The information in this section is from the following open textbooks:
Communication in the Real World by University of Minnesota is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License, except where otherwise noted.
Stand up, Speak out by University of Minnesota is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License, except where otherwise noted.
The video below will provide a nice preview of all of the concepts discussed in this section:
Methods of Delivery
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.
In this class, your presentations will be delivered Extemporaneously.
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.
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 that our ideas are communicated 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 doesn’t communicate enthusiasm will translate into a lack of interest for most audience members. Although a speaker can be visually engaging by incorporating movement and gestures, which we will discuss more later, 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. 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. Having evaluated thousands of speeches, I can say that, in terms of rate, the issue speakers face is speaking too fast. 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.
Some people naturally speak faster than others, which is fine, but we can all alter our rate of speaking with practice. If you find that you are a naturally fast speaker, make sure that you do not “speed talk” through your speech when practicing it. Even if you try to hold back when actually delivering your speech, you may fall back into your practice routine and speak too fast. You can also include reminders to “slow down” on your speaking outline.
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. 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 to be heard by the entire audience. Like rate, audiences use volume to make a variety of judgments about a speaker. Softer speakers are sometimes judged as meek, which 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, there are more physiological limitations on the control we have over pitch. For example, males generally have lower pitched voices than females. Despite these limitations, each person still has the capability to intentionally 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. 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. There is a stark difference between the way I hear students speak before and after class and the way they speak when they get in front of the class. It’s like 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. Many of my students note this on the self-evaluations they write after viewing their recorded speech.
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. 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. 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’s 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. 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 don’t make a concerted effort to articulate every word clearly and pronounce every word correctly, and most of the people we talk to either don’t notice our errors or don’t 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 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. 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. I’m sure we all know someone who mumbles when they speak or slurs their words together. From my experience, this is a problem that I’ve noticed more among men than women. Both mumbling and slurring are examples of poor articulation. In more informal settings, this type of speaking may be acceptable, but in formal settings, it will be negatively evaluated, which will hurt a speaker’s credibility. Perhaps the promise of being judged more favorably, which may help a person become more successful, is enough to motivate a mumbler to speak more clearly.
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. Mispronouncing words can damage a speaker’s credibility, especially when the correct pronunciation of a word is commonly known. I have actually heard someone, presenting on the topic of pronunciation, mispronounce the word pronunciation, saying “pro-NOUN-ciation” instead of “pro-NUN-ciation.” In such a case, it would not be unwarranted for the audience to question the speaker’s expertise on the subject.
We all commonly run into words that we are unfamiliar with and therefore may not know how to pronounce. I offer my students three suggestions when faced with this problem. The first is to 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 consistently use that pronunciation to avoid confusing your audience. If a word doesn’t include an audio pronunciation, you can usually find the phonetic spelling of a word, which is the word spelled out the way it sounds. There will occasionally be words that you can’t locate in a dictionary. These are typically proper nouns or foreign words. In this case, I suggest 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’re probably safe to take their suggestion. The third option is to “fake it ‘til you make it” and should only be used as a last resort. If you can’t find the word in a dictionary and your smart friends don’t know how to pronounce it, it’s 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. There are two main disfluencies, or problems that 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’re saying next. 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. 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.
Common Causes of Fluency Hiccups
- Lack of preparation. Effective practice sessions are the best way to prevent fluency hiccups.
- Not writing for speaking. If you write your speech the way you’ve been taught to write papers, you will have fluency hiccups. You must translate the written words into something easier for you to present orally. To do this, read your speech aloud and edit as you write to make sure your speech is easy for you to speak.
- A poorly prepared speaking outline. Whether it is on paper or note cards, sloppy writing, unorganized bullet points, or incomplete/insufficient information on a speaking outline leads to fluency hiccups.
- Distractions. Audience members and the external environment are unpredictable. Hopefully audience members will be polite and will silence their phones, avoid talking while the speaker is presenting, and avoid moving excessively. There could also be external noise that comes through a door or window. A speaker can also be distracted by internal noise such as thinking about other things.
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 doesn’t 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.
Facial expressions can help bring a speech to life when used by a speaker to communicate emotions and demonstrate enthusiasm for the speech. As with vocal variety, we tend to use facial expressions naturally and without conscious effort when engaging in day-to-day conversations. Yet I see many speakers’ expressive faces turn “deadpan” when they stand in front of an audience. Some people naturally have more expressive faces than others—think about the actor Jim Carey’s ability to contort his face as an example. But we can also consciously control and improve on our facial expressions to be more effective speakers. 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 shouldn’t 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. There is some more specific advice about assessing and improving your use of facial expressions in the “Getting Competent” box in this chapter.
Facial expressions help set the emotional tone for a speech, and it is important that your facial expressions stay consistent with your message. 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 also 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 aren’t bored, for example, a slack face with little animation may lead an audience to think that you are bored with your own speech, which isn’t 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 is an important element of nonverbal communication in all communication settings. Eye contact can make people feel welcome/unwelcome, comfortable/uncomfortable, listened to / ignored, and so on. As a speaker, eye contact can also be used to establish credibility and hold your audience’s attention. We often interpret a lack of eye contact to mean that someone is not credible or not competent, and as a public speaker, you don’t 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 like we’re paying attention actually leads us to pay attention and better retain information.
Eye contact is an aspect of delivery that beginning speakers can attend to and make noticeable progress on early in their speech training. By the final speech in my classes, I suggest that my students make eye contact with their audience for at least 75 percent of their speech. Most speakers cannot do this when they first begin practicing with extemporaneous delivery, but continued practice and effort make this an achievable goal for most.
Norms for eye contact vary among cultures. 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.
Tips for Having Effective Eye Contact
- Once in front of the audience, establish eye contact before you speak.
- Make slow and deliberate eye contact, sweeping through the whole audience from left to right.
- Despite what high school speech teachers or others might have told you, do not look over the audience’s heads, at the back wall, or the clock. Unless you are in a huge auditorium, it will just look to the audience like you are looking over their heads.
- Do not just make eye contact with one or a few people that you know or that look friendly. Also, do not just make eye contact with your instructor or boss. Even if it’s comforting for you as the speaker, it is usually awkward for the audience member.
- Try to memorize your opening and closing lines so you can make full eye contact with the audience. This will strengthen the opening and closing of your speech and help you make a connection with the audience.
Physical Delivery and the Body
Have you ever gotten dizzy as an audience member because the speaker paced back and forth? I know I have. Anxiety can lead us to do some strange things with our bodies, like pacing, that we don’t normally do, so it’s important to consider the important role that your body plays during your speech. Extra movements caused by anxiety are called nonverbal adaptors, and 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’s important to have an erect posture that communicates professionalism and credibility. 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. 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 doesn’t 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’re 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. 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. 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 it can be beneficial to plan a key gesture or two in advance, it is generally best to gesture spontaneously in a speech, just as you would during a regular conversation. For some reason, students are insecure about or uncomfortable with gesturing during a speech. Even after watching their speech videos, many students say they think they “gestured too much” or nit-pick over a particular gesture. Out of thousands of speeches I’ve seen, I can’t recall a student who gestured too much to the point that it was distracting. Don’t try to overdo your gestures though. You don’t want to look like one of those crazy-arm inflatable dancing men that companies set up on the side of the road to attract customers. But more important, don’t try to hold back. Even holding back a little usually ends up nearly eliminating gestures. 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. I caution my students against having what I call “spaghetti noodle arms,” where they raise their hand to gesture and then let it flop back down to their side.
Sometimes movement of the whole body, instead of just gesturing with hands, is appropriate in a speech. I recommend that beginning speakers hold off trying to incorporate body movement from the waist down until they’ve gotten at least one speech done. This allows you to concentrate on managing anxiety and focus on more important aspects of delivery like vocal variety, avoiding fluency hiccups and verbal fillers, and improving eye contact. 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. 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 back to the center. Obviously you don’t 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.
Looking like a credible and prepared public speaker will make you feel more like one and will make your audience more likely to perceive you as such. This applies to all speaking contexts: academic, professional, and personal. Although the standards for appropriate personal appearance vary between contexts, meeting them is key. You may have experienced a time when your vocal and physical delivery suffered because you were not “dressed the part.” The first time I ever presented at a conference, I had a terrible cold and in my hazy packing forgot to bring a belt. While presenting later that day, all I could think about was how everyone was probably noticing that, despite my nice dress shirt tucked into my slacks, I didn’t have a belt on. Dressing the part makes you feel more confident, which will come through in your delivery. Ideally, you should also be comfortable in the clothes you’re wearing. If the clothes are dressy, professional, and nice but ill fitting, then the effect isn’t the same. Avoid clothes that are too tight or too loose. Looking the part is just as important as dressing the part, so make sure you are cleaned and groomed in a way that’s appropriate for the occasion.
Take a look at the example below. This is the 2019 World Champion of Public Speaking from the Toastmaster’s Organization. Try to pay attention to the delivery elements that make this presentation engaging.
Cullen, L. T., “What (Not) to Wear to Work,” Time, June 9, 2008, 49.
Heathfield, S. M., “Dress for Success: A Business Casual Dress Code,” About.com, accessed February 7, 2012, http://humanresources.about.com/od/workrelationships/a/dress_code.htm.
Koch, A., Speaking with a Purpose, 7th ed. (Boston, MA: Pearson, 2007), 105.
Verner, A., “Interview? Ditch the Navy Suit,” The Globe and Mail, December 15, 2008, L1.