Twice last week I encountered speakers with a high number of UPMs: Uhms Per Minute.

I was willing to forgive one of them.  His UPMs were around 16. I wasn’t so easy on the other guy.  His UPMs were around 12, but they were more disruptive.

I’m not sure why.  Let me blog out loud.

The guy with the higher UPM rate was older, and the Chairman of a company.  He spoke with quiet confidence at a thoughtful pace, taking his time to choose his words carefully.  It was during his thoughtful moments that his UPMs came out.  They were quick and discreet UPMs, like tiny bubbles of sound.

The guy whose UPM rate was about 12 was much younger, in his late 20s, and he spoke quickly.  It could be that his youthful appearance and the rapidity of his speech combined to create an impression of insecurity, which was made worse by the presence of his uhms.

His UPMs seemed to be signals of anxiety, whereas the Chairman’s UPMs seemed to be quirks or eccentricities.  No one could argue that the Chairman had not had a successful career.  He is at the top of his industry, and at the top of his game.

I could say no such thing about the younger guy.  He looked nervous, sounded nervous, and made me nervous about his ability to do the job being asked of him.

Could it be that the Chairman’s credibility could withstand the presence of 16 UPMs, while the younger guy’s relative youth and inexperience made his credibility vulnerable  to the presence of a mere 12?

I think so.  The Chairman would be a better speaker, and a shorter one, if he cleaned up his act.  But the younger guy is going to have to find a sense of ease in front of a crowd, and that will take a whole different set of muscles.

Sims Wyeth is a speech coach in Montclair, NJ specializing in presentation skills and public speaking training in order to give accomplished people the knowledge and skill they need to become accomplished speakers. Learn more public speaking tips at www.SimsWyeth.com.

Hamlet is the Prince of Denmark in Shakespeare’s play called Hamlet, written around 1603.   He hires a bunch of actors to put on a play that he’s written, and he gives them coaching on how to speak their lines.

Four-hundred and six years later, what he says remains good advice for presenters too. 

So here’s what happening in the scene.  After he’s told them not to wave their arms around too much, he tells them to loosen up, but also make sure that their gestures relate to what they’re saying.

“Be not too tame neither, but let your own discretion be your

tutor. Suit the action to the word, the word to the action, with this

special observance, that you o’erstep not the modesty of nature”

To be most effective, and to look natural, gestures should come before the key word you’re emphasizing, or in the middle of the word.

Jimmy Carter had trouble with this on one occasion.  He was speaking from the Oval Office to the American people, saying that the economy was “heading up.”  Only after he finished the phrase did he move his arm to point skyward.  It looked as if his mind was not connected to his body.  Or that he had rehearsed a gesture, but forgot to do it, and tacked it on at the end when he remembered.

Finally, Hamlet says to his actors, “Don’t overstep modesty,” or words to that effect.  What does that mean? 

It means that when in front of an audience it’s best to express passion artfully with your voice, rather than with large, emphatic gestures.

President Obama is highly effective at this.  He communicates passion with his voice, even though his body is relaxed and still. The combination communicates power and control.  

To read more about Hamlet as a speech coach, go to executivespeechcoachnj.com.

Sims Wyeth is a private speech coach in Montclair, NJ specializing in executive speech coaching and public speaking training in order to give accomplished people the knowledge and skill they need to become accomplished speakers. Learn more public speaking tips at www.SimsWyeth.com.

When I was in acting school in New York, I was sent to a famous voice and speech teacher named Marian Rich. She lived in an apartment on East 16th Street, and taught her group and private sessions in her living room. As a group student, I sat in a circle of folding chairs and got to know the other students rather quickly.

Marian had taught many of the luminaries of Hollywood and the Broadway stage, including Marlon Brando, Geraldine Page, and Al Pacino, to name a few. She was a demanding teacher, and did not tolerate bad attitudes or behaviors.

She taught us that the voice is a wind instrument, and that to use it well, we must start by learning how to breathe. This we did, lying on the floor, observing our lower abdomens, floating ribs, lower backs,and upper torsos as we inhaled and exhaled with care and precision.

We learned to find the energy of the voice in the breath stream rather than in squeezing the throat or lifting and dropping the sternum.

We learned to speak with an open throat, to find our optimal pitch and resonance, and to expand our range of expressiveness. I recall Marian saying that in well-spoken English, there is a change of pitch on every stressed syllable.

Most of us don’t like hearing our own voices. One reason is that we normally experience our own sounds through the conduction of bone, whereas a recording is made through air–the way others hear us–two very different media.

The sound of your voice is a huge part of your presence in this world. If you have an attractive voice, people give you the benefit of the doubt.

If you have a deep, powerful, authoritative voice, people are more likely to agree with you.

If you have a tentative, whiney voice that goes up at the ends of sentences, you are more likely to be dismissed as a lightweight.

The great thing is, your voice can be developed, expanded, strengthened. It is there for you to mold into a thing of beauty and power.

If you don’t like the sound of your own voice, you can change it. 

I know this, because I did it.  And it’s not a phoney, cosmetic change.  It’s basically knowing how to use the equipment you were born with.