Unfiltered Thoughts

2021.11.02 – 0306 – 12 – Positive Intonation About Negative InformationRemember earlier we looked at the fulcrum of facts in a story or sentence? That is, ‘this person says this and that person says that’? Well that can be developed into situations when ‘that person says this happened and that person says it did not’. In other words, negatives, opposites, contrasts and contradictions. Words such as “didn’t”, “disagreed”, “refused”, “never”, “hadn’t”, “not”, “no” and “none” are usually key words because they point to what the sentence, story or script is about. The same goes for words which have a similar job in a sentence, “should”, “ought”, “may” and so on. Colouring such words then, highlights an actual (or implied) view which is opposite. “The moon is not made of green cheese” suggests that someone has just said that it is. A great place to look for examples of this sentence and intonation construction is in a court room – as what happens in there is very much a case of opposing accounts. “One witness said it was a man in a green hat, another said it was a woman in a red one”.  So if you started a story with “The trial of a police officer accused of murder, has heard claims that he did not set fire to the hostel where seven people died” then it would be natural to highlight the word “not”. “The officer was asked whether he had a can of fuel with him on the night. ‘I did not’ he replied”. “The prosecutor said ‘You of all people should know that carrying fuel is disallowed’” Well, here we have another type of negative in “disallowed”. Unlike “didn’t”, “hadn’t” “couldn’t” in which the negative is a suffix to the main word (did > did not and so on), disallowed (along with its cousins, disorder, disappear, disadvantage, non-essential, non-fiction, unable, unhappy, untidy, unlucky, unusual and so on) has a ‘negative prefix’ to the main word.  Look back at that list and say them to yourself. Don’t you naturally lift or colour the main part of the word rather than its ‘negative prefix’?  “The cat disappeared”, “where is the non-fiction section, please?”, “she was deeply unhappy” and so on. That’s apart from when we introduce our old friend ‘contrast’ again. If those sentences above were contradicting known or implied information then you would colour the prefix: “The cat loves playing in the cardboard box. It appeared and then disappeared”, “I can see the fiction shelves, but where is the non-fiction section, please?”, “He was overjoyed, but she was deeply unhappy”. Talking of negatives, and as I mentioned previously, be careful with the words “can” and can’t” as in some accents they may sound very similar (with my south east England accent I pronounce them ‘can’ and ‘carnt’, but in more northern areas it’s ‘can’ and ‘cant’). “Police say you can’t drive on the new road” – may be open to misinterpretation unless you say “cannot”.
Audio recording script and show notes (c) 2021 Peter Stewart Through these around-5-minute episodes, you can build your confidence and competence with advice on breathing and reading, inflection andprojection, the roles played by better scripting and better sitting, mic techniques and voice care tips... with exercises and anecdotes from a careerspent in TV and radio studios. If you're wondering about how to start a podcast, or have had one for a while - download every episode! And as themes develop over the weeks (that is, they are not random topics day-by-day), this is a free, course to help you GET A BETTERBROADCAST, PODCAST AND VIDEO VOICE. Look out for more details of the book during 2021. Contacts: https://linktr.ee/Peter_Stewart Peter has been around voice and audio all his working life and has trained hundreds of broadcasters in all styles of radio from pop music stations such as Capital FM and BBC Radio 1 to Heart FM, the classical music station BBC Radio 3 and regional BBC stations. He’s trained news presenters on regional TV, the BBC News Channel and on flagship programmes such as the BBC’s Panorama. Other trainees have been music presenters, breakfast show hosts, travel news presenters and voice-over artists. He has written a number of books on audio and video presentation and production (“Essential Radio Journalism”, “JournoLists”, two editions of “Essential Radio Skills” and three editions of “Broadcast Journalism”) and has written on voice and presentation skills in the BBC’s in-house newspaper “Ariel”. Peter has presented hundreds of radio shows (you may have heard him on BBC Radio 2, BBC Radio 4, Virgin Radio or Kiss, as well as BBC regional radio) with formats as diverse as music-presentation, interview shows, ‘special’ programmes for elections and budgets, live outside broadcasts and commentaries and even the occasional sports, gardening and dedication programmes. He has read several thousand news bulletins, and hosted nearly 2,000 podcast episodes, and is a vocal image consultant advising in all aspects of voice and speech training for presenters on radio and TV, podcasts and YouTube, voiceovers and videocalls. The podcast title refers to those who may wish to change their speaking voice in some way. It is not a suggestion that anyone should, or be pressured into needing to. We love accents and dialects, and are well aware that how we speak changes over time. The key is: is your voice successfully communicating your message, so it is being understood (and potentially being acted upon) by your target audience? This podcast is London-based and examples are spoken in the RP (Received Pronunciation) / standard-English / BBC English pronunciation, although invariably applicable to other languages, accents and dialects. Music credits:"Bleeping Demo" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/7012-bleeping-demoLicense: https://filmmusic.io/standard-license "Beauty Flow" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5025-beauty-flowLicense: https://filmmusic.io/standard-license "Envision" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/4706-envisionLicense: https://filmmusic.io/standard-license "Limit 70" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5710-limit-70License: https://filmmusic.io/standard-license "Rising Tide" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5027-rising-tideLicense: https://filmmusic.io/standard-license "Wholesome" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5050-wholesomeLicense: https://filmmusic.io/standard-license 
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2021.11.01 – 0305 – 11 – Positive Intonation About Positive InformationThe ideas about highlighting contrasting and new information join together, when we look at ‘positive’ words such as ‘any’, ‘all’ and ‘always’. “Police found a body in a house on Devilgate Drive, and they didn’t allow anyone to walk up there.” Remember our shades of colour in intonation. The fact that they didn’t allow anyone up the road, is new information and “anyone” may be lifted slightly. But in the following sentence the same word is not only new, but also contrasts with information earlier in the sentence: “Police found a body in a house on Devilgate Drive, and they didn’t let residents to get back home, in fact they didn’t allow anyone to walk up there.” In this example one would naturally lift “anyone” slightly more, because of those two reasons. Similar structures can be found with “any”: “I wasn’t allowed any sweets” (a slight lift on “any”) and “I wasn’t allowed the bar of chocolate. I wasn’t allowed any sweets” (with a greater lift on “any”).   So these words are rarely coloured unless they are strongly contrasting with what has gone previously. Audio recording script and show notes (c) 2021 Peter Stewart Through these around-5-minute episodes, you can build your confidence and competence with advice on breathing and reading, inflection andprojection, the roles played by better scripting and better sitting, mic techniques and voice care tips... with exercises and anecdotes from a careerspent in TV and radio studios. If you're wondering about how to start a podcast, or have had one for a while - download every episode! And as themes develop over the weeks (that is, they are not random topics day-by-day), this is a free, course to help you GET A BETTERBROADCAST, PODCAST AND VIDEO VOICE. Look out for more details of the book during 2021. Contacts: https://linktr.ee/Peter_Stewart Peter has been around voice and audio all his working life and has trained hundreds of broadcasters in all styles of radio from pop music stations such as Capital FM and BBC Radio 1 to Heart FM, the classical music station BBC Radio 3 and regional BBC stations. He’s trained news presenters on regional TV, the BBC News Channel and on flagship programmes such as the BBC’s Panorama. Other trainees have been music presenters, breakfast show hosts, travel news presenters and voice-over artists. He has written a number of books on audio and video presentation and production (“Essential Radio Journalism”, “JournoLists”, two editions of “Essential Radio Skills” and three editions of “Broadcast Journalism”) and has written on voice and presentation skills in the BBC’s in-house newspaper “Ariel”. Peter has presented hundreds of radio shows (you may have heard him on BBC Radio 2, BBC Radio 4, Virgin Radio or Kiss, as well as BBC regional radio) with formats as diverse as music-presentation, interview shows, ‘special’ programmes for elections and budgets, live outside broadcasts and commentaries and even the occasional sports, gardening and dedication programmes. He has read several thousand news bulletins, and hosted nearly 2,000 podcast episodes, and is a vocal image consultant advising in all aspects of voice and speech training for presenters on radio and TV, podcasts and YouTube, voiceovers and videocalls. The podcast title refers to those who may wish to change their speaking voice in some way. It is not a suggestion that anyone should, or be pressured into needing to. We love accents and dialects, and are well aware that how we speak changes over time. The key is: is your voice successfully communicating your message, so it is being understood (and potentially being acted upon) by your target audience? This podcast is London-based and examples are spoken in the RP (Received Pronunciation) / standard-English / BBC English pronunciation, although invariably applicable to other languages, accents and dialects. Music credits:"Bleeping Demo" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/7012-bleeping-demoLicense: https://filmmusic.io/standard-license "Beauty Flow" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5025-beauty-flowLicense: https://filmmusic.io/standard-license "Envision" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/4706-envisionLicense: https://filmmusic.io/standard-license "Limit 70" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5710-limit-70License: https://filmmusic.io/standard-license "Rising Tide" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5027-rising-tideLicense: https://filmmusic.io/standard-license "Wholesome" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5050-wholesomeLicense: https://filmmusic.io/standard-license 

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2021.10.31 – 0304 – Grammar Glue Part 2or – and and or are often two sides of the same coin. “And” is often giving additional information, whereas “or” usually suggests options or alternatives are available.
In a simple ‘either/or’ phrase, the “or” is often subdued, to allow the basic options either side to be coloured. “You can have chicken or fish”.
But in a more complicated sentence, when there are two sets of options compared with two more you may want to highlight the “or” to be a ‘pivot point’ in the options. Remember our holidaying friends who are working out where to go? “So if you want to go to the museum now I will meet you there, or come with me to the shop and we will go to the museum together”.
of - “Some of the oil refineries in the Gulf have shut down ahead of the arrival of the hurricane.” [1] Hopefully, with what you know so far, you lifted “oil refineries”, “Gulf”, “shut down”, and “hurricane”.  Now read this: “Emergency services in southern American states are bracing themselves for winds of up to 80 miles an hour, as Hurricane Pete heads their way. Ships in the Gulf of Mexico are in particular danger. Some of the oil refineries in the Gulf have shut down ahead of the arrival of the hurricane.” All I’ve done is added an extra two sentences to the start of the report, so some of what you previously highlighted as new information may now be old information, and so your intonation will change. If you lifted “Oil refineries”, “shut down” and “arrival”, but didn’t stress “hurricane” or “Gulf” (old information), well done.  Some people though will lift other ‘glue’ words instead, such as “in” and “of” as in “Some of the oil refineries in the Gulf have shut down ahead of the arrival of the hurricane”.  The thinking seems to be ‘I’ve talked about the hurricane and the Gulf, so I cannot stress those words again. I know, I’ll stress the ‘in’ and the ‘of’!’  And sorry to say, after a while, the thought process is no longer necessary, because stressing prepositions becomes second nature. This is wrong.
[1] Adapted from https://www.thetimes.co.uk/article/here-is-the-news-im-stressed-out-hk9sccfdgsb and https://www.thetimes.co.uk/article/are-bbc-newsreaders-guilty-of-mispronunciation-xn3n8d0r8jj
Audio recording script and show notes (c) 2021 Peter Stewart Through these around-5-minute episodes, you can build your confidence and competence with advice on breathing and reading, inflection andprojection, the roles played by better scripting and better sitting, mic techniques and voice care tips... with exercises and anecdotes from a careerspent in TV and radio studios. If you're wondering about how to start a podcast, or have had one for a while - download every episode! And as themes develop over the weeks (that is, they are not random topics day-by-day), this is a free, course to help you GET A BETTERBROADCAST, PODCAST AND VIDEO VOICE. Look out for more details of the book during 2021. Contacts: https://linktr.ee/Peter_Stewart Peter has been around voice and audio all his working life and has trained hundreds of broadcasters in all styles of radio from pop music stations such as Capital FM and BBC Radio 1 to Heart FM, the classical music station BBC Radio 3 and regional BBC stations. He’s trained news presenters on regional TV, the BBC News Channel and on flagship programmes such as the BBC’s Panorama. Other trainees have been music presenters, breakfast show hosts, travel news presenters and voice-over artists. He has written a number of books on audio and video presentation and production (“Essential Radio Journalism”, “JournoLists”, two editions of “Essential Radio Skills” and three editions of “Broadcast Journalism”) and has written on voice and presentation skills in the BBC’s in-house newspaper “Ariel”. Peter has presented hundreds of radio shows (you may have heard him on BBC Radio 2, BBC Radio 4, Virgin Radio or Kiss, as well as BBC regional radio) with formats as diverse as music-presentation, interview shows, ‘special’ programmes for elections and budgets, live outside broadcasts and commentaries and even the occasional sports, gardening and dedication programmes. He has read several thousand news bulletins, and hosted nearly 2,000 podcast episodes, and is a vocal image consultant advising in all aspects of voice and speech training for presenters on radio and TV, podcasts and YouTube, voiceovers and videocalls. The podcast title refers to those who may wish to change their speaking voice in some way. It is not a suggestion that anyone should, or be pressured into needing to. We love accents and dialects, and are well aware that how we speak changes over time. The key is: is your voice successfully communicating your message, so it is being understood (and potentially being acted upon) by your target audience? This podcast is London-based and examples are spoken in the RP (Received Pronunciation) / standard-English / BBC English pronunciation, although invariably applicable to other languages, accents and dialects. Music credits:"Bleeping Demo" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/7012-bleeping-demoLicense: https://filmmusic.io/standard-license "Beauty Flow" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5025-beauty-flowLicense: https://filmmusic.io/standard-license "Envision" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/4706-envisionLicense: https://filmmusic.io/standard-license "Limit 70" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5710-limit-70License: https://filmmusic.io/standard-license "Rising Tide" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5027-rising-tideLicense: https://filmmusic.io/standard-license "Wholesome" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5050-wholesomeLicense: https://filmmusic.io/standard-license 
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2021.10.30 – 0303 – 10 – Grammar GlueConsider a dodgy phone connection and you can only hear some of what a friend is saying. You get the gist of the content from the meaningful words in the sentence: the words which actually are full of meaning, give detail and context and move the story along.
Some words in a sentence don’t add much information, they are there to give it structure and hold the important words together. They act as grammar ‘glue’. 
You can usually dampen down these delete-able words as by definition they are usually unimportant. Let’s go through some of them.
and – Some people see this word and highlight it every time. Go back and look at that sentence again and colour the word “and” and you’ll realise how daft this is. Drawing attention to ‘and’ gives the impression that each of the two words or phrases either side may be mutually exclusive, or the listener should presume that they usually are.
“After the crash, police swept the road and opened it to traffic” – highlighting “and” gives the impression that the officers may usually do one of these jobs or the other, but not usually both.
On occasion you do want to draw attention to ‘and’ as we see from our airline example: “You cannot have chicken, fish and pasta” – but does this mean you could have both chicken and fish on the same plate...?
Note that prepositions, words which describe a relationship between one item and another, are coloured very rarely. You do not order breakfast by asking for “egg and bacon, beans on toast and a cup of tea” but some readers use exactly that intonation.  In this case the intonation goes hand-in-hand with the pronunciation of that three-letter word “and”:·        The uncoloured, throwaway version is said ‘nd’ or ‘n’ – “Do you want bread n butter with your fish n chips?”·        The coloured pronunciation rhymes with ‘sand’ – “My friend is just having soup n a roll but I’m having soup n a roll and fish and chips”.
It’s the same with other words where colouring them changes how you say them: “Hey I said you could have a chip, not all of them” (where “a” is said “ay”) vs. “He went for a walk” (with “a” said like a short “er”), and it’s similar with the word “an”.
“The” can be said “thee” when you draw attention to it (“The presidents of the state’s Rotary Clubs met thee President at the White House today”) and also perhaps uniquely changes how you say it depending on whether the word that follows it is a vowel or consonant.
“The army and the navy are combining in a show of strength this weekend…”
Didn’t you automatically say “thee army” and “thuh navy”…? 
Audio recording script and show notes (c) 2021 Peter Stewart Through these around-5-minute episodes, you can build your confidence and competence with advice on breathing and reading, inflection andprojection, the roles played by better scripting and better sitting, mic techniques and voice care tips... with exercises and anecdotes from a careerspent in TV and radio studios. If you're wondering about how to start a podcast, or have had one for a while - download every episode! And as themes develop over the weeks (that is, they are not random topics day-by-day), this is a free, course to help you GET A BETTERBROADCAST, PODCAST AND VIDEO VOICE. Look out for more details of the book during 2021. Contacts: https://linktr.ee/Peter_Stewart Peter has been around voice and audio all his working life and has trained hundreds of broadcasters in all styles of radio from pop music stations such as Capital FM and BBC Radio 1 to Heart FM, the classical music station BBC Radio 3 and regional BBC stations. He’s trained news presenters on regional TV, the BBC News Channel and on flagship programmes such as the BBC’s Panorama. Other trainees have been music presenters, breakfast show hosts, travel news presenters and voice-over artists. He has written a number of books on audio and video presentation and production (“Essential Radio Journalism”, “JournoLists”, two editions of “Essential Radio Skills” and three editions of “Broadcast Journalism”) and has written on voice and presentation skills in the BBC’s in-house newspaper “Ariel”. Peter has presented hundreds of radio shows (you may have heard him on BBC Radio 2, BBC Radio 4, Virgin Radio or Kiss, as well as BBC regional radio) with formats as diverse as music-presentation, interview shows, ‘special’ programmes for elections and budgets, live outside broadcasts and commentaries and even the occasional sports, gardening and dedication programmes. He has read several thousand news bulletins, and hosted nearly 2,000 podcast episodes, and is a vocal image consultant advising in all aspects of voice and speech training for presenters on radio and TV, podcasts and YouTube, voiceovers and videocalls. The podcast title refers to those who may wish to change their speaking voice in some way. It is not a suggestion that anyone should, or be pressured into needing to. We love accents and dialects, and are well aware that how we speak changes over time. The key is: is your voice successfully communicating your message, so it is being understood (and potentially being acted upon) by your target audience? This podcast is London-based and examples are spoken in the RP (Received Pronunciation) / standard-English / BBC English pronunciation, although invariably applicable to other languages, accents and dialects. Music credits:"Bleeping Demo" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/7012-bleeping-demoLicense: https://filmmusic.io/standard-license "Beauty Flow" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5025-beauty-flowLicense: https://filmmusic.io/standard-license "Envision" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/4706-envisionLicense: https://filmmusic.io/standard-license "Limit 70" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5710-limit-70License: https://filmmusic.io/standard-license "Rising Tide" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5027-rising-tideLicense: https://filmmusic.io/standard-license "Wholesome" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5050-wholesomeLicense: https://filmmusic.io/standard-license 
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2021.10.29 – 0302 – 9 – By Super-Stressing One Insignificant Word, You Downplay The Sense Of The Sentence“Christmas is the best time of the year.” It’s a short, straightforward sentence: this speaker loves Christmas! It is simply the best! Therefore, the words that are most-coloured are:·        Christmas ·        BestAnd slightly-coloured:·        Year “Christmas is the best time of the year.” But some people fall for the temptation of saying: “Christmas is the best time of the year.”  By highlighting “the” (possibly with a change of pronunciation from ‘thuh’ to ‘thee’) you downgrade the key word of the whole sentence, “best”. And that doesn’t make sense because “best”, if it’s not lifted-and-projected, it could be swapped for “worst”.
So words such as “the” are very rarely highly-coloured, and if you catch yourself doing so, look closely to see what other word you should be highlighting instead, or as well as.
Audio recording script and show notes (c) 2021 Peter Stewart Through these around-5-minute episodes, you can build your confidence and competence with advice on breathing and reading, inflection andprojection, the roles played by better scripting and better sitting, mic techniques and voice care tips... with exercises and anecdotes from a careerspent in TV and radio studios. If you're wondering about how to start a podcast, or have had one for a while - download every episode! And as themes develop over the weeks (that is, they are not random topics day-by-day), this is a free, course to help you GET A BETTERBROADCAST, PODCAST AND VIDEO VOICE. Look out for more details of the book during 2021. Contacts: https://linktr.ee/Peter_Stewart Peter has been around voice and audio all his working life and has trained hundreds of broadcasters in all styles of radio from pop music stations such as Capital FM and BBC Radio 1 to Heart FM, the classical music station BBC Radio 3 and regional BBC stations. He’s trained news presenters on regional TV, the BBC News Channel and on flagship programmes such as the BBC’s Panorama. Other trainees have been music presenters, breakfast show hosts, travel news presenters and voice-over artists. He has written a number of books on audio and video presentation and production (“Essential Radio Journalism”, “JournoLists”, two editions of “Essential Radio Skills” and three editions of “Broadcast Journalism”) and has written on voice and presentation skills in the BBC’s in-house newspaper “Ariel”. Peter has presented hundreds of radio shows (you may have heard him on BBC Radio 2, BBC Radio 4, Virgin Radio or Kiss, as well as BBC regional radio) with formats as diverse as music-presentation, interview shows, ‘special’ programmes for elections and budgets, live outside broadcasts and commentaries and even the occasional sports, gardening and dedication programmes. He has read several thousand news bulletins, and hosted nearly 2,000 podcast episodes, and is a vocal image consultant advising in all aspects of voice and speech training for presenters on radio and TV, podcasts and YouTube, voiceovers and videocalls. The podcast title refers to those who may wish to change their speaking voice in some way. It is not a suggestion that anyone should, or be pressured into needing to. We love accents and dialects, and are well aware that how we speak changes over time. The key is: is your voice successfully communicating your message, so it is being understood (and potentially being acted upon) by your target audience? This podcast is London-based and examples are spoken in the RP (Received Pronunciation) / standard-English / BBC English pronunciation, although invariably applicable to other languages, accents and dialects. Music credits:"Bleeping Demo" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/7012-bleeping-demoLicense: https://filmmusic.io/standard-license "Beauty Flow" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5025-beauty-flowLicense: https://filmmusic.io/standard-license "Envision" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/4706-envisionLicense: https://filmmusic.io/standard-license "Limit 70" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5710-limit-70License: https://filmmusic.io/standard-license "Rising Tide" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5027-rising-tideLicense: https://filmmusic.io/standard-license "Wholesome" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5050-wholesomeLicense: https://filmmusic.io/standard-license 
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2021.10.28 – 0301 – More Intonation Confusion In a news item about the Kashmir earthquake, one presenter said that she was going to speak to “someone who was in the country [Pakistan] at the time of the earthquake”. But she highlighted “country”, which made it seem that this person had gone off to a quiet rural retreat. The new and newsworthy information is that that person being spoken to was an eye-witness, experienced what happened, and so the phrase that needed to be highlighted was that they were there at the time. Many people will also lift the word in, saying someone who was in the country. But by highlighting this word they give the impression that the person is usually not there. Again, the significance is that they were there at the time. One more: “Her parents say Adele had made several calls to police about her boyfriend’s violence but nothing ever happened. Police say there’s no record of any such calls being received.” Let’s concentrate on who is making the contradictory claims:·        Her parents say – bearing in mind that this section seems to come from a longer report about the disappearance of Adele. So she has been introduced to the listeners already, but this is the first mention of her parents, so parents. ·        Police say – and parents saying something is balanced with police saying something else.  But consider the inference you are making if you colour the word say in either case, you appear to be disbelieving or perhaps even snide. A more conversational example might be along the lines of “Susan says she didn’t take my phone, but I don’t believe her”.  So you usually highlight says, when you are suggesting disbelief.
Audio recording script and show notes (c) 2021 Peter Stewart Through these around-5-minute episodes, you can build your confidence and competence with advice on breathing and reading, inflection andprojection, the roles played by better scripting and better sitting, mic techniques and voice care tips... with exercises and anecdotes from a careerspent in TV and radio studios. If you're wondering about how to start a podcast, or have had one for a while - download every episode! And as themes develop over the weeks (that is, they are not random topics day-by-day), this is a free, course to help you GET A BETTERBROADCAST, PODCAST AND VIDEO VOICE. Look out for more details of the book during 2021. Contacts: https://linktr.ee/Peter_Stewart Peter has been around voice and audio all his working life and has trained hundreds of broadcasters in all styles of radio from pop music stations such as Capital FM and BBC Radio 1 to Heart FM, the classical music station BBC Radio 3 and regional BBC stations. He’s trained news presenters on regional TV, the BBC News Channel and on flagship programmes such as the BBC’s Panorama. Other trainees have been music presenters, breakfast show hosts, travel news presenters and voice-over artists. He has written a number of books on audio and video presentation and production (“Essential Radio Journalism”, “JournoLists”, two editions of “Essential Radio Skills” and three editions of “Broadcast Journalism”) and has written on voice and presentation skills in the BBC’s in-house newspaper “Ariel”. Peter has presented hundreds of radio shows (you may have heard him on BBC Radio 2, BBC Radio 4, Virgin Radio or Kiss, as well as BBC regional radio) with formats as diverse as music-presentation, interview shows, ‘special’ programmes for elections and budgets, live outside broadcasts and commentaries and even the occasional sports, gardening and dedication programmes. He has read several thousand news bulletins, and hosted nearly 2,000 podcast episodes, and is a vocal image consultant advising in all aspects of voice and speech training for presenters on radio and TV, podcasts and YouTube, voiceovers and videocalls. The podcast title refers to those who may wish to change their speaking voice in some way. It is not a suggestion that anyone should, or be pressured into needing to. We love accents and dialects, and are well aware that how we speak changes over time. The key is: is your voice successfully communicating your message, so it is being understood (and potentially being acted upon) by your target audience? This podcast is London-based and examples are spoken in the RP (Received Pronunciation) / standard-English / BBC English pronunciation, although invariably applicable to other languages, accents and dialects. Music credits:"Bleeping Demo" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/7012-bleeping-demoLicense: https://filmmusic.io/standard-license "Beauty Flow" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5025-beauty-flowLicense: https://filmmusic.io/standard-license "Envision" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/4706-envisionLicense: https://filmmusic.io/standard-license "Limit 70" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5710-limit-70License: https://filmmusic.io/standard-license "Rising Tide" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5027-rising-tideLicense: https://filmmusic.io/standard-license "Wholesome" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5050-wholesomeLicense: https://filmmusic.io/standard-license 
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2021.10.27 – 0300 – 8 – Beware of Potential Intonation Confusion We have already seen how colouring different words in a sentence leads to a change in meaning of that sentence. Therefore, if you colour the  wrong word, the meaning of the sentence becomes wrong too. In 2021 there was a lack of lorry drivers in the UK which hit distribution companies and threatened to lead to higher prices for products and stock shortages. It was suggested this was because of the Coronavirus pandemic and the results of Brexit. It led to this report on BBC news. Where have all the lorry drivers gone? A shortage of drivers has been blamed by among others, the German confectionary giant Haribo, for problems delivering its sweets to shops in the UK. [1] In the light of what we have learnt so far, let’s look at the words to lift here:·        Lorry drivers – this is the start of the story and so this phrase is new information·        Shortage – a lack of drivers has already been suggested by the first sentence of the story, so the colour on this word needs to be slight rather than significant·        Blamed – this is new information and as the sentence progresses you see that it is the point of the story·        German confectionary - new information, so these words need to be lifted·        Haribo - new information, so these words need to be lifted·        for problems delivering its sweets ­– this information has already been implied by what has gone before: a shortage of lorry drivers (who deliver things), a confectionary company (sweets) – so none of this needs to be coloured ·        to shops in the UK – we only need to lift UK here to contrast with Germany and highlight that it’s a problem in the UK and not where the company is based. It is illogical to lift the word its - and yet that is what the reporter did: problems delivering its sweets to shops in the UK. But in doing this it gave the impression that Haribo also delivers sweets for other companies, and that the shortage of drivers only affected deliveries of those brands and not Haribo’s, which was incorrect. So, a mis-placed stress can be confusing and misleading.
Audio recording script and show notes (c) 2021 Peter Stewart Through these around-5-minute episodes, you can build your confidence and competence with advice on breathing and reading, inflection andprojection, the roles played by better scripting and better sitting, mic techniques and voice care tips... with exercises and anecdotes from a careerspent in TV and radio studios. If you're wondering about how to start a podcast, or have had one for a while - download every episode! And as themes develop over the weeks (that is, they are not random topics day-by-day), this is a free, course to help you GET A BETTERBROADCAST, PODCAST AND VIDEO VOICE. Look out for more details of the book during 2021. Contacts: https://linktr.ee/Peter_Stewart Peter has been around voice and audio all his working life and has trained hundreds of broadcasters in all styles of radio from pop music stations such as Capital FM and BBC Radio 1 to Heart FM, the classical music station BBC Radio 3 and regional BBC stations. He’s trained news presenters on regional TV, the BBC News Channel and on flagship programmes such as the BBC’s Panorama. Other trainees have been music presenters, breakfast show hosts, travel news presenters and voice-over artists. He has written a number of books on audio and video presentation and production (“Essential Radio Journalism”, “JournoLists”, two editions of “Essential Radio Skills” and three editions of “Broadcast Journalism”) and has written on voice and presentation skills in the BBC’s in-house newspaper “Ariel”. Peter has presented hundreds of radio shows (you may have heard him on BBC Radio 2, BBC Radio 4, Virgin Radio or Kiss, as well as BBC regional radio) with formats as diverse as music-presentation, interview shows, ‘special’ programmes for elections and budgets, live outside broadcasts and commentaries and even the occasional sports, gardening and dedication programmes. He has read several thousand news bulletins, and hosted nearly 2,000 podcast episodes, and is a vocal image consultant advising in all aspects of voice and speech training for presenters on radio and TV, podcasts and YouTube, voiceovers and videocalls. The podcast title refers to those who may wish to change their speaking voice in some way. It is not a suggestion that anyone should, or be pressured into needing to. We love accents and dialects, and are well aware that how we speak changes over time. The key is: is your voice successfully communicating your message, so it is being understood (and potentially being acted upon) by your target audience? This podcast is London-based and examples are spoken in the RP (Received Pronunciation) / standard-English / BBC English pronunciation, although invariably applicable to other languages, accents and dialects. Music credits:"Bleeping Demo" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/7012-bleeping-demoLicense: https://filmmusic.io/standard-license "Beauty Flow" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5025-beauty-flowLicense: https://filmmusic.io/standard-license "Envision" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/4706-envisionLicense: https://filmmusic.io/standard-license "Limit 70" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5710-limit-70License: https://filmmusic.io/standard-license "Rising Tide" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5027-rising-tideLicense: https://filmmusic.io/standard-license "Wholesome" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5050-wholesomeLicense: https://filmmusic.io/standard-license 
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2021.10.26 – 0299 – 7 – Take Notice Of What Is Implied When no contrast is impliedThere are some phrases in which to colour one part over another, suggests a contrast that does not or cannot exist. On occasion you are able to rewrite the sentence so the anomaly disappears: “Police have found a dead body on wasteland in the city centre”. A ‘body’ in this context is by sheer definition, dead (otherwise the discovery would be referenced as “an injured man” for example). It would be odd to lift dead and supress body, or indeed the other way around. You could lift both words and that would not be wrong, but better still, omit the word dead completely to give an easier sentence to read and to understand.  In a story that starts a bulletin with, say, “A hundred pregnant women have won the right for a home birth”, don’t lift pregnant and dampen women as that suggests that you have previously been talking about women, where you have not. The opposite problem might be if you dampen pregnant and lift women as that would suggest that pregnant men were not involved in the story. And so, as you need both of these words, lift both of them, pregnant and women.  
Audio recording script and show notes (c) 2021 Peter Stewart Through these around-5-minute episodes, you can build your confidence and competence with advice on breathing and reading, inflection andprojection, the roles played by better scripting and better sitting, mic techniques and voice care tips... with exercises and anecdotes from a careerspent in TV and radio studios. If you're wondering about how to start a podcast, or have had one for a while - download every episode! And as themes develop over the weeks (that is, they are not random topics day-by-day), this is a free, course to help you GET A BETTERBROADCAST, PODCAST AND VIDEO VOICE. Look out for more details of the book during 2021. Contacts: https://linktr.ee/Peter_Stewart Peter has been around voice and audio all his working life and has trained hundreds of broadcasters in all styles of radio from pop music stations such as Capital FM and BBC Radio 1 to Heart FM, the classical music station BBC Radio 3 and regional BBC stations. He’s trained news presenters on regional TV, the BBC News Channel and on flagship programmes such as the BBC’s Panorama. Other trainees have been music presenters, breakfast show hosts, travel news presenters and voice-over artists. He has written a number of books on audio and video presentation and production (“Essential Radio Journalism”, “JournoLists”, two editions of “Essential Radio Skills” and three editions of “Broadcast Journalism”) and has written on voice and presentation skills in the BBC’s in-house newspaper “Ariel”. Peter has presented hundreds of radio shows (you may have heard him on BBC Radio 2, BBC Radio 4, Virgin Radio or Kiss, as well as BBC regional radio) with formats as diverse as music-presentation, interview shows, ‘special’ programmes for elections and budgets, live outside broadcasts and commentaries and even the occasional sports, gardening and dedication programmes. He has read several thousand news bulletins, and hosted nearly 2,000 podcast episodes, and is a vocal image consultant advising in all aspects of voice and speech training for presenters on radio and TV, podcasts and YouTube, voiceovers and videocalls. The podcast title refers to those who may wish to change their speaking voice in some way. It is not a suggestion that anyone should, or be pressured into needing to. We love accents and dialects, and are well aware that how we speak changes over time. The key is: is your voice successfully communicating your message, so it is being understood (and potentially being acted upon) by your target audience? This podcast is London-based and examples are spoken in the RP (Received Pronunciation) / standard-English / BBC English pronunciation, although invariably applicable to other languages, accents and dialects. Music credits:"Bleeping Demo" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/7012-bleeping-demoLicense: https://filmmusic.io/standard-license "Beauty Flow" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5025-beauty-flowLicense: https://filmmusic.io/standard-license "Envision" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/4706-envisionLicense: https://filmmusic.io/standard-license "Limit 70" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5710-limit-70License: https://filmmusic.io/standard-license "Rising Tide" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5027-rising-tideLicense: https://filmmusic.io/standard-license "Wholesome" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5050-wholesomeLicense: https://filmmusic.io/standard-license 
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2021.10.25 – 0298 – Purposeful Mis-IntonationIt’s similar in this e-learning script: “Human beings inhales mainly oxygen and exhales mainly carbon dioxide…” – we might normally say ex-HALE, but because of its contrast with an earlier word we say EX-hale. And on this government website: “… whether it’s national or international trade…” – instead of the more usual pronunciation of inter-NATIONAL, we say INTER-national so it contrasts with the NATIONAL mentioned previously. Or this training ‘pitch’ video: “We have supported personal growth in teams of various sizes, at profit and non-profit organisations…” – if you were asked who you worked for you might reply that it was a NON-PROFIT group. In this context, you keep the colour on the NON and erase it from the PROFIT, so the NON stands out in the context of the sentence.  Or with this eco company: “Our mantra is to use and re-use…” - usually you may say that you re-USE your teabags, but the contrast here distracts that, to sound natural, you lift then prefix RE instead. On a school ‘behaviour’ notice for pupils: “Be helpful rather than unhelpful…” – if the sentence was “all children are unhelpful”, the weight would be “unHELPful”. To signpost the sense in this sentence though, you are contrasting the balance between those who are assisting and those who are not, by colouring it thus: UNhelpful.  Remember:·        You are not reading words on a page.·        You are not reading sentences.·        You are trying to get over a meaning, through meaningful intonation.  Audio recording script and show notes (c) 2021 Peter Stewart Through these around-5-minute episodes, you can build your confidence and competence with advice on breathing and reading, inflection andprojection, the roles played by better scripting and better sitting, mic techniques and voice care tips... with exercises and anecdotes from a careerspent in TV and radio studios. If you're wondering about how to start a podcast, or have had one for a while - download every episode! And as themes develop over the weeks (that is, they are not random topics day-by-day), this is a free, course to help you GET A BETTERBROADCAST, PODCAST AND VIDEO VOICE. Look out for more details of the book during 2021. Contacts: https://linktr.ee/Peter_Stewart Peter has been around voice and audio all his working life and has trained hundreds of broadcasters in all styles of radio from pop music stations such as Capital FM and BBC Radio 1 to Heart FM, the classical music station BBC Radio 3 and regional BBC stations. He’s trained news presenters on regional TV, the BBC News Channel and on flagship programmes such as the BBC’s Panorama. Other trainees have been music presenters, breakfast show hosts, travel news presenters and voice-over artists. He has written a number of books on audio and video presentation and production (“Essential Radio Journalism”, “JournoLists”, two editions of “Essential Radio Skills” and three editions of “Broadcast Journalism”) and has written on voice and presentation skills in the BBC’s in-house newspaper “Ariel”. Peter has presented hundreds of radio shows (you may have heard him on BBC Radio 2, BBC Radio 4, Virgin Radio or Kiss, as well as BBC regional radio) with formats as diverse as music-presentation, interview shows, ‘special’ programmes for elections and budgets, live outside broadcasts and commentaries and even the occasional sports, gardening and dedication programmes. He has read several thousand news bulletins, and hosted nearly 2,000 podcast episodes, and is a vocal image consultant advising in all aspects of voice and speech training for presenters on radio and TV, podcasts and YouTube, voiceovers and videocalls. The podcast title refers to those who may wish to change their speaking voice in some way. It is not a suggestion that anyone should, or be pressured into needing to. We love accents and dialects, and are well aware that how we speak changes over time. The key is: is your voice successfully communicating your message, so it is being understood (and potentially being acted upon) by your target audience? This podcast is London-based and examples are spoken in the RP (Received Pronunciation) / standard-English / BBC English pronunciation, although invariably applicable to other languages, accents and dialects. Music credits:"Bleeping Demo" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/7012-bleeping-demoLicense: https://filmmusic.io/standard-license "Beauty Flow" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5025-beauty-flowLicense: https://filmmusic.io/standard-license "Envision" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/4706-envisionLicense: https://filmmusic.io/standard-license "Limit 70" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5710-limit-70License: https://filmmusic.io/standard-license "Rising Tide" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5027-rising-tideLicense: https://filmmusic.io/standard-license "Wholesome" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5050-wholesomeLicense: https://filmmusic.io/standard-license 
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2021.10.24 – 0297 – 6 – Shades of ColourIn your ‘vocal palette’ you:·        slightly colour new information…·        give slightly more colour to the first part of contrasting information…·        and slightly more again to the second part of contrasting information. That’s because you have to give credit to your audience: they understand that there is a pattern in the ‘emerging explanation’ of what you are saying, that you are going to mention everyone by name and the locations and times. You just need to bring subtleties to the differences. Let’s go back to some previous sentences:·        “I think it’s better to go by plane rather than by train” – you slightly colour plane, but colour train more ·        “Would you like chicken, fish or pasta?” – you colour by increasingly subtle degrees each of the foods on offer. Say these sentences aloud and you’ll hear that this pattern of intonation is indeed what you use naturally, day by day. Let’s look at an example from a voice-over script which introduces another small point. It’s for an advert for a firm of solicitors which specialises in Wills: “So if you want us to write a new Will or rewrite an existing one, then call Williams & Williams Will Writing Solicitors on…”  So what’s going on here? You would, I suggest, naturally want to lift “write”, “new Will” and “rewrite” and “existing” as they are all new pieces of information (not “one” as that is a synonym for Will, and so old information). And you also have some ‘balancing words’: “write” and “rewrite”, “new Will” and “existing”, which contrast with one another.  But read that sentence out loud, and don’t you automatically (and correctly) colour the “re” of “rewrite” almost more than any other word or syllable? That’s despite us usually putting the weight on the “write”. Try it that other way, with the colour on “write” and “write” and you’ll hear that it just sounds plain wrong: “write a new Will or rewrite an existing one”. And that’s because the context of the contrast here is between drafting an original Will and amending an existing one.
Audio recording script and show notes (c) 2021 Peter Stewart Through these around-5-minute episodes, you can build your confidence and competence with advice on breathing and reading, inflection andprojection, the roles played by better scripting and better sitting, mic techniques and voice care tips... with exercises and anecdotes from a careerspent in TV and radio studios. If you're wondering about how to start a podcast, or have had one for a while - download every episode! And as themes develop over the weeks (that is, they are not random topics day-by-day), this is a free, course to help you GET A BETTERBROADCAST, PODCAST AND VIDEO VOICE. Look out for more details of the book during 2021. Contacts: https://linktr.ee/Peter_Stewart Peter has been around voice and audio all his working life and has trained hundreds of broadcasters in all styles of radio from pop music stations such as Capital FM and BBC Radio 1 to Heart FM, the classical music station BBC Radio 3 and regional BBC stations. He’s trained news presenters on regional TV, the BBC News Channel and on flagship programmes such as the BBC’s Panorama. Other trainees have been music presenters, breakfast show hosts, travel news presenters and voice-over artists. He has written a number of books on audio and video presentation and production (“Essential Radio Journalism”, “JournoLists”, two editions of “Essential Radio Skills” and three editions of “Broadcast Journalism”) and has written on voice and presentation skills in the BBC’s in-house newspaper “Ariel”. Peter has presented hundreds of radio shows (you may have heard him on BBC Radio 2, BBC Radio 4, Virgin Radio or Kiss, as well as BBC regional radio) with formats as diverse as music-presentation, interview shows, ‘special’ programmes for elections and budgets, live outside broadcasts and commentaries and even the occasional sports, gardening and dedication programmes. He has read several thousand news bulletins, and hosted nearly 2,000 podcast episodes, and is a vocal image consultant advising in all aspects of voice and speech training for presenters on radio and TV, podcasts and YouTube, voiceovers and videocalls. The podcast title refers to those who may wish to change their speaking voice in some way. It is not a suggestion that anyone should, or be pressured into needing to. We love accents and dialects, and are well aware that how we speak changes over time. The key is: is your voice successfully communicating your message, so it is being understood (and potentially being acted upon) by your target audience? This podcast is London-based and examples are spoken in the RP (Received Pronunciation) / standard-English / BBC English pronunciation, although invariably applicable to other languages, accents and dialects. Music credits:"Bleeping Demo" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/7012-bleeping-demoLicense: https://filmmusic.io/standard-license "Beauty Flow" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5025-beauty-flowLicense: https://filmmusic.io/standard-license "Envision" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/4706-envisionLicense: https://filmmusic.io/standard-license "Limit 70" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5710-limit-70License: https://filmmusic.io/standard-license "Rising Tide" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5027-rising-tideLicense: https://filmmusic.io/standard-license "Wholesome" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Link: https://incompetech.filmmusic.io/song/5050-wholesomeLicense: https://filmmusic.io/standard-license 
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