Tips.
Guidance.
Frameworks.
Strategies.

TSC GUIDANCE NOTES · BREATHING & POSTURE

Your voice is powered by breath, not your throat.

The same breathing patterns used by the Navy Seals and the SAS to stay calm under pressure.

WHY IT MATTERS

Chest breathing is stealing your power.

Breathing from your chest and shoulders creates unnecessary tension and dramatically reduces how much air your lungs can take in.

That has a direct effect on the power and duration of your voice, and elite operators and martial artists have always known it: control the breath, and you control anxiety and stay present.

Chest vs diaphragm.

This slide is a diagram. See it in the carousel.

STEP ONE

Set your posture.

STAND TALL

Imagine a string pulling up from the centre of your head, propping you up.

CHIN LEVEL

Your chin stays parallel with the floor.

SHOULDERS

Roll them back and down. Feet shoulder-width apart.

STEP TWO

The balloon inhale.

HAND ON STOMACH

Middle finger over your navel.

FILL THE BALLOON

Imagine your stomach is a balloon and gently fill it with air. Your lower abdomen rises slowly, chest and shoulders stay still.

NO FORCING

Never force-fill the balloon. Breathe smoothly and easily.

STEP THREE

When ready, exhale gently through your nose.

Diaphragmatic breathing is completely relaxing to the body. Light dizziness while learning is normal, pause for a couple of minutes and try again.

THE PRESCRIPTION

10 breaths. 3 times a day.

Small, consistent practice rewires the pattern, and the pattern powers everything you say.

Three moves. One cycle.

Chest and shoulders stay still throughout. No forcing.

This slide is a diagram. See it in the carousel.

TSC GUIDANCE NOTES · VOCAL CONDITIONING

The physics trick that restores a tired voice.

Semi-occluded vocal tract (SOVT) work, conditioning for your vocal folds. Subtle, controlled, deliberate.

WHY IT WORKS

Back pressure = easier vibration.

Bubbling through a tube creates back pressure above the vocal folds, letting them vibrate with greater efficiency and less collision force.

The payoff: better breath control, safer volume and power, reduced strain, improved resonance, and gently soothed vocal folds.

THE SET-UP

One bottle. One tube.

FILL

A 500ml bottle, roughly half full. Mark the water level.

SUBMERGE

Insert the tube so 2–3cm sits under water. Deeper = more resistance, start shallow.

POSITION

Sit or stand tall, head balanced, jaw and neck free. Stable, not stiff.

The set-up, drawn out.

Deeper tube = more resistance. Start shallow.

This slide is a diagram. See it in the carousel.

THE EXERCISES · PART 1

Breath only.

01 · PROLONGED BUBBLING

Inhale through the nose, exhale a steady stream of bubbles. Up to 10 seconds. Repeat 5-10 times.

02 · PULSED BUBBLING

Exhale in short, controlled one-second pulses. Repeat 10 pulses.

THE EXERCISES · PART 2

Add the voice.

03 · PROLONGED + VOICE

Sustain a gentle vowel while bubbling. Even bubbles, steady sound. Up to 10 seconds, 5-10 times.

04 · PULSED + VOICE

Short pulses on an open vowel. 10 pulses.

05 · SIRENS

Glide smoothly from low pitch to high and back. Continuous, unforced. 5-10 times.

THE RULES

If it feels effortful, you’re doing too much.

Once it feels easy: submerge slightly deeper, but keep the same sense of ease. Never trade control for volume.

Run the routine once or twice daily, before heavy voice use, after vocal loading, or during recovery. If your voice feels worse afterwards, slow down. Reduce effort. Trust the physics.

TSC GUIDANCE NOTES · RE-ENABLING YOUR VOICE

Rebuild your voice in four days, starting with a hum.

A progressive protocol to get your voice flowing again, never forcing, always flowing.

DAY ONE

Find the buzz.

Place two fingers lightly on the side of your nose. Breathe in gently, diaphragm, not chest. Say “mmmmm” until you feel a buzz on your fingertips. Hold as long as feels natural. 10 reps, 3 times a day.

DAY TWO

Add uhm-hm.

Same position, same gentle breath. Say “uhmhm”, chasing that same fingertip buzz. Do not push your voice out, allow it to flow out. 10 reps, 3 times a day.

DAY THREE

Hum into vowels.

mmAA · mmEE · mm-EYE · mm-OHH · mm-OO. Practise · each one 10 times, slowly. Do not rush.

DAY FOUR

Hum into words.

(mm)Make · (mm)Meet · (mm)Mine · (mm)More · (mm)Move… then (mm)Money, (mm)Mountains, (mm)Marshmallows. Each one 10 times, slowly.

Four days to flow.

10 reps, 3 times a day, slowly.

This slide is a diagram. See it in the carousel.

THE GOLDEN RULE

Never push. Let it flow.

The buzz on your fingertips is feedback: your voice is resonating forward, not forcing from the throat.

Lower your pitch without straining a single muscle.

Safely lowering pitch and tone, by doing something your body already knows how to do.

WHY IT WORKS

The yawn is a reset button

Yawning naturally lowers the position of your larynx, letting you practise voicing at a lower pitch without effort.

It also releases muscular tension around your neck, jaw and laryngeal vestibule. And it proves the big lesson: making speech sounds should be effortless.

THE PROCEDURE

Yawn. In a big way.

Yawn freely, zero tension. Stretching your arms upwards at the same time can increase the intensity of the yawn.

THE PROCEDURE

Sigh on the way out.

Towards the end of the yawn, as you breathe out, allow your vocal cords to come together gently, letting out an audible sigh. Don’t force it. Let the sound happen, even if it sounds like a cartoon sigh!

THE ONLY RULE

No tension. Whatsoever.

If you feel effort anywhere, you’ve stopped yawning and started performing. Reset and let it happen.

THE PRESCRIPTION

5 yawn-sighs. 3 times a day.

You use it every day. Do you know how it works?

It’s YOUR tool. Here’s the anatomy and physiology of speech, in four moves.

HOW YOUR VOICE WORKS

Speech rides the breath.

In English, and most languages, speech sounds are superimposed on an outward breath. They’re carried, like a boat floating on the sea.

HOW YOUR VOICE WORKS

The lungs are the bellows.

All the power comes from your lungs, driven by the diaphragm. No power comes from your larynx or vocal cords, so there is no need to strain that area. Ever.

HOW YOUR VOICE WORKS

The folds vibrate.

The outward airstream travels up the trachea and past the vocal folds, making them vibrate, finely, gently, at very high speed. Changing their length, size and shape changes your pitch, tone and quality.

HOW YOUR VOICE WORKS

The mouth shapes the sound.

Above the larynx, the tongue and the shape of your mouth sculpt the airstream into speech sounds, subtle movements, precise positions, tiny amounts of effort.

From breath to speech.

All power from the bellows, no strain at the throat.

This slide is a diagram. See it in the carousel.

THE TAKEAWAY

All of this happens at speed.

In conversation, or reading aloud, every one of these movements is happening quickly, while you breathe in and out.

Understand the instrument, and you’ll stop fighting it. Power from the breath. Ease at the throat. Precision at the lips.

When you feel a block coming… breathe out and keep speaking.

A breathing-first approach to stammering, blocks and getting stuck.

THE PATTERN

Most blocks begin with held breath.

Many people who stammer hold their breath as they speak. Tension builds, the airflow stops, and speech rides on airflow.

The work starts below the words: relaxing the system that carries them.

THE FOUNDATION

Breathe from the diaphragm.

Stand tall, chin level, shoulders back and down. Hand on stomach, fill the balloon gently. Exhale softly through the nose.

This breathing is completely relaxing to the body, and combined with daily reading aloud, it lets you map your breathing onto your speech patterns.

THE PROTOCOL

Feel a stammer or block coming?

01 · BREATHE OUT…

Release. Let the tension leave with the air.

02 · CONTINUE SPEAKING…

Let the words ride the outgoing breath.

Feel it coming? Ride the breath.

This is not a race, take your time.

This slide is a diagram. See it in the carousel.

THE MINDSET

Awareness first. Fluency follows.

It takes time to build the awareness, to notice, relax, release, breathe out and speak. That’s normal.

Take your time. This is not a race. And if it is, you’re the only one taking part.

Helping your child make a better /s/, at home.

A simple, playful practice routine that actually works.

THE ANATOMY

It’s all about tongue position.

The /s/ sound is made by placing the tip of the tongue just behind the top teeth, on an area called the alveolar ridge.

A better /s/ isn’t about trying harder. It’s about finding that position, again and again, until it’s automatic.

YOU WILL NEED

The kit.

A MIRROR

Or a tablet / phone in selfie mode, so they can see the tongue.

STICKERS + CARD

To build a progress chart worth showing off.

TISSUES

Speech work can be messy!

ACTIVITY ONE

The mirror game.

STICK IT OUT

Looking in the mirror, stick the tongue out and make the /s/ sound.

REEL IT IN

Slowly pull the tongue back into the mouth until the correct /s/ appears, and hold it there.

REPEAT ×5

Each time, aim to make the sound a little more /s/-like. Celebrate every attempt.

ACTIVITY TWO

Words that start with /s/.

Sit · Soup · Salt · Seal · Sun · Save · Seed · Seat · Sing · Sock · Sail · Sand · Soft · Seven…

Short sessions, big praise, sticker on the chart. Practice beats pressure, every time.

A lisp isn’t a flaw. It’s a tongue position, and positions can be retrained.

SOME QUICK ANATOMY

Meet the voiceless alveolar fricative.

The /s/ sound is produced by placing the tip or blade of the tongue at the alveolar ridge, the area just behind the top teeth.

The exact position shifts slightly depending on which sounds come before and after it, fine adjustments that native speakers make almost unconsciously.

THE GOOD NEWS

Nobody’s /s/ is pinpoint perfect.

Everyone differs in the precision of their /s/ from one moment to the next.

Remediation isn’t about perfection, it’s about training a consistent placement until the new position becomes the default.

THE PRACTICE LADDER

Three rungs.

01 · /S/ AT THE START

Sit · Soup · Salt · Sun · Seal · Sing · Seed · Seat · Sorry · Sand…

02 · /S/ IN THE MIDDLE

Pencil · Listen · Glasses · Recipe · Insect · Bicycle · Whistle…

03 · /S/ AT THE END

Face · Ice · Voice · House · Grass · Juice · Nice · Class…

THE TEMPO

Slow. Accurate. Then fast.

Speed is the reward for accuracy, never the substitute for it.

100 sentences that give your mouth a proper workout.

Tongue-twisting drills for tongue, lips and jaw, for kids and grown-ups alike.

WHY THEY WORK

Repetition with precision.

Each sentence is loaded with repeated consonant patterns, forcing your articulators to hit the same target again and again.

That’s exactly how precise, deliberate movement becomes automatic.

TRY THESE

Say them out loud. Right now.

“The babbling baby blew big bubbles in the bathtub.”

“Slippery snakes slither silently in soft, soggy sand.”

“Cheeky chickens chew chocolate cherries on chilly days.”

“Quirky quails quickly quack in quiet queues.”

HOW TO PRACTISE

The three-gear method.

01 · SLOW

Pronounce every single sound in every single word.

02 · ACCURATE

Don’t let sounds smudge into each other. Precision first.

03 · SPEED

Only accelerate once accuracy holds. Speed is earned.

THE PRESCRIPTION

Five sentences a day.

Record yourself and listen back. Brilliant with children, sillier is better.

The full list follows.

THE FULL LIST · 1 TO 14

1. The babbling baby blew big bubbles in the bathtub.
2. Polly parrot picked a pair of purple pears.
3. Frank the frog frolics in the fragrant, frothy foam.
4. The big, blue balloon bounced behind the bush.
5. Do dragons drink drizzly lemonade in December?
6. Gerald the giraffe juggled giant, juicy jellybeans.
7. Zany zebras zip past zigzagging zebras in the zoo.
8. Tommy’s tummy tickles when he tumbles through tunnels.
9. Can a penguin paint a picture of a pineapple pizza?
10. Mice make macaroni with melted marshmallows on Mondays.
11. Slippery snakes slither silently in soft, soggy sand.
12. Hippos hop happily on huge, heavy hills.
13. The clever fox flips fluffy pancakes for breakfast.
14. Will a woolly mammoth wear a woollen winter hat?

THE FULL LIST · 15 TO 29

15. Betty bakes buttery biscuits with blueberry bits.
16. Sneaky squirrels stash shiny acorns in secret spots.
17. Felix the fox found fifty fuzzy feathers.
18. Please pop plenty of pink popcorn into the pot.
19. The witch’s cat cackles as it chases crunchy crickets.
20. Shall the shy sheep share shiny shoes with Shelly?
21. Cheeky chickens chew chocolate cherries on chilly days.
22. Lazy lions lounge on lumpy logs in the lagoon.
23. Sam’s silly salamander slides swiftly over the slime.
24. Grandfather grooms green grapes in the garden.
25. Yellow yaks yodel loudly in the yard.
26. The jolly jester juggled juicy jellybeans joyfully.
27. Does the daring dolphin dive deep into the dark sea?
28. Ninjas nimbly nibble nine nice noodles.
29. Will the wizard wave wildly to the worried walrus?

THE FULL LIST · 30 TO 44

30. Vivian’s violet vase vanished in the vast valley.
31. Fancy flamingos flap their fluffy feathers fantastically.
32. Gary gobbles grapes with goofy grins.
33. The sleepy sloth slurps soup slowly.
34. Twelve turtles tiptoe through the tulip field.
35. Prickly porcupines pick plump purple plums.
36. Hiccupping hippos hiccup in harmony.
37. Pirates parrot picked up a polished pearl.
38. The teacher teaches timid tots to talk terrifically.
39. Freddy the fox forgot to fetch fresh figs.
40. Does the cheetah chase cherries or chocolate chips?
41. Zebra zippers zigzag through zesty zucchini.
42. Brave bats bounce between the big, brown barn.
43. Ollie the octopus offers olives on orange plates.
44. Would a wizard wear a wobbly wig on Wednesday?

THE FULL LIST · 45 TO 59

45. Silly seals sing songs in the salty sea.
46. Rumble, rumble, went the rowdy rhino.
47. Wacky weasels wiggle wildly in warm weather.
48. Can a giraffe grow giant gingerbread in the garden?
49. How high can a hopping hedgehog hop?
50. Terry’s tiny toad tries to tiptoe through tulips.
51. The koala calmly climbed the colossal coconut tree.
52. Will the owl hoot in the hollow hut?
53. I saw a squirrel silently sip seven sodas.
54. Grandma’s grey goose gobbled golden grains.
55. The little lamb laughed loudly on the lawn.
56. Quirky quails quickly quack in quiet queues.
57. Pinky pigs pick pretty posies in the park.
58. The funny bunny bounces on big, bright beds.
59. Wendy whispers while walking in the windy woods.

THE FULL LIST · 60 TO 74

60. Does Daisy the dog dance daringly in December?
61. Brave bears baked brown bread with butter.
62. Ticklish tigers tumble through tiny tunnels.
63. Frogs flip-flop fast in the fluffy forest.
64. Marvin’s marvellous monkey made mango mousse.
65. The yak yawned and yelled, “Yikes! Yellow yarn!”
66. Victor’s violet vest vanished in the village.
67. Should seven slippery snakes slide sideways?
68. Gigantic gorillas gobble grapes greedily.
69. Can camels carry caramel cupcakes?
70. The happy hamster hums harmoniously in his house.
71. Shall we sing a silly song about sausages?
72. Does the dancing donkey dream of donuts?
73. Whales whistle while wandering the wide waters.
74. Jazzy jellyfish jive joyously in January.

THE FULL LIST · 75 TO 89

75. How many monkeys munch muffins on Mondays?
76. Witty witches weave wacky webs in winter.
77. Lazy leopards lie low in lush, leafy lanes.
78. Roger’s robot rattles rapidly in rainy weather.
79. The panda’s paws patter on the path peacefully.
80. The owl observes odd octopuses in the ocean.
81. Funky flamingos flip-flop in flower fields.
82. The clever clown claps and clucks like a chicken.
83. Peter’s penguin ponders purple pineapples.
84. Will the walrus wear woolly winter boots?
85. Naughty gnats nibble on nuts at night.
86. The kangaroo kicked a key to the king.
87. The cat cautiously crept across the creaky carpet.
88. Frogs feast on flies in the foggy forest.
89. A grumpy grizzly grabbed glowing goldfish.

THE FULL LIST · 90 TO 100

90. Happy hares hop hastily over high hills.
91. The quiet queen questions quirky quests quickly.
92. The zebra zoomed through the zigzagging zone.
93. Silly seals splashed soup on seven sea shells.
94. Mice munch macaroni in a miniature mansion.
95. Tim’s tiny turtles travel toward tall trees.
96. Fiona found fifty-five fluffy feathers.
97. Bob’s big balloon bumped into a buzzing bee.
98. Why would a whale whistle when it’s windy?
99. Timid toads tiptoed toward the tall tulips.
100. Victor’s violin vibrated very vigorously.

New retainers? You can still speak with clarity and confidence.

THE TRUTH

Fast is natural. Clear is a choice.

Everyone speeds up around friends, it’s the natural pace of the environment.

But if people can’t make sense of what you’re saying, they get the wrong idea, or stop listening altogether. It’s not about being slow all the time. It’s about knowing how and when to slow down.

STRATEGIES · 1-3

Start here.

01 · BE PATIENT WITH YOURSELF

Adjusting to retainers takes time. Every day of practice makes it easier.

02 · MODEL SLOW, CLEAR SPEECH

Pronounce every sound in each word, that’s enunciation.

03 · PRACTISE DAILY

A few minutes out loud. Notice how tongue and mouth move with the retainers in.

STRATEGIES · 4-6

Build the habit.

04 · POSITIVE SELF-TALK

Nailed a tricky sound? Celebrate it. Reinforcement can come from you.

05 · GENTLE REMINDERS

Excitement speeds you up. Ask someone you trust for a gentle nudge.

06 · TARGET S, SH AND TH

Practise them slowly, but don’t force. Trying harder

can make these sounds worse.

STRATEGIES · 7-9

Make it stick.

07 · CONSISTENCY IS KEY

A few focused minutes every day beats an occasional marathon.

08 · FIND A QUIET SPACE

So you can really hear your own voice and track your progress.

09 · WORK WITH YOUR RETAINERS

If they’re uncomfortable, speak to your orthodontist about adjustments.

REMEMBER THREE THINGS

The short version.

Practise every day. Be mindful of when you’re speaking, and to whom.

And it’s OK if you forget sometimes. Progress, not perfection.

Stop playing the trumpet. Play the saxophone.

Rushed speech blasts. Great speech swings. Finding your groove, one pause at a time.

THE DIAGNOSIS

Loud isn’t the same as heard.

Rushed speech is a trumpet, quick, sharp, relentless. It can be heard, but it’s hard to process.

Captivating speech is late-night jazz: smooth, relaxed, full of expression, with space between the notes. Speech needs processing to be appreciated. Just like jazz.

TECHNIQUE ONE

Space between words.

Interlexical spacing: insert deliberate pauses between words, then play with their length, the way a musician holds a note to create suspense.

Not “I’m really excited to be here today” in one rushed breath, but “I’m really… excited… to be here… today.”

TECHNIQUE TWO

Space within words.

Intralexical spacing: sometimes the rush isn’t between words but inside them, syllables mashed together until they blur.

Linger like a saxophonist bending a note: not “conver-sation” but con-ver-sa-tion, every syllable heard.

Trumpet vs saxophone.

This slide is a diagram. See it in the carousel.

PRACTISE THE JAZZ

Three drills.

01 · RECORD & LISTEN

Trumpet blast or smooth sax? Find the moments that need air.

02 · PAUSE FOR EMPHASIS

At commas, full stops and idea changes, like the audience is hanging on every note.

03 · STRETCH KEY WORDS

“This is an in-cred-ible opportunity.” Let the important word resonate.

THE TAKEAWAY

It’s not just the notes. It’s the space between

them.

Every time you speak, channel that smooth saxophone.

TSC GUIDANCE NOTES · WHAT TO SAY?

What to say..? How to say it..? What will people think..?

Thousands of clients over 30+ years. The same three worries, every time.

THE WORKFLOW

From worry to words.

01 · BRAINSTORM

Dump every idea onto the page. No filter, no judgement, mess is progress.

02 · COMPOSE

Shape the ideas into lines you would actually say out loud.

03 · REFINE

Cut. Tighten. Sharpen. Read it aloud and remove the rubbish.

04 · WRITE IT DOWN

Your script. Your structure. Your safety net.

Worry in. Words out.

This slide is a diagram. See it in the carousel.

THE REFRAME

Worry is a request for preparation.

“What will people think?” isn’t a verdict, it’s your mind asking you to prepare.

Writing it down converts anxiety into material. Material can be practised. Practice becomes confidence.

THE PRINCIPLE

Discipline = Freedom.

The better your structure, the freer your delivery.

TSC GUIDANCE NOTES · THE POWER OF SCRIPTS

Discipline = Freedom.

All spoken words require practice. Context, length and audience are immaterial.

WHAT SCRIPTING IS

Write down what you’ll say, and how.

Scripting is the purposeful act of writing down what you want to say and the way you want to say it.

Refine it. Add to it. Cut it. Make it tighter. Research the right terminology. Add metaphor, simile, alliteration, build the atmosphere you want to deliver.

THE PROCESS

Make a mess. It’s OK.

Brainstorm, mind-map, scribble, sketch, doodle, cross out. Felt-tips, pencils, post-its, whatever it takes.

Once your words are carefully curated, the real work begins: practice.

THE REFINEMENT LOOP

Read aloud. Refine. Repeat.

Read your script aloud, over and over. Note the oddities, the rhythm-destroyers, the repetitions and the rubbish.

Until when? Until you feel your gut twist, an emotional connection with your words. A psychosomatic bond.

THE PAYOFF

Structure sets you free.

The script becomes your scaffolding, your trail of breadcrumbs, your ball of string through the linguistic labyrinth.

Now you can be spontaneous with confidence, knowing you can always return to structure. Method actors do exactly this, internalise the script, then let it go. Watch Goodfellas, Pulp Fiction, The Departed.

Every great talk has a beginning, a middle and an end.

THE STRUCTURE

The beginning.

Introduce yourself (unless you’re being introduced). State the purpose: what people will gain, why the topic matters, and why you’re the right person to deliver it.

THE STRUCTURE

The middle.

Explain each core concept of your presentation, one at a time, in a deliberate order.

THE STRUCTURE

The end.

Summarise what has been covered. Thank your audience for their time. Open the floor to questions if required.

Three acts. One arc.

Know where you’re going, enjoy how you get there.

This slide is a diagram. See it in the carousel.

THE CONNECTIVE TISSUE

Transitions, where talks go to die.

Moving between sections feels awkward, so use the same phrases you’d use in normal conversation:

“To begin with…” · “Moving on..” · “We’ve discussed x, so · it’s a good time to look at y..” · “To summarise what we · know so far.”

REMEMBER

Structure isn’t a cage. It’s a launchpad.

Know exactly where you’re going, and you’re free to enjoy how you get there.

TSC GUIDANCE NOTES · GREETINGS & GRACES

You’ve said hello. Now what?

How to cross the gap between the greeting and the point, without the free fall.

THE PROBLEM

The stranger among the natives.

Entering a new space, we need to build rapport while establishing presence, role and authority.

“Good morning” rolls off the tongue. It’s the bit after the greeting that leaves us tumbling through a vacuum with nothing to hold on to.

THE TOOL

Bridging statements.

Bridging statements stitch the gap between what you have to say and what you want to say.

Choose encompassing and generic openers. “How’s everyone doing today?” invites a hundred replies you’ll have to field, unless you’re ready for them.

STEAL THESE

Bridges that work.

“Is everyone here?..No? OK, well give them a few minutes.”

“It’s my first time meeting you all, so what I’d like to do today is..”

“I’ve met some of you virtually, it’s nice to see you in person. Today’s meeting will focus on…”

THE PROGRESSION

Earn the right to loosen up

As familiarity and rapport build with the natives, you can afford to be flexible and personal, even shoot the breeze a little before the formalities.

Mindful first. Natural forever after.

TSC GUIDANCE NOTES · THE DAILY PRACTICE

The most under-rated public speaking exercise?

You can’t run a marathon without running. How will you master speaking without practising speech?

WHY IT WORKS

Guided practice for your greatest tool.

Reading aloud reduces self-awareness and trains the voice itself.

It builds vocabulary, diction and pronunciation, eloquence and lexical access, and develops a sincere, engaging manner.

One habit. Eight returns.

This slide is a diagram. See it in the carousel.

One exercise. Four channels.

This slide is a diagram. See it in the carousel.

WHAT TO READ

Fiction, not facts.

Factual books are flat. Fiction is rich in emotion and descriptive language, every speaking style lives inside it.

Children’s books are the best training material, especially Roald Dahl. We’re not testing your reading. We’re training delivery, lexical access and fluency.

HOW TO READ

Punctuation is your conductor.

THE MARKERS

Comma = short pause · Full stop = longer pause · Italics · = stress · = exclaim it · Dash = quicken slightly.

THE DISCIPLINE

Pronounce every single sound, in every single word. Slow down. Mean what you read.

Five marks. Five moves.

THE PERFORMANCE

You’re making a film for their mind.

The mind works in pictures. When you speak, your audience builds a film from your words, make it vivid, and make it easy to build.

Don’t rush. Mean every word. Vary your intonation. Imagine you’re reading to children, hold their attention.

THE PRESCRIPTION

3 minutes aloud. Every day.

It’s not about quantity. It’s all about quality.

TSC GUIDANCE NOTES · READING ALOUD LIBRARY

What to read aloud, the TSC list.

Fiction beats facts for voice training. These are books to perform, not just read. (Non-exhaustive!)

SHELF ONE

The epics.

The Kite Runner · A Thousand Splendid Suns · And the Mountains Echoed, Khaled Hosseini

Shantaram, Gregory David Roberts

The Tattooist of Auschwitz, Heather Morris

SHELF TWO

The page-turners.

A Time to Kill · The Partner · The Chamber · The Runaway · Jury, John Grisham

The Curious Incident of the Dog in the Night-Time,

Mark Haddon

SHELF THREE

The charmers.

A Man Called Ove, Fredrik Backman

Harry’s Trees, Jon Cohen

First Frost, Sarah Addison Allen

Dear Committee Members, Julie Schumacher

THE PRESCRIPTION

3 minutes aloud. Every day.

Rich, emotional, descriptive language, every speaking style lives inside fiction.

TSC GUIDANCE NOTES · SET TASK

An eloquence workout you can do anywhere.

Train lexical access, the speed and precision with which the right word arrives.

THE PRINCIPLE

Eloquence is a muscle.

The right word, at the right moment, without reaching, that’s lexical access.

Like any muscle, it responds to resistance training. This drill is the resistance.

THE DRILL

Four reps per word.

01 · PICK A WORD

From the starter list, or any word that crosses your path today.

02 · THREE SYNONYMS

Find three words that could stand in for it.

03 · THREE ANTONYMS

Find three that mean the opposite.

04 · THREE SENTENCES

Write three sentences for each word. Say them aloud.

STARTER WORDS

Your first set.

Round · Lose · Invert · Complete · Spicy · Triumph · Move · Clear · Original · Understand

Create · Beautiful · Communicate · Obstruct · Decline · Force · Start · Said · Hot

TSC GUIDANCE NOTES · DAILY PRACTICE STRUCTURE

A daily scaffold for your speaking practice.

Recalibrated skills need momentum to generalise. Here’s the frame, flexible by design.

THE APPROACH

One task a day. Mindfully.

The structure is entirely flexible in accordance with, well, life! Adjust the timetable to suit, aim to complete at least one different task a day.

This should not be something to endure. Enjoy stepping out of your comfort zone. Have fun.

THE ENGINE UNDERNEATH

Every scaffold feeds one bespoke loop.

This slide is a diagram. See it in the carousel.

THE ENGINE UNDERNEATH

Every scaffold feeds one bespoke loop.

CONTINUOUS EVALUATION

STRATEGIES & EXERCISES

GUIDED PRACTICE

RECALIBRATION

Four stages, one engine: the bespoke coaching programme at the centre.

CLOSE THE LOOP

Record your practice.

Capture an audio recording whenever possible and share it via the shared drive.

We add to the scaffold as we progress, brick by brick.

Confident communication isn’t a gift. It’s a method.

Two pillars: the Curation of Confidence, and the Art of Storytelling.

First, we map the terrain.

This slide is a diagram. See it in the carousel.

PILLAR ONE

The Curation of Confidence.

Establish your Net Self-Worth through tangible, quantifiable means: take stock of your accomplishments, things you have learned, endured and overcome.

The size of an accomplishment is always overshadowed by its impact and magnitude, which are long-lasting.

THE DAILY DEPOSIT

One accomplishment. Every day.

We forget what we have done in the pursuit of what we wish to do. Listing your stock, with evidence, recalls attitudes and aptitudes you have already curated and tested.

Then write down one accomplishment a day, every day. Your Net Self-Worth grows with each entry.

THE ASSET

It cannot be taken from you.

Your Net Self-Worth does not change according to context, audience or location. It cannot.

The list is yours. You walk into any situation with it, glass half full.

PILLAR TWO

The Art of Storytelling.

Behind each accomplishment there is a story. Tell your story. Refine it. Relive it. Retell it. Share it.

Each telling fortifies your Net Self-Worth at a deeper level, while training structure, pace, fluency and intonation.

TSC GUIDANCE NOTES · COMMUNICATION CONFIDENCE

Confidence is not a fixed trait. It’s a practice.

It develops over time, changes with context, and shows up in two distinct ways.

TYPE ONE

Specific confidence.

Skill-based confidence develops through doing: repeated exposure, practice, guidance, correction, reflection. As capability increases, confidence tends to follow.

Everyone acquires skills at different rates. Some need few repetitions, others many more. Neither indicates intelligence, talent or personal value.

TYPE TWO

General confidence.

General confidence is how you evaluate yourself overall, your achievements measured against your expectations and standards.

Many people fixate on perceived shortcomings and past mistakes, while overlooking progress made, challenges endured, and skills accumulated. That imbalance distorts self-assessment.

THE INSIGHT

You’re discounting the evidence.

People often feel less confident not because they lack ability, but because they consistently discount what they have already managed, learned and overcome.

Bringing accomplishments into awareness isn’t self-promotion. It’s restoring proportion.

THE EXERCISE

Record your accomplishments.

THE TASK

Write down 120 things you have accomplished that you are proud of. One accomplishment per sentence.

THE METHOD

A dedicated notebook. Never in one sitting, gradual, not rushed. Take your time.

THE REASSURANCE

If progress feels slow, that’s normal. Difficulty recalling achievements reflects habit, not absence.

Words have power. And you are judged every time you use them.

People make decisions about you from the way you speak, every single time.

THE REALITY

Decisions are made in split seconds.

From the way you speak, people make decisions about your intelligence, your background, your ability to learn and to earn, whether they can trust you, whether they like you.

The older you get, the greater the accountability, the more severe the judgement, and the more far-reaching the consequences.

THE STAKES

Skill isn’t enough.

The manner in which you speak can make the difference between being believed, getting the job, getting the service you deserve, getting noticed.

It doesn’t matter how good you are at something: if your communication isn’t on point, you can end up on the losing side of opportunity after opportunity.

THE NUANCE

It’s not about being posh.

It’s about being appropriate, and that depends on where you are, who you’re with and what you’re doing.

Your natural voice belongs to you. This is about adding a gear, not replacing the engine.

THE SKILL

Code-switching.

The ability to shift into well-spoken, articulate speech on demand, describing what, where, when, who, why with precision.

It’s a vital skill that everyone needs to have. And like every skill: it’s trainable.

TSC GUIDANCE NOTES · CONFLICT COMMUNICATION

In conflict, the person who speaks less controls more.

Conflict is not an anomaly. It is an inevitability. What matters is how you conduct yourself within it.

THE OBJECTIVE

Not to win. To command.

The goal of conflict communication is to control outcomes while preserving credibility, authority and long-term relationships.

Resolution may not mean agreement. Often the best outcome is simply this: your integrity, professionalism and composure remain intact.

CORE PRINCIPLES

Non-negotiables.

01 · HOLD YOUR INTENT

Resolution or containment, never emotional discharge.

02 · PROVOCATION IS DATA

Emotional behaviour gives you information. Use it. Don’t react to it.

03 · LISTEN FULLY FIRST

Interrupt only to prevent escalation or set a boundary.

04 · APOLOGISE STRATEGICALLY

For impact, not intent. An apology is a reset, not a surrender.

05 · ADJOURNMENT IS A TOOL

Not a failure. Time restores proportion.

THE STRATEGY

Adopt a character state.

Under pressure, cognition narrows and language degrades. So borrow nervous-system regulation from an archetype of composure:

Denzel Washington’s calm dominance. Helen Mirren’s stillness and vocal restraint. Viola Davis’s control with directness. Model the composure, not the personality.

BODY & VOICE

Stillness is not absence of movement.

It’s the absence of unnecessary movement. Shoulders relaxed, breathing low, feet grounded. Gestures slow, purposeful, minimal, then back to neutral.

Even pace, steady volume. Lower your pace before your pitch. Warmth disarms; blankness escalates.

THE LANGUAGE

Boundaries, calmly delivered.

“I’m going to pause you there. That behaviour isn’t acceptable.” · “Let’s reset the tone.” · “Let me reflect back what you’ve said.”

Then: silence. After a question, silence does more work than speech.

Interrupting isn’t rude. Done right, it’s leadership.

How to steer meetings, fairly, politely and constructively.

THE PROBLEM

The point arrives last.

Meetings are time-sensitive, a short, intensive window to extract the right information and deliver clear direction.

Yet people ramble, burying the key point at the very end. Controlling the flow of information is a skill, and a kindness to everyone in the room.

SET THE SCENE

Define the game before kickoff.

State the goals and constraints at the start, it tells people exactly what you expect from them:

“In this meeting I’d like to know most about x, y and z..” · “We have 20 minutes, so I may guide you in the interests of time…”

VERBAL STRATEGIES

Phrases that steer.

“If I could just interject.” · “In the interests of time…” · “May I say..”

“Would it be possible for us to talk about the main points?” · “I’m just aware of the limited time we have..”

NON-VERBAL STRATEGIES

Say it before you say it.

Keep a soft expression, smile where possible. Hands in front of you or on the table primes them for conversation.

Palm raised and slightly dipped = a soft stop sign. A pen in hand works as a gentle interrupt. A full flat palm reads as forceful, which has its place.

TSC GUIDANCE NOTES · NEGOTIATING

Win the relationship, then the negotiation.

The accommodating tone: collaborative, respectful, empathetic, built for the long game.

THE CHARACTERISTICS

Five signals of an accommodating tone.

Empathy, a sincere effort to understand their needs and concerns. Politeness, respect for their viewpoint even in disagreement.

Flexibility, visible willingness to adjust. Non-confrontation, calm language that defuses rather than escalates. And listening, reflected back so they know they’ve been heard.

THE REFRAMES

Same message. Different outcome.

Not “I disagree with your point”, but “I understand where you’re coming from. Could we explore another angle?”

Not “That won’t work”, but “That could be a challenge for us. Could we consider an alternative?”

THE LANGUAGE

We beats you.

Inclusive words, we, our, together, turn opponents into collaborators: “How can we move forward?”

Acknowledge and validate: “I see what you mean.” · “That’s a valid point.” Express willingness: “I’m happy to consider that.” · “Let’s see how we can make that work.”

THE STRUCTURES

Four sentence patterns.

OPEN QUESTIONS

“What do you think would be a fair solution for both of us?”

CONDITIONALS

“If we adjusted the timeline, might that work better for both of us?”

ACKNOWLEDGE, THEN COUNTER

“I understand your need for speed, perhaps a slightly longer timeframe covers everything thoroughly.”

REFLECTIVE LISTENING

“It sounds like you’re concerned about X. Am I understanding correctly?”

TSC GUIDANCE NOTES · PARLANCE & PARLE

How to say no, with a smile.

For the questions you can’t answer, asked by the people who expect you to.

THE SITUATION

On the spot. In front of everyone.

Some people believe their position entitles them to information they’re not privy to, and they’ll ask anyway, sometimes demanding, often publicly.

Bluntness is accurate, and burns the relationship. We’re not really managing the question. We’re managing the character who asked it.

THE PROCESS

The Five A’s.

01 · ACCEPT

Expect the question, from experience. Stay open and accepting.

02 · ACKNOWLEDGE

Give it the spotlight: “Thank you, that’s a very good question. For anyone who didn’t hear, (Name) asked…”

03 · ALTERNATIVES

If applicable: “Could we catch up after?” · “Can I take your details?”

THE PROCESS · CONTINUED

Close it cleanly.

04 · AGENDA

“Today we’re covering… We won’t be discussing that today, however.” · “We have a busy agenda, I don’t think we’ll have time.”

05 · ADIEU

Short and sincere: “Thank you, (Name). Any other questions? Then I’ll move on..”

Five A’s. One smile.

Manage the character, not just the question.

This slide is a diagram. See it in the carousel.

THE OUTCOME

Satisfy. Pacify. Placate.

Professionally and politely, with the relationship, and your authority, fully intact.

TSC GUIDANCE NOTES · FOR INTERVIEWERS & PODCASTERS

Great interviews aren’t lucky. They’re steered.

Extracting the right information, in the time you have, fairly, politely, constructively.

THE CHALLENGE

Experts take deep dives.

Your guest knows their field, and in their eagerness to give you everything, they’ll dive into areas that are fascinating but not pertinent.

Steering them back on track is what lets you complete your enquiries in the time you have. It’s a skill, not an

accident.

SET THE SCENE

Expectations up front.

Define the goals of the interview after the greetings, time constraints included:

“In this interview I’d like to know most about x, y and z..” “We have 30 minutes, so I may guide you in the interests of time.”

VERBAL STRATEGIES

Steering phrases.

“To bring you back to..” · “You mentioned.” · “I have a question about…”

“May I say..” · “I’m just aware of the limited time we have..”, and wait for, or create, the right opening to use them.

NON-VERBAL STRATEGIES

The soft stop sign.

Soft expression, hands visible and primed for conversation. A palm raised and slightly dipped signals you have something to say, a pen in hand works as a gentle interrupt.

A full flat palm is forceful. It has its place, use it knowingly.