Regular readers of this blog will know that I believe the essence of successful speaking resides in the voice.  Without a voice, literally speaking, you don’t have a speaker.  But speakers depend upon their voices for far more than that obvious minimal requirement.  Voices inspire, reveal, connect, power and persuade and more.  The strength or weakness of a speaker’s voice will in large part at once drive and mirror her success upon the stage.  Get the voice right, and everything else can happen.  Get the voice wrong, and a career can end there.

So you can imagine that when I heard from Karen Gross I would be intrigued, since she’s both a singer and a speechwriter. I immediately had a ton of questions, and Karen was good enough to answer some of them in the following Q and A.

Nick:  Karen, I love the combination of singing and speechwriting!  How did it happen?

Karen:  Thank you, Nick! For nearly 20 years I’ve pursued both singing and writing professionally. I am grateful to get to do both. I started out as a journalist who moonlit as a singer-songwriter. Eventually, I discovered and really fell in love with the world of cabaret and the Great American Songbook. Cabaret offered a forum to sing these incredibly well-crafted songs, as well as a chance to tell a story through stage patter and comedy. I dove headfirst into the cabaret community, even moving to New York City to study and perform. Meanwhile, I had gotten a job as a communications manager at a museum, and one of my main roles was writing speeches for the CEO. I was lucky that he was a former speechwriter and showed me the ropes. When he asked during my interview if I had any speechwriting experience, I told him I didn’t but I had scripted my own cabaret shows. And he shared that he was also a performer! It was a candid moment and the launch of a great collaboration.

In 2013, I started my own boutique communications company. In addition to speechwriting, I work with clients on copywriting, editing, and communications strategy. On the music side, I’ve had the opportunity to perform in some wonderful places, including Lincoln Center, the Philadelphia Museum of Art, New York City’s noted cabaret clubs, and the former home of Oscar Hammerstein II. I’m still regularly creating, producing, and performing in cabaret shows.

Nick:  How do the two activities reinforce one another?

Karen:  Funny enough, it’s only in the last few years that I’ve begun to view my life holistically and appreciate how writing and singing complement one another. Before, I felt that they were two distinct worlds; I was my bespectacled writer/editor self in the daytime and my more glamorous singer self in the evening. People knew me as either a writer or a singer. But I had a revelation that it’s all communication — whether I’m composing a speech or conveying a song. For me, the throughline is connecting with an audience in a candid, compelling, and memorable way. My mission is “communication that sings.”

My performance experience always infuses my speechwriting, whether I realize it or not. When I write, I’m thinking about how to capture and hold an audience’s attention, how certain words and messages will resonate, and even the layout and logistics of the venue.

I am surprised by how few speechwriters have performance experience. It’s something I recommend to everyone in our profession, even if it’s simply taking an improv class or getting up to share a story or song at an open mic night. It’s humbling. It’s good to remember that performing is a challenge. And that it can also be fun and very fulfilling.

Nick: Voice in speaking, as well as singing, is so important.  How do you think about voice — how do you bring it out?  So many people use only a small part of their true Voice.  How should people think about maximizing their voice potential?

Karen:  Great questions! First of all, a key thing we learn in cabaret is to be true to your own voice. It’s not about emulating others; it’s about making a song your own. Think about Billie Holiday or a singer-songwriter like Neil Young. Their unique voices set them apart. It’s essential that a speaker honors his or her own personality, demeanor, life experiences, and sense of humor; as a speechwriter, we need to facilitate that through the script. If you can, record the people you are working with. Try to internalize and hear their voice as you write. Get to know their style, pace, and the phrases that feel most natural to them. I’m working with a client now who errs on the soft-spoken side. But the idea isn’t to raise her voice. Yes, it’s important to project. But it’s also about making sure we’ve created a speech so authentic that the audience wants to lean in and listen.

Also, people don’t always want to hear this, but I think it’s crucial to rehearse. The more you’re in command of a speech or song, the more confidence you’ll have in your voice and body language. You’ll likely be more relaxed and engaging on stage.

Nick: Tell us something else about Karen.

Karen:  I was named after a thoroughbred racehorse my parents owned named Karen’s Tune. So singing was definitely in the cards for me.

Nick: Thanks, Karen!  If you want more information about Karen, here’s a link to her website: www.karengross.com.