{"id":115,"date":"2021-04-08T16:35:15","date_gmt":"2021-04-08T16:35:15","guid":{"rendered":"https:\/\/pressbooks.ccconline.org\/2250organizationalcommunication\/chapter\/verbal-delivery\/"},"modified":"2025-07-16T22:56:51","modified_gmt":"2025-07-16T22:56:51","slug":"verbal-delivery","status":"publish","type":"chapter","link":"https:\/\/pressbooks.ccconline.org\/2250organizationalcommunication\/chapter\/verbal-delivery\/","title":{"raw":"Delivery","rendered":"Delivery"},"content":{"raw":"<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Learning Objectives<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nBy the end of this section, you should be able to:\r\n<ul>\r\n \t<li>Distinguish between visual delivery and verbal delivery.<\/li>\r\n \t<li>Utilize specific techniques to enhance vocal delivery.<\/li>\r\n \t<li>Describe the importance of nonverbal delivery in public speaking.<\/li>\r\n \t<li>Highlight common non-verbal pitfalls.<\/li>\r\n \t<li>Utilize specific techniques to enhance non-verbal delivery.<\/li>\r\n<\/ul>\r\n<\/div>\r\n<\/div>\r\nYou've done the research. You've written the information down into an outline and transferred all of that onto a 3x5 cue card using keywords. Now, it's finally time to practice. By now, you should recognize that a presentation, like all communication, is more than just transferring information from one person to another. It's all about <em>how<\/em> you communicate that information. Ultimately, your delivery is going to be a big part of that. More specifically, your <strong>[pb_glossary id=\"316\"]visual delivery\u00a0[\/pb_glossary]<\/strong>and <strong>[pb_glossary id=\"317\"]verbal delivery[\/pb_glossary] <\/strong>will have a significant impact on how your message is received and the overall experience of your audience. Rather than a checklist of skillsets, we invite you to read these as a series of interrelated behaviors and practices.\r\n<h2>Visual Delivery<\/h2>\r\n<p class=\"import-Normal\">Have you played charades? Many of you have likely \u201cacted out\u201d a person, place, or thing for an audience, using only your body and no words. Charades, like many games, demonstrate the heightened or exaggerated use of <strong>[pb_glossary id=\"198\"]nonverbal communication[\/pb_glossary] <\/strong>through acting out, which highlights how powerful this communication method can be. Similar to charades, your job when speaking is to create a captivating experience for your [pb_glossary id=\"202\"]<strong>audience<\/strong>[\/pb_glossary] that leads them to new information or to consider a new argument. Nonverbals are essential to that experience, accentuating your content and contributing to an aesthetic experience.<\/p>\r\n<p class=\"import-Normal\">As discussed earlier, public speaking is embodied, and your nonverbal cues are key to living and communicating through your body. Here are the nonverbals that we will discuss in this section:<\/p>\r\n\r\n<ul>\r\n \t<li>eye contact<\/li>\r\n \t<li>facial expressions<\/li>\r\n \t<li>attire<\/li>\r\n \t<li>gestures and hands<\/li>\r\n \t<li><span style=\"font-size: 1em;\">feet and posture<\/span><\/li>\r\n \t<li><span style=\"font-size: 1em;\">movement<\/span><\/li>\r\n<\/ul>\r\n<p class=\"import-Normal\">All of the above enhance your message and invite your audience to give it serious attention, and you. Your [pb_glossary id=\"210\"]<strong>credibility<\/strong>[\/pb_glossary], your sincerity, and your knowledge of your speech become apparent through your nonverbal behaviors.<\/p>\r\n\r\n<h2>Eye Contact<\/h2>\r\n<p class=\"import-Normal\">Imagine bringing in two qualified applicants for a job opening you were responsible for filling. Each applicant will sit directly across from you and three other assisting colleagues. While answering questions, Applicant 1 never breaks eye contact with you. It\u2019s likely that, as the interview progresses, you begin to feel uncomfortable, even threatened, and begin shifting your own eyes around the room awkwardly. When the applicant leaves, you finally take a deep breath but realize you can\u2019t remember a single thing the applicant said. Applicant 2 enters and, unlike the first, looks down at their notes, never making direct eye contact. As you try to focus on their answers, they seem so uncomfortable that you can\u2019t concentrate on the exchange.<\/p>\r\n<p class=\"import-Normal\">Both approaches are common mistakes when integrating eye contact into a speech. We have likely all seen speakers who read their presentations from notes and never look up. It\u2019s common for a speaker to zoom in on one audience member and never break their gaze. The general rule is that 80% of your speech time should be spent making eye contact with your audience. When you\u2019re able to connect by using eye contact, you create a more intimate, trusting, and transparent experience.<\/p>\r\n<p class=\"import-Normal\">It\u2019s important to note that you want to establish genuine eye contact with your audience and not \u201cfake\u201d eye contact. Many techniques have been developed for \u201cfaking\u201d eye contact, but none appear natural. For example, these approaches aren\u2019t great:<\/p>\r\n\r\n<ul>\r\n \t<li><em>Three points on the back wall<\/em> \u2013 One technique suggests that you can pick three points on the back wall and examine each one. What ends up happening is that you look like you are staring off into space, and your audience will spend most of your speech trying to figure out what you are looking at. This technique may work better for a larger audience, but the audience is close enough to be suspicious in a more intimate space (such as the classroom). Put simply, we can tell you aren\u2019t looking at us.<\/li>\r\n \t<li><em>The swimming method<\/em> \u2013 This occurs when someone is reading their speech and looks up quickly and briefly, much like a swimmer who pops their head out of the water for a breath before going back under. Eye contact is more than just physically moving your head; it's about looking at your audience and establishing a genuine connection.<\/li>\r\n<\/ul>\r\n<p class=\"import-Normal\">Instead, work to maintain approximately three seconds of eye contact with audience members throughout the room. You are, after all, speaking to them, so use your eyes to make contact. This approach may also reduce anxiety because you can envision talking directly to one person at a time rather than a room full of strangers. Eye contact is as important in virtual presentations as in delivering to an in-person audience. To balance eye contact in this setting, draw a smiley face on a sticky note. Then, place that note next to your camera. This approach reminds you to look into the camera to build nonverbal immediacy with your audience. The face reminds you to speak to the camera as though you are talking to a live audience, and panning across the room to speak to each individual.<\/p>\r\n\r\n<h2>Facial Expressions<\/h2>\r\n<p class=\"import-Normal\">Picture being out to dinner with a friend and, as you finish telling a story about a joke you played on your partner, you look up to a grimacing face.<\/p>\r\n<p class=\"import-Normal\">\u201cWhat?\u201d you ask.<\/p>\r\n<p class=\"import-Normal\">\u201cOh, nothing,\u201d they reply. But their face says it all.<\/p>\r\n<p class=\"import-Normal\">Realizing that their face has \u201cspilled the beans,\u201d so to speak, your friend might correct their expression by shrugging and biting their lip\u2014a move that may insinuate nervousness or anxiety. You perceive that they didn\u2019t find your story as humorous as you\u2019d hoped. Facial expressions communicate to others (and audiences) consistent or inconsistent meanings with your message. In the example above, your friend\u2019s \u201cOh, nothing\u201d feedback was inconsistent with their facial expressions. However, their words didn\u2019t trump their facial expressions, and their nonverbal feedback was part of the communication. Your facial expressions will matter in the context of your speech. Your audience will be looking at your face to guide them through the speech, so these expressions are crucial for conveying meaning to them.<\/p>\r\n<p class=\"import-Normal\">If your facial expressions seem inconsistent with or contradictory to the tone of the argument, an audience may go so far as to feel distrust toward you as a speaker. Children might, for example, say, \u201cI\u2019m fine\u201d or \u201cIt doesn\u2019t hurt\u201d after falling and scraping their knees, but their facial expressions often communicate discomfort. In this case, their facial expression is inconsistent with their verbal message. <span style=\"text-align: initial; font-size: 1em;\">If you\u2019re frowning while presenting information that the audience perceives as positive, they may feel uneasy or unsure how to process it. So, consistency can increase your [pb_glossary id=\"219\"]<strong>ethos<\/strong>[\/pb_glossary]. <\/span>Similarly, your facial expressions, like the soundtrack of a movie or commercial, can help set the aesthetic tone; they are part of developing [pb_glossary id=\"220\"]<strong>pathos<\/strong>[\/pb_glossary]. Given the vast amount of information we encounter daily, including information about global injustices, it\u2019s often insufficient to state the problem and its solution. Audience members need your buy-in as the speaker. For example, using facial expressions to communicate emotions can demonstrate your commitment to and feelings about an issue. To be explicit, facial expressions, like other forms of <strong>[pb_glossary id=\"198\"]nonverbal communication[\/pb_glossary]<\/strong>, can significantly impact an audience member\u2019s perception of the speaker. Still, not all audiences may interpret your expressions in the same way.<\/p>\r\n\r\n<h2 class=\"import-Normal\">Attire<\/h2>\r\n<p class=\"import-Normal\">What you wear can either enhance or detract from the audience\u2019s experience. Like facial expressions, your attire should be consistent with the message you\u2019re delivering. Context is important here, as the purpose and audience will be informed about appropriate clothing. We recommend considering two questions when selecting your attire: First, what attire matches the occasion? Is this a casual occasion? Does it warrant a more professional or business-casual approach? For example, if you\u2019re speaking at an organization\u2019s rally, you may wear attire with the organization\u2019s logo and jeans. On other occasions, such as a classroom or city council meeting, a higher level of professional attire may be required. Second, ask yourself, \u201cHave I selected any attire that could be distracting while I\u2019m speaking?\u201d Certain kinds of jewelry, for example, may make additional noise or move around on your arm, and audiences may focus too much on the jewelry. In addition to noise-makers, some attire can feature prints that may distract, including letters, wording, or images. Your attire can influence how the audience perceives you as a speaker\u2014that is, your credibility, which, as we\u2019ve discussed, is key to influencing listeners.<\/p>\r\n\r\n<h2>Movement<\/h2>\r\n<p class=\"import-Normal\">When you (and your body) move, you communicate. You may, for example, have a friend who frantically gestures and paces the room when telling exciting stories\u2014their movement is part of how they communicate their story. They likely do this unconsciously, and that\u2019s often how much of our informal movement occurs. Many of us, like your friend, have some aspects of movement that we comfortably integrate into our daily interactions. To determine how to incorporate movements most effectively into your speech, ask yourself, \"How can I utilize these movements (or put them in check) to enhance the audience\u2019s experience?\" This section will introduce how and why movement should be <em>purposefully <\/em>integrated into your speech. We\u2019ll focus on your hands and feet and consider how to move around the space. Not sure what nonverbals you commonly use when communicating? Ask a friend! Your friends are observant, and they can likely tell you if you over-gesture, look down, stay poised, etc. Use this inventory to determine areas of focus for your speeches.<\/p>\r\n\r\n<h3 class=\"import-Normal\"><span class=\"import-Heading3Char\">Gestures and Hands<\/span><\/h3>\r\n<p class=\"import-Normal\">Everyone who gives a speech in public gets scared or nervous. Even professionals who do this for a living feel that way, but they have learned how to combat those nerves through experience and practice. When we feel scared or nervous, our bodies release adrenaline into our system, allowing us to deal with the problem that is causing us to feel that way. In a speech, that burst of adrenaline will try to work out of your body and somehow manifest itself. One of the main ways is through your hands.<\/p>\r\n<p class=\"import-Normal\">Three common reactions to this adrenaline rush are:<\/p>\r\n\r\n<ul>\r\n \t<li><em>Jazz hands!<\/em> It may sound funny, but nervous speakers can unknowingly incorporate \u201cjazz hands\u201d\u2014shaking their hands at their sides with fingers opened wide\u2014at various points in their speech. While certainly an extreme example, behaviors like this can easily become distracting.<\/li>\r\n \t<li><em>Stiff as a board<\/em>. At the other end of the scale, people who don\u2019t know what to do with their hands or use them \u201ctoo little\u201d sometimes hold their arms stiffly at their sides, behind their backs, or in their pockets, which can look unnatural and distracting.<\/li>\r\n \t<li><em>Hold on for dear life!<\/em> Finally, some speakers might grip their notes or a lectern tightly with their hands. This tendency might also result in tapping on a lectern, table, or nearby object.<\/li>\r\n<\/ul>\r\n<p class=\"import-Normal\">Remember that <em>just because you aren\u2019t sure what your hands are doing does not mean they aren\u2019t doing something<\/em>. Fidgeting, making jazz hands, gripping the podium, or keeping hands in pockets are common, resulting in speakers asking, \u201cDid I do that? I don\u2019t even remember!\u201d Are you someone who uses gestures when speaking? If so, great! Use your natural gestures to create purposeful aesthetic emphasis for your audience. If you were standing around talking to your friends and wanted to list three reasons why you should all take a road trip this weekend, you would probably hold up your fingers as you counted off the reasons (\u201cFirst, we hardly ever get this opportunity. Second, we can\u2026\u201d). Pay attention to how you use your hands in regular conversations and incorporate that into your delivery. Be mindful of not being over the top and gesturing at every other word. Remember that gestures highlight and punctuate information for the audience, so using too many gestures (like jazz hands) can be distracting. Similarly, are you someone who generally rests your arms at your sides? That\u2019s OK, too! Work to keep a natural (and not stiff) look, but challenge yourself to integrate a few additional gestures throughout the speech.<\/p>\r\n\r\n<h3><span class=\"import-Heading2Char\">Feet and Posture<\/span><\/h3>\r\n<p class=\"import-Normal\">Just as it does through your hands, nervous energy may try to work its way out of your body through your feet. Common difficulties include:<\/p>\r\n\r\n<ul>\r\n \t<li><em>The side-to-side.<\/em> You may feel awkward standing without a lectern and try to shift your weight back and forth. On the \u201ctoo much\u201d end, this is most common when people start \u201cdancing\u201d or stepping side to side.<\/li>\r\n \t<li><em>The twisty-leg.<\/em> Another variation is to twist the feet around each other or the lower leg.<\/li>\r\n \t<li><em>Stiff-as-a-board.<\/em> At the other end are speakers who put their feet together, lock their knees, and remain in that position. Locked knees can restrict oxygen to the\u00a0brain, so there are many reasons to avoid this difficulty.<\/li>\r\n<\/ul>\r\n<p class=\"import-Normal\">These options look unnatural and, therefore, will distract your audience. The default position for your feet is to have them shoulder-width apart, with your knees slightly bent. Since public speaking often results in some degree of physical exertion, you must treat speaking as a physical activity. Public speaking is, after all, a full-body experience. Being in tune and attuned to your body will enable you to communicate in a way that\u2019s comfortable for you and your audience. In addition to keeping your feet shoulder-width apart, focus on maintaining good<span style=\"text-align: initial; font-size: 1em;\"><span style=\"margin: 0px; padding: 0px;\">\u00a0posture.\u00a0<span style=\"font-size: 1em;\">Good posture will eventually become habitual if you focus on it over time<\/span><\/span>.<\/span><\/p>\r\n\r\n<h3 class=\"import-Normal\"><span class=\"import-Heading3Char\">Moving in the Space<\/span><\/h3>\r\n<p class=\"import-Normal\">We know you\u2019re likely wondering, \u201cShould I do any other movement around the room?\u201d<\/p>\r\n<p class=\"import-Normal\">Unfortunately, there isn\u2019t an easy answer. Movement depends on two overarching considerations:<\/p>\r\n<p class=\"import-Normal\" style=\"padding-left: 40px;\">1) What\u2019s the space?<\/p>\r\n<p class=\"import-Normal\" style=\"padding-left: 40px;\">2) What\u2019s the message?<\/p>\r\n<p class=\"import-Normal\">First, movement is always informed by the space in which you speak. Consider the two following examples:<\/p>\r\n\r\n<ul>\r\n \t<li>You\u2019ll present at a university where a podium is set up with a stable microphone.<\/li>\r\n \t<li>You\u2019re speaking at a local TED Talk event with an open stage.<\/li>\r\n<\/ul>\r\n<p class=\"import-Normal\">Both scenarios provide constraints and opportunities for movement.<\/p>\r\n\r\n\r\n[caption id=\"attachment_158\" align=\"alignright\" width=\"300\"]<img class=\"wp-image-158 size-medium\" src=\"https:\/\/pressbooks.ccconline.org\/ppsccom2250organizationalcommunication\/wp-content\/uploads\/sites\/231\/2021\/08\/Michael_Ondaatje_Tulane_Lecturn_2010-scaled-1.jpg\" alt=\"Man speaking at lecture with a microphone\" width=\"300\" height=\"200\" \/> Image #1: Using a lectern provides nonverbal opportunities and constraints <span style=\"text-align: initial; font-size: 1em;\">You must stay behind the microphone in the university space to guarantee sound. \u00a0While somewhat constraining, this setup\u00a0<\/span><span style=\"margin: 0px; padding: 0px;\">allows a stable location to place your notes and a microphone to assist in\u00a0projecting, enabling<\/span><span style=\"text-align: initial; font-size: 1em;\">\u00a0you to focus on other verbal and nonverbal techniques.<\/span>[\/caption]\r\n<p class=\"import-Normal\">In the TED Talk example, you are not constrained by a stable microphone and have a stage for bodily movement. The open stage means the entire space becomes part of the audience's aesthetic experience. However, if you are less comfortable with movement, the open space may feel intimidating because audiences may assume you\u2019ll use the entire space. Once you understand the speaking space and the speech content, you can use movement to enhance your audience's aesthetic experience.<\/p>\r\n<p class=\"import-Normal\">One benefit of movement is that it allows you to engage with different sections of the audience. If you are not confined to a single spot (such as a podium or a seat), you can use movement to engage with the audience by adjusting your spatial dynamic. You can move your body to different sides of the stage and the audience. Such use of space enables each side of a room to be pulled into the content because you close the physical distance and create clear pathways for eye contact.<\/p>\r\n\r\n\r\n[caption id=\"attachment_49\" align=\"alignleft\" width=\"300\"]<img class=\"size-medium wp-image-161\" src=\"https:\/\/pressbooks.ccconline.org\/ppsccom2250organizationalcommunication\/wp-content\/uploads\/sites\/231\/2021\/08\/TED_Talk_Santa_Barbara_CA-scaled-1.jpg\" alt=\"Meredith O'Connor giving a TedTalk\" width=\"300\" height=\"200\" \/> Image #2: Some speech stages allow, even expect, movement[\/caption]\r\n<p class=\"import-Normal\">Without these changes, sections of the audience may feel lost or forgotten. Consider your role as a student. Have you ever had a professor or teacher who stays in one place and does not move to different parts of the room? Keeping motivated to listen or take notes can be challenging if a speaker dominates one area of the space. Changing the spatial dynamics goes beyond moving from side to side. You can also move forward and backward. This allows you to move closer to the audience or back away, depending on what experience you\u2019re trying to create.<\/p>\r\n<p class=\"import-Normal\">In addition to engaging with the audience, movement often signals a transition between ideas or an attempt to convey a critical component of your information visually. You may want to signal a change in time or mark progression. If you\u2019re walking your audience through information chronologically, movement can mark that temporal progression where your body becomes the visual marker of time passing. When you speak, moving in the space can be beneficial. As you plan your purposeful movement, be aware of the message you\u2019re providing and the space in which you\u2019re speaking.<\/p>\r\n\r\n\r\n<hr \/>\r\n\r\n<h2>Verbal Delivery<\/h2>\r\n<p class=\"import-Normal\">Humans are communicators. We rely on communication processes to make sense of our world and on others\u2019 communicating with us to create shared meaning. Through symbols, we use and adapt language with one another and our communities.<\/p>\r\n<p class=\"import-Normal\">The same is true for speeches, but what symbols you select and how you portray them\u2014what we\u2019ll call <strong>[pb_glossary id=\"317\"]verbal delivery[\/pb_glossary]<\/strong>\u2014 are dependent on your audience and how they experience or comprehend what you say. For example, consider your favorite podcaster or a podcast series you enjoy. We love crime podcasts! Despite relying solely on verbal delivery, the presenters\u2019 voices paint a vivid picture as they walk us through stories of crime, murder, and betrayal. So, how do they do it? What keeps millions of people listening to podcasts and returning to their favorite verbal-only speakers? Is it how they say it? Is it the language they choose? All of these are essential parts of effective verbal delivery.<\/p>\r\n<p class=\"import-Normal\">Below, we begin discussing verbal delivery, looking at the following topics:<\/p>\r\n\r\n<ol>\r\n \t<li class=\"import-Normal\">projection<\/li>\r\n \t<li class=\"import-Normal\">vocal enunciation<\/li>\r\n \t<li>rate<\/li>\r\n \t<li>vocal pauses<\/li>\r\n<\/ol>\r\n<h3>Projection<\/h3>\r\n<p class=\"import-Normal\">\u201cLouder!\u201d<\/p>\r\n<p class=\"import-Normal\">You may have experienced a situation where an audience notified a speaker that they couldn\u2019t be heard. \u201cLouder!\u201d Here, the audience is letting the speaker know to increase the volume or the relative softness or loudness of one\u2019s voice. In this example, the speaker needed to fully project their vocals to fit the speaking-event space by increasing their volume. In a more formal setting, however, an audience may be reluctant to give such candid feedback, so it is your job to prepare. <strong>[pb_glossary id=\"318\"]Projection[\/pb_glossary]<\/strong> is a strategy\u00a0<span style=\"margin: 0px; padding: 0px;\">to\u00a0<em>fill the space vocally<\/em><\/span>; thus, the space dictates which vocal elements need to be adapted because every person in the room should comfortably experience your vocal range. If you speak too softly (with insufficient volume or without projecting), your audience will struggle to hear and understand, and may give up trying to listen. If you speak with too much volume, your audience may feel that you are yelling at them, or at least feel uncomfortable with you shouting. The volume you use should be appropriate for the size of the audience and the room.<\/p>\r\n\r\n<h3>Vocal Enunciation<\/h3>\r\n<p class=\"import-Normal\"><strong>[pb_glossary id=\"319\"]Vocal enunciation[\/pb_glossary]<\/strong> is often reduced to pronouncing words correctly, but enunciation also describes the expression of words and language. Have you ever spoken to a friend who replied, \u201cStop that! You\u2019re mumbling.\u201d If so, they\u2019re telling you they can\u2019t understand your message. You may have pronounced the words correctly but had poorly enunciated them, leading to reduced comprehension. One technique to increase enunciation occurs during speech rehearsal, known as the \u201cdash\u201d strategy: <em>e-nun-ci-ate e-<\/em><em>ve<\/em><em>-<\/em><em>ry<\/em> <em>syll<\/em><em>-<\/em><em>a<\/em><em>-<\/em><em>bal<\/em> <em>in your pre-<\/em><em>sen<\/em><em>-ta-<\/em><em>tion<\/em><em>.\u00a0 <\/em>The dashes signify distinct enunciation to create emphasis and expression. However, don\u2019t go overboard! The dash strategy is an exaggerated exercise, but can lead to a choppy vocal delivery. Instead, use the dash strategy to identify areas where complicated and longer words require more punctuated emphasis, and through rehearsal, naturally integrate those areas of emphasis into your presentational persona.<\/p>\r\n\r\n<h3>Rate<\/h3>\r\n<p class=\"import-Normal\">The <strong>[pb_glossary id=\"320\"]rate[\/pb_glossary] <\/strong>is how quickly or slowly you say the words of your speech. A slower rate may suggest that you do not fully understand the speech. \u201cWhere is this going?\u201d they may wonder. It might also be slightly dull if the audience is processing information faster than it\u2019s being presented. By contrast, speaking too fast can overly tax an audience\u2019s ability to keep up with and digest your words. It sometimes helps to imagine that your speech is a jog you and your friends (the audience) are taking together. You (as the speaker) are setting the pace based on how quickly you speak. If you start sprinting, it may be too difficult for your audience to keep up, and they may give up halfway through. Most people who babble know they babble, and if that applies to you, just be sure to practice slowing down and writing yourself delivery cues in your notes to maintain a more comfortable rate.<\/p>\r\n<p class=\"import-Normal\">You will want to maintain a deliberate rate at the beginning of your speech, as your audience will become accustomed to your voice. We have all called a business where the person answering the phone mumbles the company's name, and we aren\u2019t sure if we called the correct number. Since the introduction is designed to get the audience\u2019s attention and arouse interest in your speech, you will want to focus on a clear vocal rate here. You might also consider varying the rate depending on the type of information being communicated. While you\u2019ll want to be careful not to go too slow consistently, slowing your rate for difficult supporting material may be helpful. Similarly, quickening your rate in specific segments can communicate urgency. Although the experience might seem awkward, watching yourself speak via recording (or webcam) is a great way to gauge your natural rate and pace.<\/p>\r\n\r\n<h3 class=\"import-Normal\"><span class=\"import-Heading2Char\">Vocal Pauses<\/span><\/h3>\r\n<p class=\"import-Normal\">The common misconception for public speaking students is that pausing during your speech is terrible, but <strong>[pb_glossary id=\"321\"]vocal pauses[\/pb_glossary]<\/strong> can increase both the tone and comprehension of your argument. This is especially true if you are making a critical point or want a statement to have a powerful impact: you will want to give the audience a moment to digest what you have said. You may also provide new or technical information to an audience needing additional time to absorb your words.<\/p>\r\n<p class=\"import-Normal\">For example, consider the following statement:<\/p>\r\n\r\n<div class=\"textbox\">Due to issues such as pollution and overpopulation, in 50 years, the Earth\u2019s natural resources will be so depleted that it will become difficult for most people to obtain enough food to survive.<\/div>\r\n<p class=\"import-Normal\">Following a statement like this, you want to give your audience a brief moment to consider what you are saying fully. Use audience nonverbal cues and feedback (and provide them as an audience member) to determine whether additional pauses may be necessary for comprehension. Audiences are generally reactive and will use facial expressions and body language to communicate whether they are listening, confused, angry, or supportive. Of course, there is such a thing as pausing too much, both in frequency and length. Someone who pauses too often may appear unprepared. Someone who pauses too long (more than a few seconds) risks the audience feeling uncomfortable or, even worse, becoming distracted or letting their attention wander. Pauses should be controlled to maintain the audience's attention and create additional areas of emphasis.<\/p>\r\n\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Key Takeaways<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<ul>\r\n \t<li>How you communicate your speech\u2014and how the audience interprets the information\u2014will depend on your visual delivery and verbal delivery.<\/li>\r\n \t<li>Your visual delivery will depend on the nonverbal elements of your speech, which include eye contact, facial expressions, attire, and movement.<\/li>\r\n \t<li>Your verbal delivery will depend on how you say the words themselves. Are you speaking loudly enough? Clear enough? How fast are you talking? \u00a0Are you pausing sufficiently to let your words resonate with the audience? These things will impact how the audience interprets and retains what you say.<\/li>\r\n<\/ul>\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Attribution<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nThis chapter is adapted from \u201c<a href=\"https:\/\/speakupcallin.pressbooks.com\/chapter\/chapter-8-verbal-delivery\/\">Speak Out, Call In: Public Speaking as Advocacy<\/a>\u201d by Meggie Mapes (on <a href=\"https:\/\/pressbooks.com\/\">Pressbooks<\/a>). It is licensed under a <a href=\"https:\/\/creativecommons.org\/licenses\/by-nc-sa\/4.0\/\">Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License<\/a>\r\n\r\nImage #1: \"<a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Michael_Ondaatje_Tulane_Lecturn_2010.jpg\">Michael Ondaatje Tualane Lecturn 2010<\/a>\" <a href=\"https:\/\/commons.wikimedia.org\/wiki\/Main_Page\">(on Wikimedia Commons)<\/a> is used under a \u00a0<a class=\"extiw\" title=\"w:en:Creative Commons\" href=\"https:\/\/en.wikipedia.org\/wiki\/en:Creative_Commons\">Creative Commons<\/a>\u00a0<a class=\"external text\" href=\"https:\/\/creativecommons.org\/licenses\/by\/2.0\/deed.en\" rel=\"nofollow\">Attribution 2.0 Generic License<\/a>\r\n\r\nImage #2: \"<a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:TED_Talk_Santa_Barbara,_CA.jpg\">TED Talk Santa Barbara, CA<\/a>\" <a href=\"https:\/\/commons.wikimedia.org\/wiki\/Main_Page\">(on Wikimedia Commons)<\/a> is used under a \u00a0<a class=\"extiw\" title=\"w:en:Creative Commons\" href=\"https:\/\/en.wikipedia.org\/wiki\/en:Creative_Commons\">Creative Commons<\/a> <a class=\"external text\" href=\"https:\/\/creativecommons.org\/licenses\/by-sa\/4.0\/deed.en\" rel=\"nofollow\">Attribution-Share Alike 4.0 International License<\/a>\r\n\r\n<\/div>\r\n<\/div>","rendered":"<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Learning Objectives<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p>By the end of this section, you should be able to:<\/p>\n<ul>\n<li>Distinguish between visual delivery and verbal delivery.<\/li>\n<li>Utilize specific techniques to enhance vocal delivery.<\/li>\n<li>Describe the importance of nonverbal delivery in public speaking.<\/li>\n<li>Highlight common non-verbal pitfalls.<\/li>\n<li>Utilize specific techniques to enhance non-verbal delivery.<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<p>You&#8217;ve done the research. You&#8217;ve written the information down into an outline and transferred all of that onto a 3&#215;5 cue card using keywords. Now, it&#8217;s finally time to practice. By now, you should recognize that a presentation, like all communication, is more than just transferring information from one person to another. It&#8217;s all about <em>how<\/em> you communicate that information. Ultimately, your delivery is going to be a big part of that. More specifically, your <strong><a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_115_316\">visual delivery\u00a0<\/a><\/strong>and <strong><a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_115_317\">verbal delivery<\/a> <\/strong>will have a significant impact on how your message is received and the overall experience of your audience. Rather than a checklist of skillsets, we invite you to read these as a series of interrelated behaviors and practices.<\/p>\n<h2>Visual Delivery<\/h2>\n<p class=\"import-Normal\">Have you played charades? Many of you have likely \u201cacted out\u201d a person, place, or thing for an audience, using only your body and no words. Charades, like many games, demonstrate the heightened or exaggerated use of <strong><a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_115_198\">nonverbal communication<\/a> <\/strong>through acting out, which highlights how powerful this communication method can be. Similar to charades, your job when speaking is to create a captivating experience for your <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_115_202\"><strong>audience<\/strong><\/a> that leads them to new information or to consider a new argument. Nonverbals are essential to that experience, accentuating your content and contributing to an aesthetic experience.<\/p>\n<p class=\"import-Normal\">As discussed earlier, public speaking is embodied, and your nonverbal cues are key to living and communicating through your body. Here are the nonverbals that we will discuss in this section:<\/p>\n<ul>\n<li>eye contact<\/li>\n<li>facial expressions<\/li>\n<li>attire<\/li>\n<li>gestures and hands<\/li>\n<li><span style=\"font-size: 1em;\">feet and posture<\/span><\/li>\n<li><span style=\"font-size: 1em;\">movement<\/span><\/li>\n<\/ul>\n<p class=\"import-Normal\">All of the above enhance your message and invite your audience to give it serious attention, and you. Your <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_115_210\"><strong>credibility<\/strong><\/a>, your sincerity, and your knowledge of your speech become apparent through your nonverbal behaviors.<\/p>\n<h2>Eye Contact<\/h2>\n<p class=\"import-Normal\">Imagine bringing in two qualified applicants for a job opening you were responsible for filling. Each applicant will sit directly across from you and three other assisting colleagues. While answering questions, Applicant 1 never breaks eye contact with you. It\u2019s likely that, as the interview progresses, you begin to feel uncomfortable, even threatened, and begin shifting your own eyes around the room awkwardly. When the applicant leaves, you finally take a deep breath but realize you can\u2019t remember a single thing the applicant said. Applicant 2 enters and, unlike the first, looks down at their notes, never making direct eye contact. As you try to focus on their answers, they seem so uncomfortable that you can\u2019t concentrate on the exchange.<\/p>\n<p class=\"import-Normal\">Both approaches are common mistakes when integrating eye contact into a speech. We have likely all seen speakers who read their presentations from notes and never look up. It\u2019s common for a speaker to zoom in on one audience member and never break their gaze. The general rule is that 80% of your speech time should be spent making eye contact with your audience. When you\u2019re able to connect by using eye contact, you create a more intimate, trusting, and transparent experience.<\/p>\n<p class=\"import-Normal\">It\u2019s important to note that you want to establish genuine eye contact with your audience and not \u201cfake\u201d eye contact. Many techniques have been developed for \u201cfaking\u201d eye contact, but none appear natural. For example, these approaches aren\u2019t great:<\/p>\n<ul>\n<li><em>Three points on the back wall<\/em> \u2013 One technique suggests that you can pick three points on the back wall and examine each one. What ends up happening is that you look like you are staring off into space, and your audience will spend most of your speech trying to figure out what you are looking at. This technique may work better for a larger audience, but the audience is close enough to be suspicious in a more intimate space (such as the classroom). Put simply, we can tell you aren\u2019t looking at us.<\/li>\n<li><em>The swimming method<\/em> \u2013 This occurs when someone is reading their speech and looks up quickly and briefly, much like a swimmer who pops their head out of the water for a breath before going back under. Eye contact is more than just physically moving your head; it&#8217;s about looking at your audience and establishing a genuine connection.<\/li>\n<\/ul>\n<p class=\"import-Normal\">Instead, work to maintain approximately three seconds of eye contact with audience members throughout the room. You are, after all, speaking to them, so use your eyes to make contact. This approach may also reduce anxiety because you can envision talking directly to one person at a time rather than a room full of strangers. Eye contact is as important in virtual presentations as in delivering to an in-person audience. To balance eye contact in this setting, draw a smiley face on a sticky note. Then, place that note next to your camera. This approach reminds you to look into the camera to build nonverbal immediacy with your audience. The face reminds you to speak to the camera as though you are talking to a live audience, and panning across the room to speak to each individual.<\/p>\n<h2>Facial Expressions<\/h2>\n<p class=\"import-Normal\">Picture being out to dinner with a friend and, as you finish telling a story about a joke you played on your partner, you look up to a grimacing face.<\/p>\n<p class=\"import-Normal\">\u201cWhat?\u201d you ask.<\/p>\n<p class=\"import-Normal\">\u201cOh, nothing,\u201d they reply. But their face says it all.<\/p>\n<p class=\"import-Normal\">Realizing that their face has \u201cspilled the beans,\u201d so to speak, your friend might correct their expression by shrugging and biting their lip\u2014a move that may insinuate nervousness or anxiety. You perceive that they didn\u2019t find your story as humorous as you\u2019d hoped. Facial expressions communicate to others (and audiences) consistent or inconsistent meanings with your message. In the example above, your friend\u2019s \u201cOh, nothing\u201d feedback was inconsistent with their facial expressions. However, their words didn\u2019t trump their facial expressions, and their nonverbal feedback was part of the communication. Your facial expressions will matter in the context of your speech. Your audience will be looking at your face to guide them through the speech, so these expressions are crucial for conveying meaning to them.<\/p>\n<p class=\"import-Normal\">If your facial expressions seem inconsistent with or contradictory to the tone of the argument, an audience may go so far as to feel distrust toward you as a speaker. Children might, for example, say, \u201cI\u2019m fine\u201d or \u201cIt doesn\u2019t hurt\u201d after falling and scraping their knees, but their facial expressions often communicate discomfort. In this case, their facial expression is inconsistent with their verbal message. <span style=\"text-align: initial; font-size: 1em;\">If you\u2019re frowning while presenting information that the audience perceives as positive, they may feel uneasy or unsure how to process it. So, consistency can increase your <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_115_219\"><strong>ethos<\/strong><\/a>. <\/span>Similarly, your facial expressions, like the soundtrack of a movie or commercial, can help set the aesthetic tone; they are part of developing <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_115_220\"><strong>pathos<\/strong><\/a>. Given the vast amount of information we encounter daily, including information about global injustices, it\u2019s often insufficient to state the problem and its solution. Audience members need your buy-in as the speaker. For example, using facial expressions to communicate emotions can demonstrate your commitment to and feelings about an issue. To be explicit, facial expressions, like other forms of <strong><a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_115_198\">nonverbal communication<\/a><\/strong>, can significantly impact an audience member\u2019s perception of the speaker. Still, not all audiences may interpret your expressions in the same way.<\/p>\n<h2 class=\"import-Normal\">Attire<\/h2>\n<p class=\"import-Normal\">What you wear can either enhance or detract from the audience\u2019s experience. Like facial expressions, your attire should be consistent with the message you\u2019re delivering. Context is important here, as the purpose and audience will be informed about appropriate clothing. We recommend considering two questions when selecting your attire: First, what attire matches the occasion? Is this a casual occasion? Does it warrant a more professional or business-casual approach? For example, if you\u2019re speaking at an organization\u2019s rally, you may wear attire with the organization\u2019s logo and jeans. On other occasions, such as a classroom or city council meeting, a higher level of professional attire may be required. Second, ask yourself, \u201cHave I selected any attire that could be distracting while I\u2019m speaking?\u201d Certain kinds of jewelry, for example, may make additional noise or move around on your arm, and audiences may focus too much on the jewelry. In addition to noise-makers, some attire can feature prints that may distract, including letters, wording, or images. Your attire can influence how the audience perceives you as a speaker\u2014that is, your credibility, which, as we\u2019ve discussed, is key to influencing listeners.<\/p>\n<h2>Movement<\/h2>\n<p class=\"import-Normal\">When you (and your body) move, you communicate. You may, for example, have a friend who frantically gestures and paces the room when telling exciting stories\u2014their movement is part of how they communicate their story. They likely do this unconsciously, and that\u2019s often how much of our informal movement occurs. Many of us, like your friend, have some aspects of movement that we comfortably integrate into our daily interactions. To determine how to incorporate movements most effectively into your speech, ask yourself, &#8220;How can I utilize these movements (or put them in check) to enhance the audience\u2019s experience?&#8221; This section will introduce how and why movement should be <em>purposefully <\/em>integrated into your speech. We\u2019ll focus on your hands and feet and consider how to move around the space. Not sure what nonverbals you commonly use when communicating? Ask a friend! Your friends are observant, and they can likely tell you if you over-gesture, look down, stay poised, etc. Use this inventory to determine areas of focus for your speeches.<\/p>\n<h3 class=\"import-Normal\"><span class=\"import-Heading3Char\">Gestures and Hands<\/span><\/h3>\n<p class=\"import-Normal\">Everyone who gives a speech in public gets scared or nervous. Even professionals who do this for a living feel that way, but they have learned how to combat those nerves through experience and practice. When we feel scared or nervous, our bodies release adrenaline into our system, allowing us to deal with the problem that is causing us to feel that way. In a speech, that burst of adrenaline will try to work out of your body and somehow manifest itself. One of the main ways is through your hands.<\/p>\n<p class=\"import-Normal\">Three common reactions to this adrenaline rush are:<\/p>\n<ul>\n<li><em>Jazz hands!<\/em> It may sound funny, but nervous speakers can unknowingly incorporate \u201cjazz hands\u201d\u2014shaking their hands at their sides with fingers opened wide\u2014at various points in their speech. While certainly an extreme example, behaviors like this can easily become distracting.<\/li>\n<li><em>Stiff as a board<\/em>. At the other end of the scale, people who don\u2019t know what to do with their hands or use them \u201ctoo little\u201d sometimes hold their arms stiffly at their sides, behind their backs, or in their pockets, which can look unnatural and distracting.<\/li>\n<li><em>Hold on for dear life!<\/em> Finally, some speakers might grip their notes or a lectern tightly with their hands. This tendency might also result in tapping on a lectern, table, or nearby object.<\/li>\n<\/ul>\n<p class=\"import-Normal\">Remember that <em>just because you aren\u2019t sure what your hands are doing does not mean they aren\u2019t doing something<\/em>. Fidgeting, making jazz hands, gripping the podium, or keeping hands in pockets are common, resulting in speakers asking, \u201cDid I do that? I don\u2019t even remember!\u201d Are you someone who uses gestures when speaking? If so, great! Use your natural gestures to create purposeful aesthetic emphasis for your audience. If you were standing around talking to your friends and wanted to list three reasons why you should all take a road trip this weekend, you would probably hold up your fingers as you counted off the reasons (\u201cFirst, we hardly ever get this opportunity. Second, we can\u2026\u201d). Pay attention to how you use your hands in regular conversations and incorporate that into your delivery. Be mindful of not being over the top and gesturing at every other word. Remember that gestures highlight and punctuate information for the audience, so using too many gestures (like jazz hands) can be distracting. Similarly, are you someone who generally rests your arms at your sides? That\u2019s OK, too! Work to keep a natural (and not stiff) look, but challenge yourself to integrate a few additional gestures throughout the speech.<\/p>\n<h3><span class=\"import-Heading2Char\">Feet and Posture<\/span><\/h3>\n<p class=\"import-Normal\">Just as it does through your hands, nervous energy may try to work its way out of your body through your feet. Common difficulties include:<\/p>\n<ul>\n<li><em>The side-to-side.<\/em> You may feel awkward standing without a lectern and try to shift your weight back and forth. On the \u201ctoo much\u201d end, this is most common when people start \u201cdancing\u201d or stepping side to side.<\/li>\n<li><em>The twisty-leg.<\/em> Another variation is to twist the feet around each other or the lower leg.<\/li>\n<li><em>Stiff-as-a-board.<\/em> At the other end are speakers who put their feet together, lock their knees, and remain in that position. Locked knees can restrict oxygen to the\u00a0brain, so there are many reasons to avoid this difficulty.<\/li>\n<\/ul>\n<p class=\"import-Normal\">These options look unnatural and, therefore, will distract your audience. The default position for your feet is to have them shoulder-width apart, with your knees slightly bent. Since public speaking often results in some degree of physical exertion, you must treat speaking as a physical activity. Public speaking is, after all, a full-body experience. Being in tune and attuned to your body will enable you to communicate in a way that\u2019s comfortable for you and your audience. In addition to keeping your feet shoulder-width apart, focus on maintaining good<span style=\"text-align: initial; font-size: 1em;\"><span style=\"margin: 0px; padding: 0px;\">\u00a0posture.\u00a0<span style=\"font-size: 1em;\">Good posture will eventually become habitual if you focus on it over time<\/span><\/span>.<\/span><\/p>\n<h3 class=\"import-Normal\"><span class=\"import-Heading3Char\">Moving in the Space<\/span><\/h3>\n<p class=\"import-Normal\">We know you\u2019re likely wondering, \u201cShould I do any other movement around the room?\u201d<\/p>\n<p class=\"import-Normal\">Unfortunately, there isn\u2019t an easy answer. Movement depends on two overarching considerations:<\/p>\n<p class=\"import-Normal\" style=\"padding-left: 40px;\">1) What\u2019s the space?<\/p>\n<p class=\"import-Normal\" style=\"padding-left: 40px;\">2) What\u2019s the message?<\/p>\n<p class=\"import-Normal\">First, movement is always informed by the space in which you speak. Consider the two following examples:<\/p>\n<ul>\n<li>You\u2019ll present at a university where a podium is set up with a stable microphone.<\/li>\n<li>You\u2019re speaking at a local TED Talk event with an open stage.<\/li>\n<\/ul>\n<p class=\"import-Normal\">Both scenarios provide constraints and opportunities for movement.<\/p>\n<figure id=\"attachment_158\" aria-describedby=\"caption-attachment-158\" style=\"width: 300px\" class=\"wp-caption alignright\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-158 size-medium\" src=\"https:\/\/pressbooks.ccconline.org\/ppsccom2250organizationalcommunication\/wp-content\/uploads\/sites\/231\/2021\/08\/Michael_Ondaatje_Tulane_Lecturn_2010-scaled-1.jpg\" alt=\"Man speaking at lecture with a microphone\" width=\"300\" height=\"200\" \/><figcaption id=\"caption-attachment-158\" class=\"wp-caption-text\">Image #1: Using a lectern provides nonverbal opportunities and constraints <span style=\"text-align: initial; font-size: 1em;\">You must stay behind the microphone in the university space to guarantee sound. \u00a0While somewhat constraining, this setup\u00a0<\/span><span style=\"margin: 0px; padding: 0px;\">allows a stable location to place your notes and a microphone to assist in\u00a0projecting, enabling<\/span><span style=\"text-align: initial; font-size: 1em;\">\u00a0you to focus on other verbal and nonverbal techniques.<\/span><\/figcaption><\/figure>\n<p class=\"import-Normal\">In the TED Talk example, you are not constrained by a stable microphone and have a stage for bodily movement. The open stage means the entire space becomes part of the audience&#8217;s aesthetic experience. However, if you are less comfortable with movement, the open space may feel intimidating because audiences may assume you\u2019ll use the entire space. Once you understand the speaking space and the speech content, you can use movement to enhance your audience&#8217;s aesthetic experience.<\/p>\n<p class=\"import-Normal\">One benefit of movement is that it allows you to engage with different sections of the audience. If you are not confined to a single spot (such as a podium or a seat), you can use movement to engage with the audience by adjusting your spatial dynamic. You can move your body to different sides of the stage and the audience. Such use of space enables each side of a room to be pulled into the content because you close the physical distance and create clear pathways for eye contact.<\/p>\n<figure id=\"attachment_49\" aria-describedby=\"caption-attachment-49\" style=\"width: 300px\" class=\"wp-caption alignleft\"><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-161\" src=\"https:\/\/pressbooks.ccconline.org\/ppsccom2250organizationalcommunication\/wp-content\/uploads\/sites\/231\/2021\/08\/TED_Talk_Santa_Barbara_CA-scaled-1.jpg\" alt=\"Meredith O'Connor giving a TedTalk\" width=\"300\" height=\"200\" \/><figcaption id=\"caption-attachment-49\" class=\"wp-caption-text\">Image #2: Some speech stages allow, even expect, movement<\/figcaption><\/figure>\n<p class=\"import-Normal\">Without these changes, sections of the audience may feel lost or forgotten. Consider your role as a student. Have you ever had a professor or teacher who stays in one place and does not move to different parts of the room? Keeping motivated to listen or take notes can be challenging if a speaker dominates one area of the space. Changing the spatial dynamics goes beyond moving from side to side. You can also move forward and backward. This allows you to move closer to the audience or back away, depending on what experience you\u2019re trying to create.<\/p>\n<p class=\"import-Normal\">In addition to engaging with the audience, movement often signals a transition between ideas or an attempt to convey a critical component of your information visually. You may want to signal a change in time or mark progression. If you\u2019re walking your audience through information chronologically, movement can mark that temporal progression where your body becomes the visual marker of time passing. When you speak, moving in the space can be beneficial. As you plan your purposeful movement, be aware of the message you\u2019re providing and the space in which you\u2019re speaking.<\/p>\n<hr \/>\n<h2>Verbal Delivery<\/h2>\n<p class=\"import-Normal\">Humans are communicators. We rely on communication processes to make sense of our world and on others\u2019 communicating with us to create shared meaning. Through symbols, we use and adapt language with one another and our communities.<\/p>\n<p class=\"import-Normal\">The same is true for speeches, but what symbols you select and how you portray them\u2014what we\u2019ll call <strong><a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_115_317\">verbal delivery<\/a><\/strong>\u2014 are dependent on your audience and how they experience or comprehend what you say. For example, consider your favorite podcaster or a podcast series you enjoy. We love crime podcasts! Despite relying solely on verbal delivery, the presenters\u2019 voices paint a vivid picture as they walk us through stories of crime, murder, and betrayal. So, how do they do it? What keeps millions of people listening to podcasts and returning to their favorite verbal-only speakers? Is it how they say it? Is it the language they choose? All of these are essential parts of effective verbal delivery.<\/p>\n<p class=\"import-Normal\">Below, we begin discussing verbal delivery, looking at the following topics:<\/p>\n<ol>\n<li class=\"import-Normal\">projection<\/li>\n<li class=\"import-Normal\">vocal enunciation<\/li>\n<li>rate<\/li>\n<li>vocal pauses<\/li>\n<\/ol>\n<h3>Projection<\/h3>\n<p class=\"import-Normal\">\u201cLouder!\u201d<\/p>\n<p class=\"import-Normal\">You may have experienced a situation where an audience notified a speaker that they couldn\u2019t be heard. \u201cLouder!\u201d Here, the audience is letting the speaker know to increase the volume or the relative softness or loudness of one\u2019s voice. In this example, the speaker needed to fully project their vocals to fit the speaking-event space by increasing their volume. In a more formal setting, however, an audience may be reluctant to give such candid feedback, so it is your job to prepare. <strong><a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_115_318\">Projection<\/a><\/strong> is a strategy\u00a0<span style=\"margin: 0px; padding: 0px;\">to\u00a0<em>fill the space vocally<\/em><\/span>; thus, the space dictates which vocal elements need to be adapted because every person in the room should comfortably experience your vocal range. If you speak too softly (with insufficient volume or without projecting), your audience will struggle to hear and understand, and may give up trying to listen. If you speak with too much volume, your audience may feel that you are yelling at them, or at least feel uncomfortable with you shouting. The volume you use should be appropriate for the size of the audience and the room.<\/p>\n<h3>Vocal Enunciation<\/h3>\n<p class=\"import-Normal\"><strong><a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_115_319\">Vocal enunciation<\/a><\/strong> is often reduced to pronouncing words correctly, but enunciation also describes the expression of words and language. Have you ever spoken to a friend who replied, \u201cStop that! You\u2019re mumbling.\u201d If so, they\u2019re telling you they can\u2019t understand your message. You may have pronounced the words correctly but had poorly enunciated them, leading to reduced comprehension. One technique to increase enunciation occurs during speech rehearsal, known as the \u201cdash\u201d strategy: <em>e-nun-ci-ate e-<\/em><em>ve<\/em><em>&#8211;<\/em><em>ry<\/em> <em>syll<\/em><em>&#8211;<\/em><em>a<\/em><em>&#8211;<\/em><em>bal<\/em> <em>in your pre-<\/em><em>sen<\/em><em>-ta-<\/em><em>tion<\/em><em>.\u00a0 <\/em>The dashes signify distinct enunciation to create emphasis and expression. However, don\u2019t go overboard! The dash strategy is an exaggerated exercise, but can lead to a choppy vocal delivery. Instead, use the dash strategy to identify areas where complicated and longer words require more punctuated emphasis, and through rehearsal, naturally integrate those areas of emphasis into your presentational persona.<\/p>\n<h3>Rate<\/h3>\n<p class=\"import-Normal\">The <strong><a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_115_320\">rate<\/a> <\/strong>is how quickly or slowly you say the words of your speech. A slower rate may suggest that you do not fully understand the speech. \u201cWhere is this going?\u201d they may wonder. It might also be slightly dull if the audience is processing information faster than it\u2019s being presented. By contrast, speaking too fast can overly tax an audience\u2019s ability to keep up with and digest your words. It sometimes helps to imagine that your speech is a jog you and your friends (the audience) are taking together. You (as the speaker) are setting the pace based on how quickly you speak. If you start sprinting, it may be too difficult for your audience to keep up, and they may give up halfway through. Most people who babble know they babble, and if that applies to you, just be sure to practice slowing down and writing yourself delivery cues in your notes to maintain a more comfortable rate.<\/p>\n<p class=\"import-Normal\">You will want to maintain a deliberate rate at the beginning of your speech, as your audience will become accustomed to your voice. We have all called a business where the person answering the phone mumbles the company&#8217;s name, and we aren\u2019t sure if we called the correct number. Since the introduction is designed to get the audience\u2019s attention and arouse interest in your speech, you will want to focus on a clear vocal rate here. You might also consider varying the rate depending on the type of information being communicated. While you\u2019ll want to be careful not to go too slow consistently, slowing your rate for difficult supporting material may be helpful. Similarly, quickening your rate in specific segments can communicate urgency. Although the experience might seem awkward, watching yourself speak via recording (or webcam) is a great way to gauge your natural rate and pace.<\/p>\n<h3 class=\"import-Normal\"><span class=\"import-Heading2Char\">Vocal Pauses<\/span><\/h3>\n<p class=\"import-Normal\">The common misconception for public speaking students is that pausing during your speech is terrible, but <strong><a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_115_321\">vocal pauses<\/a><\/strong> can increase both the tone and comprehension of your argument. This is especially true if you are making a critical point or want a statement to have a powerful impact: you will want to give the audience a moment to digest what you have said. You may also provide new or technical information to an audience needing additional time to absorb your words.<\/p>\n<p class=\"import-Normal\">For example, consider the following statement:<\/p>\n<div class=\"textbox\">Due to issues such as pollution and overpopulation, in 50 years, the Earth\u2019s natural resources will be so depleted that it will become difficult for most people to obtain enough food to survive.<\/div>\n<p class=\"import-Normal\">Following a statement like this, you want to give your audience a brief moment to consider what you are saying fully. Use audience nonverbal cues and feedback (and provide them as an audience member) to determine whether additional pauses may be necessary for comprehension. Audiences are generally reactive and will use facial expressions and body language to communicate whether they are listening, confused, angry, or supportive. Of course, there is such a thing as pausing too much, both in frequency and length. Someone who pauses too often may appear unprepared. Someone who pauses too long (more than a few seconds) risks the audience feeling uncomfortable or, even worse, becoming distracted or letting their attention wander. Pauses should be controlled to maintain the audience&#8217;s attention and create additional areas of emphasis.<\/p>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Key Takeaways<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<ul>\n<li>How you communicate your speech\u2014and how the audience interprets the information\u2014will depend on your visual delivery and verbal delivery.<\/li>\n<li>Your visual delivery will depend on the nonverbal elements of your speech, which include eye contact, facial expressions, attire, and movement.<\/li>\n<li>Your verbal delivery will depend on how you say the words themselves. Are you speaking loudly enough? Clear enough? How fast are you talking? \u00a0Are you pausing sufficiently to let your words resonate with the audience? These things will impact how the audience interprets and retains what you say.<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Attribution<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p>This chapter is adapted from \u201c<a href=\"https:\/\/speakupcallin.pressbooks.com\/chapter\/chapter-8-verbal-delivery\/\">Speak Out, Call In: Public Speaking as Advocacy<\/a>\u201d by Meggie Mapes (on <a href=\"https:\/\/pressbooks.com\/\">Pressbooks<\/a>). It is licensed under a <a href=\"https:\/\/creativecommons.org\/licenses\/by-nc-sa\/4.0\/\">Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License<\/a><\/p>\n<p>Image #1: &#8220;<a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Michael_Ondaatje_Tulane_Lecturn_2010.jpg\">Michael Ondaatje Tualane Lecturn 2010<\/a>&#8221; <a href=\"https:\/\/commons.wikimedia.org\/wiki\/Main_Page\">(on Wikimedia Commons)<\/a> is used under a \u00a0<a class=\"extiw\" title=\"w:en:Creative Commons\" href=\"https:\/\/en.wikipedia.org\/wiki\/en:Creative_Commons\">Creative Commons<\/a>\u00a0<a class=\"external text\" href=\"https:\/\/creativecommons.org\/licenses\/by\/2.0\/deed.en\" rel=\"nofollow\">Attribution 2.0 Generic License<\/a><\/p>\n<p>Image #2: &#8220;<a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:TED_Talk_Santa_Barbara,_CA.jpg\">TED Talk Santa Barbara, CA<\/a>&#8221; <a href=\"https:\/\/commons.wikimedia.org\/wiki\/Main_Page\">(on Wikimedia Commons)<\/a> is used under a \u00a0<a class=\"extiw\" title=\"w:en:Creative Commons\" href=\"https:\/\/en.wikipedia.org\/wiki\/en:Creative_Commons\">Creative Commons<\/a> <a class=\"external text\" href=\"https:\/\/creativecommons.org\/licenses\/by-sa\/4.0\/deed.en\" rel=\"nofollow\">Attribution-Share Alike 4.0 International License<\/a><\/p>\n<\/div>\n<\/div>\n<div class=\"glossary\"><span class=\"screen-reader-text\" id=\"definition\">definition<\/span><template id=\"term_115_316\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_115_316\"><div tabindex=\"-1\"><p>the way you use elements of nonverbal communication\u2014eye contact, facial expressions, attire, and movement\u2014to communicate your message<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_115_317\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_115_317\"><div tabindex=\"-1\"><p>using your voice to communicate a message through projection, vocal enunciation and punctuation, pace and rate, and vocal pauses<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_115_198\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_115_198\"><div tabindex=\"-1\"><p>the transfer of information through the use of body language including eye contact, facial expressions, gestures and more<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_115_202\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_115_202\"><div tabindex=\"-1\"><p>the receiver or receivers of a message<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_115_210\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_115_210\"><div tabindex=\"-1\"><p>a quality that allows others to trust and believe you<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_115_219\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_115_219\"><div tabindex=\"-1\"><p>a rhetorical appeal that addresses the values of an audience as well as establishes authorial credibility\/character<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_115_220\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_115_220\"><div tabindex=\"-1\"><p>a rhetorical appeal that tries to tap into the audience's emotions to get them to agree with a claim<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_115_318\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_115_318\"><div tabindex=\"-1\"><p>a technique for making your voice loud and clear that is more than just speaking loudly or shouting<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_115_319\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_115_319\"><div tabindex=\"-1\"><p>a speaking technique where words are pronounced correctly and expressed in such a way that it draws in the audience<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_115_320\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_115_320\"><div tabindex=\"-1\"><p>how quickly or slowly you speak during a presentation<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_115_321\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_115_321\"><div tabindex=\"-1\"><p>a strategic pause during a presentation that gives your audience a chance to fully understand what has been said<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><\/div>","protected":false},"author":101,"menu_order":4,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"class_list":["post-115","chapter","type-chapter","status-publish","hentry"],"part":93,"_links":{"self":[{"href":"https:\/\/pressbooks.ccconline.org\/2250organizationalcommunication\/wp-json\/pressbooks\/v2\/chapters\/115","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pressbooks.ccconline.org\/2250organizationalcommunication\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/pressbooks.ccconline.org\/2250organizationalcommunication\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/pressbooks.ccconline.org\/2250organizationalcommunication\/wp-json\/wp\/v2\/users\/101"}],"version-history":[{"count":26,"href":"https:\/\/pressbooks.ccconline.org\/2250organizationalcommunication\/wp-json\/pressbooks\/v2\/chapters\/115\/revisions"}],"predecessor-version":[{"id":2735,"href":"https:\/\/pressbooks.ccconline.org\/2250organizationalcommunication\/wp-json\/pressbooks\/v2\/chapters\/115\/revisions\/2735"}],"part":[{"href":"https:\/\/pressbooks.ccconline.org\/2250organizationalcommunication\/wp-json\/pressbooks\/v2\/parts\/93"}],"metadata":[{"href":"https:\/\/pressbooks.ccconline.org\/2250organizationalcommunication\/wp-json\/pressbooks\/v2\/chapters\/115\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/pressbooks.ccconline.org\/2250organizationalcommunication\/wp-json\/wp\/v2\/media?parent=115"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/pressbooks.ccconline.org\/2250organizationalcommunication\/wp-json\/pressbooks\/v2\/chapter-type?post=115"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/pressbooks.ccconline.org\/2250organizationalcommunication\/wp-json\/wp\/v2\/contributor?post=115"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/pressbooks.ccconline.org\/2250organizationalcommunication\/wp-json\/wp\/v2\/license?post=115"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}