regionalisms and dialects. An accent
refers to the degree of prominence of
the way syllables are spoken in words,
as when someone from Australia says
“undah” whereas we say “under.” A
regionalism is a type of expression, as
when someone says “The dog wants
walked,” instead of “the dog wants to
go for a walk.” Dialect is a variety of
language where one is distinguished
from others by grammar and
vocabulary. In Pennsylvania you might
hear people say that they are going to
“red up the room,” which means “to
clean the room.”

Those who depend on speaking for a
career (broadcasters, politicians, and

entertainers) will often strive for
unaccented General or Standard
English. Listen to most major network
newscasters for examples of
regionalism-free speech. A given
audience may be prejudiced towards or
against a speaker with an identifiable
accent or dialect. Though we would
wish prejudice were not the case, the
way we speak implies so much about
our education, cultural background, and
economic status, that prejudice is
inevitable. Any speaker should be
aware of how accent, dialect and
regionalisms can be perceived by a
given audience. If you speak in a way
that the audience might find difficult to
understand, make an extra effort to pay
attention to the accent and phrasing of
your speech. Ask a sympathetic and
objective listener to help you when you
practice.

We often refuse to accept an
idea merely because the tone
of voice in which it has been
expressed is unsympathetic to
us.
~ Friedrich Nietzsche

vocal quality
The quality of the voice, its timbre

(distinctive sound) and texture, affects
audibility and can affect the
articulation. Our voices are unique to
each of us. It is a result of our physical
vocal instrument, including diaphragm,
vocal cords, lungs and body mass.
Some examples of vocal quality
include warm, clear, soft, scratchy,
mellow and breathy. Each speaker
should practice at maximizing the vocal
effect of his instrument, which can be
developed with vocal exercises. There
are numerous books, recordings and
trainers available to develop one’s
vocal quality when needed. The

quality of one’s voice is related to its
range of pitch.

pitch and inflection
Identical to musical parlance, the

pitch is the “highness” or “lowness” of
the voice. Each of us has a range of
tone. Vocal sounds are actually
vibrations sent out from the vocal cords
resonating through chambers in the
body. The vibrations can literally be
measured in terms of audio frequency
in the same way music is measured.
When the pitch is altered to convey a
meaning (like raising the pitch at the
end of a sentence that is a question), it
is the inflection. Inflections are
variations, turns and slides in pitch to
achieve the meaning.

In his writing “Poetics,” Aristotle
lists “Music” as an element of the
Drama. Some scholars interpret that to
include the musicalization of the
spoken word with dramatic inflection.
The meaning and effectiveness of a
spoken line is greatly dependent on the
“melody” of its inflection.

Though archaic, the study of
elocution formalizes the conventions of
inflection. In some contemporary
cultures, inflection has been minimized
because it sounds too “melodramatic”
for the taste of the demographic group.
It would be sensible to be aware of and
avoid both extremes. With good
animated inflection, a speaker is more
interesting, and the inflection conveys
energy and “aliveness” that compels
the audience to listen.

When public speaking was known as
elocution, sentences were “scored” like
music, and spoken using formal rules.
Sentences ending as a question went
UP at the end. Sentences ending in a
period, ended with a base note. And
everyone had fun with exclamation
points!

Try Thisl Inflection

Your voice goes UP, and then your voice goes down.

Chapter 12 Delivering Your Speech www.publicspeakingproject.org

12-6

For most of music in history,
including Opera, Broadway, and early
Rock and Roll, songs were written so
that the melody (raising and lowering
the pitch) was consistent with what
would be spoken. Many of today’s
songs, notably Rap songs, depend
solely on rhythm. There is little if any
inflection (melody) to enhance a lyric’s
meaning. Certain languages differ in
their dependence on inflection.
Japanese and German seem monotonic
compared to Italian and French, which
offer great variety of inflection.

The human voice is the most
beautiful instrument of all,
but it is the most difficult to
play.
~ Richard Strauss

Even someone one who is not a

singer can be expressive with inflection
and pitch. Like the “Think System” of
Professor Harold Hill in the musical
The Music Man. If you THINK varied
pitch, you can SPEAK varied pitch.
Think of pitch inflections as seasoning
spices that can make the speech more
interesting. Sing “Happy Birthday.”
You do not have to concentrate or
analyze how to create the melody in
your voice. Your memory and instinct
take over. Notice how the pitch also

provides an audible version of
punctuation, letting the audience know
if your sentence has ended, if it is a
question, and so on. The melody lets
the audience know that there is more to
come (a comma) and when the phrase
is ended (a period). Remember that in a
speech, the audience does not have the
written punctuation to follow, so you
have to provide the punctuation with
your inflection.

Those who do not use inflection, or
use a range of pitch, are speaking in
monotone. And, as the word implies, it
can be monotonous, boring, and dull.
A balance between melodramatic and
monotonous would be preferred. The
inflection should have a meaningful
and interesting variety. Be careful not
to turn a pattern of inflection into a
repetitious sound. Think through each

phrase and its musicalization
separately.

Many speakers have developed the
habit of ending each sentence as though
it is a question. It may be becoming
increasingly common. In the wake of
the Valley Girl syndrome of the 1980’s,
a bad inflection habit has entered the
speech pattern: Some speakers end a
declarative sentence with the inflection
of a question.

Do you know what I mean?
A word of caution: Inflection and

varied pitch must be “organic,” that is
to say, natural for the speaker. You
cannot fake it, or it sounds artificial and
disingenuous. It is a skill that needs to
develop over a period of time.

rate of speaking
In order to retain clarity of the

speech with articulation and inflection,
the speaker must be aware that there is
a range of appropriate tempo for
speaking. If the tempo is too slow, the
speech might resemble a monotonous
peal. If it is too fast, the articulation
could suffer if consonants or vowels are
dropped or rushed to keep up the speed.
An audience could become frustrated
with either extreme. The tempo needs
to be appropriate to the speaker’s style,
but neither paced like a Gilbertian
Lyric (as in “Gilbert and Sullivan”)
patter nor a funereal dirge. A
comfortable and clear pace is the best.
An ideal speaking rate will allow you
to comfortably increase your pace to
create a sense of excitement, or slow
down to emphasize the seriousness of a
topic.

It is simple nonsense to speak
of the fixed tempo of any
particular vocal phrase. Each
voice has its peculiarities.
~ Anton Seidl

pauses versus vocalized pauses
A text that is read has punctuation

that the reader can see…miniature
landmarks to define the text. When
spoken, similar punctuation is

needed

Try Thisl Vocal Variation

Find a listening partner.

Using only the sounds of “la”

ha,” and “oh,” covey the

meaning of the following:

1. It’s the biggest thing I’ve

ever seen!

2. I’ve fallen and can’t get up!

3. I’ve got a crush on him/her.

4. That soup is disgusting and

spoiled.

5. I got an “A” in my Speech

Final!

If you cannot relay the

meaning with just sounds, try a

second time (each) with

gestures and facial

expressions until the listener

understands. Then say the

lines with the expressive

inflections you have

developed using only the

sounds.

Chapter 12 Delivering Your Speech www.publicspeakingproject.org

12-7

Table 12.1 Finding the R

If you speak too quickly…

ight Pace for Your Speech

If you speak too slowly…

… the audience might get … the audience might think

the impression you have you are too tired to be

nothing important to say. presenting.

… the audience has a … the audience can forget

difficult time catching up the first part of your sentence

and comprehending what by the time you get to the

you are saying. They need last! (It happens!) And they

time to “digest” the lose interest.

information. So plan on

periodic pauses.

… the audience might think … the audience might think

you really do not want to be you are wasting their time

there. by taking longer than

necessary to relay your

message.

As a speaker, yo

their attention do

is “just right.”

u cannot race with

wn. Like G

the audience, nor drag

old ilocks, look for the pace that

for comprehension, and the speaker’s
responsibility is to offer the text with
pauses. Space between phrases,
properly planted, gives the audience the
opportunity to understand the structure
of the speaker’s sentences and
paragraphs. It also gives time for the
audience to “digest” crucial phrases.

Generally, spoken sentences and
paragraphs need to be simpler and
shorter than what can be comprehended
by reading. Pauses can help increase
comprehension.

However, pauses that are filled with
“uh’s, “um’s,” etc., are called
vocalized pauses, or fillers, and should
be avoided. They can be distracting
and annoying, and give the impression
of a lack of preparation if used
excessively. Even worse is the use of
vernacular phrases like, “y’ know” (a
contraction of “Do You Know”) which
gives the impression of lack of
education or lack of concern for the
audience. The use of vocalized pauses
may be the result of a habit that

deserves an effort to be overcome.
Avoid using phrases such as “Uh,”
“OK?”, “y’know”, “like…, I mean,””
right?”

vocal projection

that comfortably allows you to increase
the volume of your voice without
seeming to shout or decrease the
volume of your voice and still be heard
by all audience members.

Do not expect to walk up to the
podium and have a full voice. Actors
spend about a half-hour doing vocal
warm-ups, and singers warm up much
more. You might not have an
opportunity to warm up immediately
before your speech, but when you can,
warm up with humming, yawning
(loudly) or singing scales: all while
breathing deeply and efficiently. It will
loosen your voice, prevent irritation,
and fire up your vocal energy.

One final note: If public speaking is
or will be an important part of your
career, it would be sensible to have an
evaluation of your voice, articulation
and projection done by an objective
professional so you can take any
remedial action that might be
recommended. There are courses of
study, private lessons, and professional
voice coaches to work with your voice
projection, tone, and pitch.

Words mean more than what
is set down on paper. It takes
the human voice to infuse
them with deeper meaning.
~ Maya Angelou

Try Thisl Projection

Go to the room in which you

are to speak. Have a friend sit

as far away from the podium

is possible. Rehearse your

speech, talking loudly enough

so your friend can hear you

comfortably. That is the

projection you will need.

When you mentally focus on

the distant listener, you will

tend to project better.

The volume produced by the vocal
instrument is projection. Supporting
the voice volume with good breathing
and energy can be practiced, and
helping a speaker develop the correct
volume is a main task of a vocal
trainer, teacher or coach. Good vocal
support with good posture, breathing,
and energy should be practiced
regularly, long before a speech is
delivered. There are numerous
exercises devoted to developing
projection capabilities.

While there is no need to shout, a
speaker should project to be easily
heard from the furthest part of the
audience. Even if the speech is
amplified with a microphone/sound
system, one must speak with projection
and energy. As with your rate of
speech, you should speak at a volume

Chapter 12 Delivering Your Speech www.publicspeakingproject.org

12-8

nonverbal aspects of

delivery
personal appearance

Here is the golden rule: Dress
appropriately for the situation. You
don’t need to sport a power tie (the
predictable red tie politicians wore in
the 1980s), but you should be
comfortable and confident knowing
that you look good.

With the exception of wearing
formal black-tie tuxedo to a hockey
game, it is good practice to dress a bit
more formal than less. Err on the side
of formal. Most class speeches would
be best in business casual (which can
vary from place to place and in time).
The culture or standards of the
audience should be considered. For
men, it is usually a button-down shirt
and casual dress pants. For women, it
may be skirt or slacks and blouse/shirt.

There are exceptions depending on
the speech. A student once arrived in
pajamas to deliver his 9 a.m. speech.
At first, I thought he got up too late to
dress for class. However, his speech
was on Sleep Deprivation, and his
costume was deliberate. What he wore
contributed to his speech.

If you have long hair, be sure it is
out of the way so it won’t cover your
face. Flipping hair out of your face is
very distracting, so it is wise to secure
it with clips, gel, or some other method.
Be sure you can be seen, especially
your eyes and your mouth, even as you
glance down to the podium.

Think of it as an interview…just like
in an interview, you will want to make a good first impression. The corporate

culture of the business will determine
the dress. Always dress at the level of
the person conducting the interview.
For example, a construction foreman
(or project manager) will conduct an
interview to hire you as a carpenter.
Do not dress like a carpenter; dress like
the project manager.

Actors know when they audition, the
role is won by the time they step into
the room. A speaker can launch success
by stepping confidently to the podium.

Be tidy and clean. If you appear as
though you took time to prepare

because your speech is important, then
your audience will recognize and
respect what you have to say.

movement and gestures
Overall movement and specific

gestures are integral to a speech. Body
stance, gestures and facial expressions
can be generally categorized as body
language. Movement should be relaxed
and natural, and not excessive. How
you move takes practice. Actors usually
have the advantage of directors helping
to make decisions about movement, but
a good objective listener or a rehearsal
in front of a large mirror can yield
productive observations.

Moving around the performance
space can be a very powerful
component of a speech; however, it
should be rehearsed as part of the
presentation. Too much movement can
be distracting. This is particularly true
if the movement appears to be a result
of nervousness. Avoid fidgeting,
stroking your hair, and any other

Table 12.2

Dressing Appropriately

What to Wear:
 A button-down shirt or

blouse

 Trousers (khaki or dark) or

a skirt

 A dress appropriate for a

business setting

 A nice sweater

 Limited, tasteful jewelry

 A suit or jacket may be

appropriate

 A tie or scarf (optional)

What NOT to Wear:
 T-shirts, sweat shirts or

sweat suits

 Sleeveless tops

 Printed logos or sayings

(unless appropriate to the

speech)

 Caps or hats

 Torn jeans

 Visible underwear

 Noisy or dangling jewelry

 Flip flops

 Provocative clothing

 Pockets full of keys or
change

Try Thisl Gestures

Using only your hands,

convey the following:

1. “It’s OK.”

2. “I give up.”

3. “He’s crazy.”

4. “We will be victorious.”

Chapter 12 Delivering Your Speech www.publicspeakingproject.org

12-9

nervousness-related movement.
Among the traditional common fears

of novice speakers is not knowing what
to do with one’s hands. Sometimes the
speaker relies on clutching to the
podium or keeping hands in pockets.
Neither is a good pose. From my own
observation, hand gestures are very
common in Italy. We Italians can be
seen in conversation from across the
street, and an observer can often tell
what is being said. There is no need to
imitate an Italian in delivering a
speech, but hand movement and the
energy that the movement represents,
can help hold attention as well as help
express the message.

An actor practices using his whole
body for expression, and regularly
practices physical exercises to keep the
body and hands and arms relaxed and
in motion. An actor’s hand gestures are
developed in rehearsal. A speaker’s
gestures should also be considered
during practice.

During the period when elocution
was taught, hand gestures were
regimented like a sign language. This
is nonsense. Like inflections, gestures
and movement should be organic and
spontaneous, not contrived. If there is
a hint of artificiality in your
presentation, you will sacrifice your
credibility.

facial expressions
Most readers are very familiar with

emoticons like these:

, , :p; :o, ;), :/

Emoticons were not casual
inventions, but graphic depictions of
facial expressions that convey various
meanings of emotions. They are based
on a nearly universal language of
expression that we begin learning soon
after birth. We smile, we frown, we
roll our eyes, and we wink. We open
eyes wide with astonishment. We raise
our eyebrows…occasionally one at a
time, in suspicion; both, in
astonishment. Sometimes we pucker
our lips, either to offer a kiss or express
disapproval, disappointment, or grave
concern.

I pretty much try to stay in a
constant state of confusion
just because of the expression
it leaves on my face.
~ Johnny Depp

Since facial expression is a valid

form of communication, it is integral to
delivering a speech. The face supports
the text, and the speaker’s commitment
to the material is validated. The press
scrutinizes a politician for every twitch
of insincerity. Detectives have created
a science of facial communication for
interviewing suspects. Like inflections,
gestures and movement: facial
expressions should be organic and
spontaneous, not contrived. If there is

a hint of artificiality in your expression,
you will sacrifice your credibility.

eye contact
Next to clearly speaking an

organized text, eye contact is another
very important element of speaking.
An audience must feel interested in the
speaker, and know the speaker cares
about them.

Whether addressing an audience of
1000 or speaking across a “deuce”
(table for two), eye contact solidifies
the relationship between the speaker
and audience. Good eye contact takes
practice. The best practice is to be able
to scan the audience making each
member believe the speaker is speaking
to him or her.

However, there are some eye contact
failures.

head bobber:
This is a person who bobs his or her

head looking down on the notes and up
to the audience in an almost rhythmic
pattern.
balcony gazer

A person who looks over the heads
of his or her audience to avoid looking
at any individual.

the obsessor
A person who looks at one or two

audience members or who only looks in
one direction.

Try Thisl Facial Expressions

While looking in a mirror, try to express these thoughts without

words:

1. “I am thrilled that I am getting a raise.”

2. “I am worried about tomorrow.”

3. “Lemons are too sour for me.”

4. “I am suspicious about what he did.”

After you have determined a facial expression for each, say

the phrase. And see how well the verbal expression goes with

the nonverbal expression.

Chapter 12 Delivering Your Speech www.publicspeakingproject.org

12-10

The best way to develop good eye
contact is to have an objective listener
watch and comment on the eye contact.

The eyes are called the windows to
the soul, and the importance of eye
contact in communication cannot be
overemphasized. Ideally, a speaker
should include 80% to 90% of the
delivery time with eye contact.

Eye contact is so important that
modern teleprompters are designed to
allow the speaker to look at the
audience while actually reading the
speech. The Presidential Teleprompter
(two angled pieces of glass functioning
like a periscope) is used so the
politician can “connect” to the audience
without missing a single syllable.
Audience members will be much more
attentive and responsive if they believe
the speech is directed to them.

With good eye contact, the speaker
can also observe and gauge the
attention and response of the audience.
This is actually part of the feedback
process of communication. The ideal is
that the audience is not overly aware of
the speaker using notes.

How do you develop good eye
contact? First, practice the speech with
a generous amount of eye contact.
Second, know the speech well enough
to only periodically (and quickly)
glance at your notes. Third, prepare
your notes so they can be easily read
and followed without hesitation.

There are no secrets to
success. It is the result of
preparation, hard work, and
learning from failure.
~ Colin Powell

mastering the location
the room

Do not wait until the moment you
step up to speak to see what it will be
like. Check out the room (venue) and
the podium before you need to speak.

Check the width of the room and
where the audience will be seated.

Rehearse giving the imaginary
audience eye contact.

Will you be lighted brighter than the
audience? Will they be able to see your
face? Can you easily project your voice
to the back row? Will you have a
microphone?

the podium
Check the podium. Approach it with

the confidence you should exhibit when
speaking. Touch it. Lean on it. Is it the
right height? (It should be about the
height of your elbow.) Is it sturdy? Are
your feet visible? Is there enough light
to see your notes placed on top? Will
you be well lit? Is the podium easily
visible to the entire audience? How far
left and right do you need to look to see

the whole audience?
If you are using note cards, try

placing them on the podium to be sure
they will work, and you can maneuver
them easily.

Plan where you will stand. It does
not have to be behind the lectern.
Practice standing with good posture;
know where you will keep your hands
and be sure your gestures are not
hidden by the podium.

You might be a speaker who does
not stay behind the podium, but you
should still check it out. Every morsel
of familiarity will contribute to your
confidence in speaking.

the equipment
If you are using any multi-media

such as PowerPoint, slides, video, or
music, try it long before the speech. Of
course, you would have practiced the
speech with the media on your own, but
if at all possible, run it in the venue in
which you will speak.

Check the controls, slide clicker, and
the relationship between the screen and
the podium. Be sure the audience can
see you as well as the screen. The
screen should be positioned so you can
glance at it without turning away from
the audience. You should not be
reading from the screen.

Check your own files to be sure the
equipment in the room can play it

Chapter 12 Delivering Your Speech www.publicspeakingproject.org

12-11

correctly. Do not assume that every file
can be played. Always be prepared by
having multiple versions of your
audio/video. If you have only one
version, and it does not play, you will
be very frustrated.

Check all PowerPoint slides. Give a
last look at the spelling, content, and
watch for some typical issues such as
changes of formatting and inserted
video or audio files not playing.

Even seasoned presenters break into
a cold sweat over equipment failures or
unpleasant surprises, so avoid the stress
by checking the equipment.

using a microphone
In some cases, rather than merely

using live voice projection, there will
be a microphone for amplification. If
at all possible, test it before the
performance. Be sure the amplification
is suitable for your projection. Be sure
how near or far you should be for
proper audio pick-up.

It is important to note that
amplification cannot make up for poor
articulation or weak inflections, but it
can compensate for a room that is large
or acoustically insufficient for speech.

If you are prone to move away from
the podium, or plan any movement, be
aware that the microphone must be
considered.

If it is a stationary microphone, be
careful to maintain a consistent
distance, or the volume of your
speaking will pop from louder to softer.
Changes in volume or position can
result in distortion or feedback (an
escalating humming sound). Be careful
that consonants do not “ring” with
amplification.

In some venues, the time delay with
the reverberation can cause an overlap
of vocal sounds. You may have to
slow down or use more pauses to
prevent syllables from overlapping.

I drank some boiling water
because I wanted to whistle.
~ Mitch Hedberg

water rules
Water is the only liquid that should

be provided for a speaker. It should be
cool, but not ice cold to prevent
temperature shock to the throat and
vocal cords. If it is poured into a glass,
the glass should not be too full so the
quantity does not overwhelm the
speaker. Under no circumstances
should there be ice in the glass or in the
pitcher at the podium. Pieces of ice can
be a choking hazard to a speaker who is
focused on speaking rather than
drinking. The current trend is to
provide bottled water for a guest
speaker. It should be opened, but the
cap kept on assuring sanitation. The
water should be placed on an absorbent
tray that prevents suction from making
raising the glass difficult to pick up.

Drinking water is necessary for the
hydration of the vocal chords. The act
of taking a sip is sometimes used to
achieve a pause in a speech for effect.

preparation, practice and

delivery
preparing notes

Once you have created a
comprehensive outline and have
thought through your speech, you
should be able to create your note cards
or whatever you might be using (notes
or an iPad for instance). Every
speaker is a bit different, and different
speech topics and organizational
patterns may require different notation
techniques.

Your note cards (or cue sheets) must
have enough information on them to be
able to deliver the speech without
missing details and organized in the
precise order that you have planned. A
common technique is to print the
outline in a font that is large enough to
be read from a distance.

You should be able to glance at the
cards, get your bearings, and look back
at the audience. If you are reading the
cards word-for-word, there are too
many words on them, unless it is an
extended exact quote, or group of
statistics that must be delivered
precisely.

Chapter 12 Delivering Your Speech www.publicspeakingproject.org

12-12

Be sure your notes or cards are
numbered (e.g., boldly in the upper
right hand corner), so you can keep
them organized. Color-coding is often
done to easily distinguish the cards at a
glance. Losing your place can be very
stressful to you and distracting to the
audience.

Avoid writing or printing on two
sides; flipping a page or card is
distracting to the audience. The
audience should not be aware of the
notes. It is best to simply slide the
cards aside to advance to the next card.

Rehearse your speech using the notes
that you will bring to the podium. Be
sure you can glance at the notes, get
your information, and look up to have
eye contact with the audience.

All the real work is done in
the rehearsal period.
~ Donald Pleasence

rehearsing the speech

Remember how to get to Carnegie
Hall. Rehearse your speech – aloud
and ideally with a colleague or fellow
student as an audience. Rehearse in
front of a mirror if needed. There are
some students who record a rehearsal
speech so they can get a real sense of
what the audience will hear. If you are
using presentation aids, rehearse with
them for timing and familiarity so you
only have to glance at the screen or
easel. Time the speech to be sure it
within the assigned time. Phrase the
speech as you will phrase it in the

actual delivery (and listen for the verbal
fillers, awkward pauses, and other non-
fluencies). Plan what to do with your
hands.

You should also know exactly how
your speech will begin and end.
Regardless of how dependent on notes
the speaker may be, here is one
constant word of advice: know exactly
how you are going to begin your
speech. Not just an idea, but verbatim,
with every inflection, every gesture,
every eye contact with the audience.
The first few sentences should be so
ingrained, that you could perform it
during an earthquake without batting an
eye.

A memorized introduction
accomplishes several goals. First, it
gives you the opportunity to breathe,

and realize it’s not so bad to be up there
after all! Second, it lets the audience
know you are prepared. Third, it
signals to the audience that what you
are about to say is important. Finally, it
gives you the opportunity for direct eye
contact (because you are not reading)
and commands the audience’s
attention. Eye contact is a signal to the
audience that you care about them!

The conclusion of your speech is
equally important. In show business
parlance, the end of a song or a scene is
called a “button.” It is a “TAH-DAH”
moment that lets the audience know
you are finished, and that it is their turn
to applaud. The ending impression
your speech leaves with the audience is
greatly affected by how effective the
ending is. The content and structure
notwithstanding, you should also know
exactly how you will end (verbatim), so
there is no hesitation, no stumbling, no
tentative “I guess that’s all” feeling. A
confident and decisive beginning will
draw the audience to you; a confident
logical ending will be very effective in
preserving a lasting impression on the
audience.

Stress is an important dragon
to slay – or at least tame – in
your life.
~ Marilu Henner

managing stress
As William Ball noted in his book

for actors and directors, A Sense of
Direction, getting in front of a group
and speaking is people’s greatest fear
(greater than fear of death). Fear and
stress result in psychological and
physical manifestations that can affect
a speech.

Stress physically causes muscles to
tighten, often including vocal cords.
This raises, and often limits, the vocal
pitch of the speaker under stress. The
tempo of the speech may also be
affected. Novice speakers tend to rush
as though to be anxious to “get it over
with.” It is a factor to remember in a
corporate or business meeting: the
speaker should speak slowly enough
because what he has to say is

Figure 12. 1

Rehearsal Checklist

 Rehearse a few days
before you are to deliver

your speech

 Use the note sheets or
cards you will be using for

delivery

 Practice with the
presentation aids you will

be using

 Time your speech and
cut or expand it if

needed

 Rehearse with a
colleague or an

audience if possible

 If you can, rehearse in
the room with the

podium you will use

 Plan what you will do
with your hands

 Plan and practice your
opening and closing

carefully, so you can

deliver them exactly

Chapter 12 Delivering Your Speech www.publicspeakingproject.org

12-13

important, and the audience should
listen. Remember, as noted above,
rushing gives the impression that the
speaker thinks the message is not worth
the time.

Stress can accelerate perspiration. It
is wise to have a facial tissue or small
towel handy for dabbing for comfort.
Stress can also make the mouth and
throat feel dry. Sipping water is a
simple solution.

There are a myriad of solutions to
relieving a speaker’s stress: from
hypnosis to imagining the audience to
be naked. Among the simplest and
most effective is to do a moderate
amount of exercise prior to the speech,
even as basic as walking. Exercising
helps to naturally chemically relieve
the tension; and helps deepen the
breathing that supports the voice.

Simultaneously while exercising the
body, it is a good idea to warm up the
voice. The vocal cords are muscles,
which should not be jump-started.

Physical exercises will likely help
relaxing for better posture and hand and
body gestures. As part of the relaxation
process, actors “warm up” physically
before performances and often do
relaxation exercises to help
concentration and relieve stress.

The best antidote for stress is to be
well prepared and confident.

Figure 12. 2

Steps for Effective Delivery

1. Approach the podium as

you rehearsed.

2. Stand with confident

posture.

3. Deliver your brilliant

opening.

4. Realize you are a hit with

the audience.

5. Breathe.

6. Spontaneously interject a

humorous observation

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