Theocratic Aid To Kingdom Publishers

Lesson 17

EFFECTIVE PUBLIC READING (Part 2)

The main essentials of effective public reading have been discussed in the previous lesson, with the exception of oral emphasis and modulation, which are taken up in detail in separate lessons. However, there remain a few minor points that will add polish and effectiveness to public reading. In addition to these points this lesson will offer counsel as to speaking over a public-address system, and a brief comment relative to radio speaking.

First, some miscellaneous points worthy of note. One may naturally avoid the eyes of his listeners in conversation, which is a bad habit and makes a poor impression. It is also bad in public speaking or reading. Even in reading from time to time maintain visual contact with the hearers by looking up from the script. It will be particularly easy to do toward the end of sentences. Text matter inserted in parentheses is uttered in a lowered voice and with slight stops at each mark and the text between the parentheses is read in a more casual tone and quite often

a little faster. A quotation can be read in such a manner as to make the quotation marks audible simply by pausing before the quotation and reading it with a different pitch. It can be allowed to stand like reading, not the same endeavor being made to make it seem conversational. Thus one will often find it unnecessary to open and close the quoted material with the expressions "quote" and "unquote".

MICROPHONE SPEAKING. On the platform one uses the enlarged conversational manner of speaking, and in speaking over a public-address system he follows the same style but with lessened volume. Never hover close to the microphone and shout into it. It will shatter one's speaking and it will be difficult to understand, in addition to being extremely nerve-racking. It is not necessary to shout to make oneself heard, because sufficient volume is given by electrical amplification. Such sudden and extreme changes of volume are difficult for the operator to control. The speaker needs only supply the enthusiastic expression; the operator will amplify the volume to the needed degree. One can greatly assist the operator by listening to his own voice as it comes from the loud-speakers. The speaker should follow the instructions of the operator as to the distance his mouth should be from the microphone. Then if the talk is somewhat low the operator can raise it, or if it is loud he can lower the volume. However, the operator cannot cut down beyond a certain point. Hence, if one crowds dose to the microphone and shouts into it, the operator is powerless to cut the volume to what it should be.

Another point as to speaking into the microphone. One should speak directly toward the "mike". This means he should avoid turning his head from one side to the other. It directs the voice away from the microphone and causes great fluctuation in the volume of sound it picks up. Furthermore, the operator will not be able to correct it by electrical amplification, because he cannot anticipate your moves.

At times the beginner believes that he will have to clear his throat before he can say another word. More times than not the sensation is purely nervous, but if one feels that he simply must clear his throat he should never make the grave error of doing so into the microphone. A frightful noise will be the result. Rather he should step backward and turn his head aside and hold the script at the side of his mouth nearer the microphone.

Emphatic gestures must be largely sacrificed, because they might upset the microphone. Substitute for descriptive gestures greater expressiveness and modulation of the voice. The movement of the upper part of the body and head can be quite effective if properly used and if care is always taken to see that the voice is directed toward the microphone. Facial expression will play its part, but, of course, will not be so effective to large gatherings.

A brief comment as to speaking over the radio. It is essentially simple though not always easy to put into practice. At the microphone there is no large visible audience present. Gestures are of no use except as modified ones might aid the speaker to be expressive. Just read the script in an easy, conversational way. The vigorous, enlarged conversational tone of the platform is not needed. The main requirement for radio speaking is an animated conversational tone without much vocal enlargement. Why? Over the radio one speaks to one or two persons, rarely to a larger group, and they are usually in a living room, bedroom, or kitchen. For this reason one should be as informal and relaxed as if in the listener's living room, as if he were speaking face to face with the small family circle. Remember always that one is just conversing with the folks at home. Also remember the time element; it must be strictly observed in radio speaking.

Many points have been given as to technique in effective public reading, whether from the speaker's platform with or without a microphone, or over the radio. Yet one cannot think of these things as he reads. However, through con-

sciousness of these points and application of them in practice sessions and through experience one makes them his own. He will understand the mechanics of good reading but will not read mechanically, thinking about such things as he reads. Rather he will be speaking with his mind filled with the import of the message, and his hearers will not be impressed by him personally but by the message. His effective interpretative reading will not sound like dull print, but like vibrant life.