# data[].attributes.body
- You can work on a monologue, duet or scene from any Shakespeare text.

- You should aim for 2 minutes per performer

Warm up and rehearsals

- You must film a vocal warm up suitable for this type of text (this can be performed as a group) but needs to be at least 3 different types of warm up activities

Rehearsals

Film at least two rehearsals, one should be focused on accents, one focused on timing and pauses

Recording

We will record in the vocal booth next week

# data[].attributes.attachment_link.title
What's the difference between Verse and Prose?

# data[].attributes.body
Practical Practice

# data[].attributes.body
Format-

- It should be a short snippet of what you could do for a longer Podcast

- 5-10 minutes

- Introductions (names, topics etc.)

- main body

- sign off

You could then expand it for the final vocal assessment

# data[].attributes.attachment_link.description
Check out all of these podcasting resources! Or search them. Your call. Can’t find your answer? Well, we aren’t mind readers. But wait… do you want to ask us to […]

# data[].attributes.attachment_link.title
The Door in the Wall by H.G. Wells | Short Story Audiobook

# data[].attributes.attachment_link.title
CreepsMcPasta Creepypasta Horror Stories Podcast

# data[].attributes.attachment_link.description
‘Creepypastas’ are the urban legends of the internet. A new age of horror told through digital word of mouth.

# data[].attributes.attachment_link.title
Paris catacombs, haunted accordions and more with Josh Homme | Morbid | Podcast

# data[].attributes.attachment_link.authors[].name
After Dark: Myths, Misdeeds and the Paranormal

# data[].attributes.attachment_link.title
Was Jack The Ripper A Member Of The Royal Family? | After Dark Classics

# data[].attributes.attachment_link.description
Unofficial transcripts of No Such Thing As A Fish, a weekly podcast about interesting facts.

# data[].attributes.attachment_link.readable_text
Effective communication is a foundational part of a podcast's success. Creating an episode script before you record your podcast is a simple way to prepare for your recording sessions so you can convey your message clearly and concisely.

Using a podcast script can also:

make podcast recording and editing more efficient

reduce excessive rambling or pauses

help guest interviews go smoothly

In this guide, we break down the essential elements of a good outline and share template options so you can create your own podcast script!

Podcast script template example

Before you write your own script, it can be helpful to have a podcast script example PDF to give you a starting point.

In this example, each section includes a spot for your main podcast topics, segment duration, key points, and sponsor ads placed at the beginning, middle, and end of the episode.

[Sponsor message]
[Opening music jingle and sound effects]

Intro: Duration: ( ___) Set the stage for your episode. Include details that set up your episode's theme. State name of podcast show, why your show exists, who you are, etc.

Topic #1: Duration:( ___ )
1. Main point
2. Supporting point
3. Supporting data
4. Supporting quote

[ Segue] ( can be a sound effect, short musical clip, or a phrase)

Topic #2: Duration:( ___ )
1. Main point
2. Supporting point
3. Supporting data
4. Supporting quote

[Sponsor message]

Topic #3: Duration:( ___ )
1. Main point
2. Supporting point
3. Supporting data
4. Supporting quote

Closing remarks or recap: Summarize the main points you covered, tease an upcoming episode, etc.Summarize the main points you covered, tease an upcoming episode, etc.

[Sponsor message]
[Closing music jingle or sound effect]

You can download our printable podcast outline template PDF, or an easy-to-edit Google Doc template so you can customize your own podcast script! Just copy and paste the Google Doc template into your own Google Doc file to make edits.

Common podcast script elements

Scripting podcast segments is a great way to add structure to your show, even if the rest of the episode is ad-libbed.

Here are some common elements you can use to customize your own template.

Intro

Your podcast intro lets you give listeners an overview of the episode up front and helps you capture your audience's attention at the outset.

The content of this segment will change from week to week, but the structure shouldn't vary much.

Example: "Hello and welcome to [podcast title], the show that [insert concept of show or tagline]. I'm [host name].

In today's episode, we will discuss [insert talking points] with [guest name]. We'll discuss the ins and outs of [episode topic] and offer listeners a special surprise at the end. Be sure to listen all the way through for the details!"

Guest intro

Jotting down some basic facts about your podcast guest helps establish rapport and get off to a strong start.

Example: "Our guest today is [guest name]. They are a [insert role, title, experience] with a passion for _______.

They're going to share with us [episode topic]. Hi, [guest first name]! Thanks so much for joining us!"

Sponsor message

Sometimes podcast sponsors give hosts a script to read from verbatim, and other times the host crafts their own sponsor message.

It's important to create a quality sponsor message that kicks your show off well, reflects your sponsor's brand, and sounds natural.

Example: "[Your podcast name] is sponsored by [insert brand name]. [Sponsor] is a company that [describe company values and products as well as their relevance to your audience]."

Segue

A well-placed segue can make your podcast flow between topic changes and help create a cohesive episode. Segues can be a phrase, sound effect, or musical jingle.

Summary

A good summary recaps the main points of your episode for listeners.

Most podcasts cover a lot of information in one episode, and listeners appreciate it when hosts reiterate the key takeaways.

Outro

You can use this section to make announcements, give a teaser for your next episode, play a closing jingle, or share resources to help listeners.

Example: "Next week, we'll continue to help you frame your podcast by helping you nail down the details that will give structure to your new podcast! [Outro music]."

Call to action (CTA)

A call to action is an announcement that requires action from your audience. You can ask listeners to follow you on social media, leave a rating or review, etc.

The content of your CTA will change over time based on your sponsors, show content, and current merchandise.

Limit your call to action to one clear thing you'd like from your audience. More than one CTA can overwhelm listeners.

Example: "Want to ask a question on a future episode of "Podcasting Q&A"? Click on the link in the show notes to record your question in a voicemail! [Outro music]."

8 Podcast script examples

Podcast scripts vary based on the type of podcast you have. Use these script templates as a guide, and make changes to suit your own podcast format!

#1. Minimalist or freestyle

If you enjoy ad-libbing, a basic list of questions might be all you need.

These scripts don't take much time to make and can provide just enough structure to get an episode off the ground.

A loose episode structure also makes for easier editing since the "mistakes" naturally fit with the style of your show.

#2. With a cohost

We strongly recommend using a script if you record with multiple podcast hosts.

A script ensures you and your guest don't talk over each other, get confused about what's coming next, forget key points, or confuse listeners.

#3. Fully scripted

A word-for-word draft is an excellent option for audio dramas and some solo shows, but it takes practice to learn the art of reading a script naturally.

Try to write in pauses, laughs, and off-script comments to avoid sounding stilted. This delivery style doesn't allow for many mistakes and can add time to your editing in post-production.

[Music intro]
[Sponsor message]

Act I Duration: (____)
- Establish setting and introduce main characters
- Inciting incident: The problem or question that the character-or you-is trying to solve or answer.
- Turning point: The character turns in a new direction in response to the inciting incident).

Act II Duration: (____)
-The struggle: The attempt to solve the problem or question at hand. This is the "rising action" of the plot where you can develop your narrative arc.

- Climax: Theme reaches its most intense point of conflict
- The resolution: Episode's conflict is resolved and the story ends

#4. Solo-host

Many solo podcasters (especially beginners) find it saves time and energy to make a detailed outline.

Under each main point, include relevant key points, supporting data, and anecdotes. If you choose this script style, stay conversational, and try not to read your notes verbatim.

This outline gives you enough structure to make recording easier but is casual enough to allow for verbal slip-ups.

#5. Interview-style

A good podcast interview requires preparation. This script can help you keep a free-flowing, conversational tone with your guest.

Email your guest your outline a week or so before the interview so they have plenty of time to prepare. Tell them what questions you plan to ask, and craft your script around those questions.

[Music intro]
[Sponsor message]

Speaking intro: Give listeners a bird's eye view of the episode to hook their interest.

Guest introduction: Include your guest's basic bio, including accomplishments, title, and experience.

Question #1. (Duration: ____)
Question #2. (Duration: ____)

[Sponsor message]

Question #3. (Duration: ____)

Episode recap and closing remarks
Sneak peek or teaser of next episode

Call to action: Give your listeners one thing to do like subscribe to your show, sign up for a newsletter, or join a giveaway.

#6. Q&A

Q&A-styled podcasts answer listener questions and are generally fairly straightforward in their format. You can use this guide as a general outline and customize it where you see fit.

#7. Tutorial or how-to

Podcast episodes that feature tutorials involve a lot of steps with important details you don't want to forget.

Use this template as a guide whenever you teach your listeners a skill or walk them through a multi-step process.

[Music intro]
Intro: Duration: (____) Set up the problem you'll solve for your listeners and what they'll know by the end of the episode.

What listeners should know: ________ Duration: (____)
Let your listeners know what they need before committing to this project (things like time, a certain amount of knowledge, etc.)

Materials needed:________Duration: (____)
Give your listeners a comprehensive list of what they need to purchase or download. You can include a shopping list in your show notes with affiliate links to relevant products.

How to execute: __________Duration: (____)
This is where you get into the nitty-gritty. Include as many bullet points as you need to communicate your tutorial in an organized way.

[Summary]
[Outro]

#8. Roundtable

Roundtable podcasts feature three or more cohosts and can easily get off the rails if you don't have an outline.

This guide can help keep your episode in line through banter and various podcast segments!

[Music intro]
[Sponsor message]

Intro: Duration: (______) Set stage for episode and introduce cohosts.

Topic #1: ___________ Duration: (____)
-Main point
-Supporting point
-Supporting data

Topic #2: ___________ Duration: (____)
-Main point
-Supporting point
-Supporting data

Topic #3: ___________ Duration: (____)
-Main point
-Supporting point
-Supporting data

Audience Q&A: Answer listener voicemails, emails, questions, or read reviews and thank supportive listeners or patrons.

[Summary]
[Outro]

Podcast script best practices

Follow these tips to optimize your script and streamline your workflow!

Do keyword research

Using a keyword research tool is a powerful way to get inside your listeners' minds. You can type your episode topic into one of these tools to see what questions your audience has about it.

Use dictation software

Some people prefer to dictate their script rather than write it out. Here are some free speech-to-text tools we like:

Keep it simple

Try to keep your podcast template as simple as possible unless you need a word-for-word script.

Most podcasters find that a flexible script is enough to keep them focused while still speaking in a natural, clear way.

Add delivery notes

Delivery notes indicate how to present your written content, like where to add emphasis or pause for effect.

These notes can be helpful to make a fully scripted episode sound more natural.

Do a dry-run

You don't have to rehearse your whole episode verbatim, but it's a good idea to do a quick run-through out loud to make sure it flows.

You can use your podcast script example PDF to practice in front of a mirror or record part of the episode using a voice recording app.

Final thoughts

A good podcast outline can make episodes sound effortless to listeners and minimize recording mistakes that could take significant time to fix.

Whichever podcast template you choose, the goal is to provide the amount of structure you need to effectively communicate your message and keep your audience listening!

Follow Buzzsprout on YouTube for more podcasting tips, tricks, and tutorials!

# data[].attributes.attachment_link.title
How to Write a Podcast Script [8 Free Script Templates]

# data[].attributes.attachment_link.description
Creating a script for your podcast episodes helps prepare you for recording sessions and makes it easier to communicate your message. In this guide, we break down the essential elements of a good outline and share template options so you can create your own podcast script!

# data[].attributes.attachment_link.title
Singing in the MRI with Tyley Ross - Making the Voice Visible

# data[].attributes.attachment_link.title
Laryngoscopy of an Opera Singer - 2017 CHRISTMAS LECTURES

# data[].attributes.attachment_link.title
Nancy Cartwright Teaches Voice Acting | Official Trailer | MasterClass

# data[].attributes.attachment_link.title
How To Create 100 Distinctly Different Voices

# data[].attributes.attachment_link.readable_text
Tongue twisters are a great way to practice and improve pronunciation and fluency. They can also help to improve accents by using alliteration, which is the repetition of one sound. They're not just for kids, but are also used by actors, politicians, and public speakers who want to sound clear when speaking. Below, you will find some of the most popular English tongue twisters. Say them as quickly as you can. If you can master them, you will be a much more confident speaker.

1. Peter Piper picked a peck of pickled peppers.
A peck of pickled peppers Peter Piper picked.
If Peter Piper picked a peck of pickled peppers,
Where's the peck of pickled peppers Peter Piper picked?

2. Betty Botter bought some butter
But she said the butter's bitter
If I put it in my batter, it will make my batter bitter
But a bit of better butter will make my batter better
So 'twas better Betty Botter bought a bit of better butter

3. How much wood would a woodchuck chuck if a woodchuck could chuck wood?
He would chuck, he would, as much as he could, and chuck as much wood
As a woodchuck would if a woodchuck could chuck wood

4. She sells seashells by the seashore.

5. How can a clam cram in a clean cream can?

6. I scream, you scream, we all scream for ice cream.

7. I saw Susie sitting in a shoeshine shop.

8. Susie works in a shoeshine shop. Where she shines she sits, and where she sits she shines.

9. Fuzzy Wuzzy was a bear. Fuzzy Wuzzy had no hair. Fuzzy Wuzzy wasn't fuzzy, was he?

10. Can you can a can as a canner can can a can?

11. I have got a date at a quarter to eight; I'll see you at the gate, so don't be late.

12. You know New York, you need New York, you know you need unique New York.

13. I saw a kitten eating chicken in the kitchen.

14. If a dog chews shoes, whose shoes does he choose?

15. I thought I thought of thinking of thanking you.

16. I wish to wash my Irish wristwatch.

17. Near an ear, a nearer ear, a nearly eerie ear.

18. Eddie edited it.

19. Willie's really weary.

20. A big black bear sat on a big black rug.

21. Tom threw Tim three thumbtacks.

22. He threw three free throws.

23. Nine nice night nurses nursing nicely.

24. So, this is the sushi chef.

25. Four fine fresh fish for you.

26. Wayne went to wales to watch walruses.

27. Six sticky skeletons. (x3)

28. Which witch is which? (x3)

29. Snap crackle pop. (x3)

30. Flash message. (x3)

31. Red Buick, blue Buick. (x3)

32. Red lorry, yellow lorry. (x3)

33. Thin sticks, thick bricks. (x3)

34. Stupid superstition. (x3)

35. Eleven benevolent elephants. (x3)

36. Two tried and true tridents. (x3)

37. Rolling red wagons. (x3)

38. Black back bat. (x3)

39. She sees cheese. (x3)

40. Truly rural. (x3)

41. Good blood, bad blood. (x3)

42. Pre-shrunk silk shirts. (x3)

43. Ed had edited it. (x3)

44. We surely shall see the sun shine soon.

45. Which wristwatches are Swiss wristwatches?

46. Fred fed Ted bread, and Ted fed Fred bread.

47. I slit the sheet, the sheet I slit, and on the slitted sheet I sit.

48. A skunk sat on a stump and thunk the stump stunk, but the stump thunk the skunk stunk.

49. Lesser leather never weathered wetter weather better.

50. Of all the vids I've ever viewed, I've never viewed a vid as valued as Alex's engVid vid.

Practice some common tongue twisters with me in these videos:

# data[].attributes.attachment_link.title
50 Tongue Twisters to improve pronunciation in English

# data[].attributes.attachment_link.description
Tongue twisters are a great way to practice and improve pronunciation and fluency. They can also help to improve accents by using alliteration, which is the repetition of one sound. They're not just for kids, but are also used by actors, politicians, and public speakers who want to sound clear when speaking.

# data[].attributes.body
Peter Piper picked a peck of pickled peppers,​
A peck of pickled peppers Peter Piper picked.​
If Peter Piper picked a peck of pickled peppers,​
Where's the peck of pickled peppers Peter Piper picked?​

​

Bobby Bibbit bought a bat.​
Bobby Bibbit bought a ball.​
With the bat, Bob banged the ball,​
Banged the ball against the wall.

# data[].attributes.body
A big bug bit a bold bald bear and the bold bald bear bled blood badly.​

​

Brisk brave brigadiers brandished broad bright blades, blunderbusses, and bludgeons -- Balancing them badly.​

​

Can you can a canned can into an uncanned can like a canner can can a canned can into an uncanned can?​

​

If you must cross a course cross cow across a crowded cow crossing, cross the cross coarse cow across the crowded cow crossing carefully.​

​

Imagine an imaginary menagerie manager managing an imaginary menagerie.​

​

The sixth sick sheik's sixth sheep's sick

# data[].attributes.body
Pumpkin face and raisin face​

Chewing- imagine you are chewing a really chewy bit of toffee

# data[].attributes.body
Hi John, You’re Jolly​

​

Say the persons name and a describing word that begins with the same letter of their name e.g. Hi Cat you’re clever

# data[].attributes.body
I said a Boom​

I said a Boom Chicka Boom​

I said a Boom ChickaRockaChickaRockaChicka Boom​

Uh huh​

Oh yeah​

One more tim

# data[].attributes.body
This is a great exercise to help give control into your voice and breathing. Stand with your shoulders resting and your face pointing forward. Place your hand on your abdomen, and breathe in so your abdomen expands (also known as diaphragm breathing). During your exhale, make static "Ha. Ha. Ha. Ha." noises. With every "Ha," push in your abdomen to force the sound out of you.

# data[].attributes.body
Always breath in via the nose and out via the mouth. This can help to keep the air warm and clean, ready for a performance or actors to use their voice

# data[].attributes.body
Count to 21, you can say 1, 2, or 3, number . If you say 21 you are out.

# data[].attributes.body
Then replace the number 1 with a clap and don’t say the number​

Then replace the number 2 with a stamp and don’t say the number ​

Then replace the number 3 with a bob and don’t say the number ​

Then replace the number 4 with a wave and don’t say the number​

Then replace the number 5 with a jump

# data[].attributes.body
1,2,3 ​

In pairs start by counting up to 3 taking it in turns.​

Then replace the number 1 with a clap and don’t say the number​

Then replace the number 2 with a stamp and don’t say the number ​

Then replace the number 3 with a bob and don’t say the number

# data[].attributes.attachment_link.title
Vocal Warm-Up | #1 Breathing | National Theatre

# data[].attributes.body
Say a story where everyone can only say one or two words at a time. (This story must be appropriate)

# data[].attributes.body
Technical questions and comments
structure of text
Finding the metre and rhythm
Clues to vocal characterisation
Accent and dialect
Question- When you perform what is the message you are trying to showcase?

# data[].attributes.body
Technical questions and comments
1. Identifying vocal problems:
Sound – speaking voice clear tone
Excessive air pressure/control of air exhalation
Diction
2. Abdominal wall:
Releasing the abdomen to allow diaphragm to function
Resonance exercises Speech muscles
3. Expressivity
Clarity
Pace
Dynamics
Character
Use of accents
Question to ask:
What techniques or warm ups can you use to improve your vocal performance?

# data[].attributes.attachment_link.title
Iambic Pentameter Explained Part 2: Variations

# data[].attributes.attachment_link.title
[FREE] SPOKEN WORD INSTRUMENTAL | SPOKEN WORD BEATS 2020

# data[].attributes.attachment_link.title
Jae Nichelle - "Friends With Benefits" @WANPOETRY (TGS 2017)

# data[].attributes.attachment_link.title
Changing the World, One Word at a Time! | The Queen Latifah Show

# data[].attributes.attachment_link.description
Spoken word is written on a page, but performed for an audience. It relies on a heavy use of rhythm, improvisation, rhymes, word play, and slang. These tips will help you write your best spoken word piece yet. Then, share your work with our community of over 400k poets.

# data[].attributes.attachment_link.provider_name
Not a Lot of Reasons to Sing, but Enough

# data[].attributes.attachment_link.readable_text
Guante opening for Saul Williams at Icehouse in Minneapolis; photo credit: Elliot Malcolm

(Note: this is a slightly edited version of the intro to my book, available now!)
A very common piece of advice in spoken word workshops or critique circles is "just do the poem." So many of us, especially when we're just starting out, instinctually want to frame, contextualize, or introduce the poem. This manifests as any number of statements like "this is just something I wrote when..." or "this isn't really done; I'm not sure if it has a title yet, but..." or even "this is terrible but I'm going to share it anyway," etc.

That advice-to dive in, with no disclaimers or introductions-is partly about acknowledging the dramatic effect of a poem that starts from silence, from breath. It is also partly about calming the performer down, allowing their work to simply exist, as it is, with no apologies. Especially in poetry slam spaces-you only have three minutes, so there isn't really time for "artist statements."

That being said, I love contextualizing poems. The more that I've moved away from slams and toward performing hour-long sets, the more I've grown to appreciate the power that can come from framing notes, artist statements, and organic dialogue with the audience. We all listen and learn in different ways, and these fourth wall-breaking moments can sometimes be as meaningful as the poems themselves.

In that spirit, I wrote this as an introduction to my book so that it could both contextualize my poems and offer an introduction to the form-and culture-of spoken word for anyone who may not already be part of that community.

Of course, this list is not about capturing all of spoken word and slam poetry culture in one piece of writing; part of the beauty of our community is that we don't all agree on everything, and the work that we do is fluid, dynamic, and impacted by context, identities, and intertwining thought-currents. I do not expect every spoken word artist or listener out there to agree with everything I write here. And that's cool. What follows is more so an illumination of a few pet peeves and misconceptions that I run across all the time. Though I'm no voice-of-God authority on this subject, I am a practitioner; my hope is that this piece can add additional clarity, depth, and nuance to the ongoing conversation.

1. Words Mean Things: A Point About Terminology

This is a can of worms, so I'm not going to to attempt to provide the ultimate, catch-all definition of spoken word here. I will, however, share the framework that I use when it comes to terms:

"Spoken Word" is an umbrella term. It refers to poetry that is read aloud; it may contain elements of theater, stand-up comedy, storytelling, rhetoric, jazz, hip hop, or other forms. We could go deeper with this, in terms of the difference between "recitation" and "performance," or the difference between creating work that is meant to be performed vs. work that is about the page first and then happens to be performed (and how each approach impacts the writing itself), but I think this is a good starting point. You could also potentially use the term "performance poetry."

"Slam Poetry" is often used interchangeably with "spoken word," but I would argue that it means something more specific: slam poetry is spoken word performed at a poetry slam (more on that later). While there may be certain tropes or approaches that are more common in slam poetry than in other kinds of spoken word, the real difference is not about form-it's about context.

"Beat Poetry" refers to the poetry of the Beat Generation, whose work is now 50+ years old. Please do not call a 20-year-old spoken word artist a "beat poet" unless that's some kind of explicit shtick they're running with. The stereotypical imagery of berets and bongo drums is simply not what spoken word is today.

"Spoken Slam Hip Hop Beat Jams" is not a real thing. Additionally, I was once called a "slap poet," though that was probably a typo. Probably.

2. Spoken Word is Poetry, Whether You Like It or Not

Of course, we don't all have to be on the same page regarding our enjoyment of or appreciation for spoken word. But to say that "it isn't poetry" (as many do, with gusto) is closed-minded and, frankly, ahistorical. After all, the history in which poetry was primarily about the page is shorter than the history in which poetry was primarily oral (see next point).

Furthermore, I can't help but notice the racist and classist undertones in the bizarrely narrow definition of poetry that so many hold on to so desperately; I am interested in asking why that narrow definition (the one that says that poetry must rhyme, or be metered, or be published, or follow established rules) persists in the minds of so many. Where does that definition come from? Who benefits from it?

Now, this does not mean that I believe that all spoken word is beautiful and perfect and amazing. For every spoken word piece that I love, I can think of another (or five) that I don't. The argument here isn't that we shouldn't have standards; it's that we should think critically about the history of those standards, and who has had access to the spaces in which they were created.

Finally, it is also helpful to note that the "page/stage" divide is an artificial one. Lots of great spoken word artists are published poets, award-winners, and professors. Lots of page poets are very good at performing their work. As different as spoken word and written poetry can be in many regards, there's still an enormous overlap.

3. Spoken Word is Old, and New, but Mostly Old

Even though spoken word is very often characterized as a new, underground artistic phenomenon, or as a novel, radical reconceptualization of the relationship between poetry and its audience, it's important to note that spoken word has been around for as long as language has. It is one of the oldest artistic practices that we have. The griot, the storyteller, the person responsible for orally passing down information from generation to generation: every culture on earth has some kind of analogue to this.

We can trace the current spoken word boom back through Hip Hop, the Black Arts Movement, the Beat Generation, the Harlem Renaissance, deeper and deeper into history, and we'll get to the griot.

And sure-when most people today talk about "spoken word," they're referring to the 30 year-old manifestation of the practice driven by poetry slams, Def Poetry Jam, and viral videos. But it is important to know that this art has deeper roots, and that those of us who do this are taking part-knowingly or not-in a much older cultural practice.

4. Spoken Word is Big and Diverse

I understand that for a lot of people, slam poetry is a punchline. The stereotype of the grim, ultra-earnest college kid shouting clichés about how "the man" is corrupt, in a forced rhythm, while a dozen people in a coffee shop snap their fingers, is deeply embedded in pop culture.

But I've been performing in poetry slams, traveling around the country for spoken word shows, and watching poetry online for a decade now, and one thing that always strikes me is how authentically diverse the community is. After all, a fundamental pillar of the culture is the idea that everyone has a story, and every story matters. People approach spoken word from all walks of life, from all identities, and from a myriad of approaches to the form. I would say that the culture is largely driven by young people, and young people of color especially, but it is by no means dominated by a singular voice.

The attitude that "spoken word all sounds the same" is similar to the attitude that "all jazz is just random notes and gesticulating," or "all Hip Hop is just shouting about guns," or "all photography is just high-contrast black-and-white portraits of elderly people." While there are common tropes and shared delivery tactics (which is true in any form), those elements exist within a framework that allows for endless variations and stylistic impulses. This leads into the next point:

5. Spoken Word is Democratic, and Yes, That Means that Some of It is Bad

Another fundamental pillar of spoken word culture is the idea that poetry is for everyone. Anyone can be a poet. Anyone can serve as a judge at a slam. Anyone can sit in the audience and decide what they like or don't like. It isn't about what MFA program you got into, or how many poems you've gotten published, or who co-signs you; it's about how we build community with one another through the telling of our stories and the sharing of our words.

What this means in practice is that no matter who you are, or how much experience or training you have, you can sign up at an open mic or poetry slam and share something. So of course, if you're an audience member at some random open mic, you are not guaranteed two hours of brilliant writing. A lot of spoken word is pretty bad. But the larger point here is that most art is pretty bad-we just might not ever experience the "bad" indie rock, visual art, dance, etc. The spoken word community, however, is intentionally set up in such a way where the great and not-so-great exist in the same spaces. And though I've sat through many a not-so-great slam, I would still argue that this is a very positive thing.

The spoken word community includes icons like Andrea Gibson and Saul Williams, right alongside some 15-year-old kid performing at their very first open mic. It includes Marc Bamuthi Joseph's boundary-pushing spoken word theater work, right alongside a part-time bartender who competes in poetry slams for a little extra money. It includes the best writers I know-Patricia Smith, Bao Phi, Suheir Hammad, etc.- and countless people who are just starting out, or still growing, or trying to figure out what they have to say. It's about process and product. It's about the function of art beyond the art itself. This is immeasurably valuable, and part of why spoken word represents something deeper than just another hobby or literary/artistic movement.

6. Spoken Word is Bigger than Poetry Slams

A poetry slam is a poetry reading staged as an Olympic-style competition. Five judges are picked randomly from the crowd, poets perform, and the judges give those poets scores based on content, form, delivery, originality, or whatever they want. It's silly, and most of the people who participate know that it's not really about the points; it's about getting the audience engaged. Still, slams are popular all over the US (and beyond), and have become the focal point for spoken word's resurgence.

Although the competitive element turns a lot of people off, I like poetry slams. I like the symbolism of them: write for the people. Write something that connects. Have fun. I like that the judges are random weirdos and not creative writing professors or literary critics. Everything in points #4 and #5 comes alive at the poetry slam. Slams aren't perfect, and there are important conversations to be had about the intersections of competition, art, identity, and trauma, but I still believe that they are valuable.

That being said, it is important to note here that spoken word happens in other spaces too, and that a lot of the value of slam is that it is one outlet among many. For those of us who grew up in the slam world, it can be too easy to forget that slam is just one way to participate, and that participating solely through slam can be unhealthy (and/or just boring). You can find spoken word at open mics, themed readings, political rallies, classrooms, social justice education programs, churches, punk shows, prisons, and many other spaces too.

7. Spoken Word and Hip Hop Are Not the Same

I've heard people talk about how spoken word is just another element of Hip Hop. I've also heard people talk about how Hip Hop grew out of the work of early spoken word pioneers like the Last Poets and Gil Scott-Heron. I would say that there is truth in both statements, but also that both statements make it easy to oversimplify the relationship. I think that Hip Hop and spoken word-as both art forms and cultures-have been in dialogue with one another for the past few decades, but also that neither one is wholly indebted to the other. They overlap-in terms of audience, artists, roots, styles, and approaches-but they are also distinct cultures and communities.

This comes up in conversations about form. Students ask me all the time: "what's the difference between rapping and spoken word?" There's a deeper conversation we can have there, but in short, I think of rapping as a specific kind of poetry; and like any poetic form (haiku, sonnet, etc.), it has rules. Rapping rhymes. It is performed at a set tempo and rhythm. It is performed over music. Spoken word, on the other hand, can rhyme, but doesn't have to. It can be performed to a set tempo and rhythm, but doesn't have to be. It can be performed over music, but it doesn't have to be. There are fewer formal guidelines with spoken word and slam poetry. But in terms of substance-you can rap about anything, and you can write a poem about anything.

Of course, both spoken word and Hip Hop are so often about speaking truth to power, and lifting up the voices and narratives that are so often silenced in our society. Both are about the implicitly political act of a human being standing on a stage and saying something to a hundred other human beings (especially when you, and/or that audience, hold identities that are misrepresented in the broader culture). Like I said, there is overlap. But where the casual observer might just see "urban" youth saying stuff into a mic (and yes, "urban" is in scare-quotes for a reason) and assume that the two forms are exactly the same, I would encourage us all to have a more nuanced view of their similarities, differences, and histories, in order to pay the proper respect to both.

8. Spoken Word Does Not Have to Be Political, But There Might Be a Reason for Why So Much of It Is

Again, there are no rules with spoken word, beyond the fact that poetry slams have three-minute time limits. This applies to form, but also to substance. A poet can write and perform about any topic they want. Of course, the stereotype is that all spoken word is ranting about the revolution; and to be sure, poetry slams generally do feature a lot more poems about identity, power, oppression, struggle, and politics than poems about trees or "pure" lyrical experiments.

Part of the reason for this, I would argue, is that as much as spoken word is poetry, it is also something more. It's a public forum for people to get together and have the conversations that we so often don't get to have in our everyday lives. It's a platform to say something that means something to you in front of a hundred strangers. And when so many spoken word practitioners are young people, and/or people holding oppressed identities, and/or people with voices that have just generally not been valued (or even noticed) in society, it shouldn't surprise anyone that so much spoken word is political. It should be. It needs to be.

9. Spoken Word is Not a Fad; It's Growing

Every few months, someone publishes another "Is Poetry Dead?" essay. I understand why-it's click-bait, and there are certainly valid arguments to be made on both sides of the debate regarding aesthetic populism, outreach to new audiences, the accessibility of MFA programs and other weighty topics. The problem, however, is how the question is framed: poetry is dead because fewer people buy poetry books or read poetry journals, or poetry is dead because it's stylistically stagnant, or poetry is dead because it doesn't have a presence in the upper echelons of American media or culture.

Left out of these equations, due to either simple ignorance or a willful distaste for the form (and its practitioners), is spoken word. Even the inevitable response essays and counterpoints that talk about how poetry is still vibrant and important almost always ignore spoken word. And spoken word is very much where poetry is thriving right now.

At the time of this writing, Button Poetry (the biggest distributor of spoken word videos online) has a YouTube channel with more than a half million subscribers and well over a hundred million views. And they're just one channel. Even using myself as an example: my work has nearly two million YouTube views, and I make my living as a touring poet traveling around the country. When I do that traveling, I notice spoken word clubs sprouting up at just about every college and high school that I visit, as well as poetry slams in cities across the country generating big, energetic crowds.

Which is all to say: this movement is popular and still growing. Especially when thinking about Button and its impact on thousands of people around the world: spoken word is making people (especially young people) excited about poetry. Its viral boom is sparking a new generation of writers, poets, performers, and storytellers-all of whom may start with poetry slams, but then branch into theater, publishing, music, or other arenas. We're still in the middle of that ripple effect.

10. You Can Do This Too, If You Want; Spoken Word is About Community

One of the running themes here is that spoken word is about us, more than it's about me, or you, or whatever poet has the most YouTube views. It is a participatory culture. While I make a living as a spoken word poet (along with a growing handful of others), it is important to understand that you don't have to go "all in" to do this. Most spoken word poets have day jobs. Most never go viral. Most don't win every poetry slam that they enter. And this should be celebrated. I'm not sure that we need more professional poets; I think we need more cab drivers, teachers, nurses, organizers, and service workers who write poetry.

I can imagine someone reading this and saying "easier said than done." And sure, performing in front of people isn't always easy. To support anyone who might be interested, I've tried to collect a few resources here, including a video series of tips, tools, and tactics for aspiring spoken word poets, a list of all of the open mics and poetry slams in my community, a list of 100+ favorite poems by other artists, and more. It might be a matter of finding the space first-a local open mic, an online community, even just an informal writing circle of three or four friends. From there, it's about diving in, having fun, and figuring out what you want to contribute. Let's build.
Finally, here's my Spoken Word and Slam Poetry Resource Hub, for anyone looking for more.

# data[].attributes.attachment_link.title
Ten Things Everyone Should Know About Spoken Word and Slam Poetry

# data[].attributes.attachment_link.description
(Note: this is a slightly edited version of the intro to my book, available now!) A very common piece of advice in spoken word workshops or critique circles is "just do the poem." So many of us, especially when we're just starting out, instinctually want to frame, contextualize, or introduce the poem.

# data[].attributes.body
Spoken Word
is an umbrella term. It refers to poetry that is read aloud; it may contain elements of theater, stand-up comedy, storytelling, rhetoric, jazz, hip hop, or other forms. We could go deeper with this, in terms of the difference between “recitation” and “performance,” or the difference between creating work that is meant to be performed vs. work that is about the page first and then happens to be performed (and how each approach impacts the writing itself), but I think this is a good starting point. You could also potentially use the term “performance poetry.”

# data[].attributes.body
You may adapt, edit, write, using existing material to create a spoken word performance. 1 minute per performer

You may work in a group/ pairs/ solo

You may not perform -

Why I hate school but love education

America's got talent performance

Can we Auto correct humanity

# data[].attributes.attachment_link.title
Practical Practice dance and theatre arts 

# data[].attributes.body
What do they mean? What is the difference?

Articulation;
Articulation means using your articulators; Lips, tongue, teeth, lower jaw, upper gums, hard and soft pallet, and throat to form the sound of speech. The key to good articulation is keeping all of these parts flexible as you speak

# data[].attributes.attachment_link.title
How a Voice Works - Sangtimer Stavanger | Brighton Singing Lessons

# data[].attributes.attachment_link.readable_text
The Alexander technique teaches improved posture and movement, which is believed to help reduce and prevent problems caused by unhelpful habits.
During a number of lessons you're taught to be more aware of your body, how to improve poor posture and move more efficiently.

Teachers of the Alexander technique believe it helps get rid of tension in your body and relieves problems such as back pain, neck ache, sore shoulders and other musculoskeletal problems.

Evidence suggests the technique has the potential to improve certain health conditions, but there are some claims made about the technique that haven't been scientifically tested.

Key principles

The main principles of the Alexander technique are:

"how you move, sit and stand affects how well you function"

"the relationship of the head, neck and spine is fundamental to your ability to function optimally"

"becoming more mindful of the way you go about your daily activities is necessary to make changes and gain benefit"

"the mind and body work together intimately as one, each constantly influencing the other"

Teachers of the technique say that conditions such as backache and other sorts of long-term pain are often the result of misusing your body over a long period of time, such as moving inefficiently and standing or sitting with your weight unevenly distributed.

The aim of the Alexander technique is to help you "unlearn" these bad habits and achieve a balanced, more naturally aligned body.

Learning the Alexander technique

The Alexander technique is taught by a qualified teacher in 1-to-1 lessons.

Lessons often take place in a studio, clinic or the teacher's house and usually last 30 to 45 minutes. You'll be asked to wear loose-fitting, comfortable clothing so you're able to move easily.

The teacher will observe your movements and show you how to move, sit, lie down and stand with better balance and less strain. They'll use their hands to gently guide you in your movements, help you maintain a better relationship between your head, neck and spine, and to release muscle tension.

You'll need to attend a number of lessons to learn the basic concepts of the Alexander technique. Often, around 20 or more weekly lessons are recommended.

Teachers of the technique say you may see an improvement in aches and pains fairly soon after starting the lessons, but that you need to be committed to putting what you learn into practice and it may take a considerable amount of time to see the full benefits.

The overall aim is to help you gain an understanding of the main principles involved so you can apply them to everyday life, allowing you to benefit from the technique without the need for frequent ongoing lessons.

Does the Alexander technique work?

Supporters of the Alexander technique often claim it can help people with a wide range of health conditions. Some of these claims are supported by scientific evidence, but some have not yet been properly tested.

There's evidence suggesting the Alexander technique can help people with:

long-term back pain - lessons in the technique may lead to reduced back pain-associated disability and reduce how often you feel pain for up to a year or more

long-term neck pain - lessons in the technique may lead to reduced neck pain and associated disability for up to a year or more

Parkinson's disease - lessons in the technique may help you carry out everyday tasks more easily and improve how you feel about your condition

If you have one of these conditions and you're considering trying the Alexander technique, it's a good idea to speak to your GP or specialist first to check if it might be suitable for you.

Some research has also suggested the Alexander technique may improve general long-term pain, stammering, and balance skills in older people to help them avoid falls. But the evidence in these areas is limited and more studies are needed.

There's currently little evidence to suggest the Alexander technique can help improve other health conditions, including asthma, headaches, osteoarthritis, difficulty sleeping ( insomnia) and stress.

Availability and regulation

Alexander technique lessons are mostly available privately. Each lesson usually costs around £35 to £50.

However, in recent years some NHS trusts have started to offer Alexander technique lessons as part of their outpatient pain clinics. Ask your GP whether it's available through the NHS in your local area.

Finding a teacher

If you're thinking about trying the Alexander technique, it's important to choose a teacher who's experienced and qualified.

There aren't currently any laws or regulations stating what training someone must have to teach the Alexander technique. Professional organisations offer courses (often for 3 years) and membership upon successful completion of the course.

Teachers must meet certain requirements to register with these organisations and agree to comply with their code of ethics.

In the UK, the main organisations for teachers of the Alexander technique are the:

Of these, only the CHNC has been accredited by the Professional Standards Authority.

Risks and limitations

For most people, Alexander technique lessons are safe and pose no health risks. No manipulation of your body is involved, just gentle touch.

However, the technique may not be suitable for certain people, such as those with specific spinal problems like an injury or slipped disc. These problems will need specialist medical treatment.

It's important to remember that most teachers of the Alexander technique aren't medical professionals. They should not diagnose, offer advice on or treat conditions that should be managed by a suitably qualified mainstream healthcare professional.

# data[].attributes.attachment_link.description
The Alexander technique teaches improved posture and movement, which is believed to help reduce and prevent problems caused by unhelpful habits. During a number of lessons you're taught to be more aware of your body, how to improve poor posture and move more efficiently.

# data[].attributes.body
https://youtu.be/m4s9qNCAZjY?si=lDdPhOKsaxbgpyus

# data[].attributes.attachment_link.title
BOOTS by Rudyard Kipling (1915) read by Taylor Holmes (cleaned audio)

# data[].attributes.body
https://youtu.be/6SfPf-_OavY?si=-usbqlGNrnhAIavq

# data[].attributes.headline
Inglan is a Bitch - Linton Kwesi Johnson

# data[].attributes.subject
Inglan is a Bitch - Linton Kwesi Johnson

# data[].attributes.attachment_link.title
Linton Kwesi Johnson - Inglan Is A Bitch

# data[].attributes.attachment_link.title
Dead Poets Society - Todd's poetry scene

# data[].attributes.body
Audacity- Audacity is a free and open-source digital audio editor and recording application software, available for Windows, macOS, Linux, and other Unix-like operating system

# data[].attributes.body
Can you find a programme/ soft wear to edit your video and sound together (you should be able to match it up)

Extension- Can you add a sound effect introduction?

Can you edit the video to add effects?

# data[].attributes.headline
Select a Monologue, Duologue or a radio play

# data[].attributes.subject
Select a Monologue, Duologue or a radio play

# data[].attributes.body
You should select if you would like to work on solo, as a duet or a small group.

This will be recorded next week

Time length- 2 minutes per performer

You must pick from a published text (not writing yourself)

This could be from an any genre , but must showcase your vocal skills

You do not need to include SFX or sound effects

# data[].attributes.body
Link to radio plays

# data[].attributes.attachment_link.description
Scripts from the BBC Radio Drama archive

# data[].attributes.attachment_link.title
Monologues from Published Plays - Monologue Blogger

# data[].attributes.attachment_link.description
Monologue Blogger offers thousands of free original monologues from published plays. Find monologues for auditions, training, and performance.

# data[].attributes.attachment_link.title
33 Acting Scripts for Two Actors - Monologue Blogger

# data[].attributes.attachment_link.description
Here are 33 acting scripts that are duologue oriented for men and women actor practice. It’s a mix of drama, comedy and dark humor.

# data[].attributes.body
ASSESSMENT ONE: Group Project - An annotated portfolio of evidence of professional development activities you have undertaken during a group project, including a formally presented personal development strategy detailing aims and objectives for the next 5 years. (This is also with Musical Theatre and some is covered in this unit)

# data[].attributes.body
ASSESSMENT TWO: Development plan - Evaluation of the outcome of the project and group working, identifying future training needs.

Presentation (10 minutes) reflecting on the project outcome.

This will be a reflection on your part in musical theatre AND you voice portfolio

# data[].attributes.body
ASSESSMENT THREE: Reflective Journal. From start – middle – outcome.

From Musical and Voice

# data[].attributes.attachment_link.title
Voice Acting - Practice Tips & Techniques

# data[].attributes.body
Once you have selected your performance material you will need to rehearse this outload to help with performance quality.

You will then need to show back to another performance group and critique each others performance.

This must be filmed (performance and critiques) and uploaded to your portfolio

Top criteria- Record yourself performing in a number of different ways (pace, accident, etc) and decide which one would would best for the recording next week.

# data[].attributes.body
You need to ensure you have filmed the following task-

show back to another performance group and critique each others performance.

This must be filmed (performance and critiques) and uploaded to your portfolio

Top criteria- Record yourself performing in a number of different ways (pace, accident, etc) and decide which one would would best for the recording next week.

Then Record your monologues/ Duologues/ scripted performance.

You will have to take it in turns to help record the performances.

Once you have recorded you will need to transfer your recording into your portfolio.

Take pictures and videos of working independently in the studio

# data[].attributes.body
You can submit on any format you choose, however next academic year you cannot use Padlet. So it is worth trying PowerPoint this academic year

# data[].attributes.body
Range of Texts Demonstrated

You must include a minimum of 3 contrasting vocal performance pieces from the list below:

☐ Shakespeare verse
☐ Contemporary monologue/ group script
☐ Podcast script

Include the following
☐ Script extract or link
☐ Performer context (character, background if relevant)
☐ Brief intention statement (1–2 paragraphs)

# data[].attributes.body
2️⃣ Warm-Ups & Vocal Preparation Logs

Submit evidence showing consistent practice and development:
☐ Weekly warm-up journal entries
☐ Breath work routines
☐ Articulation drills (tongue twisters, consonant focus, vowel shaping)
☐ Resonance exercises (nasal/oral/chest/head placement)
☐ Pitch and range exercises
☐ Release and alignment work (body warm up)
☐ Vocal hygiene log (hydration, rest, voice care notes)

# data[].attributes.headline
3️⃣ Technical Performance Analysis for Final or any other Text

# data[].attributes.subject
3️⃣ Technical Performance Analysis for Final or any other Text

# data[].attributes.body
For each piece, include written or recorded analysis:

☐ Breath support techniques used
☐ Resonance decisions and placement
☐ Speech clarity strategies (articulation, consonant energy)
☐ Pitch choice and variety
☐ Pace, rhythm, and timing decisions
☐ Emotional tone / qualities
☐ Use of pauses, emphasis, inflection
☐ Physical support (posture, tension awareness)
☐ Accent/dialect notes (if relevant)
☐ How vocal choices support meaning & emotional delivery

Evidence format options:
☐ Annotated script
☐ Workbook pages / digital journal
☐ Audio notes / voice reflections
☐ Text analysis grid
☐ Director notes & responses

# data[].attributes.body
For each text include:

☐ First read-through recording
☐ Mid-rehearsal development video
☐ Final polished performance version
☐ Notes explaining key improvements

Every rehearsal video must include:

☐ Slate intro stating text, date, goal of session
☐ Vocal intention for the rehearsal
☐ Specific focus (breath / pitch / articulation / energy / emotional truth)

# data[].attributes.headline
🎬 PART B — Final Vocal Performance Project

# data[].attributes.subject
🎬 PART B — Final Vocal Performance Project

# data[].attributes.body
5️⃣ Selection & Justification of Final Piece

☐ Statement explaining why this text was chosen
☐ Artistic intentions & context
☐ Character/role breakdown (if applicable)
☐ Style and vocal demands explained

# data[].attributes.headline
6️⃣ Rehearsal and Production Process Evidence

# data[].attributes.subject
6️⃣ Rehearsal and Production Process Evidence

# data[].attributes.body
Clear evidence trail showing skill progression:

☐ Script analysis (beats, imagery, tone shifts)

☐ Breath-to-thought mapping

☐ Vocal score / mark-ups

☐ Experimentation notes (failed attempts included — process counts)

☐ Character voice exploration (if relevant)

☐ Notes from tutor / peers and changes made

☐ Video diary of rehearsals

☐ Audio files showing progression

Technical rehearsal considerations:

☐ Acoustic awareness

☐ Microphone use (if applicable)

☐ Projection vs intimacy decisions

☐ Costume/physicality impact on vocal delivery

☐ Vocal stamina & voice saving techniques

# data[].attributes.body
Video must show:

☐ Full body and face visible (unless only voice-over)

☐ Clear sound quality

☐ Professional environment (minimise noise/distractions)

☐ Confident breath & vocal control

☐ Strong articulation and clarity

☐ Emotional connection and truth

☐ Technique + artistry + interpretation

# data[].attributes.body
8️⃣ Critical Evaluative Reflection, this can be a word document (approx. 1200 words) or a presentation of 10-20 minutes)

Your evaluation should include:

☐ Identification of strengths

☐ Identification of weaknesses

☐ Detailed explanation of improvement plans

☐ Links to specific clips (timestamps)

☐ Reference to vocal theory / techniques used

☐ Discussion of rehearsal process & discoveries

☐ Evidence of critical thinking & self-awareness

☐ Reflection on professional standards in vocal work

☐ Future development strategy (SMART goals suggested)

Areas you could discuss

· Development of range

· Resonance

· Support

· Articulation

· Pronunciation

· Pitch

· Volume

· Tone

· Qualities

· Tempo/rhythm

· Isolation of tension

· Centring

· Alignment

· Resonance

# data[].attributes.body
1. Script of Podcast

2. Recording of Podcast (audio and visual)

3. Script of Monologues/ Duologue/ Radio Play

4. Warm up/ show back critique of Monologues/ Duologue/ Radio Play

5. Recording of Monologues/ Duologue/ Radio Play (audio and visual)

# data[].attributes.body
Spark Notes -

Translates into modern day English, to contextualise the information.

# data[].attributes.attachment_link.description
Understand Shakespeare's plays and sonnets with SparkNotes' translations, plot summaries, character lists, quotes, lists of themes and symbols, and more.

# data[].attributes.headline
You are to select the type of final performance you would like to record for your voice portfolio 

# data[].attributes.subject
You are to select the type of final performance you would like to record for your voice portfolio 

# data[].attributes.body
You may select any vocal performance.

But you must showcase

- Character

- Vocal adapting

- Dramatic moment

- Vocal Tone

# data[].attributes.body
Apply effective vocal processes to rehearsing and performing complex dramatic text that clearly communicate intentions