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The 5 Different Types of Speech Styles

Human beings have different ways of communicating . No two people speak the same (and nor should they). In fact, if you’ve paid any attention to people’s speeches around you, you might have already noticed that they vary from speaker to speaker, according to the context. Those variations aren’t merely coincidental. 

The 5 Different Types of Speech Styles (Table)

Martin Joos, a famous german linguist and professor, was the first one to organize the speeches according to their variations, having come up with five speech styles, depending on their degree of formality: 

1. Frozen Style (or Fixed speech)

A speech style is characterized by the use of certain grammar and vocabulary particular to a certain field, one in which the speaker is inserted. The language in this speech style is very formal and static, making it one of the highest forms of speech styles. It’s usually done in a format where the speaker talks and the audience listens without actually being given the space to respond. 

Application: It’s generally reserved for formal settings such as important ceremonies (for instance, a ceremony at the royal palace or one in which a country’s president is present), weddings, funerals, etc. 

Examples: a presidential speech, an anthem, and a school creed.

2. Formal Style

This style, just like the previous one, is also characterized by a formal (agreed upon and even documented) vocabulary and choice of words, yet it’s more universal as it doesn’t necessarily require expertise in any field and it’s not as rigid as the frozen style. 

The language in this speech is respectful and rejects the use of slang, contractions, ellipses and qualifying modal adverbials. Oftentimes the speaker must plan the sentences before delivering them. 

Application: Although it’s often used in writing, it also applies to speaking, especially to medium to large-sized groups. It’s also the type of speech that should be used when communicating with strangers and others such as older people, elders, professionals, and figures of authority. 

Examples: meetings (corporate or other formal meetings), court, class, interview, speech, or presentation. 

3. Consultative Style 

The third level of communication it’s a style characterized by a semi-formal vocabulary, often unplanned and reliant on the listener ’s responses and overall participation. 

Application: any type of two-way communication, dialogue, whether between two people or more, where there’s no intimacy or any acquaintanceship. 

Examples: group discussions, teacher-student communication, expert-apprentice, communication between work colleagues or even between employer-employee, and talking to a stranger. 

4. Casual Style (or Informal Style) 

As the name says, this style is characterized by its casualty, with a flexible and informal vocabulary that may include slang. It’s usually unplanned, pretty relaxed, and reliant on the fluid back and forth between those involved, without any particular order. 

Application: used between people with a sense of familiarity and a relatively close relationship, whether in a group or in a one-on-one scenario.

Examples: chats with friends and family, casual phone calls, or text messages. 

5. Intimate Style

This is the speech style that’s reserved for people who have a really close connection. It’s casual and relaxed and goes beyond words, as it incorporates nonverbal communication and even personal language codes, such as terms of endearment and expressions whose meaning are only understood by the participants, besides slang. 

Application: used between people who share an intimate bond. 

Examples: chats between best friends, boyfriend and girlfriend, siblings and other family members, whether in messages, phone calls, or personally.  

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4 factors that influence speech styles.

Although knowing the definition and some examples of situations in which each speech style might apply is helpful, there are four important factors that are key in speech styles. These factors help the speakers understand when it is appropriate to use one style instead of the other. They are: 

1. The Setting 

The setting is essentially the context in which the speech shall take place. It’s probably the most important factor to be considered when choosing which speech style to use as nothing could be more harmful than applying the wrong speech style to the wrong setting. 

Although it’s a factor that’s exhausted and diverse,  to make things simple for you, I’ve divided them in three main categories: 

• Formal Settings:  
• Casual Settings: 

In these settings, people are more relaxed and less uptight than in formal settings. Since there’s a degree of familiarity between those speaking, even though people are not necessarily intimate, the speaker can apply either consultative or casual speech styles. Some examples of these settings include weddings, company or team meetings, and school classes. 

• Informal Settings: 

These settings are more open than casual ones as there are almost no rules to how people should interact. Everyone in it either has a deep degree of familiarity or intimacy. The styles of speeches that are used in these settings are Casual and Intimate. A few examples of these settings are family and friends gatherings, private conversations, etc. 

Misreading the setting can be really embarrassing and have devastating consequences. If, for instance, you make inappropriate jokes in a work meeting or use slang words, you could be perceived as unprofessional and disrespectful, and that could cost you your job. 

2. The Participants  

Your audience, the people to whom your speech is directed, or the people you interact with are decisive factors when choosing your speech style. 

To put it simply: 

• Reserve Frozen and Formal styles for people whom you respect and are not intimate or even familiar with ,  either because of their position in society or because of their position in relation to you. These can be authority figures or even superiors in your workplace and strangers.
• Use Consultative and Casual speech styles with people who, even though they are familiar to you (either because you both know each other or interact often), still owe them a certain level of respect . These can be people in your workplace such as your colleagues and business partners, people in school, elders and older family members, neighbors, acquaintances and even strangers . 
• Feel free to use Intimate speech styles with anyone who you share an intimate bond with . These can be your friends and your immediate and extended family members .

3. The Topic 

Speech styles can give appropriate weight to serious topics, just as they can help alleviate the heaviness of certain topics. There’s no specific rule of which style to use with each topic, actually, when it comes to topics, the choice should be more intuitive and keep in mind the other factors. 

For example, sometimes, when making a presentation about a serious topic at a conference, you might want to mix formal speech with a more consultative or casual speech by sliding in a joke or two in between your presentation, as this helps lighten up the mood. 

4. The Purpose of The Discourse or Conversation 

The purpose of your discourse is your main motivation for speaking.  Just like with the topic, when it comes to choosing the speech style taking into account the purpose, the choice is mostly intuitive and keeps in mind the other factors. 

You should remember never to mix a business-centered discussion, where the purpose is mostly professional and formal, with a mainly informal speech of speaking. 

Speaker Styles

• Content-rich speaker:  

A content-rich speaker is one whose aim is to use the speech to inform. He is factual and very objective and focused on providing all the information the audience or receptor of the message needs.

A man speaking in a presentation could be an example of this, or even a lawyer defending a case in court. 

• Funny or humorous speakers:

As the name already suggests, this type of speaker uses humor as a tool to help them deliver their message. Even when delivering facts, they make jokes to lighten things up and break the tension. 

Stand-up comedians are a great example of this type of speaker. 

• Storyteller: 

This type of speaker usually relies on the story format to deliver his message; whether it’s factual or not is not relevant as long as the main message behind the story is relevant to the receptor. 

Usually, the type of speaker is not fixed in each speech style; one person can be many types of speakers depending on the speech style that they are using and keeping in mind the factors that influence the choice of the speech style. 

Make sure you weigh all factors equally before choosing a speech style. You don’t want to be THAT person bringing up an intimate subject to a friend in front of a group of strangers during a business meeting where the subject has nothing to do with whatever you’re talking about.

What’s The Importance of Speech Styles In Communication 

Using and knowing speech styles is the key to effective communication. Choosing the right way to communicate in different settings and with different people is what separates a good communicator from a bad communicator. 

Knowing the speech styles and the rules that apply to each of them saves you from embarrassment and positions you as someone of principles and respectful, especially in formal and conservative settings. 

Besides that, people tend to gravitate more towards and get influenced by good communicators; therefore, learning something new in that area and improving the quality of your speech and presentations will only benefit you. 

Further Readings

Speech Styles- ELCOMBLUS

Types of Speech Styles | PDF | Sentence (Linguistics) | Cognitive Science- SCRIBD

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14.1 Four Methods of Delivery

Learning objectives.

• Differentiate among the four methods of speech delivery.
• Understand when to use each of the four methods of speech delivery.

Maryland GovPics – House of Ruth Luncheon – CC BY 2.0.

The easiest approach to speech delivery is not always the best. Substantial work goes into the careful preparation of an interesting and ethical message, so it is understandable that students may have the impulse to avoid “messing it up” by simply reading it word for word. But students who do this miss out on one of the major reasons for studying public speaking: to learn ways to “connect” with one’s audience and to increase one’s confidence in doing so. You already know how to read, and you already know how to talk. But public speaking is neither reading nor talking.

Speaking in public has more formality than talking. During a speech, you should present yourself professionally. This doesn’t mean you must wear a suit or “dress up” (unless your instructor asks you to), but it does mean making yourself presentable by being well groomed and wearing clean, appropriate clothes. It also means being prepared to use language correctly and appropriately for the audience and the topic, to make eye contact with your audience, and to look like you know your topic very well.

While speaking has more formality than talking, it has less formality than reading. Speaking allows for meaningful pauses, eye contact, small changes in word order, and vocal emphasis. Reading is a more or less exact replication of words on paper without the use of any nonverbal interpretation. Speaking, as you will realize if you think about excellent speakers you have seen and heard, provides a more animated message.

The next sections introduce four methods of delivery that can help you balance between too much and too little formality when giving a public speech.

Impromptu Speaking

Impromptu speaking is the presentation of a short message without advance preparation. Impromptu speeches often occur when someone is asked to “say a few words” or give a toast on a special occasion. You have probably done impromptu speaking many times in informal, conversational settings. Self-introductions in group settings are examples of impromptu speaking: “Hi, my name is Steve, and I’m a volunteer with the Homes for the Brave program.” Another example of impromptu speaking occurs when you answer a question such as, “What did you think of the documentary?”

The advantage of this kind of speaking is that it’s spontaneous and responsive in an animated group context. The disadvantage is that the speaker is given little or no time to contemplate the central theme of his or her message. As a result, the message may be disorganized and difficult for listeners to follow.

Here is a step-by-step guide that may be useful if you are called upon to give an impromptu speech in public.

• Take a moment to collect your thoughts and plan the main point you want to make.
• Thank the person for inviting you to speak.
• Deliver your message, making your main point as briefly as you can while still covering it adequately and at a pace your listeners can follow.
• Thank the person again for the opportunity to speak.
• Stop talking.

As you can see, impromptu speeches are generally most successful when they are brief and focus on a single point.

Extemporaneous Speaking

Extemporaneous speaking is the presentation of a carefully planned and rehearsed speech, spoken in a conversational manner using brief notes. By using notes rather than a full manuscript, the extemporaneous speaker can establish and maintain eye contact with the audience and assess how well they are understanding the speech as it progresses. The opportunity to assess is also an opportunity to restate more clearly any idea or concept that the audience seems to have trouble grasping.

For instance, suppose you are speaking about workplace safety and you use the term “sleep deprivation.” If you notice your audience’s eyes glazing over, this might not be a result of their own sleep deprivation, but rather an indication of their uncertainty about what you mean. If this happens, you can add a short explanation; for example, “sleep deprivation is sleep loss serious enough to threaten one’s cognition, hand-to-eye coordination, judgment, and emotional health.” You might also (or instead) provide a concrete example to illustrate the idea. Then you can resume your message, having clarified an important concept.

Speaking extemporaneously has some advantages. It promotes the likelihood that you, the speaker, will be perceived as knowledgeable and credible. In addition, your audience is likely to pay better attention to the message because it is engaging both verbally and nonverbally. The disadvantage of extemporaneous speaking is that it requires a great deal of preparation for both the verbal and the nonverbal components of the speech. Adequate preparation cannot be achieved the day before you’re scheduled to speak.

Because extemporaneous speaking is the style used in the great majority of public speaking situations, most of the information in this chapter is targeted to this kind of speaking.

Speaking from a Manuscript

Manuscript speaking is the word-for-word iteration of a written message. In a manuscript speech, the speaker maintains his or her attention on the printed page except when using visual aids.

The advantage to reading from a manuscript is the exact repetition of original words. As we mentioned at the beginning of this chapter, in some circumstances this can be extremely important. For example, reading a statement about your organization’s legal responsibilities to customers may require that the original words be exact. In reading one word at a time, in order, the only errors would typically be mispronunciation of a word or stumbling over complex sentence structure.

However, there are costs involved in manuscript speaking. First, it’s typically an uninteresting way to present. Unless the speaker has rehearsed the reading as a complete performance animated with vocal expression and gestures (as poets do in a poetry slam and actors do in a reader’s theater), the presentation tends to be dull. Keeping one’s eyes glued to the script precludes eye contact with the audience. For this kind of “straight” manuscript speech to hold audience attention, the audience must be already interested in the message before the delivery begins.

It is worth noting that professional speakers, actors, news reporters, and politicians often read from an autocue device, such as a TelePrompTer, especially when appearing on television, where eye contact with the camera is crucial. With practice, a speaker can achieve a conversational tone and give the impression of speaking extemporaneously while using an autocue device. However, success in this medium depends on two factors: (1) the speaker is already an accomplished public speaker who has learned to use a conversational tone while delivering a prepared script, and (2) the speech is written in a style that sounds conversational.

Speaking from Memory

Memorized speaking is the rote recitation of a written message that the speaker has committed to memory. Actors, of course, recite from memory whenever they perform from a script in a stage play, television program, or movie scene. When it comes to speeches, memorization can be useful when the message needs to be exact and the speaker doesn’t want to be confined by notes.

The advantage to memorization is that it enables the speaker to maintain eye contact with the audience throughout the speech. Being free of notes means that you can move freely around the stage and use your hands to make gestures. If your speech uses visual aids, this freedom is even more of an advantage. However, there are some real and potential costs. First, unless you also plan and memorize every vocal cue (the subtle but meaningful variations in speech delivery, which can include the use of pitch, tone, volume, and pace), gesture, and facial expression, your presentation will be flat and uninteresting, and even the most fascinating topic will suffer. You might end up speaking in a monotone or a sing-song repetitive delivery pattern. You might also present your speech in a rapid “machine-gun” style that fails to emphasize the most important points. Second, if you lose your place and start trying to ad lib, the contrast in your style of delivery will alert your audience that something is wrong. More frighteningly, if you go completely blank during the presentation, it will be extremely difficult to find your place and keep going.

Key Takeaways

• There are four main kinds of speech delivery: impromptu, extemporaneous, manuscript, and memorized.
• Impromptu speaking involves delivering a message on the spur of the moment, as when someone is asked to “say a few words.”
• Extemporaneous speaking consists of delivering a speech in a conversational fashion using notes. This is the style most speeches call for.
• Manuscript speaking consists of reading a fully scripted speech. It is useful when a message needs to be delivered in precise words.
• Memorized speaking consists of reciting a scripted speech from memory. Memorization allows the speaker to be free of notes.
• Find a short newspaper story. Read it out loud to a classroom partner. Then, using only one notecard, tell the classroom partner in your own words what the story said. Listen to your partner’s observations about the differences in your delivery.
• In a group of four or five students, ask each student to give a one-minute impromptu speech answering the question, “What is the most important personal quality for academic success?”
• Watch the evening news. Observe the differences between news anchors using a TelePrompTer and interviewees who are using no notes of any kind. What differences do you observe?

Stand up, Speak out Copyright © 2016 by University of Minnesota is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License , except where otherwise noted.

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Module 6: Organizing and Outlining Your Speech

Methods of speech delivery, learning objectives.

Identify the four types of speech delivery methods and when to use them.

There are four basic methods of speech delivery: manuscript, memorized, impromptu, and extemporaneous. We’ll look at each method and discuss the advantages and disadvantages of each.

A manuscript page from President George W. Bush’s address to the nation on the day of the 9/11 attacks in 2001.

A manuscript speech is when the speaker writes down every word they will speak during the speech. When they deliver the speech, they have each word planned and in front of them on the page, much like a newscaster who reads from a teleprompter.

The advantage of using a manuscript is that the speaker has access to every word they’ve prepared in advance. There is no guesswork or memorization needed. This method comforts some speakers’ nerves as they don’t have to worry about that moment where they might freeze and forget what they’ve planned to say. They also are able to make exact quotes from their source material.

When the exact wording of an idea is crucial, speakers often read from a manuscript, for instance in communicating public statements from a company.

However, the disadvantage with a manuscript is that the speakers have MANY words in front of them on the page. This prohibits one of the most important aspects of delivery, eye contact. When many words are on the page, the speakers will find themselves looking down at those words more frequently because they will need the help. If they do look up at the audience, they often cannot find their place when the eye returns to the page. Also, when nerves come into play, speakers with manuscripts often default to reading from the page and forget that they are not making eye contact or engaging their audience. Therefore, manuscript is a very difficult delivery method and not ideal.  Above all, the speakers should remember to rehearse with the script so that they practice looking up often.

Public Speaking in History

The fall of the Berlin Wall on November 9, 1989, owed in large part to a momentary error made by an East German government spokesperson. At a live press conference, Günter Schabowski tried to explain new rules relaxing East Germany’s severe travel restrictions. A reporter asked, “when do these new rules go into effect?” Visibly flustered, Schabowski said, “As far as I know, it takes effect immediately, without delay.” In fact, the new visa application procedure was supposed to begin the following day, and with a lot of bureaucracy and red tape. Instead, thousands of East Berliners arrived within minutes at the border crossings, demanding to pass through immediately. The rest is history.

The outcome of this particular public-relations blunder was welcomed by the vast majority of East and West German citizens, and hastened the collapse of communism in Eastern and Central Europe. It’s probably good, then, that Schabowski ran this particular press conference extemporaneously, rather than reading from a manuscript.

You can view the transcript for “The mistake that toppled the Berlin Wall” here (opens in new window) .

A memorized speech is also fully prepared in advance and one in which the speaker does not use any notes. In the case of an occasion speech like a quick toast, a brief dedication, or a short eulogy, word-for-word memorization might make sense. Usually, though, it doesn’t involve committing each and every word to memory, Memorizing a speech isn’t like memorizing a poem where you need to remember every word exactly as written. Don’t memorize a manuscript! Work with your outline instead. Practice with the outline until you can recall the content and order of your main points without effort. Then it’s just a matter of practicing until you’re able to elaborate on your key points in a natural and seamless manner. Ideally, a memorized speech will sound like an off-the-cuff statement by someone who is a really eloquent speaker and an exceptionally organized thinker!

The advantage of a memorized speech is that the speaker can fully face their audience and make lots of eye contact. The problem with a memorized speech is that speakers may get nervous and forget the parts they’ve memorized. Without any notes to lean on, the speaker may hesitate and leave lots of dead air in the room while trying to recall what was planned. Sometimes, the speaker can’t remember or find his or her place in the speech and are forced to go get the notes or go back to the PowerPoint in some capacity to try to trigger his or her memory. This can be an embarrassing and uncomfortable moment for the speaker and the audience, and is a moment which could be easily avoided by using a different speaking method.

How to: memorize a speech

There are lots of tips out there about how to memorize speeches. Here’s one that loosely follows an ancient memorization strategy called the method of loci or “memory palace,” which uses visualizations of familiar spatial environments in order to enhance the recall of information.

You can view the transcript for “How to Memorize a Speech” here (opens in new window) .

An impromptu speech is one for which there is little to no preparation. There is often not a warning even that the person may be asked to speak. For example, your speech teacher may ask you to deliver a speech on your worst pet peeve. You may or may not be given a few minutes to organize your thoughts. What should you do? DO NOT PANIC. Even under pressure, you can create a basic speech that follows the formula of an introduction, body, and conclusion. If you have a few minutes, jot down some notes that fit into each part of the speech. (In fact, the phrase “speaking off the cuff,” which means speaking without preparation, probably refers to the idea that one would jot a few notes on one’s shirt cuff before speaking impromptu.) [1] ) An introduction should include an attention getter, introduction of the topic, speaker credibility, and forecasting of main points. The body should have two or three main points. The conclusion should have a summary, call to action, and final thought. If you can organize your thoughts into those three parts, you will sound like a polished speaker. Even if you only hit two of them, it will still help you to think about the speech in those parts. For example, if a speech is being given on a pet peeve of chewed gum being left under desks in classrooms, it might be organized like this.

• Introduction : Speaker chews gum loudly and then puts it under a desk (attention getter, demonstration). Speaker introduces themselves and the topic and why they’re qualified to speak on it (topic introduction and credibility). “I’m Katie Smith and I’ve been a student at this school for three years and witnessed this gum problem the entire time.”
• Body : Speaker states three main points of why we shouldn’t leave gum on desks: it’s rude, it makes custodians have to work harder, it affects the next student who gets nastiness on their seat (forecast of order). Speaker then discusses those three points
• Conclusion : Speaker summarizes those three points (summary, part 1 of conclusion), calls on the audience to pledge to never do this again (call to action), and gives a quote from Michael Jordan about respecting property (final thought).

While an impromptu speech can be challenging, the advantage is that it can also be thrilling as the speaker thinks off the cuff and says what they’re most passionate about in the moment. A speaker should not be afraid to use notes during an impromptu speech if they were given any time to organize their thoughts.

The disadvantage is that there is no time for preparation, so finding research to support claims such as quotes or facts cannot be included. The lack of preparation makes some speakers more nervous and they may struggle to engage the audience due to their nerves.

Extemporaneous

The last method of delivery we’ll look at is extemporaneous. When speaking extemporaneously, speakers prepare some notes in advance that help trigger their memory of what they planned to say. These notes are often placed on notecards. A 4”x6” notecard or 5”x7” size card works well. This size of notecards can be purchased at any office supply store. Speakers should determine what needs to go on each card by reading through their speech notes and giving themselves phrases to say out loud. These notes are not full sentences, but help the speakers, who turn them into a full sentence when spoken aloud. Note that if a quote is being used, listing that quote verbatim is fine.

The advantage of extemporaneous speaking is that the speakers are able to speak in a more conversational tone by letting the cards guide them, but not dictate every word they say. This method allows for the speakers to make more eye contact with the audience. The shorter note forms also prevent speakers from getting lost in their words. Numbering these cards also helps if one gets out of order. Also, these notes are not ones the teacher sees or collects. While you may be required to turn in your speech outline, your extemporaneous notecards are not seen by anyone but you. Therefore, you can also write yourself notes to speak up, slow down, emphasize a point, go to the next slide, etc.

The disadvantage to extemporaneous is the speakers may forget what else was planned to say or find a card to be out of order. This problem can be avoided through rehearsal and double-checking the note order before speaking.

Many speakers consider the extemporaneous method to be the ideal speaking method because it allows them to be prepared, keeps the audience engaged, and makes the speakers more natural in their delivery. In your public speaking class, most of your speeches will probably be delivered extemporaneously.

• As per the Oxford English Dictionary' s entry for "Off the Cuff." See an extensive discussion at Mark Liberman's Language Log here: https://languagelog.ldc.upenn.edu/nll/?p=4130 ↵
• Method of loci definition. Provided by : Wikipedia. Located at : https://en.wikipedia.org/wiki/Method_of_loci . License : CC BY-SA: Attribution-ShareAlike
• The mistake that toppled the Berlin Wall. Provided by : Vox. Located at : https://youtu.be/Mn4VDwaV-oo . License : Other . License Terms : Standard YouTube License
• How to Memorize a Speech. Authored by : Memorize Academy. Located at : https://youtu.be/rvBw__VNrsc . License : Other . License Terms : Standard YouTube License
• Address to the Nation. Provided by : U.S. National Archives. Located at : https://prologue.blogs.archives.gov/2011/09/06/911-an-address-to-the-nation/ . License : Public Domain: No Known Copyright
• Methods of Speech Delivery. Authored by : Misti Wills with Lumen Learning. License : CC BY: Attribution

5 Ways of Delivering Speeches

Understanding Delivery Modes

In this chapter . . .

In this chapter, we will explore the three modes of speech delivery: impromptu, manuscript, and extemporaneous. Each offers unique advantages and potential challenges. An effective public speaker needs to be familiar with each style so they can use the most appropriate mode for any speech occasion.

In writing, there’s only one way of delivering the text: the printed word on a page. Public Speaking, however, gives you different ways to present your text. These are called the delivery modes , or simply, ways of delivering speeches. The three modes are impromptu delivery , manuscript delivery , and extemporaneous delivery . Each of these involves a different relationship between a speech text, on the one hand, and the spoken word, on the other. These are described in detail below.

Impromptu Delivery

Impromptu speaking is a short form speech given with little to no preparation. While being asked to stand in front of an audience and deliver an impromptu speech can be anxiety-producing, it’s important to remember that  impromptu speaking is something most people do without thinking in their daily lives . If you introduce yourself to a group, answer an open-ended question, express an opinion, or tell a story, you’re using impromptu speaking skills. While impromptus can be stressful, the more you do it the easier it becomes.

Preparation for Impromptu Delivery

The difficulty of impromptu speaking is that there is no way to prepare, specifically, for that moment of public speaking. There are, however, some things you can do to stay ready in case you’re called upon to speak unrehearsed.

For one, make sure your speaking instruments (your voice and body) are warmed up, energized, and focused. It could be helpful to employ some of the actor warm-up techniques mentioned earlier as part of an everyday routine. If appropriate to the impromptu speaking situation, you could even ask to briefly step aside and warm yourself up so that you feel relaxed and prepared.

Furthermore, a good rule when brainstorming for an impromptu speech is that your first idea is your best. You can think about impromptu speaking like improvisation: use the “yes, and” rule and trust your instincts. You’ll likely not have time to fully map out the speech, so don’t be too hard on yourself to find the “perfect” thing to say. You should let your opinions and honest thoughts guide your speaking. While it’s easy to look back later and think of approaches you should have used, try to avoid this line of thinking and trust whatever you come up with in the moment.

Finally, as you prepare to speak, remind yourself what your purpose is for your speech. What is it that you hope to achieve by speaking? How do you hope your audience feels by the end? What information is most important to convey? Consider how you’ll end your speech. If you let your purpose guide you, and stay on topic throughout your speech, you’ll often find success.

Delivery of Impromptu Speeches

Here is a step-by-step guide that may be useful if you’re called upon to give an impromptu speech:

• Thank the person for inviting you to speak. Don’t make comments about being unprepared, called upon at the last moment, on the spot, or uneasy.
• Deliver your message, making your main point as briefly as you can while still covering it adequately and at a pace your listeners can follow.
• Stay on track. If you can, use a structure, using numbers if possible: “Two main reasons . . .” or “Three parts of our plan. . .” or “Two side effects of this drug. . .” Past, present, and future or East Coast, Midwest, and West Coast are common structures.
• Thank the person again for the opportunity to speak.
• Stop talking when you are finished (it’s easy to “ramble on” when you don’t have something prepared). If in front of an audience, don’t keep talking as you move back to your seat. Finish clearly and strong.

Impromptu speeches are most successful when they are brief and focus on a single point.

Another helpful framing technique for impromptus is to  negate the premise.  This is the deliberate reframing of a given prompt in a way that acknowledges the original but transitions into talking about the topic in a different way than expected. Negating the premise can be an effective rhetorical technique if used carefully and can help you focus your response on a topic that you’re interested in talking about.

If you suddenly run out of things to say in the middle of your speech, be open to  pivoting . Giving another example or story is the easiest way to do this. What’s important is to not panic or allow yourself to ramble aimlessly. No matter what, remember to keep breathing.

Finally, the greatest key to success for improving impromptu speaking is practice. Practice speaking without rehearsal in low-stakes environments if you can (giving a toast at a family dinner, for example). But remember this: no one is expecting the “perfect” speech if you’re called upon to speak impromptu. It’s okay to mess up. As Steven Tyler of the rock band Aerosmith would say: dare to suck. Take a risk and make a bold choice. What is most important is to stay sure of yourself and your knowledge.

Manuscript Delivery

The opposite of an impromptu speech is the manuscript speech. This involves having the complete text of your speech written out on paper or on notecards. You may be reading the speech from a computer or a teleprompter. In some cases, the speaker memorizes this manuscript.

Manuscript delivery  is the word-for-word iteration of a written message. In a manuscript speech, the speaker maintains their attention on the printed page except when using visual aids. The advantage of reading from a manuscript is the exact repetition of original words. In some circumstances, this can be extremely important.

Advantages & Disadvantages to Manuscript Delivery

There are many advantages in speaking from a manuscript. Some people find they are less nervous when they have the whole text in front of them. If you get lost or flustered during the speech you can glance down and get back on track. For speakers who struggle with vocalized pauses, it can be easier to know exactly what you want to say so that you’re not searching for the right word. Some people prefer to carefully craft the language of their speech instead of just having a sense of the main point and expounding upon it. Particularly if there are a lot of statistics or quotations, it can be helpful to have the whole passage written out to make sure you not only convey it correctly but frame it in the right context. It’s also easier to rehearse and time a manuscript speech, thus making sure it stays within time limits and isn’t unexpectedly too short or long. For some formal occasions or events that may be emotional for the speaker, such as a funeral, using a manuscript may be the best approach.

There are some disadvantages in delivering a speech from a manuscript. Having a manuscript in front of you often encourages looking down and reading the speech instead of performing it. A lack of eye contact makes the audience feel less engaged. The speech can feel stilted and lacking energy. Some speakers may feel constrained and that they can’t deviate from their script. Furthermore, while some find it easier to find their place with a quick glance down having the full manuscript, others find it difficult to avoid losing their place. If you go off script it can be harder to recover.

Successful Manuscript Delivery

A successful manuscript delivery requires a dynamic performance that includes lots of eye contact, animated vocals, and gestures. This can only be accomplished if you’re very familiar with the manuscript. Delivering a manuscript that you have written but only spoken aloud once before delivery will most often result in stumbling over words and eyes locked to the page. You’ll be reading aloud  at  your audience, instead of speaking  to  them. Remember what it’s like in school when a teacher asks a student to stand up and read something aloud? If the student isn’t familiar with the text, it can be a struggle both for the reader and the audience.

The key to avoiding this problem is to practice your written speech as much as you can, at least five or six times. You want to get so familiar with your speech that you can take your eyes off the page and make frequent eye contact with your audience. When you’re very familiar with your speech, your tone of speaking becomes more conversational. The text flows more smoothly and you begin to sound like a speaker, not a reader. You can enjoy the presentation and your audiences will enjoy it as well.

To improve your skills at manuscript delivery, practice reading written content aloud. This allows you to focus exclusively on delivery instead of worrying about writing a speech first. In particular, reading dialogue or passages from theatre plays, film/television scripts, or books provides material that is intended to be expressive and emotive. The goal is to deliver the content in a way that is accessible, interesting, alive, and engaging for the audience.

To Memorize or Not to Memorize

One way to overcome the problem of reading from the page is to memorize your word-for-word speech. When we see TED Talks, for example, they are usually memorized.

Memorized speaking  is the delivery of a written message that the speaker has committed to memory. Actors, of course, recite from memory whenever they perform from a script. When it comes to speeches, memorization can be useful when the message needs to be exact, and the speaker doesn’t want to be confined by notes.

The advantage to memorization is that it enables the speaker to maintain eye contact with the audience throughout the speech. However, there are some real and potential costs. Obviously, memorizing a seven-minute speech takes a great deal of time and effort, and if you’re not used to memorizing, it’s difficult to pull off.

For strategies on how to successfully memorize a speech, refer to the “Memorization” section in the chapter “ From Page to Stage .”

Extemporaneous Delivery

Remember the fairy tale about Goldilocks and the Three Bears? One bed is too soft, the other bed is too hard, and finally one is just right? Extemporaneous delivery combines the best of impromptu and manuscript delivery. Like a manuscript speech, the content is very carefully prepared. However, instead of a word-for-word manuscript, the speaker delivers from a carefully crafted outline. Therefore, it has elements of impromptu delivery to it. We call this type of speaking extemporaneous ( the word comes from the Latin  ex tempore,  literally “out of time”).

Extemporaneous delivery  is the presentation of a carefully planned and rehearsed speech, spoken in a conversational manner using brief notes. By using notes rather than a full manuscript, the extemporaneous speaker can establish and maintain eye contact with the audience and assess how well they understand the speech as it progresses. Without all the words on the page to read, you have little choice but to look up and make eye contact with your audience.

For an extemporaneous speech, the speaker uses a carefully prepared outline. We will discuss how to create an effective outline in the chapters on speechwriting.

Advantages & Disadvantages of Extemporaneous Delivery

Speaking extemporaneously has some major advantages. As mentioned above, without having a text to be beholden to it’s much easier to make eye contact and engage with your audience. Extemporaneous speaking also allows flexibility; you’re working from the solid foundation of an outline, but if you need to delete, add, or rephrase something at the last minute or to adapt to your audience, you can do so. Therefore, the audience is more likely to pay better attention to the message. Furthermore, it promotes the likelihood that you, the speaker, will be perceived as knowledgeable and credible since you know the speech well enough that you don’t need to read it. The outline also helps you be aware of main ideas vs. subordinate ones. For many speakers, an extemporaneous approach encourages them to feel more relaxed and to have more fun while speaking. If you’re enjoying presenting your speech the audience will sense that and consequently, they will enjoy it more.

A disadvantage of extemporaneous speaking is that it requires substantial rehearsal to achieve the verbal and nonverbal engagement that is required for a good speech. Adequate preparation can’t be achieved the day before you’re scheduled to speak. Be aware that if you want to present an engaging and credible extemporaneous speech, you’ll need to practice many times. Your practice will need to include both the performative elements as well as having a clear sense of the content you’ll cover. As mentioned previously, an extemporaneous speech can also be harder to have consistent and predictable timing. While delivering the speech it’s more likely you’ll wander off on a tangent, struggle to find the words you want, or forget to mention crucial details. Furthermore, if you get lost it may be harder to get yourself back on track.

Successful Extemporaneous Delivery

Like other delivery modes, a dynamic performance on an extemporaneous delivery is one that includes lots of eye contact, animated vocals, and gestures. At the same time, you want a speech that is structured and focused, not disorganized and wandering.

One strategy to succeed in extemporaneous speaking is to begin by writing out a full manuscript of your speech. This allows you to map out all the information that will be covered in each main point and sub-point. This method also gives you a better sense of your timing and flow than starting from just an outline. Another approach is to write out an outline that is less complete than a manuscript but still detailed. This will be used only for preparation; once you have a clear sense of the content you can reduce it down to a streamlined performance outline which you’ll use when delivering the actual speech.

By the time of presentation, an extemporaneous speech becomes a mixture of memorization and improvisation. You’ll need to be familiar enough with your content and structure that you cover everything, and it flows with logical transitions. Simultaneously, you must be willing to make changes and adapt in the moment. Hence, thorough rehearsal is critical. While this approach takes more time, the benefits are worth the extra effort required.

When you’re asked to prepare a speech for almost any occasion except last-minute speeches, you must choose either a manuscript or extemporaneous approach. As you experiment with assorted styles of public speaking, you’ll find you prefer one style of delivery over the other. Extemporaneous speaking can be challenging, especially for beginners, but it’s the preferred method of most experienced public speakers. However, the speaking occasion may dictate which method will be most effective.

Online Delivery

Impromptu, manuscript, and extemporaneous speaking are delivery modes . They describe the relationship between the speaker and the script according to the level of preparation (minutes or weeks) and type of preparation (manuscript or outline). Until now, we have assumed that the medium for the speech is in-person before an audience. Medium means the means or channel through which something is communicated. The written word is a medium. In art, sculpture is a medium. For in-person public speaking, the medium is the stage. For online public speaking, the medium is the camera.

The Online Medium

Public speakers very often communicate via live presentation. However, we also use the medium of recordings, shared through online technology. We see online or recorded speaking in many situations. A potential employer might ask for a short video self-presentation. Perhaps you’re recording a “How-To” video for YouTube. A professor asks you to create a presentation to post to the course website. Or perhaps an organization has solicited proposals via video. Maybe a friend who lives far away is getting married and those who can’t attend send a video toast. While this textbook can’t address all these situations, below are three important elements to executing recorded speeches.

Creating Your Delivery Document

As with an in-person speech, it’s important to consider all the given circumstances of the speech occasion. Why are you speaking? What is the topic? How much time do you have to prepare? How long is this speech? In online speeches, having a sense of your audience is critical. Not only who are they, but where are they? You may be speaking live to people across the country or around the world. If they are in a different time zone it may influence their ability to listen and respond, particularly if it’s early, late, or mealtime. If you’re recording a speech for a later audience, do you know who that audience will be?

As with in-person speeches, different speech circumstances suggest one of three delivery modes: impromptu, extemporaneous, or manuscript. Whether your medium is live or camera, to prepare you must know which of the three delivery modes  you’ll be using. Just because a speech is online does not mean it doesn’t need preparation and a delivery text.

Technical Preparation

To prepare for online speaking, you’ll want to practice using your online tools. To begin, record yourself speaking so you have a sense of the way your voice sounds when mediated. Consider practicing making eye contact with your camera so that you feel comfortable with your desired focal point. In addition, consider how to best set up your speaking space. It may take some experimenting to find the best camera angle and position. Consider lighting when deciding your recording place. Make the lighting as bright as possible and ensure that the light is coming from behind the camera.

You should put some thought into what you’ll be wearing. You’ll want to look appropriate for the occasion. Make sure your outfit looks good on camera and doesn’t clash with your background. In general, keep in mind what your background will look like on-screen. You’ll want a background that isn’t overly distracting to viewers. Furthermore, ensure that there is a place just off-screen where you can have notes and anything else you may need readily at hand. Your recording location should be somewhere quiet and distraction-free.

You should test your camera and microphone to make sure they are working properly, and make sure you have a stable internet connection. But, even when you complete pre-checks of equipment, sometimes technology fails. Therefore, it’s helpful to know how to troubleshoot on the spot. Anticipate potential hiccups and have a plan for how to either fix issues that arise or continue with your presentation.

Vibrant Delivery

The tools for successful public speaking discussed in the rest of this textbook still apply to online speaking, but there are some key differences to consider before entering the virtual space. Online speaking, for example, will not have the same energy of a back-and-forth dialogue between speaker and live audience. If you’re recording without an audience, it might feel like you’re speaking into a void. You must use your power of imagination to keep in mind the audience who will eventually be watching your speech.

It’s important to utilize all your vocal tools, such as projection, enunciation, and vocal variety. Most important is having a high level of energy and enthusiasm reflected in your voice. If your voice communicates your passion for your speech topic, the audience will feel that and be more engaged. Use humor to keep your speech engaging and to raise your own energy level. Some experts recommend standing while giving an online speech because it helps raise your energy level and can better approximate the feeling of presenting in public.

If you’re presenting online to an audience, be sure to start the presentation on time. However, be aware that some participants may sign in late. Likewise, be cognizant about finishing your speech and answering any questions by the scheduled end time. If there are still questions you can direct the audience to reach out to you by your preferred means of communication. You may be able to provide the audience with a recording of the talk in case they want to go back and rewatch something.

Finally, consider ways you can enhance your performance by sharing images on the screen. Be sure you have that technology ready.

Other suggestions from experts include:

• Your anxiety does not go away just because you can’t see everyone in your “web audience.” Be aware of the likelihood of anxiety; it might not hit until you’re “on air.”
• During the question-and-answer period, some participants will question orally through the webcam set-up, while others will use the chat feature. It takes time to type in the chat. Be prepared for pauses.
• Remember the power of transitions. The speaker needs to tie the messages of their slides together.
• Verbal pauses can be helpful. Since one of the things that put audiences to sleep is the continual, non-stop flow of words, a pause can get attention.

As you begin delivering more public speeches you will likely find a preference for one or more of these delivery modes. If you are given a choice, it’s often best to lean into your strengths and to utilize the method you feel most comfortable with. However, the speech occasion may dictate your presentation style. Therefore, it’s important to practice and become comfortable with each mode. In an increasingly technological world online speaking in particular is likely going to be a required method of communication.

Media Attributions

• Delivery Modes and Delivery Document © Mechele Leon is licensed under a CC BY-NC-SA (Attribution NonCommercial ShareAlike) license

Public Speaking as Performance Copyright © 2023 by Mechele Leon is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License , except where otherwise noted.

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9.2: Different Styles and Models of Journalism

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Learning Objectives

• Explain how objective journalism differs from story-driven journalism.
• Describe the effect of objectivity on modern journalism.
• Describe the unique nature of literary journalism.

Location, readership, political climate, and competition all contribute to rapid transformations in journalistic models and writing styles. Over time, however, certain styles—such as sensationalism—have faded or become linked with less serious publications, like tabloids, while others have developed to become prevalent in modern-day reporting. This section explores the nuanced differences among the most commonly used models of journalism.

Objective versus Story-Driven Journalism

In the late 1800s, a majority of publishers believed that they would sell more papers by reaching out to specific groups. As such, most major newspapers employed a partisan approach to writing, churning out political stories and using news to sway popular opinion. This all changed in 1896 when a then-failing paper, The New York Times , took a radical new approach to reporting: employing objectivity, or impartiality, to satisfy a wide range of readers.

The Rise of Objective Journalism

At the end of the 19th century, The New York Times found itself competing with the papers of Pulitzer and Hearst. The paper’s publishers discovered that it was nearly impossible to stay afloat without using the sensationalist headlines popularized by its competitors. Although The New York Times publishers raised prices to pay the bills, the higher charge led to declining readership, and soon the paper went bankrupt. Adolph Ochs, owner of the once-failing Chattanooga Times , took a gamble and bought The New York Times in 1896. On August 18 of that year, Ochs made a bold move and announced that the paper would no longer follow the sensationalist style that made Pulitzer and Hearst famous, but instead would be “clean, dignified, trustworthy and impartial.”“Adolph S. Ochs Dead at 77; Publisher of Times Since 1896,” New York Times , April 9, 1935, http://www.nytimes.com/learning/general/onthisday/bday/0312.html .

This drastic change proved to be a success. T he New York Times became the first of many papers to demonstrate that the press could be “economically as well as ethically successful.”“Adolph S. Ochs Dead at 77; Publisher of Times Since 1896,” New York Times , April 9, 1935, http://www.nytimes.com/learning/general/onthisday/bday/0312.html . With the help of managing editor Carr Van Anda, the new motto “All the News That’s Fit to Print,” and lowered prices, The New York Times quickly turned into one of the most profitable impartial papers of all time. Since the newspaper’s successful turnaround, publications around the world have followed The New York Times ’ objective journalistic style, demanding that reporters maintain a neutral voice in their writing.

The Inverted Pyramid Style

One commonly employed technique in modern journalism is the inverted pyramid style. This style requires objectivity and involves structuring a story so that the most important details are listed first for ease of reading. In the inverted pyramid format, the most fundamental facts of a story—typically the who, what, when, where, and why—appear at the top in the lead paragraph, with nonessential information in subsequent paragraphs. The style arose as a product of the telegraph. The inverted pyramid proved useful when telegraph connections failed in the middle of transmission; the editor still had the most important information at the beginning. Similarly, editors could quickly delete content from the bottom up to meet time and space requirements.Chip Scanlan, “Writing from the Top Down: Pros and Cons of the Inverted Pyramid,” Poynter, June 20, 2003, www.poynter.org/how-tos/newsg...erted-pyramid/.

The reason for such writing is threefold. First, the style is helpful for writers, as this type of reporting is somewhat easier to complete in the short deadlines imposed on journalists, particularly in today’s fast-paced news business. Second, the style benefits editors who can, if necessary, quickly cut the story from the bottom without losing vital information. Finally, the style keeps in mind traditional readers, most of who skim articles or only read a few paragraphs, but they can still learn most of the important information from this quick read.

Interpretive Journalism

During the 1920s, objective journalism fell under critique as the world became more complex. Even though The New York Times continued to thrive, readers craved more than dry, objective stories. In 1923, Time magazine launched as the first major publication to step away from simple objectivity to try to provide readers with a more analytical interpretation of the news. As Time grew, people at some other publications took notice, and slowly editors began rethinking how they might reach out to readers in an increasingly interrelated world.

During the 1930s, two major events increased the desire for a new style of journalism: the Great Depression and the Nazi threat to global stability. Readers were no longer content with the who, what, where, when, and why of objective journalism. Instead, they craved analysis and a deeper explanation of the chaos surrounding them. Many papers responded with a new type of reporting that became known as interpretive journalism.

Interpretive journalism, following Time ’s example, has grown in popularity since its inception in the 1920s and 1930s, and journalists use it to explain issues and to provide readers with a broader context for the stories that they encounter. According to Brant Houston, the executive director of Investigative Reporters and Editors Inc., an interpretive journalist “goes beyond the basic facts of an event or topic to provide context, analysis, and possible consequences.”Brant Houston, “Interpretive Journalism,” The International Encyclopedia of Communication , 2008, www.blackwellreference.com/pu...3199514_ss82-1. When this new style was first used, readers responded with great interest to the new editorial perspectives that newspapers were offering on events. But interpretive journalism posed a new problem for editors: the need to separate straight objective news from opinions and analysis. In response, many papers in the 1930s and 1940s “introduced weekend interpretations of the past week’s events … and interpretive columnists with bylines.”Stephen J. A. Ward, “Journalism Ethics,” in The Handbook of Journalism Studies , ed. Karin Wahl-Jorgensen and Thomas Hanitzsch (New York: Routledge, 2008): 298. As explained by Stephen J. A. Ward in his article, “Journalism Ethics,” the goal of these weekend features was to “supplement objective reporting with an informed interpretation of world events.”Stephen J. A. Ward, “Journalism Ethics,” in The Handbook of Journalism Studies , ed. Karin Wahl-Jorgensen and Thomas Hanitzsch (New York: Routledge, 2008): 298.

Competition From Broadcasting

The 1930s also saw the rise of broadcasting as radios became common in most U.S. households and as sound–picture recordings for newsreels became increasingly common. This broadcasting revolution introduced new dimensions to journalism. Scholar Michael Schudson has noted that broadcast news “reflect[ed] … a new journalistic reality. The journalist, no longer merely the relayer of documents and messages, ha[d] become the interpreter of the news.”Michael Schudson, “The Politics of Narrative Form: The Emergence of News Conventions in Print and Television,” in “Print Culture and Video Culture,” Daedalus 111, no. 4 (1982): 104. However, just as radio furthered the interpretive journalistic style, it also created a new problem for print journalism, particularly newspapers.

Suddenly, free news from the radio offered competition to the pay news of newspapers. Scholar Robert W. McChesney has observed that, in the 1930s, “many elements of the newspaper industry opposed commercial broadcasting, often out of fear of losing ad revenues and circulation to the broadcasters.”Robert W. McChesney, “Media and Democracy: The Emergence of Commercial Broadcasting in the United States, 1927–1935,” in “Communication in History: The Key to Understanding” OAH Magazine of History 6, no. 4 (1992): 37. This fear led to a media war as papers claimed that radio was stealing their print stories. Radio outlets, however, believed they had equal right to news stories. According to Robert W. McChesney, “commercial broadcasters located their industry next to the newspaper industry as an icon of American freedom and culture.”Robert W. McChesney, “Media and Democracy: The Emergence of Commercial Broadcasting in the United States, 1927–1935,” in “Communication in History: The Key to Understanding” OAH Magazine of History 6, no. 4 (1992): 38. The debate had a major effect on interpretive journalism as radio and newspapers had to make decisions about whether to use an objective or interpretive format to remain competitive with each other.

The emergence of television during the 1950s created even more competition for newspapers. In response, paper publishers increased opinion-based articles, and many added what became known as op-ed pages. An op-ed page—short for opposite the editorial page —features opinion-based columns typically produced by a writer or writers unaffiliated with the paper’s editorial board. As op-ed pages grew, so did interpretive journalism. Distinct from news stories, editors and columnists presented opinions on a regularly basis. By the 1960s, the interpretive style of reporting had begun to replace the older descriptive style.Thomas Patterson, “Why Is News So Negative These Days?” History News Network , 2002, http://hnn.us/articles/1134.html .

Literary Journalism

Stemming from the development of interpretive journalism, literary journalism began to emerge during the 1960s. This style, made popular by journalists Tom Wolfe (formerly a strictly nonfiction writer) and Truman Capote, is often referred to as New Journalism and combines factual reporting with sometimes fictional narration. Literary journalism follows neither the formulaic style of reporting of objective journalism nor the opinion-based analytical style of interpretive journalism. Instead, this art form—as it is often termed—brings voice and character to historical events, focusing on the construction of the scene rather than on the retelling of the facts.

Important Literary Journalists

The works of Tom Wolfe are some of the best examples of literary journalism of the 1960s.

Tom Wolfe was the first reporter to write in the literary journalistic style. In 1963, while his newspaper, New York’s Herald Tribune , was on strike, Esquire magazine hired Wolfe to write an article on customized cars. Wolfe gathered the facts but struggled to turn his collected information into a written piece. His managing editor, Byron Dobell, suggested that he type up his notes so that Esquire could hire another writer to complete the article. Wolfe typed up a 49-page document that described his research and what he wanted to include in the story and sent it to Dobell. Dobell was so impressed by this piece that he simply deleted the “Dear Byron” at the top of the letter and published the rest of Wolfe’s letter in its entirety under the headline “There Goes (Varoom! Varoom!) That Kandy-Kolored Tangerine-Flake Streamline Baby.” The article was a great success, and Wolfe, in time, became known as the father of new journalism. When he later returned to work at the Herald Tribune , Wolfe brought with him this new style, “fusing the stylistic features of fiction and the reportorial obligations of journalism.”Richard A. Kallan, “Tom Wolfe,” in A Sourcebook of American Literary Journalism: Representative Writers in an Emerging Genre , ed. Thomas B. Connery (Santa Barbara: Greenwood Press, 1992).

Truman Capote responded to Wolfe’s new style by writing In Cold Blood , which Capote termed a “nonfiction novel,” in 1966.George Plimpton, “The Story Behind a Nonfiction Novel,” New York Times , January 16, 1966, http://www.nytimes.com/books/97/12/28/home/capote-interview.html . The tale of an actual murder that had taken place on a Kansas farm some years earlier, the novel was based on numerous interviews and painstaking research. Capote claimed that he wrote the book because he wanted to exchange his “self-creative world … for the everyday objective world we all inhabit.”George Plimpton, “The Story Behind a Nonfiction Novel,” New York Times , January 16, 1966, http://www.nytimes.com/books/97/12/28/home/capote-interview.html . The book was praised for its straightforward, journalistic style. New York Times writer George Plimpton claimed that the book “is remarkable for its objectivity—nowhere, despite his involvement, does the author intrude.”George Plimpton, “The Story Behind a Nonfiction Novel,” New York Times , January 16, 1966, http://www.nytimes.com/books/97/12/28/home/capote-interview.html . After In Cold Blood was finished, Capote criticized Wolfe’s style in an interview, commenting that Wolfe “[has] nothing to do with creative journalism,” by claiming that Wolfe did not have the appropriate fiction-writing expertise.George Plimpton, “The Story Behind a Nonfiction Novel,” New York Times , January 16, 1966, http://www.nytimes.com/books/97/12/28/home/capote-interview.html . Despite the tension between these two writers, today they are remembered for giving rise to a similar style in varying genres.

The Effects of Literary Journalism

Although literary journalism certainly affected newspaper reporting styles, it had a much greater impact on the magazine industry. Because they were bound by fewer restrictions on length and deadlines, magazines were more likely to publish this new writing style than were newspapers. Indeed, during the 1960s and 1970s, authors simulating the styles of both Wolfe and Capote flooded magazines such as Esquire and The New Yorker with articles.

Literary journalism also significantly influenced objective journalism. Many literary journalists believed that objectivity limited their ability to critique a story or a writer. Some claimed that objectivity in writing is impossible, as all journalists are somehow swayed by their own personal histories. Still others, including Wolfe, argued that objective journalism conveyed a “limited conception of the ‘facts,’” which “often effected an inaccurate, incomplete story that precluded readers from exercising informed judgment.”Richard A. Kallan, “Tom Wolfe,” in A Sourcebook of American Literary Journalism: Representative Writers in an Emerging Genre , ed. Thomas B. Connery (Santa Barbara: Greenwood Press, 1992).

Advocacy Journalism and Precision Journalism

The reactions of literary journalists to objective journalism encouraged the growth of two more types of journalism: advocacy journalism and precision journalism. Advocacy journalists promote a particular cause and intentionally adopt a biased, nonobjective viewpoint to do so effectively. However, serious advocate journalists adhere to strict guidelines, as “an advocate journalist is not the same as being an activist” according to journalist Sue Careless.Sue Careless, “Advocacy Journalism,” Interim , May 2000, www.theinterim.com/2000/may/10advocacy.html. In an article discussing advocacy journalism, Careless contrasted the role of an advocate journalist with the role of an activist. She encourages future advocate journalists by saying the following:

A journalist writing for the advocacy press should practice the same skills as any journalist. You don’t fabricate or falsify. If you do you will destroy the credibility of both yourself as a working journalist and the cause you care so much about. News should never be propaganda. You don’t fudge or suppress vital facts or present half-truths.Sue Careless, “Advocacy Journalism,” Interim , May 2000, www.theinterim.com/2000/may/10advocacy.html.

Despite the challenges and potential pitfalls inherent to advocacy journalism, this type of journalism has increased in popularity over the past several years. In 2007, USA Today reporter Peter Johnson stated, “[i]ncreasingly, journalists and talk-show hosts want to ‘own’ a niche issue or problem, find ways to solve it, and be associated with making this world a better place.”Peter Johnson, “More Reporters Embrace an Advocacy Role,” USA Today , March 5, 2007, http://www.usatoday.com/life/television/news/2007-03-05-social-journalism_N.htm . In this manner, journalists across the world are employing the advocacy style to highlight issues they care about.

Oprah Winfrey: Advocacy Journalist

Television talk-show host and owner of production company Harpo Inc., Oprah Winfrey is one of the most successful, recognizable entrepreneurs of the late-20th and early-21st centuries. Winfrey has long been a news reporter, beginning in the late 1970s as a coanchor of an evening television program. She began hosting her own show in 1984, and as of 2010, the Oprah Winfrey Show is one of the most popular television programs on the air. Winfrey has long used her show as a platform for issues and concerns, making her one of today’s most famous advocacy journalists. While many praise Winfrey for using her celebrity to draw attention to causes she cares about, others criticize her techniques, claiming that she uses the advocacy style for self-promotion. As one critic writes, “I’m not sure how Oprah’s endless self-promotion of how she spent millions on a school in South Africa suddenly makes her ‘own’ the ‘education niche.’ She does own the trumpet-my-own-horn niche. But that’s not ‘journalism.’”Debbie Schlussel, “USA Today Heralds ‘Oprah Journalism,’” Debbie Schlussel (blog), March 6, 2007, http://www.debbieschlussel.com/497/usa-today-heralds-oprah-journalism/ .

Yet despite this somewhat harsh critique, many view Winfrey as the leading example of positive advocacy journalism. Sara Grumbles claims in her blog “Breaking and Fitting the Mold”: “Oprah Winfrey obviously practices advocacy journalism…. Winfrey does not fit the mold of a ‘typical’ journalist by today’s standards. She has an agenda and she voices her opinions. She has her own op-ed page in the form of a million dollar television studio. Objectivity is not her strong point. Still, in my opinion she is a journalist.”Sara Grumbles, “Breaking and Fitting the Mold,” Media Chatter (blog), October 3, 2007, www.commajor.com/?p=1244.

Regardless of the arguments about the value and reasoning underlying her technique, Winfrey unquestionably practices a form of advocacy journalism. In fact, thanks to her vast popularity, she may be the most compelling example of an advocacy journalist working today.

Precision journalism emerged in the 1970s. In this form, journalists turn to polls and studies to strengthen the accuracy of their articles. Philip Meyer, commonly acknowledged as the father of precision journalism, says that his intent is to “encourage my colleagues in journalism to apply the principles of scientific method to their tasks of gathering and presenting the news.”Philip Meyer, Precision Journalism: A Reporter’s Introduction to Social Science Methods , 4th ed. (Oxford: Rowman & Littlefield Publishers, 2002), vii. This type of journalism adds a new layer to objectivity in reporting, as articles no longer need to rely solely on anecdotal evidence; journalists can employ hard facts and figures to support their assertions. An example of precision journalism would be an article on voting patterns in a presidential election that cites data from exit polls. Precision journalism has become more popular as computers have become more prevalent. Many journalists currently use this type of writing.

Consensus versus Conflict Newspapers

Another important distinction within the field of journalism must be made between consensus journalism and conflict journalism. Consensus journalism typically takes place in smaller communities, where local newspapers generally serve as a forum for many different voices. Newspapers that use consensus-style journalism provide community calendars and meeting notices and run articles on local schools, events, government, property crimes, and zoning. These newspapers can help build civic awareness and a sense of shared experience and responsibility among readers in a community. Often, business or political leaders in the community own consensus papers.

Conversely, conflict journalism, like that which is presented in national and international news articles in The New York Times , typically occurs in national or metropolitan dailies. Conflict journalists define news in terms of societal discord, covering events and issues that contravene perceived social norms. In this style of journalism, reporters act as watchdogs who monitor the government and its activities. Conflict journalists often present both sides of a story and pit ideas against one another to generate conflict and, therefore, attract a larger readership. Both conflict and consensus papers are widespread. However, because they serve different purposes and reach out to differing audiences, they largely do not compete with each other.

Niche Newspapers

Niche newspapers represent one more model of newspapers. These publications, which reach out to a specific target group, are rising in popularity in the era of Internet. As Robert Courtemanche, a certified journalism educator, writes, “[i]n the past, newspapers tried to be everything to every reader to gain circulation. That outdated concept does not work on the Internet where readers expect expert, niche content.”Robert Courtemanche, “Newspapers Must Find Their Niche to Survive,” Suite101.com, December 20, 2008, http://newspaperindustry.suite101.co...che_to_survive . Ethnic and minority papers are some of the most common forms of niche newspapers. In the United States—particularly in large cities such as New York—niche papers for numerous ethnic communities flourish. Some common types of U.S. niche papers are papers that cater to a specific ethnic or cultural group or to a group that speaks a particular language. Papers that cover issues affecting lesbians, gay men, and bisexual individuals—like the Advocate —and religion-oriented publications—like The Christian Science Monitor —are also niche papers.

The Underground Press

Some niche papers are part of the underground press. Popularized in the 1960s and 1970s as individuals sought to publish articles documenting their perception of social tensions and inequalities, the underground press typically caters to alternative and countercultural groups. Most of these papers are published on small budgets. Perhaps the most famous underground paper is New York’s Pulitzer Prize–winning Village Voice . This newspaper was founded in 1955 and declares its role in the publishing industry by saying:

The Village Voice introduced free-form, high-spirited and passionate journalism into the public discourse. As the nation’s first and largest alternative newsweekly, the Voice maintains the same tradition of no-holds-barred reporting and criticism it first embraced when it began publishing fifty years ago. Village Voice , “About Us,” www.villagevoice.com/about/index.

Despite their at-times shoestring budgets, underground papers serve an important role in the media. By offering an alternative perspective to stories and by reaching out to niche groups through their writing, underground-press newspapers fill a unique need within the larger media marketplace. As journalism has evolved over the years, newspapers have adapted to serve the changing demands of readers.

Key Takeaways

• Objective journalism began as a response to sensationalism and has continued in some form to this day. However, some media observers have argued that it is nearly impossible to remain entirely objective while reporting a story. One argument against objectivity is that journalists are human and are, therefore, biased to some degree. Many newspapers that promote objectivity put in place systems to help their journalists remain as objective as possible.
• Literary journalism combines the research and reporting of typical newspaper journalism with the writing style of fiction. While most newspaper journalists focus on facts, literary journalists tend to focus on the scene by evoking voices and characters inhabiting historical events. Famous early literary journalists include Tom Wolfe and Truman Capote.
• Other journalistic styles allow reporters and publications to narrow their editorial voice. Advocacy journalists encourage readers to support a particular cause. Consensus journalism encourages social and economic harmony, while conflict journalists present information in a way that focuses on views outside of the social norm.
• Niche newspapers—such as members of the underground press and those serving specific ethnic groups, racial groups, or speakers of a specific language—serve as important media outlets for distinct voices. The rise of the Internet and online journalism has brought niche newspapers more into the mainstream.

Exercise \(\PageIndex{1}\)

Please respond to the following writing prompts. Each response should be a minimum of one paragraph.

• Find an objective newspaper article that includes several factual details. Rewrite the story in a literary journalistic style. How does the story differ from one genre to the other?
• Was it difficult to transform an objective story into a piece of literary journalism? Explain.
• Do you prefer reading an objective journalism piece or a literary journalism piece? Explain.

PRDV217: Introduction to Sales

Delivering Your Presentation

Read this chapter on how to deliver your presentation. It presents strategies for presenting more persuasively so you have an impact on your audience.

Methods of Delivery

There are four primary methods  or styles of presenting a speech: manuscript, memorized, extemporaneous, and impromptu. Each has a variety of uses in various forums of communication.

1. 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. The 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 looks at the lens while reading.

Why is the manuscript important and in use? Precision. In the news-reporting industry, every fraction of q 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. 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 another 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 not skilled in using a teleprompter or manuscript will sound stilted and boring.

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 precisely, the phrasing is, even if different personalities are presenting the same item.

2. Memorized Style

The memorized speaking style  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 an "Oratory" contest for high school students. Contestants wrote essays on a given theme to create a speech at a specific 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. These 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 in the public domain), actors on stage must 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 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.

3. Impromptu Style

Theoretically, an "impromptu" speech is "made up on the spot." It is unprepared and unrehearsed. Often ceremonial toasts, grace before meals, an acknowledgment, an introduction, offering thanks, and so on fall into this category. While there are some occasions when a speech in those categories is 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). It 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 have got to say, and say it hot.  — D. H. Lawrence

An indelibly memorable example occurred 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 60s. 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? It was like yesterday; today reminds me of 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 Margaret, the luckiest man alive."

The speech was short, emotionally charged, wonderfully articulate, and unprepared. The speech had one central emotionally charged message, simple in words and phrasing but complex, bringing an image of great sentimentality to the occasion. He could 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

4. Extemporaneous Style

Sandwiched between the memorized and impromptu delivery styles, you find the extemporaneous speech style. In this style, the speech is not entirely 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 keywords 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 the 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 have not thought of yet.  — Ann Landers

How you develop the notes and what they look like are up to the individual, but a natural extemporaneous delivery is difficult if you rely on a manuscript. Under no circumstances should the speaker be spending more than 20 percent of the speaking time looking at the notes. It would be ideal to practice so you only glance at your notes approximately 5 percent of the speech time.

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 thinking through the phrases. This public speaking process was taught decades ago to my contemporaries and me and has fallen out of fashion. But it is a valuable way of thoroughly thinking through the speech. If this procedure is used, it is advisable to rehearse the speech with notes without the essay before 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.

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How to Read and Speak Like a TV News Reporter

Last Updated: March 9, 2024 Fact Checked

This article was co-authored by Lynn Kirkham . Lynn Kirkham is a Professional Public Speaker and Founder of Yes You Can Speak, a San Francisco Bay Area-based public speaking educational business empowering thousands of professionals to take command of whatever stage they've been given - from job interviews, boardroom talks to TEDx and large conference platforms. Lynn was chosen as the official TEDx Berkeley speaker coach for the last four years and has worked with executives at Google, Facebook, Intuit, Genentech, Intel, VMware, and others. There are 10 references cited in this article, which can be found at the bottom of the page. This article has been fact-checked, ensuring the accuracy of any cited facts and confirming the authority of its sources. This article has been viewed 600,136 times.

TV news reporters seem to project confidence and authority when they speak. As is the case with many skills, practice makes perfect when it comes to reporting. The first step in learning to report the news is to watch the professionals. Take note and write down any characteristics you want to imitate. Then, print out some news stories and practice reading them on your own. After you've gained a little bit of confidence in your reading, start paying attention to your body language, facial expressions, and gestures.

Working on Vocal Delivery

• Breathe slowly, in through the nose and out through the mouth.
• Spend at least 5 minutes practicing exercises before you read, and set aside 10-15 minutes if you are preparing for an audition or job.

• For example, if you tend to drop the end of -ing words, slow down and make sure you say the whole word (fishin' vs. fishing).

• Most reporters aim for a pace of around 150-170 words per minute.
• If you are nervous, you might find yourself speaking faster. Try taking a few deep breaths or meditating for a few minutes before a job if you are nervous.

• If you have a strong accent, it can take some time to learn how to speak differently. Keep practicing by imitating how reporters sound.

• The goal is to sound upbeat and friendly, not like you had too much coffee before you started reading.

• Using slang makes you sound less reliable. Stick to formal language.

• This can be difficult at first, but eventually it will become a habit.

Practicing Your Reporting

• You might notice that the reporter sounds excited, energized, friendly, or confident. Try writing down some words you would use to describe the reporter's voice. You can use these words for reference when you're practicing.
• Look at the reporter's body language. Watch how the reporter's face reflects the tone of the story. Look at where the reporter places their hands.

• Try not to criticize yourself too harshly. You are comparing yourself to professional newscasters while you are just getting started. Simply compare to see how you can improve.

• You'll often see a reporter with papers in their hand. You practice this way, too. Practice glancing down at your notes and then conveying the story, rather than reading directly from your notes.

• For a serious story, you can say something along the lines of, "What a tragic event for the neighborhood," or "Let's hope everyone makes a full recovery." Make it clear that you care about the situation.
• For a feel good story, you can keep it simple by saying something like, "How fun!" or "That really warms the heart."
• It's important to stay neutral for political stories. Good examples of comments could include, "This race is really heating up," or "This has been a really exciting story to follow." These comments still give an opinion while remaining neutral.

Reading Naturally

• If you don't have a specific report you're reading, try taking a story from a newspaper or looking up sample stories online.

• The more words you know, the better you will be able to make an educated guess about unknown words you come across in a report.

• Try using a mirror to look at yourself while you read. This can help you make sure your facial expressions are confident and match the tone of the story. It will also help you practice to get glance at a report then read it well while looking straight ahead.
• Once you've built up some confidence, you might want to ask a close friend or family member to listen in and give you feedback.

• For fun stories, try to loosen up a little bit so that you sound more upbeat.

• This is especially important for breaking stories. You might get bullet points ahead of time, but you will probably see the story for the first time as you are reading it.

Using Body Language

• For serious reports, it's especially important that your body language reflects the tone of the story. If need be, pause and check your posture and facial expression before a serious story.

• If you don't normally use your hands to talk, start slowly. Try using one or two hand gestures in a report. If you try to add many more, it may look unnatural.

• If you are co-reporting, it's natural to break eye contact to look at your colleague every once in a while, especially if you are speaking to each other.

• Make sure your facial expressions are appropriate for the story. Although a warm, friendly smile is generally appropriate, make sure to use a more serious expression when reporting on something like a death or accident.

• Having confidence in yourself will give off confidence in front of the camera.
• To be more convincing, you should have eye contact and a strong body posture.
• Besides this, pause and have certainty in your speech.
• Be clear and concise.

Community Q&A

• Try not to express disappointment on camera when you make a mistake. Rather, start your sentence over with "Excuse me..." Viewers can be more forgiving than many think. Thanks Helpful 2 Not Helpful 0
• The teleprompter fails sometimes, so reporters have notes with them. Practice with hand-written notes and typed memo-style pages. Font size should be about 12-pt. Thanks Helpful 1 Not Helpful 0
• Get glasses or contacts if you realize you're having a hard time reading from a distance. Invest polarized, no-glare eyewear if you plan on reporting news as a profession. This is best for the camera. Thanks Helpful 0 Not Helpful 1

You Might Also Like

• ↑ https://www.write-out-loud.com/vocal-warm-ups.html
• ↑ https://morningannouncement.com/speak-like-news-anchors/
• ↑ https://core.ac.uk/download/pdf/77023622.pdf
• ↑ https://www.nyfa.edu/student-resources/how-to-read-the-news-like-a-professional-news-anchor/
• ↑ http://www.nbcnews.com/id/44740700/ns/technology_and_science-science/t/why-do-news-anchors-all-talk-same/#.XdbNtkVKiRs
• ↑ https://www.jeadigitalmedia.org/2012/03/12/speaking-like-a-broadcaster/
• ↑ https://youtu.be/nB1SztDeAVc?t=92
• ↑ https://youtu.be/nB1SztDeAVc?t=52
• ↑ https://youtu.be/nB1SztDeAVc?t=30
• ↑ https://youtu.be/nB1SztDeAVc?t=70

About This Article

TV news reporters always speak with confidence and authority, which helps them deliver the news more clearly. If you want to talk like a news reporter, slow down your pace and use an energetic tone. It’s helpful to write up a script or find a news story online to practice reading. That way, what you’re saying will sound more professional. As you practice, try to avoid filler words like “um,” “like,” and “uh,” since these make you sound less confident. You'll also want to practice talking a little slower and enunciating each word so you can be easily understood. Watch the news as much as you can to get a feel for how reporters sound. Listen to their tone and watch their body language. Then, try emulating what you see! To learn how to go off-script while reporting the news, read on! Did this summary help you? Yes No

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9 Delivering a Speech

Introduction

9.1 Managing Public Speaking Anxiety

Sources of speaking anxiety.

Aside from the self-reported data in national surveys that rank the fear of public speaking high for Americans, decades of research conducted by communication scholars shows that communication apprehension is common among college students (Priem & Solomon, 2009). Communication apprehension (CA) is fear or anxiety experienced by a person due to real or perceived communication with another person or persons. CA is a more general term that includes multiple forms of communication, not just public speaking. Seventy percent of college students experience some CA, which means that addressing communication anxiety in a class like the one you are taking now stands to benefit the majority of students (Priem & Solomon, 2009). Think about the jitters you get before a first date, a job interview, or the first day of school. The novelty or uncertainty of some situations is a common trigger for communication anxiety, and public speaking is a situation that is novel and uncertain for many.

Public speaking anxiety is a type of CA that produces physiological, cognitive, and behavioral reactions in people when faced with a real or imagined presentation (Bodie, 2010). Physiological responses to public speaking anxiety include increased heart rate, flushing of the skin or face, and sweaty palms, among other things. These reactions are the result of natural chemical processes in the human body. The fight or flight instinct helped early humans survive threatening situations. When faced with a ferocious saber-toothed tiger, for example, the body released adrenaline, cortisol, and other hormones that increased heart rate and blood pressure to get more energy to the brain, organs, and muscles in order to respond to the threat. We can be thankful for this evolutionary advantage, but our physiology has not caught up with our new ways of life. Our body does not distinguish between the causes of stressful situations, so facing down an audience releases the same hormones as facing down a wild beast.

Cognitive reactions to public speaking anxiety often include intrusive thoughts that can increase anxiety: “People are judging me,” “I’m not going to do well,” and “I’m going to forget what to say.” These thoughts are reactions to the physiological changes in the body but also bring in the social/public aspect of public speaking in which speakers fear being negatively judged or evaluated because of their anxiety. The physiological and cognitive responses to anxiety lead to behavioral changes. All these thoughts may lead someone to stop their speech and return to their seat or leave the classroom. Anticipating these reactions can also lead to avoidance behavior where people intentionally avoid situations where they will have to speak in public.

Addressing Public Speaking Anxiety

While we cannot stop the innate physiological reactions related to anxiety from occurring, we do have some control over how we cognitively process them and the behaviors that result. Research on public speaking anxiety has focused on three key ways to address this common issue: systematic desensitization, cognitive restructuring, and skills training (Bodie,2010).

Although systematic desensitization may sound like something done to you while strapped down in the basement of a scary hospital, it actually refers to the fact that we become less anxious about something when we are exposed to it more often (Bodie, 2010). As was mentioned earlier, the novelty and uncertainty of public speaking is a source for many people’s anxiety. So becoming more familiar with public speaking by speaking more often can logically reduce the novelty and uncertainty of it.

Systematic desensitization can result from imagined or real exposure to anxiety-inducing scenarios. In some cases, an instructor leads a person through a series of relaxation techniques. Once relaxed, the person is asked to imagine a series of scenarios including speech preparation and speech delivery. This is something you could also try to do on your own before giving a speech. Imagine yourself going through the process of preparing and practicing a speech, then delivering the speech, then returning to your seat, which concludes the scenario. Aside from this imagined exposure to speaking situations, taking a communication course like this one is a great way to engage directly in systematic desensitization. Almost all students report that they have less speaking anxiety at the end of a semester than when they started, which is at least partially due to the fact they engaged with speaking more than they would have done if they were not taking the class.

Cognitive Restructuring

Cognitive restructuring entails changing the way we think about something. A first step in restructuring how we deal with public speaking anxiety is to cognitively process through our fears to realize that many of the thoughts associated with public speaking anxiety are irrational (Allen, Hunter & Donohue, 2009). For example, people report a fear of public speaking over a fear of snakes, heights, financial ruin, or even death. It’s irrational to think that the consequences of giving a speech in public are more dire than getting bit by a rattlesnake, falling off a building, or dying. People also fear being embarrassed because they mess up. Well, you cannot literally die from embarrassment, and in reality, audiences are very forgiving and overlook or do not even notice many errors that we, as speakers, may dwell on. Once we realize that the potential negative consequences of giving a speech are not as dire as we think they are, we can move on to other cognitive restructuring strategies.

Communication-orientation modification therapy (COM therapy) is a type of cognitive restructuring that encourages people to think of public speaking as a conversation rather than a performance (Motley, 2009). Many people have a performance-based view of public speaking. This can easily be seen in the language that some students use to discuss public speaking. They say that they “rehearse” their speech, deal with “stage fright,” then “perform” their speech on a “stage.” There is no stage at the front of the classroom; it is a normal floor. To get away from a performance orientation, we can reword the previous statements to say that they “practice” their speech, deal with “public speaking anxiety,” then “deliver” their speech from the front of the room. Viewing public speaking as a conversation also helps with confidence. After all, you obviously have some conversation skills, or you would not have made it to college. We engage in conversations every day. We do not have to write everything we are going to say out on a note card, we do not usually get nervous or anxious in regular conversations, and we are usually successful when we try. Even though we do not engage in public speaking as much, we speak to others in public all the time. Thinking of public speaking as a type of conversation helps you realize that you already have accumulated experiences and skills that you can draw from, so you are not starting from scratch.

Last, positive visualization is another way to engage in cognitive restructuring. Speaking anxiety often leads people to view public speaking negatively. They are more likely to judge a speech they gave negatively, even if it was good. They are also likely to set up negative self-fulfilling prophecies that will hinder their performance in future speeches. To use positive visualization, it is best to engage first in some relaxation exercises such as deep breathing or stretching, and then play through vivid images in your mind of giving a successful speech. Do this a few times before giving the actual speech. Students sometimes question the power of positive visualization, thinking that it sounds corny. Ask an Olympic diver what his or her coach says to do before jumping off the diving board and the answer will probably be “Coach says to image completing a perfect 10 dive.” Likewise a Marine sharpshooter would likely say his commanding officer says to imagine hitting the target before pulling the trigger. In both instances, positive visualization is being used in high-stakes situations. If it is good enough for Olympic athletes and snipers, it is good enough for public speakers.

Skills training is a strategy for managing public speaking anxiety that focuses on learning skills that will improve specific speaking behaviors. These skills may relate to any part of the speech-making process, including topic selection, research and organization, delivery, and self-evaluation. Skills training, like systematic desensitization, makes the public speaking process more familiar for a speaker, which lessens uncertainty. In addition, targeting specific areas and then improving on them builds more confidence, which can in turn lead to more improvement. Feedback is important to initiate and maintain this positive cycle of improvement. You can use the constructive criticism that you get from your instructor and peers in this class to target specific areas of improvement.

Self-evaluation is also an important part of skills training. Make sure to evaluate yourself within the context of your assignment or job and the expectations for the speech. Do not get sidetracked by a small delivery error if the expectations for content far outweigh the expectations for delivery. Combine your self-evaluation with the feedback from your instructor, boss, and/or peers to set specific and measurable goals and then assess whether or not you meet them in subsequent speeches. Once you achieve a goal, mark it off your list and use it as a confidence booster. If you do not achieve a goal, figure out why and adjust your strategies to try to meet it in the future.

Physical Relaxation Exercises

Suggestions for managing speaking anxiety typically address its cognitive and behavioral components, while the physical components are left unattended. While we cannot block these natural and instinctual responses, we can engage in physical relaxation exercises to counteract the general physical signs of anxiety caused by cortisol and adrenaline release, which include increased heart rate, trembling, flushing, high blood pressure, and speech disfluency.

Some breathing and stretching exercises release endorphins, which are your body’s natural antidote to stress hormones. Deep breathing is a proven way to release endorphins. It also provides a general sense of relaxation and can be done discretely, even while waiting to speak. In order to get the benefits of deep breathing, you must breathe into your diaphragm. The diaphragm is the muscle below your lungs that helps you breathe and stand up straight, which makes it a good muscle for a speaker to exercise. To start, breathe in slowly through your nose, filling the bottom parts of your lungs up with air. While doing this, your belly should pooch out. Hold the breath for three to five full seconds and then let it out slowly through your mouth. After doing this only a few times, many students report that they can actually feel a flooding of endorphins, which creates a brief “light-headed” feeling. Once you practice and are comfortable with the technique, you can do this before you start your speech, and no one sitting around you will even notice. You might also want to try this technique during other stressful situations. Deep breathing before dealing with an angry customer or loved one, or before taking a test, can help you relax and focus.

Stretching is another way to release endorphins. Very old exercise traditions like yoga, tai chi, and Pilates teach the idea that stretching is a key component of having a healthy mind and spirit. Exercise in general is a good stress reliever, but many of us do not have the time or willpower to do it. However, we can take time to do some stretching. Obviously, it would be distracting for the surrounding audience if a speaker broke into some planking or Pilates just before his or her speech. Simple and discrete stretches can help get the body’s energy moving around, which can make a speaker feel more balanced and relaxed. Our blood and our energy/ stress have a tendency to pool in our legs, especially when we are sitting.

Vocal Warm-Up Exercises

Vocal warm-up exercises are a good way to warm up your face and mouth muscles, which can help prevent some of the fluency issues that occur when speaking. Newscasters, singers, and other professional speakers use vocal warm-ups. I lead my students in vocal exercises before speeches, which also helps lighten the mood. We all stand in a circle and look at each other while we go through our warm-up list. For the first warm-up, we all make a motorboat sound, which makes everybody laugh. The full list of warm-ups follows and contains specific words and exercises designed to warm up different muscles and different aspects of your voice. After going through just a few, you should be able to feel the blood circulating in your face muscles more. It is a surprisingly good workout!

Top Ten Ways to Reduce Speaking Anxiety

Many factors contribute to speaking anxiety. There are also many ways to address it. The following is a list of the top ten ways to reduce speaking anxiety that I developed with my colleagues, which helps review what we have learned.

• Remember, you are not alone. Public speaking anxiety is common, so do not ignore it—confront it.
• Remember, you cannot literally “die of embarrassment.” Audiences are forgiving and understanding.
• Remember, it always feels worse than it looks.
• Take deep breaths. It releases endorphins, which naturally fight the adrenaline that causes anxiety.
• Look the part. Dress professionally to enhance confidence.
• Channel your nervousness into positive energy and motivation.
• Start your outline and research early. Better information = higher confidence.
• Practice and get feedback from a trusted source. (Do not just practice for your cat.)
• Visualize success through positive thinking.
• Prepare, prepare, prepare! Practice is a speaker’s best friend.

9.2 Delivery Methods and Practice Sessions

There are many decisions to make during the speech-making process. Making informed decisions about delivery can help boost your confidence and manage speaking anxiety. In this section, we will learn about the strengths and weaknesses of various delivery methods. We will also learn how to make the most of your practice sessions.

Delivery Methods

Different speaking occasions call for different delivery methods. While it may be acceptable to speak from memory in some situations, lengthy notes may be required in others. The four most common delivery methods are impromptu, manuscript, memorized, and extemporaneous.

Impromptu Delivery

When using impromptu delivery , a speaker has little to no time to prepare for a speech (LibreTexts, 2021). This means there is little time for research, audience analysis, organizing, and practice. For this reason, impromptu speaking often evokes higher degrees of speaking anxiety than other delivery types. Although impromptu speaking arouses anxiety, it is also a good way to build public speaking skills. Using some of the exercises for managing speaking anxiety discussed earlier in this chapter can help a speaker manage the challenges of impromptu speaking (LibreTexts, 2021). Only skilled public speakers with much experience are usually able to “pull off” an impromptu delivery without looking unprepared. Otherwise, a speaker who is very familiar with the subject matter can sometimes be a competent impromptu speaker, because their expertise can compensate for the lack of research and organizing time.

When Mark Twain famously said, “It usually takes me more than three weeks to prepare a good impromptu speech,” he was jokingly pointing out the difficulties of giving a good impromptu speech, essentially saying that there is no such thing as a good impromptu speech, as good speeches take time to prepare. We do not always have the luxury of preparation, though. So when speaking impromptu, be brief, stick to what you know, and avoid rambling. Quickly organize your thoughts into an introduction, body, and conclusion. Try to determine three key ideas that will serve as the basis of your main points.

When would impromptu speaking be used? Since we have already started thinking of the similarities between public speaking and conversations, we can clearly see that most of our day-to-day interactions involve impromptu speaking. When your roommate asks you what your plans for the weekend are, you do not pull a few note cards out of your back pocket to prompt your response. This type of conversational impromptu speaking is not anxiety inducing because we are talking about our lives, experiences, or something with which we are familiar. This is also usually the case when we are asked to speak publicly with little to no advance warning.

For example, if you are at a meeting for work and you are representing the public relations department, a colleague may ask you to say a few words about a recent news story involving a public relations misstep of a competing company. In this case, you are being asked to speak on the spot because of your expertise. A competent communicator should anticipate instances like this when they might be asked to speak. Of course, being caught completely off guard or being asked to comment on something unfamiliar to you creates more anxiety. In such cases, do not pretend to know something you do not, as that may come back to hurt you later. You can usually mention that you do not have the necessary background information at that time but will follow up later with your comments.

Manuscript Delivery

Speaking from a written or printed document that contains the entirety of a speech is known as manuscript delivery . Manuscript delivery can be the best choice when a speech has complicated information and/or the contents of the speech are going to be quoted or published (LibreTexts, 2021). Despite the fact that most novice speakers are not going to find themselves in that situation, many are drawn to this delivery method because of the security they feel with having everything they are going to say in front of them. Unfortunately, the security of having every word you want to say at your disposal translates to a poorly delivered and unengaging speech (LibreTexts, 2021). Even with every word written out, speakers can still have fluency hiccups and verbal fillers as they lose their place in the manuscript or trip over their words. The alternative, of course, is that a speaker reads the manuscript the whole time, effectively cutting himself or herself off from the audience. One way to make a manuscript delivery more engaging is to use a teleprompter. Almost all politicians who give televised addresses use them.

To make the delivery seem more natural, print the speech out in a larger-than-typical font, triple-space between lines so you can easily find your place, use heavier-than-normal paper so it is easy to pick up and turn the pages as needed, and use a portfolio so you can carry the manuscript securely.

Memorized Delivery

Completely memorizing a speech and delivering it without notes is known as memorized delivery (LibreTexts, 2021). Some students attempt to memorize their speech because they think it will make them feel more confident if they do not have to look at their notes; however, when their anxiety level spikes at the beginning of their speech and their mind goes blank for a minute, many admit they should have chosen a different delivery method. When using any of the other delivery methods, speakers still need to rely on their memory. An impromptu speaker must recall facts or experiences related to their topic, and speakers using a manuscript want to have some of their content memorized so they do not read their entire speech to their audience. The problem with memorized delivery overall is that it puts too much responsibility on our memory, which we all know from experience is fallible (LibreTexts, 2021).

Even with much practice, our memories can fail. If you do opt to use memorized delivery, make sure you have several “entry points” determined, so you can pick up at spots other than the very beginning of a speech if you lose your place and have to start again. Memorized delivery is very useful for speakers who are going to be moving around during a speech when carrying notes would be burdensome. I only recommend memorized delivery in cases where the speech is short (only one to two minutes), the speech is personal (like a brief toast), or the speech will be repeated numerous times (like a tour guide’s story), and even in these cases, it may be perfectly fine to have notes. Many students think that their anxiety and/or delivery challenges will vanish if they just memorize their speech only to find that they are more anxious and have more problems.

Extemporaneous Delivery

Extemporaneous delivery entails memorizing the overall structure and main points of a speech and then speaking from keyword/key-phrase notes (LibreTexts, 2021). This delivery mode brings together many of the strengths of the previous three methods. Since you only internalize and memorize the main structure of a speech, you do not have to worry as much about the content and delivery seeming stale. Extemporaneous delivery brings in some of the spontaneity of impromptu delivery but still allows a speaker to carefully plan the overall structure of a speech and incorporate supporting materials that include key facts, quotations, and paraphrased information (LibreTexts, 2021). You can also more freely adapt your speech to fit various audiences and occasions, since not every word and sentence is predetermined. This can be especially beneficial when you deliver a speech multiple times.

When preparing a speech that you will deliver extemporaneously, you will want to start practicing your speech early and then continue to practice as you revise your content. Investing quality time and effort into the speech-outlining process helps with extemporaneous delivery. As you put together your outline, you are already doing the work of internalizing the key structure of your speech. Read parts of your outline aloud as you draft them to help ensure they are written in a way that makes sense and is easy for you to deliver.

By the time you complete the formal, full-sentence outline, you should have already internalized much of the key information in your speech. Now, you can begin practicing with the full outline. As you become more comfortable with the content of your full outline, start to convert it into your speaking outline. Take out information that you know well and replace it with a keyword or key phrase that prompts your memory. You will probably want to leave key quotes, facts, and other paraphrased information, including your verbal source citation information, on your delivery outline so you make sure to include it in your speech. Once you’ve converted your full outline into your speaking outline, practice it a few more times, making sure to take some time between each practice session so you don’t inadvertently start to memorize the speech word for word. The final product should be a confident delivery of a well-organized and structured speech that is conversational and adaptable to various audiences and occasions.

Practicing Your Speech

Practicing a speech is essential, and practice sessions can be more or less useful depending on how you approach them (Dlugan, 2008). There are three primary phases to the practice process. In the first phase, you practice as you are working through your ideas and drafting your outline. In the second, you practice for someone and get feedback (Dlugan, 2008). In the third, you put the final changes on the speech.

Start practicing your speech early, as you are working through your ideas, by reading sections aloud as you draft them into your working outline. This will help ensure your speech is fluent and sounds good for the audience. Start to envision the audience while you practice and continue to think about them throughout the practicing process. This will help minimize anxiety when you actually have them sitting in front of you. Once you have completed your research and finished a draft of your outline, you will have already practiced your speech several times, as you were putting it together. Now, you can get feedback on the speech as a whole.

You begin to solicit feedback from a trusted source in the second phase of practicing your speech (Dlugan, 2008). This is the most important phase of practicing, and the one that most speakers do not complete. Beginning speakers may be nervous to practice in front of someone. That is normal. However, review the strategies for managing anxiety discussed earlier in this chapter and try to face that anxiety. After all, you will have to face a full audience when you deliver the speech, so getting used to speaking in front of someone can only help you at this point. Choose someone who will give you constructive feedback on your speech. Before you practice for them, explain the assignment or purpose of the speech. When practicing for a classroom speech, you may even want to give the person the assignment guidelines or a feedback sheet that has some key things for them to look for. Ask them for feedback on content and delivery. Almost anyone is good at evaluating delivery, but it is more difficult to evaluate content. In addition, in most cases, the content of your speech will be account for more of your grade. Also, begin to time your speech at this point, so you can determine if it meets any time limits that you have.

In addition to practicing for a trusted source for feedback, you may want to audio or video record your speech (Dlugan, 2008). This can be useful because it provides an objective record that you can then compare with the feedback you got from your friend and to your own evaluation of your speech. The most important part of this phase is incorporating the feedback you receive into your speech. If you practice for someone, get feedback, and then do not do anything with the feedback, then you have wasted your time and theirs. Use the feedback to assess whether or not you met your speaking goals. Was your thesis supported? Was your specific purpose met? Did your speech conform to any time limits that were set? Based on your answers to these questions, you may need to make some changes to your content or delivery, so do not put this part of practicing off to the last minute. Once the content has been revised as needed, draft your speaking outline and move on to the next phase of practice.

During the third and final phase of practice, you are putting the final changes on your speech. You should be familiar with the content based on your early practice sessions. You have also gotten feedback and incorporated that feedback into the speech. Your practice sessions at this point should pre-create, as much as possible, the conditions in which you will be giving your speech. You should have your speaking outline completed so you can practice with it. It is important to be familiar with the content on your note cards or speaking outline so you will not need to rely on it so much during the actual delivery. You may also want to practice in the type of clothing you will be wearing on speech day. This can be useful if you are wearing something you do not typically wear—a suit for example—so you can see how it might affect your posture, gestures, and overall comfort level.

If possible, at least one practice session in the place you will be giving the speech can be very helpful; especially if it is a room you are not familiar with. Make sure you are practicing with any visual aids or technology you will use so you can be familiar with it and it does not affect your speech fluency. (Dlugan, 2008).Continue to time each practice round. If you are too short or too long, you will need to go back and adjust your content some more. Always adjust your content to fit the time limit; do not try to adjust your delivery. Trying to speed talk or stretch things out to make a speech faster or longer is a mistake that will ultimately hurt your delivery, which will hurt your credibility. The overall purpose of this phase of practicing is to minimize surprises that might throw you off on speech day.

Vocal Delivery

Vocal delivery includes components of speech delivery that relate to your voice. These include rate, volume, pitch, articulation, pronunciation, and fluency. Our voice is important to consider when delivering our speech for two main reasons. First, vocal delivery can help us engage and interest the audience. Second, vocal delivery helps ensure we communicate our ideas clearly.

Speaking for Engagement

We have all had the displeasure of listening to an unengaging speaker. Even though the person may care about his or her topic, an unengaging delivery that does not communicate enthusiasm will translate into a lack of interest for most audience members (Davis, 2021). Although a speaker can be visually engaging by incorporating movement and gestures, a flat or monotone vocal delivery can be sedating or even annoying. Incorporating vocal variety in terms of rate, volume, and pitch is key to being a successful speaker.

Rate of speaking refers to how fast or slow you speak (Barnard, 2018). If you speak too fast, your audience will not be able to absorb the information you present. If you speak too slowly, the audience may lose interest. The key is to vary your rate of speaking in a middle range, staying away from either extreme, in order to keep your audience engaged. In general, a higher rate of speaking signals that a speaker is enthusiastic about his or her topic. Speaking slowly may lead the audience to infer that the speaker is uninterested, uninformed, or unprepared to present his or her own topic. These negative assumptions, whether they are true or not, are likely to hurt the credibility of the speaker (Barnard, 2018). The goal is to speak at a rate that will interest the audience and will effectively convey your information. Speaking at a slow rate throughout a speech would likely bore an audience, but that is not a common occurrence.

Volume refers to how loud or soft your voice is. As with speaking rate, you want to avoid the extremes of being too loud or too soft, but still vary your volume within an acceptable middle range (Packard, 2020). When speaking in a typically sized classroom or office setting that seats about twenty-five people, using a volume a few steps above a typical conversational volume is usually sufficient. When speaking in larger rooms, you will need to project your voice. You may want to look for nonverbal cues from people in the back rows or corners, like leaning forward or straining to hear, to see if you need to adjust your volume more. Obviously, in some settings, a microphone will be necessary so the entire audience can hear you. Like rate, audiences use volume to make a variety of judgments about a speaker. Sometimes, softer speakers are judged as meek (Packard, 2020). This may lead to lowered expectations for the speech or less perceived credibility. Loud speakers may be seen as overbearing or annoying, which can lead audience members to disengage from the speaker and message. Be aware of the volume of your voice and, when in doubt, increase your volume a notch, since beginning speakers are more likely to have an issue of speaking too softly rather than too loudly.

Pitch refers to how high or low a speaker’s voice is. As with other vocal qualities, there are natural variations among people’s vocal pitch. Unlike rate and volume, we have less control over pitch. For example, males generally have lower pitched voices than females. Despite these limitations, each person still has the capability to change their pitch across a range large enough to engage an audience. Changing pitch is a good way to communicate enthusiasm and indicate emphasis or closure (Scotti, 2015). In general, our pitch goes up when we are discussing something exciting. Our pitch goes down slightly when we emphasize a serious or important point. Lowering pitch is also an effective way to signal transitions between sections of your speech or the end of your speech, which cues your audience to applaud and avoids an awkward ending.

Of the vocal components of delivery discussed so far, pitch seems to give beginning speakers the most difficulty. It is as if giving a speech temporarily numbs their ability to vary their pitch. Record yourself practicing your speech to help determine if the amount of pitch variety and enthusiasm you think you convey while speaking actually comes through. Speakers often assume that their pitch is more varied and their delivery more enthusiastic than the audience actually perceives it to be (Scotti, 2015). Many students note this on the self-evaluations they write after viewing their recorded speech.

Vocal Variety

Overall, the lesson to take away from this section on vocal delivery is that variety is key. Vocal variety includes changes in your rate, volume, and pitch that can make you look more prepared, seem more credible, and be able to engage your audience better (Moore, 2015). Employing vocal variety is not something that takes natural ability or advanced skills training. It is something that beginning speakers can start working on immediately and everyone can accomplish. The key is to become aware of how you use your voice when you speak, and the best way to do this is to record yourself (Moore, 2015). We all use vocal variety naturally without thinking about it during our regular conversations, and many of us think that this tendency will translate over to our speaking voices. This is definitely not the case for most beginning speakers. Unlike in your regular conversations, it will take some awareness and practice to use vocal variety in speeches. I encourage students to make this a delivery priority early on. Since it is something anyone can do, improving in this area will add to your speaking confidence, which usually translates into better speeches and better grades further on.

Speaking for Clarity

In order to be an effective speaker, your audience should be able to understand your message and digest the information you present (Rampton, 2021). Audience members will make assumptions about our competence and credibility based on how we speak. As with other aspects of speech delivery, many people are not aware that they have habits of speech that interfere with their message clarity. Since most of our conversations are informal and take place with people we know, many people do not make a concerted effort to articulate every word clearly and pronounce every word correctly (Rampton, 2021). Most of the people we talk to either do not notice our errors or do not correct us if they do notice. Since public speaking is generally more formal than our conversations, we should be more concerned with the clarity of our speech.

Articulation

Articulation refers to the clarity of sounds and words we produce. If someone is articulate, they speak words clearly, and speakers should strive to speak clearly. Poor articulation results when speakers do not speak clearly (Ward, 2020). For example, a person may say dinnt instead of didn’t , gonna instead of going to , wanna instead of want to , or hunnerd instead of hundred . Unawareness and laziness are two common challenges to articulation. As with other aspects of our voice, many people are unaware that they regularly have errors in articulation. Recording yourself speak and then becoming a higher self-monitor are effective ways to improve your articulation. Laziness, on the other hand, requires a little more motivation to address. Some people just get in the habit of not articulating their words well. Both mumbling and slurring are examples of poor articulation. In informal settings, this type of speaking may be acceptable, but in formal settings, it will be evaluated negatively. It will hurt a speaker’s credibility. Perhaps the promise of being judged more favorably is enough to motivate a mumbler to speak more clearly.

When combined with a low volume, poor articulation becomes an even greater problem. Doing vocal warm-ups like the ones listed in Section 10.1 “Managing Public Speaking Anxiety” or tongue twisters can help prime your mouth, lips, and tongue to articulate words more clearly. When you notice that you have trouble articulating a particular word, you can either choose a different word to include in your speech or you can repeat it a few times in a row in the days leading up to your speech to get used to saying it.

Pronunciation

Unlike articulation, which focuses on the clarity of words, pronunciation refers to speaking words correctly, including the proper sounds of the letters and the proper emphasis (Shtern, 2017). Mispronouncing words can damage a speaker’s credibility, especially when the correct pronunciation of a word is commonly known. We all commonly run into words that we are unfamiliar with and therefore may not know how to pronounce. Here are three suggestions when faced with this problem. First, look the word up in an online dictionary. Many dictionaries have a speaker icon with their definitions, and when you click on it, you can hear the correct pronunciation of a word. Some words have more than one pronunciation—for example, Caribbean —so choosing either of the accepted pronunciations is fine. Just remember to use consistently that pronunciation to avoid confusing your audience. If a word does not include an audio pronunciation, you can usually find the phonetic spelling of a word, which is the word spelled out the way it sounds.

Second, there will occasionally be words that you cannot locate in a dictionary. These are typically proper nouns or foreign words. In this case, use the “phone-a-friend” strategy. Call up the people you know who have large vocabularies or are generally smart when it comes to words, and ask them if they know how to pronounce it. If they do, and you find them credible, you are probably safe to take their suggestion.

Third, “fake it ‘til you make it” should only be used as a last resort. If you cannot find the word in a dictionary and your smart friends do not know how to pronounce it, it is likely that your audience will also be unfamiliar with the word. In that case, using your knowledge of how things are typically pronounced, decide on a pronunciation that makes sense and confidently use it during your speech. Most people will not question it. In the event that someone does correct you on your pronunciation, thank him or her for correcting you and adjust your pronunciation.

Fluency refers to the flow of your speaking. To speak with fluency means that your speech flows well and that there are not many interruptions to that flow. Two main disfluencies or problems affect the flow of a speech. Fluency hiccups are unintended pauses in a speech that usually result from forgetting what you were saying, being distracted, or losing your place in your speaking notes. Fluency hiccups are not the same as intended pauses, which are useful for adding emphasis or transitioning between parts of a speech. While speakers should try to minimize fluency hiccups, even experienced speakers need to take an unintended pause sometimes to get their bearings or to recover from an unexpected distraction. Fluency hiccups become a problem when they happen regularly enough to detract from the speaker’s message.

Verbal fillers are words that speakers use to fill in a gap between what they were saying and what they are saying next (Hennessy, 2019). Common verbal fillers include um , uh , ah , er , you know , and like . The best way to minimize verbal fillers is to become a higher self-monitor and realize that you use them. Many students are surprised when they watch the video of their first speech and realize they said “um” thirty times in three minutes. Gaining that awareness is the first step in eliminating verbal fillers, and students make noticeable progress with this between their first and second speeches (Hennessy, 2019). If you do lose your train of thought, having a brief fluency hiccup is better than injecting a verbal filler, because the audience may not even notice the pause or may think it was intentional.

9.3 Physical Delivery

Physical delivery.

Many speakers are more nervous about physical delivery than vocal delivery. Putting our bodies on the line in front of an audience often makes us feel more vulnerable than putting our voice out there. Yet most audiences are not as fixated on our physical delivery as we think they are. Knowing this can help relieve some anxiety, but it does not give us a free pass when it comes to physical delivery. We should still practice for physical delivery that enhances our verbal message. Physical delivery of a speech involves nonverbal communication through the face and eyes, gestures, and body movements.

Physical Delivery and the Face

We tend to look at a person’s face when we are listening to them (Hoffler, 2016). Again, this often makes people feel uncomfortable and contributes to their overall speaking anxiety. Many speakers do not like the feeling of having “all eyes” on them, even though having a room full of people avoiding making eye contact with you would be much more awkward. Remember, it is a good thing for audience members to look at you, because it means they are paying attention and interested. Audiences look toward the face of the speaker for cues about the tone and content of the speech.

Facial Expressions

Facial expressions can help bring a speech to life when used by a speaker to communicate emotions and demonstrate enthusiasm for the speech (Hoffler, 2016). As with vocal variety, we tend to use facial expressions naturally and without conscious effort when engaging in day-to-day conversations. Yet many speakers’ expressive faces turn “deadpan” when they stand in front of an audience. Some people naturally have more expressive faces than others do have—think about the actor Jim Carey’s ability to contort his face as an example. However, we can also consciously control and improve on our facial expressions to be speakers that are more effective. As with other components of speech delivery, becoming a higher self-monitor and increasing your awareness of your typical delivery habits can help you understand, control, and improve your delivery. Although you should not only practice your speech in front of a mirror, doing so can help you get an idea of how expressive or unexpressive your face is while delivering your speech.

Facial expressions help set the emotional tone for a speech, and it is important that your facial expressions stay consistent with your message (Hoffler, 2016). In order to set a positive tone before you start speaking, briefly look at the audience and smile. A smile is a simple but powerful facial expression that can communicate friendliness, openness, and confidence. Facial expressions communicate a range of emotions and are associated with various moods or personality traits.

For example, combinations of facial expressions can communicate that a speaker is tired, excited, angry, confused, frustrated, sad, confident, smug, shy, or bored, among other things. Even if you are not bored, for example, a slack face with little animation may lead an audience to think that you are bored with your own speech, which is not likely to motivate them to be interested. So make sure your facial expressions are communicating an emotion, mood, or personality trait that you think your audience will view favorably. Also, make sure your facial expressions match with the content of your speech. When delivering something lighthearted or humorous, a smile, bright eyes, and slightly raised eyebrows will nonverbally enhance your verbal message. When delivering something serious or somber, a furrowed brow, a tighter mouth, and even a slight head nod can enhance that message. If your facial expressions and speech content are not consistent, your audience could become confused by the conflicting messages, which could lead them to question your honesty and credibility.

Eye Contact

Eye contact is an important element of nonverbal communication in all communication settings. Eye contact can also be used to establish credibility and hold your audience’s attention (Barnard, 2017). We often interpret a lack of eye contact to mean that someone is not credible or not competent, and as a public speaker, you do not want your audience thinking either of those things. Eye contact holds attention because an audience member who knows the speaker is making regular eye contact will want to reciprocate that eye contact to show that they are paying attention. This will also help your audience remember the content of your speech better, because acting as if we are paying attention actually leads us to pay attention and better retain information.

Norms for eye contact vary among cultures (Barnard, 2017). Therefore, it may be difficult for speakers from countries that have higher power distances or are more collectivistic to get used to the idea of making direct and sustained eye contact during a speech. In these cases, it is important for the speaker to challenge himself or herself to integrate some of the host culture’s expectations and for the audience to be accommodating and understanding of the cultural differences.

Physical Delivery and the Body

Have you ever gotten dizzy as an audience member because the speaker paced back and forth? Anxiety can lead us to do some strange things with our bodies, like pacing, that we do not normally do, so it is important to consider the important role that your body plays during your speech. We call extra movements caused by anxiety nonverbal adaptors . Most of them manifest as distracting movements or gestures. These nonverbal adaptors, like tapping a foot, wringing hands, playing with a paper clip, twirling hair, jingling change in a pocket, scratching, and many more, can definitely detract from a speaker’s message and credibility. Conversely, a confident posture and purposeful gestures and movement can enhance both.

Posture is the position we assume with our bodies, either intentionally or out of habit. Although people, especially young women, used to be trained in posture, often by having them walk around with books stacked on their heads, you should use a posture that is appropriate for the occasion while still positioning yourself in a way that feels natural. In a formal speaking situation, it is important to have an erect posture that communicates professionalism and credibility (Clayton, 2018). However, a military posture of standing at attention may feel and look unnatural in a typical school or business speech. In informal settings, it may be appropriate to lean on a table or lectern, or even sit among your audience members (Clayton, 2018). Head position is also part of posture. In most speaking situations, it is best to keep your head up, facing your audience. A droopy head does not communicate confidence. Consider the occasion important, as an inappropriate posture can hurt your credibility.

Gestures include arm and hand movements. We all go through a process of internalizing our native culture from childhood. An obvious part of this process is becoming fluent in a language. Perhaps less obvious is the fact that we also become fluent in nonverbal communication, gestures in particular. We all use hand gestures while we speak, but we didn’t ever take a class in matching verbal communication with the appropriate gestures; we just internalized these norms over time based on observation and put them into practice. By this point in your life, you have a whole vocabulary of hand movements and gestures that spontaneously come out while you are speaking. Some of these gestures are emphatic and some are descriptive (Koch, 2007).

Emphatic gestures are the most common hand gestures we use, and they function to emphasize our verbal communication and often relate to the emotions we verbally communicate (Toastmasters International, 2011). Pointing with one finger or all the fingers straight out is an emphatic gesture. We can even bounce that gesture up and down to provide more emphasis. Moving the hand in a circular motion in front of our chest with the fingers spread apart is a common emphatic gesture that shows excitement and often accompanies an increased rate of verbal speaking. We make this gesture more emphatic by using both hands. Descriptive gestures function to illustrate or refer to objects rather than emotions (Toastmasters International, 2011). We use descriptive gestures to indicate the number of something by counting with our fingers or the size, shape, or speed of something. Our hands and arms are often the most reliable and easy-to-use visual aids a speaker can have.

While the best beginning strategy is to gesture naturally, you also want to remain a high self-monitor and take note of your typical patterns of gesturing. If you notice that you naturally gravitate toward one particular gesture, make an effort to vary your gestures more. You also want your gestures to be purposeful, not limp or lifeless.

Sometimes movement of the whole body, instead of just gesturing with hands, is appropriate in a speech. When students are given the freedom to move around, it often ends up becoming floating or pacing, which are both movements that comfort a speaker by expending nervous energy but only serve to distract the audience (Toastmasters International, 2011). Floating refers to speakers who wander aimlessly around, and pacing refers to speakers who walk back and forth in the same path. To prevent floating or pacing, make sure that your movements are purposeful. Many speakers employ the triangle method of body movement where they start in the middle, take a couple steps forward and to the right, then take a couple steps to the left, then return to the center. Obviously, you do not need to do this multiple times in a five- to ten-minute speech, as doing so, just like floating or pacing, tends to make an audience dizzy.

To make your movements appear more natural, time them to coincide with a key point you want to emphasize or a transition between key points. Minimize other movements from the waist down when you are not purposefully moving for emphasis. Speakers sometimes tap or shuffle their feet, rock, or shift their weight back and forth from one leg to the other. Keeping both feet flat on the floor, and still, will help avoid these distracting movements (Toastmasters International, 2011).

Credibility and Physical Delivery

Audience members primarily take in information through visual and auditory channels. Just as the information you present verbally in your speech can add to or subtract from your credibility, nonverbal communication that accompanies your verbal messages affects your credibility.

Professional Dress and Appearance

No matter what professional field you go into, you will need to consider the importance of personal appearance (Caffrey, 2020). Although it may seem petty or shallow to put so much emphasis on dress and appearance, impressions matter, and people make judgments about our personality, competence, and credibility based on how we look. In some cases, you may work somewhere with a clearly laid out policy for personal dress and appearance. In many cases, the suggestion is to follow guidelines for “business casual.”

Despite the increasing popularity of this notion over the past twenty years, people’s understanding of what business casual means is not consistent (Caffrey, 2020). The formal dress codes of the mid-1900s, which required employees to wear suits and dresses, gave way to the trend of business casual dress, which seeks to allow employees to work comfortably while still appearing professional. While most people still dress more formally for job interviews or high-stakes presentations, the day-to-day dress of working professionals varies.

Visual Aids and Delivery

Visual aids play an important role in conveying supporting material to your audience. They also tie to delivery, since using visual aids during a speech usually requires some physical movements. It is important not to let your use of visual aids detract from your credibility (Beqiri, 2018). Many good speeches are derailed by posters that fall over, videos with no sound, and uncooperative PowerPoint presentations.

Figure 9.1: Systematic desensitization can include giving more public speeches, taking communication courses, or imagining public speaking scenarios. William Moreland. 2019. Unsplash license . https://unsplash.com/photos/GkWP64truqg

Figure 9.2: Vocal warm-up exercises. Andrea Piacquadio. 2020. Pexels license . https://www.pexels.com/photo/man-in-red-polo-shirt-3779453/

Figure 9.3: Primary phases to the practice process. Kindred Grey. 2022. CC BY 4.0 .

Figure 9.4: Three facets of speaking for clarity. Kindred Grey. 2022. CC BY 4.0 .

Figure 9.5: Facial expressions set the tone for a speech, and should be consistent with your message. Afif Kusuma. 2021. Unsplash license . https://unsplash.com/photos/F3dFVKj6q8I

Figure 9.6: To make your movements appear natural, time them to coincide with a key point. Product School. 2019. Unsplash license . https://unsplash.com/photos/S3hhrqLrgYM

Section 9.1

Allen, M., Hunter, J. E., & Donohue, W. A. (1989). Meta-analysis of self-report data on the effectiveness of public speaking anxiety treatment techniques. Communication Education, 38 (1), 54–76. https://doi.org/10.1080/03634528909378740

Bodie, G. D. (2010). A racing heart, rattling knees, and ruminative thoughts: Defining, explaining, and treating public speaking anxiety. Communication Education, 59 (1), 70–105. https://doi.org/10.1080/03634520903443849

Motley, M. T. (2009). COM therapy. In J. A. Daly, J. C. McCroskey, J. Ayres, T. Hopf, and D. M. Ayers Sonandré (Eds.), Avoiding communication: Shyness, reticence, and communication apprehension (pp. 379-400) (3rd ed.). Hampton Press.

Priem, J. S., & Haunani Solomon, D. (2009). Comforting apprehensive communicators: The effects of reappraisal and distraction on cortisol levels among students in a public speaking class. Communication Quarterly, 57 (3), 259-281.

Section 9.2

Barnard, D. (2018, January 20). Average speaking rate and words per minute . https://virtualspeech.com/blog/average-speaking-rate-words-per-minute

Davis, B. (2021, June 1). Why is audience engagement important? https://www.mvorganizing.org/why-is-audience-engagement-important/

Hennessy, C. (2019, March 27). Verbal filler: How to slow the flow . https://www.throughlinegroup.com/2019/03/27/verbal-filler-how-to-slow-the-flow/

LibreTexts. (2021, February 20). Methods of speech delivery . https://socialsci.libretexts.org/Bookshelves/Communication/Public_Speaking/Exploring_Public_Speaking_(Barton_and_Tucker)/11%3A_Delivery/11.02%3A_Methods_of_Speech_Delivery

Moore, K. (2015, January 13). Public speaking tips: Use vocal variety like a pro! https://coachkiomi.com/best-public-speaking-tips-use-vocal-variety/

Packard, D. (2020, July 13). Speaking up: How to increase the volume of your voice . https://packardcommunications.com/speaking-up-how-to-increase-the-volume-of-your-voice/

Rampton, J. (2021, July 27). Learning to speak with clarity . https://www.calendar.com/blog/learning-to-speak-with-clarity/

Scotti, S. (2015, December 1). Vocal delivery: Take command of your voice . https://professionallyspeaking.net/vocal-delivery-take-command-of-your-voice-part-one/

Shtern, A. (2017, April 17). The importance of good pronunciation . https://shaneschools.com/en/the-importance-of-good-pronunciation/

Section 9.3

Barnard, D. (2017, October 24). The importance of eye contact during a presentation . https://virtualspeech.com/blog/importance-of-eye-contact-during-a-presentation

Beqiri, G. (2018, June 21). Using visual aids during a presentation or training session . https://virtualspeech.com/blog/visual-aids-presentation

Caffrey, A. (2020, February 25). The importance of personal appearance . http://www.publicspeakingexpert.co.uk/importanceofpersonalappearance.html

Clayton, D. (2018, October 31). The importance of good posture in public speaking . https://simplyamazingtraining.co.uk/blog/good-posture-public-speaking

Hoffler, A. (2016, June 7). Why facial expressions are important in public speaking . https://www.millswyck.com/2016/06/07/the-importance-of-facial-expression/

Koch, A. (2007). Speaking with a purpose (7th ed.). Pearson, 2007.

Toastmasters International. (2011). Gestures: Your body speaks . https://web.mst.edu/~toast/docs/Gestures.pdf

Fear or anxiety experience by a person due to real or perceived communication with another person or persons. This is a fear or anxiety that involves several types of communication not limited to public speaking.

Type of communication apprehension that produces physiological, cognitive, and behavioral reactions in people when faced with a real or imagined presentation

A type of cognitive restructuring that encourages people to think of public speaking as conversation rather than a performance

When a speaker has little or no time to prepare a speech

Speaking from a well written or printed document that contains the entirety of a speech

Completely memorizing a speech and delivering it without notes

Memorizing the overall structure and main points of a speech and then speaking from keyword/key-phrase notes

Refers to how fast or slow you speak

Refers to how loud or soft you speak

Refers to how high or low a speaker’s voice is

Changes in your rate, volume, and pitch that make you sound more prepared and credible

Refers to the clarity of sounds and words you pronounce

Whether you say the words correctly

Refers to the flow of your speaking

Unintended pauses in a speech that usually result from forgetting what you were saying, being distracted, or losing your place in speaking

The umms, uhhs, and other linguistic pauses of conversation

The feelings expressed on a person’s face

The act of looking directly into one another’s eyes

Extra movements caused by anxiety (i.e., tapping your foot, wringing your hands, playing with a paperclip, twirling hair, or scratching)

The position in which someone holds their body when standing or sitting

A movement of part of the body, especially a hand or the head, to express an idea or meaning

Communication in the Real World Copyright © by Faculty members in the School of Communication Studies, James Madison University is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License , except where otherwise noted.

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Revolutionizing News Reporting with Text to Speech

The practice of news reporting involves a meticulous symphony of thorough research, insightful interviews, and careful writing. Reporters gather firsthand information, conduct interviews, craft the story, and then broadcast it. However, this traditional approach has its limitations. It’s time-consuming especially during breaking news events leading to delays, requires significant resources, and can sometimes miss the mark in providing an engaging auditory experience. 

Now, picture a transformative alternative: Instead of waiting for a human reporter to craft the story, what if the news articles could be instantly converted into an engaging news delivery with a natural tone? This is where text to speech software comes into play. It significantly improves the speed and efficiency of news reporting, allowing news agencies to deliver news updates rapidly and ensuring audiences stay informed in real-time.  

Text to speech accelerates the dissemination of news, enabling rapid delivery through audio formats, podcasts , and social media platforms. The immersive nature of TTS-generated content, with lifelike intonations and expressions, elevates the emotional resonance of stories. Additionally, the adaptability of TTS lends itself to multilingual broadcasts, transcending language barriers, and expanding global outreach.

Table of Contents

Improved efficiency and accuracy , multitasking and time-savings , multilingual capabilities, realistic voices , customization and personalization , dynamic intonation and emotion , language adaptability , creating news/ voiceovers using murf, benefits of text to speech for news reporter.

News reporting is no longer limited by traditional broadcasting schedules or accessibility barriers, thanks to TTS technology. Here are some key benefits of utilizing a news reporter voice generator : 

Gone are the days when news reporters had to rely on recording voice overs manually, following a cumbersome and expensive process that involved multiple recording sessions. With a few clicks, TTS can convert written articles and transform them into captivating news like audio, enhancing accessibility, engagement, and information consumption for busy individuals on-the-go. Furthermore, using a TTS tool, people with reading disabilities or visual impairments can easily consume news independently.

News reporters are usually under pressure to produce content quickly, which can lead to errors in pronunciation , emphasis, or intonation. TTS technology minimizes such errors, ensuring that the information is conveyed accurately to the audience.

Text to speech fuels news reporting with heightened efficiency through automated audio conversion, freeing journalists from the monotonous process. Additionally, TTS broadens news accessibility by effortlessly delivering multilingual content, fostering inclusivity, and expanding global reach.

News reporter AI voice generators empower reporters and news outlets to focus on critical tasks, such as fact-checking, research, editorial oversight, and preparing for interviews, instead of spending their time recording news.

Moreover, TTS-generated audio can be easily edited, allowing reporters to make last-minute changes without having to re-record voiceovers, thus saving time and money. This agility is crucial when updates are necessary due to evolving events.

In a globalized world, it has become important to deliver news in multiple languages. While it is costly and difficult to achieve in a manual process, voice generators help make news more accessible and inclusive. How? TTS systems can generate audio versions of news in multiple languages with accurate pronunciation. For news reporters covering stories in different languages, TTS eliminates the need to find a suitable voice actor for each language. This expands the scope of news coverage and caters to a broader audience.

Also read : Discover How Text to Speech Can Enhance an Author’s Workflow 

Murf Voice Generator: Empowering News Reporters with Dynamic Voiceovers

To stand out amidst a sea of information, news agencies are constantly seeking innovative tools that improve efficiency and accuracy for news reporters in various ways. Enter Murf a cutting-edge voice generation platform that converts text to a newscaster voice and empowers news reporters to create captivating narrations and voiceovers that breathe life into news reporting. With high-quality lifelike AI voices and a wide range of powerful features tailored to the needs of its users, Murf shines among the best text to speech software for news reporting. Let’s see some of Murf’s unique traits:  

Murf utilizes state-of-the-art text to speech technology and deep learning algorithms to produce 100% natural-sounding voiceovers. A news reporter can simply input the scripts into Murf’s intuitive platform, select a news reporter voice from a variety of 130+ natural sounding voices across 20 languages, and witness the news come alive with engaging vocal performances. Liu (Chinese female), Hong (Chinese male), Ruby (UK female), Nate (American male), Ken (American/Canadian male), Miles (American/Canadian male), and Julia (American/Canadian female) are some of the realistic news reporter voices supported by Murf.  

Proficient reporting requires a unique voice and style. With Murf's customizable features, users can fine-tune the tone, speed, and emphasis of the natural voices to match the delivery of a newscaster’s voice. 

News reporters often rely on vocal expressions to convey the mood and emotions behind their stories. Murf recognizes this and offers dynamic intonation, emotional settings, and two types of newscast voices newscast-formal and newscast-casual. Reporters can infuse their voiceovers with appropriate tonal variations, emphasizing key points and evoking the desired emotion by simply adjusting voice elements like pause, pitch, speed, emphasis, and pronunciation.  

In an increasingly interconnected world, a news reporter must cater to diverse audiences. Murf facilitates this by supporting high quality voices in 20+ languages and multiple accents in English, Chinese, and Spanish . Reporters can seamlessly use the generated voice to create voiceovers in different languages, expanding their reach and ensuring that their stories resonate with global audiences.

The process of creating news voiceovers using Murf is intuitive and straightforward, involving the following steps:

Enter News Script: Begin by inputting your written news or scripts into Murf Studio.

Choose AI Voice: Next, select the desired voice and fine-tune parameters like tone, speed, and pitch to match the context of their reporting.

Adjust Voice Settings: Once the voice parameters are set, choose from the newcast casual or newscast formal style, depending on the voice chosen.

Integration with Music: Enhancing news reports, TTS seamlessly blends a curated background score from Murf’s music library. This addition enriches the audio script, creating a professional and engaging experience that captivates the audience on a deeper level.

Flexible Distribution: The generated audio effortlessly adapts to various platforms, including YouTube, synthesized speech tools, audio output, subscription-based channels, and traditional news broadcasting. Moreover, the capability to incorporate relevant images and videos amplifies the multimedia experience, ensuring deeper audience engagement.

Also read : Text to Speech for Teachers: Enhancing Accessibility and Engagement

While AI news reporter voice generators offer numerous benefits, some news stories require the human touch, emotional depth, or contextual understanding that TTS systems might struggle to replicate. Achieving the right equilibrium between automation and authenticity is crucial. To strike this balance, Murf’s AI voice generator steps in.

It combines the efficiency of TTS with reporters insights, creating narratives that deeply resonate with the audience. This integration ensures news isn’t just conveyed but felt, providing a holistic information consumption experience.

Don’t miss out on the opportunity to enhance your news reporting with Murf. Visit our website now to try Murf Studio for free and discover how it can revolutionize your storytelling, engage your audience, and leave a lasting impact in the ever-evolving landscape of journalism. 

Can text to speech software handle different languages and accents for global news coverage?

Yes, text to speech software support voice generation in multiple languages and accents, making them suitable for global news coverage. 

Are there any limitations to using text to speech technology for news reporting?

Text to speech technology has advanced significantly. However, some TTS solutions still deliver robotic voices, which can be a challenge for news reporting. 

Can news reporters add their own custom voices or personalize the speech output in any way?

Yes, some text to speech generators enable news reporters to adjust parameters like tone, speed, and emphasis to match their delivery style and create a personalized output. Some others allow users to clone their own voice into an AI voice and use it on the TTS platform for commercial purposes.

Is it possible to integrate text to speech software into news broadcasting or live reporting?

Absolutely! Some text to speech software generating AI voice supports real-time TTS conversions, which can be seamlessly integrated into news content with deep learning technology and exceptional quality matching newscaster voices.

You should also read:

Designing the Perfect Spotify Audio Ad with AI Voices

Create a Magical Audiobook Experience with AI Voices

Medical Text to Speech: Changing Healthcare for the Better

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OC Speech Style

20 questions

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What type of speech style appropriate for the following situation:

talking to a counselor or psychiatrist

a. intimate

c. consultative

having a one-on-one conversation with a loved one

b. intimate

delivering news reports

b. consultative

reading school policies

communicating while having sports

d. intimate

inquiring at a hotel

reading pledge of allegiance to the flag

The MOST informal speech style is the intimate style.

The standard style of speech is the casual style.

Consultative style is used when talking to someone in authority.

Frozen style needs feedback.

You can use slang words like “dude” to a stranger.

Delivering a formal speech takes the longest time of preparation.

Speech styles develop good values.

Using appropriate speech style means varying the degree of formality.

Speech context affects speech style.

The manager can talk informally to his subordinates in the workplace.

Correct pronunciation is strictly observed in the intimate style.

Similar interests form a casual speech style.

Talking to strangers should follow the consultative style.

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