Delivery
I.
Delivery (two styles)
a. Extemporaneous speaking
i. The speaker works from a speaking outline and presents a well-written and
well-rehearsed speech but chooses his or her words in the moment.
1. The benefits of this style are: spontaneity and audience engagement.
Also, vocal dynamism and eye contact tend to improve (since you
have no temptation to read the speech).
2. The risks are that you may be “at a loss for words” if you haven’t
prepared sufficiently
ii. The speaking outline should include all the important information, major
arguments, direct quotations, and everything else you want to get “just right.”
1. Sometimes, an extemporaneous speaker scripts the introduction and
conclusion in “manuscript” form.
iii. The outline should also keep you very aware of the arrangement of the
speech and ensure that you don’t skip things or go out of order
iv. To rehearse for this style, you should practice becoming more fluent with the
ideas of the speech and their order (rather than the specific words).
b. Manuscript speaking
i. The speaker works from a manuscript that has most of the specific wording
of the speech already decided.
1. The benefits of this style are precise phrasing and artful language
2. The risk is that you may simply read the speech rather than really
delivering it. Eye contact, vocal dynamism, and audience connection
can suffer.
ii. The best approach to manuscript speaking is to look down at the page, grasp
(visually) a phrase, look up (at your audience, not at the wall) and deliver
that phrase, then look down to grasp another.
1. This approach (phrase by phrase) is way better than simply reading
the speech word by word.
2. You should also consider building in a moment when you go
“without a net,” breaking from the manuscript and speaking
extemporaneously for a while. Be sure you know how and when to
get back into the manuscript, though.
II.
Vocal qualities
i. Pitch—Avoid “sing song” pitch changes, monotone delivery, “valley girl”
up-turns at the end of sentences, and the reverse, down-turns in pitch at the
end of sentences
ii. Rate—Vary the rate of your speech to fit the moment. If you tend to speak
too quickly, we’ll like you are just racing to get it over with (not a good
thing!) Breathe. That is the key. Also, time your rehearsals and mark your
outline or manuscript—then, on the day of your speech, bring a stopwatch
and keep track of where you are and where you should be. Then, you’ll
know if you need to slow down or speed up.
iii. Volume— Most beginning speakers speak too quietly. Project that voice and
ensure that we are able to hear and follow you.
III.
Bodily qualities
i. Eyes: Your eye contact should be panoramic (around the room) and intimate.
Try to make direct, recognizable eye contact with each audience member
ii. Posture/Gestures: Start with a relaxed, poised body. Avoid distracting,
disinterested, or anxious posture and gestures. Use gestures mindfully to add
to and amplify your words.
iii. Space: Strive for a feeling of confidence and comfort with your space. Treat
it like a stage or a throne. Then, if you feel it is appropriate, consider moving
mindfully (toward the audience at key moments, for instance) to make your
use of space more dynamic.
IV.
The words of others
a. The typical form is: Name of Scholar, Brief Statement of their Credentials,
“Quotation.”
i. For example: According to Dr. Jane Smith, from Harvard University,
“Quote what she has to say.”
ii. Or, As noted by John Smith, director of the Allegheny County Health
Department, “Quote.”
iii. Attributing quotations in the course of a speech is one of the least intuitive
aspects of speech delivery. It pays to follow a straightforward form.
V.
General advice
a. Rehearse aloud with a timer and in front of live audiences that can give you some
feedback.
b. Use a manuscript or key word outline that has Large print that you can easily read.
Use a serif font (such as times new roman) rather than a sans-serif (like this one,
arial). Those little ends on the letters make it much easier to read.
c. Give yourself timing and delivery cues on your outline or manuscript. Use bold face
to indicate emphasis, etc.
d. When you practice, try to become more familiar with the ideas and arrangement of
the speech (rather than the specific words).
e. Above all, focus on breath. Treat each phrase in your speech to a good, calm breath.
This will improve your mental clarity, your vocal and bodily qualities, and your
audience connection. Since you must breathe, you might as well do it mindfully.