Speech Clarity

Successful voice production also depends on body posture and proper breathing control. Consult a voice trainer or speech therapist if you can afford it: any such lessons will be an investment in your future career. They will be well worth the financial sacrifice and are probably tax-deductible anyway.

If you are left to your own devices, read some of the many books on the subject, and make use of modern technology.

Try reading your scripts into a tape recorder and be as honestly critical as possible of the results when playing them back. Don’t cheat by referring to the original material. Put it aside and listen carefully, making sure you have understood every word you have said. If not, practise until it sounds right.

A second stage might be to use a home video camera to reveal other possible faults. Some readers are surprised to discover they close or screw up their eyes when faced with unfamiliar words or pronunciation.

Whatever method you decide to use, do not be afraid to experiment with ‘difficult’ readings. Mastery of a range of material will give you confidence, and if you detect problems seek expert advice as soon as possible.

No smoking rules

Those who use their voice professionally should smoke very little or not at all. Michael McCallion, who taught voice at the Royal Academy of Dramatic Art and whose work includes helping actors, pop singers, and politicians in many parts of the world, also believes heavy spirit drinking should be avoided (The Voice Book: see page 168). It is better not to drink alcohol at all before a reading performance, so when pre-programme courtesies are being extended, keep off the gin, and stick to the tonic.

Conquering stage fright

In your early days of television reporting–whether it is on location or in the studio–nerves are bound to affect your work. Symptoms include chest tightness, faster beating of the heart, and a dry throat and mouth.

It can become a vicious circle: if you seem too nervous on screen, editors may not be prepared to risk putting you on; the less you appear, the more your confidence drains; the less confidence you have, the more nervous you will become, and so on.

The answer is to offer to do anything which will diminish your fear of the microphone. Reading off-camera voice-overs and programme ‘trailers’ may not be the same as full-scale reporting, but they do allow the use of your voice in public performance.