Can I Read My Speech?

Many of my students come the to the TalkPower Workshops with the idea that reading a speech is unprofessional; they fear that reading will make them lose their spontaneity. This is the silliest thing I’ve ever heard and completely impractical. An all-or-nothing approach will only serve to discourage you from ever taking the risk of ever speaking in public.

Isn’t it better to feel confident, using a script? Why avoid an opportunity to speak because you will forget what you wanted to say? If you do accept and opportunity to speak, isn’t it foolish to run the risk of rambling on and on, feeling insecure and embarrassed? Is it any wonder why there are so many terrible speakers out there when people are taught that using a script is a big no no? Of course you can read. Common sense will tell you that confidence comes from feeling secure, and this will happen only if your speech is accessible.

The fact is that people use their spontaneity when they read from a paper because they prepare a talk as if it where a term paper. “Fill up as many pages as possible and you’ll get a better grade.” If the professor had to skim over repetitions and irrelevancies, that was his problem. A listening audience cannot skim. Go of the beaten track for half a millisecond and you lose your crowd. The audience tunes out planning dinner, lunch, the weekend, counting the tiles on the ceiling…

Learning how to write for a listening audience, not a reading audience in a TalkPower workshop makes all the difference. After you have been using a written script for some time, and have internalized what a real beginning, middle, and end are all about, you will be able to speak without a script.

An old wives tale maintains that if you read from a script you will sound stilted. Actually, you sound stilted when you constantly read with your nose in the text. The secret of appearing spontaneous lies in rehearsing the script so that you look up at the audience and then back at your script, from time to time. Practice your talk looking at the text, then looking out at your imaginary audience, then finding your place and looking at your text again. Not only will you feel secure, you will appear charming, knowledgeable, and in control.

Each year I subscribe to a series of play readings in New York City, produced by a very talented theater company called TACT (The Actors Company Theater). The actors are all seated in a semi circle and every actor reads from his script. These readings rank among the best theater I have ever experienced. Much work and rehearsal goes into each production, yet not one actor memorized or improvises his part. Every word is read from a script, and the results are always delightful.

Politicians read their speeches from a teleprompter and they usually go off without a hitch.

Perhaps last month you saw a professional speaker a long, magnificent, hilarious presentation without reading fro ma single note. And perhaps you felt envious and inadequate. Let me assure you that this professional speaker has probably given the same talk 100 times in the last five years.

“I was scheduled at two colleges on two successive days. On the first day my talk on Ecology went over so well I decided to get more mileage by giving it the second day. My teenage son was with me and during dinner, prior to the second talk, I suddenly became aware that my son was regailing the head table with an exact account I had given the night before- and was about to give again!”

                                                            -Issac Asimov

Speaking Names Clearly

Many people mumble and stumble through names and abbreviations of names making it impossible to understand what they are saying. I am calling special attention to this because time and gain I have to remind the participants in my workshops to speak the name of people, places, and things slowly and clearly. This is true even for many experienced speakers. When you have a written text, names and letter and abbreviations are always printed in bold type, or italics, or some form of capital letter. The same type of special attention should be paid to names when they are spoken. Actually, more attention is necessary because the spoken word is so fleeting. Even if your associates tell you that your talk went very well, ask if they were really able to understand all the names you mentioned.

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Where to Look

Should you make direct eye contact with the audience before you begin speaking? The answer, you might be surprised to learn, is no.

Making eye contact (which means having a nonverbal eye to eye conversation) distracts you at a time when you need your concentration to focus on your first words, your adjustment to this high visibility, the strangeness of the distance between yourself and the audience, your rapid heartbeat, and the general shock of the performance situation. You need time, about 30 seconds or even more, to get used to all of this.

ADJUSTING TO THE AUDIENCE:

The next phase involves your awareness of the audience, so that you can slip into an easy and comfortable relationship with them. This will happen automatically if you stand still when you first face your audience. You don’t have to do a thing except squeeze your toes three times slowly before you speak your first words. This phase is enormously important. If you do it correctly you will feel very much in control.

WHERE TO LOOK:

Look straight ahead at the faces in your audience, perhaps at their foreheads or even their hair. Look neither too high above their heads, nor so low that you appear to be looking at the floor. Making eye contact is not necessary because if the audience looks into your eyes and you are looking at their faces, you will feel as if you are making eye contact. The necessity for direct eye contact is a myth. For example, when you go to the movies and become involved with the story you laugh, you cry, you may become terrified, yet none of the actors in the screen make eye contact with you. In the same sense, when you are speaking, in is not necessary for you to look into the eyes of your audience for them to feel involved with you. Just don’t look above or below their faces. After two or three minutes have passed, and you feel you have established yourself in front of your audience and your presentation is flowing, you may choose to make direct eye contact with one or several of the members in your audience, as long as it does not disturb your concentration. Do what feels comfortable to you.

While keeping your gaze at the face level of your audience, do not fix anyone with a prolonged stare. Actively staring into the eyes of your audience implies that you are perusing them “Do you like me? Is this good?” Don’t look for approval. The audience looks to you for leadership. Lead!

SCANNING THE ROOM:

When you fist stand in front of your audience, please—do not mechanically scan the room, moving your head from right to left as if your eyes where great flood lights emanating from a controlled tower. This is extremely awkward and looks unnatural. Instead, as I have just said, when you first stand in front of an audience, before you begin to speak, be as still as possible and look straight ahead in the general direction of their faces. A smile is nice, but it isn’t essential. If you can smile a small smile, smile. If you want the complete attention of the audience, your physical stillness, rather than your physical activity, will make this happen.

As your speech progresses and you become more comfortable, from time to time, you can move your head slowly, looking at your audience to the left or right. Once again, naturalness and comfort should decide when and if you look at various people in the room. If at first this pose seems stiff and robotic, do not change back to your old nervous behavior. Eventually, you will relax into physical stillness so that you feel comfortable and empowered.

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Facing the Audience

When you first face the audience you will feel a slight shock. It is in this moment that you shift from being a private person to relating to the audience. A few seconds of silence before you speak will help you to make this transition. The silence now allows an introductory process to begin so that you and your audience can tune into one another.

On the other hand, if you start speaking immediately, you will be skipping a very important step. Imagine meeting a new person and launching right into a conversation instead of introducing yourself and shaking hands. This behavior is just as awkward as facing your audience and starting your talk without an initial pause.

A good way to do this is to stand still, face your audience, and slowly squeeze your toes thee times before you say the first words of your speech. This gives the audience time to focus their complete attention on you.

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