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Speech Transitions: Words And Phrases to Connect Your Ideas

Speech transitions are important as they connect ideas and maintain a smooth flow. These transitions help guide the audience through the speech effectively.

Effective communication is crucial in delivering a compelling speech. To engage and captivate an audience, it is essential to connect ideas seamlessly. Speech transitions serve as connectors between different thoughts and ensure a logical progression of ideas. By employing suitable words and phrases, a speaker can enhance the flow of their speech and maintain the audience’s attention.

We will explore various words and phrases that can be used to connect ideas in a speech. These transitions play a vital role in conveying the message effectively and leaving a lasting impact on the listeners.

Credit: www.spanish.academy

Table of Contents

Why Are Speech Transitions Important In Public Speaking?

Speech transitions play a crucial role in public speaking by connecting ideas seamlessly. These words and phrases help maintain the flow of the speech and captivate the audience, ensuring a clear and coherent delivery.

Speech transitions play a significant role in public speaking. They serve as vital connectors that link together various ideas and concepts in a seamless manner. By using appropriate words and phrases to transition between different points, speakers can maintain the flow and coherence of their speech.

Here’s why speech transitions are important:

Benefits Of Using Speech Transitions:

• Enhance clarity: Transitions help speakers to clearly communicate their ideas and thoughts to the audience. By using transition words and phrases, they can guide the listeners through the different sections of their speech, making it easier to follow.
• Improve understanding: Effective transitions ensure that the audience can easily grasp the connections between ideas and concepts. This helps to prevent any confusion or misinterpretation of the speaker’s message.
• Increase engagement: Speech transitions prevent a monotonous or disjointed delivery, making the speech more engaging for the audience. By smoothly moving from one idea to another, the speaker captures the listeners’ attention and keeps them actively involved throughout the presentation.
• Highlight key points: Transitions can be used strategically to emphasize important information or key points. By signaling the significance of certain ideas, speakers can ensure that these points are understood and remembered by the audience.

Impact On Audience Engagement:

• Retention of information: With the help of effective speech transitions, speakers can enhance the audience’s ability to retain and recall the information presented. Logical connections created through transitions make it easier for listeners to process and remember the content.
• Focused attention: Well-placed transitions help to maintain the audience’s focus and prevent their minds from wandering. By smoothly transitioning between ideas, speakers keep the listeners engaged and attentive.
• Active participation: Speech transitions encourage the audience to actively participate in the speech. Clear connections between ideas enable listeners to anticipate the direction of the speech, allowing them to make connections and draw conclusions alongside the speaker.
• Emotionally connect: Transitions can also have an emotional impact on the audience. By using appropriate words and phrases, speakers can evoke specific feelings, making the speech more memorable and impactful.

Creating a smooth and coherent flow:

• Logical progression: Transitions facilitate a logical progression of ideas, enabling the speaker to present their thoughts in a structured manner. This ensures that the audience can easily follow the speaker’s intended flow of information.
• Seamless connection: Speech transitions act as bridges between different ideas or sections, creating a seamless connection between them. This helps to establish a sense of continuity in the speech, preventing any abrupt shifts in topic or subject matter.
• Professional delivery: The use of speech transitions demonstrates a speaker’s professionalism and command over their subject. It showcases their ability to present complex ideas in a clear and organized manner.

By recognizing the importance of speech transitions and incorporating them into public speaking, speakers can enhance the effectiveness of their presentations, captivate their audience, and ensure that their message is delivered with impact.

Types Of Speech Transitions

Discover various types of speech transitions that effectively connect ideas and thoughts in your speech. These words and phrases seamlessly guide the flow of your presentation, keeping your audience engaged and interested. Improve your public speaking skills with these powerful speech transition techniques.

Transition words and phrases play a crucial role in connecting your ideas and making your speech or presentation flow smoothly. By using these linguistic tools, you can create a cohesive and engaging narrative that keeps your listeners hooked. In this section, we will explore the different types of speech transitions, including transition words and phrases, verbal transitions, and nonverbal transitions.

Transition Words And Phrases:

• First and foremost, transition words and phrases serve as the glue that holds your speech together. They facilitate the logical progression of your ideas and help your audience follow along effortlessly.
• Additionally, transition words and phrases add clarity and coherence to your speech, ensuring that your message is easily understood.
• Moreover, they signal shifts in topic, introduce examples, emphasize crucial points, and establish cause-and-effect relationships.
• Furthermore, transition words and phrases enable you to create smooth transitions between different sections of your speech, which is essential for maintaining audience engagement.

Verbal Transitions:

• Verbal transitions involve the use of spoken words or phrases to guide your audience from one idea to another seamlessly.
• For instance, you can use phrases like “now, let’s move on to…”, “in relation to…”, or “on the other hand…” to smoothly transition between topics.
• Likewise, starting a sentence with phrases such as “in the same vein…”, “to illustrate my point…”, or “another key aspect is…” can effectively connect your ideas and make your speech more coherent.
• Furthermore, verbally signaling your intention to transition, using phrases like “now, let’s shift gears and discuss…”, “next up, we’ll explore…”, or “in light of this information…” can help your audience anticipate and comprehend your transitions better.

Nonverbal Transitions:

• Nonverbal transitions involve actions, gestures, or visuals that complement your verbal transitions, reinforcing the connections between your ideas.
• Use physical cues, such as changing your stance, moving to a different part of the stage, or making eye contact with a specific audience member, to signify a transition.
• Similarly, employing visual aids like slides, charts, or props can also assist in smoothly guiding your audience from one idea to the next.
• Additionally, adjusting your tone of voice, pausing strategically, or utilizing facial expressions can effectively emphasize the shift in ideas and engage your listeners.

Incorporating a variety of transition words and phrases, implementing verbal transitions, and utilizing nonverbal cues can greatly enhance the flow and impact of your speech. Integrating these techniques will help you maintain your audience’s attention and ensure that your ideas are communicated effectively.

So, let’s dive in and explore the world of speech transitions further!

Using Transition Words And Phrases

Discover the power of using speech transitions to seamlessly connect your ideas. By employing a variety of transition words and phrases, you can create a cohesive flow in your speech while keeping your audience engaged and interested. Swap repetitive terms for different expressions to ensure your content remains fresh and captivating.

Importance Of Strategic Placement:

• Transition words and phrases are essential in speech writing as they help to connect and smoothly organize ideas and thoughts.
• Strategic placement of transition words and phrases allows for a coherent flow of information, making it easier for the audience to follow the speaker’s train of thought.
• Proper use of transition words and phrases can enhance the overall impact of a speech by creating a logical progression of ideas and reinforcing key points.
• By strategically incorporating transition words and phrases, speakers can maintain the audience’s attention and prevent confusion or disengagement.

Commonly Used Transition Words:

• “furthermore”: Used to add another supporting point or to provide additional information.
• Example: Furthermore, research has shown that regular exercise improves overall mental health.
• “however”: Introduces a contrasting idea or viewpoint.
• Example: The study found that the new drug is effective; however, more research is needed to determine long-term effects.
• “meanwhile”: Shows a simultaneous action or event occurring.
• Example: The company was experiencing financial difficulties; meanwhile, their competitors were thriving.
• “moreover”: Indicates the addition of more information or evidence.
• Example: The data collected from the survey revealed alarming statistics; moreover, it highlighted the need for immediate action.

Connecting Ideas Within A Sentence:

• “similarly”: Demonstrates a likeness or similarity between two ideas.
• Example: The baby elephant walked with a wobble, similarly to a toddler taking their first steps.
• “in addition”: Introduces an additional piece of information or evidence.
• Example: The market research indicated a growing demand for organic products; in addition, consumer preferences were shifting towards sustainable packaging.
• “likewise”: Expresses similarity or agreement with a previous statement.
• Example: The new policy aims to increase employee satisfaction; likewise, it strives to improve overall productivity.
• “on the other hand”: Indicates a contrasting viewpoint or perspective.
• Example: The group was divided on the issue; on the other hand, some argued for immediate action while others preferred a more cautious approach.

Transition Phrases For Introducing New Points:

• “first and foremost”: Emphasizes the primary or most important point to be made.
• Example: First and foremost, it is crucial for individuals to prioritize their mental health.
• “another key point”: Introduces an additional significant idea or argument.
• Example: Another key point to consider is the impact of social media on mental well-being.
• “lastly”: Signals the final point or argument in a series or sequence.
• Example: Lastly, it is essential to provide accessible and affordable mental health services for all individuals.

Transition Words For Emphasizing Or Contrasting Ideas:

• “indeed”: Emphasizes and reinforces a previous point or statement.
• Example: The results of the study indeed highlight the need for further investigation.
• “contrarily”: Shows a contrasting or opposite perspective.
• Example: While some argue for stricter regulations, contrarily, others believe in the importance of personal freedoms.
• “in summary”: Provides a concise overview or recap of the main points discussed.
• Example: The research demonstrates the significant impact of early childhood education on future academic success.

Remember, incorporating these transition words and phrases into your speech can greatly enhance its overall effectiveness, making it more engaging and easy to follow. Use them strategically to guide your listeners through your ideas and ensure they stay connected and engaged with your message.

Incorporating Verbal Transitions

Discover the power of incorporating verbal transitions in your speech to effortlessly connect your ideas. Enhance your communication skills with carefully chosen phrases and words that keep your audience engaged and interested. Unlock the potential of seamless transitions for impactful speeches.

Establishing A Connection Between Ideas

• Incorporating verbal transitions is essential in speech delivery as it helps maintain a smooth flow of ideas. These transitions act as bridges between different thoughts, guiding the audience through your speech. By using the right words and phrases, you can establish clear connections between ideas, leaving a lasting impact on your listeners. Let’s explore some effective techniques for incorporating verbal transitions.

Using Clear Language And Cues

• Clear language and cues allow your audience to follow along effortlessly, ensuring that your ideas are effectively communicated. Consider the following strategies to enhance clarity in your speech:
• Signposting: The use of signposting phrases, such as “firstly,” “next,” or “” helps guide your audience through the structure of your speech, making it easier for them to follow your thought process.
• Repetition: Repeating key phrases or concepts throughout your speech can reinforce your ideas, making them more memorable for your audience.
• Pronouns: Utilize pronouns like “they,” “we,” or “you” to create a sense of inclusivity and engagement. This fosters a connection between you and your audience, encouraging active participation.

Examples Of Verbal Transition Techniques

• Here are some effective examples of verbal transition techniques to incorporate in your speech:
• Cause and effect: Use phrases like “as a result,” “consequently,” or “therefore” to highlight the cause and effect relationship between different ideas.
• Comparison and contrast: Employ phrases such as “similarly,” “on the other hand,” or “in contrast” to draw comparisons or highlight differences between ideas, helping your audience understand distinct concepts better.
• Time sequence: Signal the passage of time or progression of ideas with phrases like “before,” “afterward,” or “meanwhile.” This helps your audience follow the chronological order of events or thoughts.

Practice And Delivery Tips

• To improve your use of verbal transitions, consider these practice and delivery tips:
• Rehearse your speech: Practice delivering your speech multiple times, focusing on incorporating verbal transitions smoothly. This will help you become more comfortable and confident in your delivery.
• Record and review: Record yourself delivering the speech and take note of areas where verbal transitions can be improved. Analyzing your performance will enable you to refine your delivery and strengthen your speech.
• Seek feedback: Request constructive feedback or have a trusted person observe your speech. They can provide valuable insights on how to enhance your verbal transitions and overall impact.

Remember, incorporating verbal transitions in your speech not only enhances its coherence but also ensures that your ideas are effectively communicated and understood by your audience. By practicing and mastering these techniques, you’ll become a more engaging and persuasive speaker.

Keep honing your skills, and watch your speech captivate and inspire your listeners.

Leveraging Nonverbal Transitions

Discover the power of nonverbal transitions in connecting your ideas during speeches. Utilize effective words and phrases that enhance the flow of your presentation and engage your audience. Say goodbye to common speech transition pitfalls and captivate your listeners with seamless transitions.

In the realm of public speaking, effective speech transitions are crucial for connecting ideas and maintaining the attention of your audience. While verbal transitions are commonly employed, nonverbal cues can be just as powerful in conveying a seamless flow of thoughts.

This section will explore the various ways to leverage nonverbal transitions, including visual cues, body language, gestures and facial expressions, the importance of eye contact, and how to convey confidence and professionalism.

Visual Cues And Body Language:

• Visual cues play a vital role in indicating transitions and maintaining engagement during a speech.
• Use confident and purposeful body language to signify a change in topic or shift in ideas.
• Positioning yourself differently on stage or adjusting your stance can visually communicate a transition to your audience.
• Maintain an open and relaxed posture, which indicates a welcoming and inclusive environment.

Gestures And Facial Expressions:

• Utilize gestures and facial expressions to enhance the impact of your nonverbal transitions.
• Gesture with your hands to emphasize key points or signal a transition to a new idea.
• Employ facial expressions to convey enthusiasm, surprise, or seriousness, making your transitions more engaging and memorable.

Importance Of Eye Contact:

• Eye contact is a powerful nonverbal tool that establishes a connection with your audience and aids in smooth transitions.
• Engage with individuals in different parts of the room, ensuring that your eye contact is inclusive and not only focused on a single person or section.
• During transitions, maintain eye contact to signal that you are moving on to a new topic or idea.
• The use of eye contact can also help you gauge the audience’s reaction and adjust your delivery accordingly.

Conveying Confidence And Professionalism:

• Nonverbal transitions are instrumental in conveying confidence and professionalism throughout your speech.
• Maintain a calm and composed demeanor, which instills confidence in your audience.
• Avoid fidgeting or excessive movements that may distract from your message.
• By utilizing nonverbal cues effectively, you can create a sense of professionalism and competence, enhancing your overall speaker presence.

Incorporating nonverbal transitions into your speech can significantly improve its flow, captivate your audience, and reinforce your message. Visual cues, body language, gestures, facial expressions, eye contact, and conveying confidence and professionalism are all essential elements in creating a seamless and engaging speaking experience.

Practice and master these nonverbal techniques to elevate your speech to new heights.

Transitioning Between Different Sections Of A Speech

Transitioning between different sections of a speech is crucial for maintaining a coherent flow and engaging the audience. By utilizing effective speech transitions, you can seamlessly connect your ideas, avoiding clichés and repetitive terms, to ensure a captivating and impactful delivery.

Transitioning between different sections of a speech is crucial to maintain the flow and coherence of your ideas. To ensure a smooth transition, consider using the following techniques:

Introducing A New Topic Or Main Idea

• Pose a question: Start a new section by asking a thought-provoking question that introduces your audience to the upcoming topic. For example, “have you ever wondered how technology has revolutionized the way we communicate?”
• Provide a brief anecdote or story: Capture your audience’s attention by sharing a relevant story or anecdote that sets the stage for the new topic. This personal touch will engage your listeners from the start.
• Use a powerful quote: Begin your section with an impactful quote that relates to the subject matter. This will immediately draw your audience’s attention and create curiosity about the upcoming discussion.

Summarizing Key Points

• Highlight the main ideas: Summarize the key points you have discussed so far in a concise and clear manner. This allows your audience to understand the progress of your speech and reinforces the central ideas you want them to remember.
• Use transition words: Employ transition words and phrases such as “” “to summarize,” or “in conclusion” to signal that you are summarizing the main points. This helps the audience mentally prepare for the upcoming summary.

Shifting Focus Or Transitioning To A Conclusion

• Preview the provide a glimpse of what your conclusion will entail without delving into the details. This primes your audience for the upcoming ending, creating anticipation and signaling the shift in focus.
• Ask for the audience’s attention: Use phrases like “now, let’s turn to the final part of our discussion” to redirect the attention back to the conclusion. This helps maintain engagement and refocuses the audience’s thoughts on the closing remarks.
• Reinforce the central theme: Remind your listeners of the central theme or main message of your speech. This will ensure that the concluding remarks connect back to the core ideas you have been discussing.

Remember, effective transitions are like signposts that guide your audience through your speech. By utilizing these techniques, you can navigate between different sections smoothly and keep your audience fully engaged.

Tips For Effective Transitioning

Discover practical tips for effective transitioning in your speech through the use of appropriate words and phrases. Enhance the flow of your ideas by avoiding overused terms and incorporating a variety of expressions at the beginning of paragraphs. Keep your sentences concise and engaging to maintain the reader’s interest.

Preparing And Rehearsing Transitions:

• Craft a list of transitional words and phrases: To ensure smooth and seamless transitions between your ideas, compile a list of words and phrases that can serve as connectors. Examples include “however,” “in addition,” and “on the other hand.”
• Identify logical connections: Assess the flow of your speech and identify the logical connections between each point. This will help you determine the appropriate transitional words or phrases to use.
• Practice aloud: Once you have selected your transition words and phrases, practice incorporating them into your speech. Rehearse it several times to ensure that the transitions feel natural and help maintain the overall coherence of your ideas.

Using A Variety Of Transition Methods:

• Implement signposts: Signposts are words or phrases that indicate where you are in your speech and where you are going next. Examples include “firstly,” “next,” and “finally.” By using these signposts, you guide your audience through your speech, making it easier for them to follow along.
• Utilize parallel structure: Parallel structure involves using the same grammatical structure for each point in your speech. This creates a rhythm and consistency that facilitates smooth transitions. For example, instead of saying “i like hiking and to swim,” you would say “i like hiking and swimming.”
• Incorporate rhetorical questions: Asking a rhetorical question can help transition from one idea to the next seamlessly. It engages your audience and prompts them to reflect on the previous point before moving on to the next one.
• Use visual aids: Visual aids such as slides or props can serve as effective transition tools. By visually emphasizing the connection between ideas, you can make the transition more apparent to your audience.
• Provide summaries: Summarizing the main points of each section can be a powerful transition technique. It allows you to recap what has been discussed and prepare your audience for the upcoming topic.

Maintaining A Natural And Conversational Tone:

• Avoid using jargon: To keep your speech accessible and engaging, avoid using technical jargon or overly complicated language. Opt for words and phrases that your audience can easily understand.
• Vary sentence lengths: Using a mix of short and long sentences adds rhythm and variety to your speech. This prevents monotony and keeps your audience engaged.
• Practice active voice: Choosing active voice sentences instead of passive voice helps maintain a conversational tone. Active voice is more direct and engaging, making it easier for your audience to follow along.
• Engage with the audience: Encourage audience participation throughout your speech by asking for their thoughts or experiences related to your topic. This creates a more conversational and interactive atmosphere.
• Adjust your pace: Pay attention to your speaking pace and adjust it accordingly. Speaking too fast can make it difficult for your audience to process the information, while speaking too slowly can lead to disengagement. Aim for a rhythmic and natural pace.

Remember, effective transitioning is crucial for the cohesiveness and clarity of your speech. By preparing and rehearsing your transitions, utilizing a variety of transition methods, and maintaining a natural and conversational tone, you can ensure that your ideas flow smoothly and leave a lasting impact on your audience.

Frequently Asked Questions

What are speech transitions.

Speech transitions are words and phrases used to connect ideas and help the audience follow your presentation more smoothly. They create a logical flow and make it easier for listeners to understand and remember your key points.

Why Are Speech Transitions Important?

Speech transitions are important because they enhance the coherence and clarity of your speech. They help your audience navigate through your ideas and maintain their attention. Transitions also make your speech more engaging and polished, leaving a lasting impact on your listeners.

What Are Some Common Speech Transition Words And Phrases?

There are various speech transition words and phrases you can use, such as “in addition,” “however,” “on the other hand,” “moreover,” “as a result,” “to summarize,” and “finally. ” These transition words and phrases can help you transition between different ideas, compare and contrast points, and summarize information.

How Can Speech Transitions Improve My Public Speaking Skills?

Using speech transitions in your presentations enhances your public speaking skills by making your speech more organized, coherent, and impactful. With effective transitions, you can smoothly guide your audience through your ideas, keeping them engaged and helping them understand and remember your message.

To sum up, utilizing effective speech transitions is essential for seamless and coherent delivery. By incorporating appropriate words and phrases, you can effectively connect your ideas and guide your audience through your speech. Whether you are emphasizing a point, introducing a new topic, or providing examples, utilizing transitional words and phrases enhances the overall flow of your speech.

Moreover, these transitions help to maintain your audience’s engagement and comprehension. From using simple transitional words like “firstly” and “next,” to employing complex connectors such as “in contrast” and “similarly,” the right speech transitions can transform your speaking style. By following these guidelines and practicing your delivery, you can become a confident and compelling speaker.

Remember, speech transitions are powerful tools that can transform your speech from disjointed to cohesive, ensuring that your ideas are conveyed clearly and effectively. So, the next time you give a speech, make sure to incorporate these essential speech transitions and watch your message resonate with your audience.

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52 Phrases for Better Flowing English Presentations

/ Steven Hobson / Business English , English Presentations , Vocabulary

Do you give English presentations at work, but feel that you could communicate your message in a more objective, fluid way?

Maybe you have an English presentation coming up and want to make sure that your speech is clear and structured so that your audience doesn’t lose concentration and stays with you all the way to the end.

A technique that can help you achieve objective, clear, and structured English presentations, is to use linking phrases that join the separate parts of your presentation together.

English presentations normally consist of an introduction, the main body, individual parts of the main body, and the ending or conclusion.

To help maintain your audience’s attention, you need to signal when you are going from one part to another.

In this article, I teach you 52 phrases that do exactly this – linking the different parts together, and therefore, making your presentation flow better. You’ll find that these phrases will act as ‘signposts’ for the audience when you finish one part and start another.

52 Phrases to Improve the Flow of Your English Presentations

The introduction.

All good presentations start with a strong introduction.

There are a number of different ways you can begin your English presentation. Here’s a simple, but effective introduction structure which works for most types of business presentations:

Introduce – Introduce yourself and greet your audience. Introduce the presentation topic – Explain the reasons for listening. Outline – Describe the main parts of the presentation. Question policy – Make it clear to your audience when they can ask questions: during or at the end?

Here are some phrases which you can use to structure the introduction in this way:

1. Good morning/afternoon (everyone) (ladies and gentlemen). 2. It’s a pleasure to welcome (the President) here. 3. I’m … (the Director of …)

Introduce the presentation topic

4. By the end of the talk/presentation/session, you’ll know how to… / …you will have learned about… / 5. I plan to say a few words about… 6. I’m going to talk about… 7. The subject of my talk is…

8. My talk will be in (three parts). 9. In the first part… 10. Then in the second part… 11. Finally, I’ll go on to talk about…

Question Policy

12. Please interrupt if you have any questions. 13. After my talk, there will be time for a discussion and any questions.

 Main Body

Now that you have finished the introduction, we now need to transition to the main body, and its individual parts in a smooth way.

There are three parts of the main body of a presentation where linking phrases can be used:

Beginning the Main Body Ending Parts within the Main Body Beginning a New Part

Here are some phrases which you can use for these parts:

Beginning the Main Body

14. Now let’s move to / turn to the first part of my talk which is about… 15. So, first… 16. To begin with…

Ending Parts within the Main Body

17. That completes/concludes… 18. That’s all (I want to say for now) on… 19. Ok, I’ve explained how…

Beginning a New Part

20. Let’s move to (the next part which is)… 21. So now we come to the next point, which is… 22. Now I want to describe… 23. Let’s turn to the next issue… 24. I’d now like to change direction and talk about…

Listing and Sequencing

If you need to talk about goals, challenges, and strategies in your English presentation, listing phrases can help link these together and improve the flow of your speech. If you have to explain processes, sequencing phrases are helpful:

25. There are three things to consider. First… Second… Third… 26. There are two kinds of… The first is… The second is… 27. We can see four advantages and two disadvantages. First, advantages… 28. One is… Another is… A third advantage is… Finally…

29. There are (four) different stages to the process. 30. First / then / next / after that / then (x) / after x there’s y. 31. There are two steps involved. The first step is… The second step is… 32. There are four stages to the project. 33. At the beginning, later, then, finally… 34. I’ll describe the development of the idea. First the background, then the present situation, and then the prospect for the future.

After you have presented the main body of your English presentation, you will want to end it smoothly.

Here are typical sections transitioning from the main body to the ending of the presentation, and then inviting the audience to ask questions:

Ending the Main Body Beginning the Summary and/or Conclusion Concluding An Ending Phrase Inviting Questions and/or Introducing Discussion Thanking the Audience

Ending the Main Body

35. Okay, that ends (the third part of) my talk. 36. That’s all I want to say for now on (the 2017 results).

Beginning the Summary and/or Conclusion

37. To sum up… 38. Ok, in brief, there are several advantages and disadvantages. 39. To conclude… 40. I’d like to end by emphasizing the main points. 41. I’d like to end with a summary of the main points.

42. I think we have seen that we should… 43. In my opinion, we should… 44. I recommend/suggest that we… 45. There are three reasons why I recommend this. First, … / Second, … / Finally,…

An Ending Phrase

46. Well, I’ve covered the points that I needed to present today. 47. That sums up (my description of the new model). 48. That concludes my talk for today.

Inviting Questions and/or Introducing Discussion

49. Now we have (half an hour) for questions and discussion. 50. So, now I’d be very interested to hear your comments.

Thanking the Audience

51. I’d like to thank you for listening to my presentation. 52. Thank you for listening / your attention. / Many thanks for coming.

Linking phrases are like the skeleton which holds your presentation together.

Not only do they improve the flow and help guide the audience, but by memorizing them they can also help you remember the general structure of your presentation, giving you increased confidence.

To help you memorize, I recommend saying the linking phrases on their own from the beginning to the end of your presentation while you practice.

I also suggest memorizing the introduction word for word. By doing this, you will get off to a great start, which will settle your nerves and transmit a positive first impression.

Author: Steven Hobson

Steven is a business English coach, a certified life coach, writer, and entrepreneur. He helps international professionals build confidence and improve fluency speaking English in a business environment.

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Words for Speaking: 30 Speech Verbs in English (With Audio)

Speaking is amazing, don’t you think?

Words and phrases come out of our mouths — they communicate meaning, and we humans understand each other (well, sometimes)!

But there are countless different ways of speaking.

Sometimes, we express ourselves by speaking quietly, loudly, angrily, unclearly or enthusiastically.

And sometimes, we can express ourselves really well without using any words at all — just sounds.

When we describe what someone said, of course we can say, “He said …” or “She said …”

But there are so many alternatives to “say” that describe the many different WAYS of speaking.

Here are some of the most common ones.

Words for talking loudly in English

Shout / yell / scream.

Sometimes you just need to say something LOUDLY!

Maybe you’re shouting at your kids to get off the climbing frame and come inside before the storm starts.

Or perhaps you’re just one of those people who just shout a lot of the time when you speak. And that’s fine. I’ve got a friend like that. He says it’s because he’s the youngest kid in a family full of brothers and sisters — he had to shout to make sure people heard him. And he still shouts.

Yelling is a bit different. When you yell, you’re probably angry or surprised or even in pain. Yelling is a bit shorter and more “in-the-moment.”

Screaming is similar but usually higher in pitch and full of fear or pain or total fury, like when you’ve just seen a ghost or when you’ve dropped a box of bricks on your foot.

“Stop yelling at me! I’m sorry! I made a mistake, but there’s no need to shout!”

Bark / Bellow / Roar

When I hear these words, I always imagine something like this:

These verbs all feel rather masculine, and you imagine them in a deep voice.

I always think of an army general walking around the room telling people what to do.

That’s probably why we have the phrase “to bark orders at someone,” which means to tell people what to do in an authoritative, loud and aggressive way.

“I can’t stand that William guy. He’s always barking orders at everyone!”

Shriek / Squeal / Screech

Ooooohhh …. These do not sound nice.

These are the sounds of a car stopping suddenly.

Or the sound a cat makes when you tread on her tail.

Or very overexcited kids at a birthday party after eating too much sugar.

These verbs are high pitched and sometimes painful to hear.

“When I heard her shriek , I ran to the kitchen to see what it was. Turned out it was just a mouse.”

“As soon as she opened the box and saw the present, she let out a squeal of delight!”

Wailing is also high pitched, but not so full of energy.

It’s usually full of sadness or even anger.

When I think of someone wailing, I imagine someone completely devastated — very sad — after losing someone they love.

You get a lot of wailing at funerals.

“It’s such a mess!” she wailed desperately. “It’ll take ages to clear up!”

Words for speaking quietly in English

When we talk about people speaking in quiet ways, for some reason, we often use words that we also use for animals.

In a way, this is useful, because we can immediately get a feel for the sound of the word.

This is the sound that snakes make.

Sometimes you want to be both quiet AND angry.

Maybe someone in the theatre is talking and you can’t hear what Hamlet’s saying, so you hiss at them to shut up.

Or maybe you’re hanging out with Barry and Naomi when Barry starts talking about Naomi’s husband, who she split up with last week.

Then you might want to hiss this information to Barry so that Naomi doesn’t hear.

But Naomi wasn’t listening anyway — she was miles away staring into the distance.

“You’ll regret this!” he hissed , pointing his finger in my face.

To be fair, this one’s a little complicated.

Whimpering is a kind of traumatised, uncomfortable sound.

If you think of a frightened animal, you might hear it make some kind of quiet, weak sound that shows it’s in pain or unhappy.

Or if you think of a kid who’s just been told she can’t have an ice cream.

Those sounds might be whimpers.

“Please! Don’t shoot me!” he whimpered , shielding his head with his arms.

Whispering is when you speak, but you bypass your vocal cords so that your words sound like wind.

In a way, it’s like you’re speaking air.

Which is a pretty cool way to look at it.

This is a really useful way of speaking if you’re into gossiping.

“Hey! What are you whispering about? Come on! Tell us! We’ll have no secrets here!”

Words for speaking negatively in English

Ranting means to speak at length about a particular topic.

However, there’s a bit more to it than that.

Ranting is lively, full of passion and usually about something important — at least important to the person speaking.

Sometimes it’s even quite angry.

We probably see rants most commonly on social media — especially by PEOPLE WHO LOVE USING CAPS LOCK AND LOTS OF EXCLAMATION MARKS!!!!!!

Ranting always sounds a little mad, whether you’re ranting about something reasonable, like the fact that there’s too much traffic in the city, or whether you’re ranting about something weird, like why the world is going to hell and it’s all because of people who like owning small, brown dogs.

“I tried to talk to George, but he just started ranting about the tax hike.”

“Did you see Jemima’s most recent Facebook rant ? All about how squirrels are trying to influence the election results with memes about Macaulay Culkin.”

Babble / Blabber / Blather / Drone / Prattle / Ramble

These words all have very similar meanings.

First of all, when someone babbles (or blabbers or blathers or drones or prattles or rambles), it means they are talking for a long time.

And probably not letting other people speak.

And, importantly, about nothing particularly interesting or important.

You know the type of person, right?

You run into a friend or someone you know.

All you do is ask, “How’s life?” and five minutes later, you’re still listening to them talking about their dog’s toilet problems.

They just ramble on about it for ages.

These verbs are often used with the preposition “on.”

That’s because “on” often means “continuously” in phrasal verbs .

So when someone “drones on,” it means they just talk for ages about nothing in particular.

“You’re meeting Aunt Thelma this evening? Oh, good luck! Have fun listening to her drone on and on about her horses.”

Groan / Grumble / Moan

These words simply mean “complain.”

There are some small differences, though.

When you groan , you probably don’t even say any words. Instead, you just complain with a sound.

When you grumble , you complain in a sort of angry or impatient way. It’s not a good way to get people to like you.

Finally, moaning is complaining, but without much direction.

You know the feeling, right?

Things are unfair, and stuff isn’t working, and it’s all making life more difficult than it should be.

We might not plan to do anything about it, but it definitely does feel good to just … complain about it.

Just to express your frustration about how unfair it all is and how you’ve been victimised and how you should be CEO by now and how you don’t get the respect you deserve and …

Well, you get the idea.

If you’re frustrated with things, maybe you just need to find a sympathetic ear and have a good moan.

“Pietor? He’s nice, but he does tend to grumble about the local kids playing football on the street.”

Words for speaking unclearly in English

Mumble / murmur / mutter.

These verbs are all very similar and describe speaking in a low and unclear way, almost like you’re speaking to yourself.

Have you ever been on the metro or the bus and seen someone in the corner just sitting and talking quietly and a little madly to themselves?

That’s mumbling (or murmuring or muttering).

What’s the difference?

Good question!

The differences are just in what type of quiet and unclear speaking you’re doing.

When someone’s mumbling , it means they’re difficult to understand. You might want to ask them to speak more clearly.

Murmuring is more neutral. It might be someone praying quietly to themselves, or you might even hear the murmur of voices behind a closed door.

Finally, muttering is usually quite passive-aggressive and has a feeling of complaining to it.

“I could hear him muttering under his breath after his mum told him off.”

How can you tell if someone’s been drinking too much booze (alcohol)?

Well, apart from the fact that they’re in the middle of trying to climb the traffic lights holding a traffic cone and wearing grass on their head, they’re also slurring — their words are all sort of sliding into each other. Like this .

This can also happen if you’re super tired.

“Get some sleep! You’re slurring your words.”

Stammer / Stutter

Th-th-th-this is wh-wh-when you try to g-g-g-get the words ou-ou-out, but it’s dif-dif-dif-difficu-… hard.

For some people, this is a speech disorder, and the person who’s doing it can’t help it.

If you’ve seen the 2010 film The King’s Speech , you’ll know what I’m talking about.

(Also you can let me know, was it good? I didn’t see it.)

This can also happen when you’re frightened or angry or really, really excited — and especially when you’re nervous.

That’s when you stammer your words.

“No … I mean, yeah … I mean no…” Wendy stammered .

Other words for speaking in English

If you drawl (or if you have a drawl), you speak in a slow way, maaakiiing the voowweeel sounds loooongeer thaan noormaal.

Some people think this sounds lazy, but I think it sounds kind of nice and relaxed.

Some regional accents, like Texan and some Australian accents, have a drawl to them.

“He was the first US President who spoke with that Texan drawl .”

“Welcome to cowboy country,” he drawled .

Grrrrrrrrrrrrrr!

That’s my impression of a dog there.

I was growling.

If you ever go cycling around remote Bulgarian villages, then you’re probably quite familiar with this sound.

There are dogs everywhere, and sometimes they just bark.

But sometimes, before barking, they growl — they make that low, threatening, throaty sound.

And it means “stay away.”

But people can growl, too, especially if they want to be threatening.

“‘Stay away from my family!’ he growled .”

Using speaking verbs as nouns

We can use these speaking verbs in the same way we use “say.”

For example, if someone says “Get out!” loudly, we can say:

“‘Get out!’ he shouted .”

However, most of the verbs we looked at today are also used as nouns. (You might have noticed in some of the examples.)

For example, if we want to focus on the fact that he was angry when he shouted, and not the words he used, we can say:

“He gave a shout of anger.”

We can use these nouns with various verbs, usually “ give ” or “ let out .”

“She gave a shout of surprise.”

“He let out a bellow of laughter.”

“I heard a faint murmur through the door.”

There you have it: 30 alternatives to “say.”

So next time you’re describing your favourite TV show or talking about the dramatic argument you saw the other day, you’ll be able to describe it more colourfully and expressively.

Did you like this post? Then be awesome and share by clicking the blue button below.

8 thoughts on “ Words for Speaking: 30 Speech Verbs in English (With Audio) ”

Always enlighten and fun.. thank you

Great job! Thank you so much for sharing with us. My students love your drawing and teaching very much. So do I of course.

Good news: I found more than 30 verbs for “speaking”. Bad news, only four of them were in your list. That is to say “Good news I’m only 50 I still have plenty of time to learn new things, bad news I’m already 50 and still have so much learn. Thanks for your posts, they’re so interesting and useful!

Excellent. Can I print it?

Thanks Iris.

And yes — Feel free to print it! 🙂

Thanks so much! It was very interesting and helpful❤

Great words, shouts and barks, Gabriel. I’m already writing them down, so I can practise with them bit by bit. Thanks for the lesson!

Thank you so much for sharing with us. .It is very useful

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Use Power Words in Your Speech to Persuade Your Audience

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"Words are the most powerful force available to humanity. They have energy and power with the ability to help, to heal, to hinder, to hurt, to harm, to humiliate, and to humble."

Why do you think this quote from Yehuda Berg, an international speaker and author, is so famous and used in so many articles about compelling writing and public speaking?

Firstly, because it’s true.

And secondly, because it sounds persuasive and argumentative , thanks to the power words the speaker uses. (Did you notice that every verb of the second sentence starts with "h"?)

Power words are words that evoke emotions and responses. Implementing them in your speech wherever appropriate can boost the audience's interest, transforming even lifeless arguments into persuasive messages that compel listeners to take action.

In this post, we'll reveal the nature of power words, their types, and ways to include them in your speech to motivate and persuade your audience.  

What are power words?

As the author of Well Said! , a book about public speaking , Darlene Price rightly notes, "Whether it's inspiring a nation, launching a product, building a team, or mending a relationship, the right words spoken at the right time can change history."

Indeed, let's take the iconic speeches of Winston Churchill and Martin Luther King as examples. Both are full of carefully chosen power words drawing people from one emotion to another, inspiring them to act.

Churchill's speech abstract, with power words in red:

King's speech abstract, with power words in red:

Given the above, a good definition of power words is:

Power words are persuasive and descriptive lexical items that trigger a positive or negative emotional response. Spicing content with these words, an author influences the audience's reactions and compels them to take action.

How to know if a word is powerful?

It will fit into at least one of these five qualities:

Descriptive

Action-driven

Using power words in spoken, written, or video content is your chance to engage people and have them pay attention to your message, even in today's world of content shock and super-short attention spans .

It's critical to understand what words are responsible for the particular emotion you want to elicit with your speech. Also, it's essential to know how to layout your power words for them to do good, not harm.

Keep on reading for more details.

Power words are about action and emotion: They make the audience feel something and act accordingly. But emotions are varied.

To have your target audience feel specific emotions that motivate and persuade them to do what you plan, it's critical to choose words that trigger a particular response. Clearly, your speech will fail if you aim to build authority and trust but use vocabulary that engenders anger and greed.

It doesn't mean you shouldn't appeal to negative emotions. It means that you should avoid mixing mutually exclusive or conflicting power words in your speech.

Decide on what you want to evoke, and choose the best words for your public speech to achieve that. Here are some examples of what to evoke and words to use to do so:

Inspire curiosity

Curiosity is what motivates us to research, read, listen, and learn new things. It is probably a reason why you are reading this blog post right now. With the help of corresponding power words in your speech, you can hook your audience with what you're going to reveal.

Here are some examples of curiosity power words:

confidential

But make sure you do satisfy the evoked curiosity with your speech. Otherwise, you'll betray the audience's trust and your authority as a speaker.

Address their fears

Fear is the most powerful emotion to grab and keep people’s attention, and that's why news channels, newspapers, and marketers often appeal to it. We bet you've heard of FOMO, aka fear of missing out on something important: That's precisely how some copywriters and essay writers use fear to motivate consumers to act.

Fear power words examples:

disappointment

Obviously, you don't want your audience to fear for their lives or experience super negative emotions when listening to you. However, there are different levels of fear; evoking a little anxiety with power words, but then saying you also have a solution, can really grab the attention of your audience and influence their perceptions of your speech for the better.

Suggest safety

When using safety power words in your speech, you make the audience feel more secure dealing with you. They need to trust what you say and have confidence that you'll keep a promise. Make them feel as if you protect them from harm by providing actionable information.

Try these power words when appealing to safety:

bestselling

professional

trustworthy

Evoke greed

As well as fear, greed is a relatively negative emotion. We all are a little greedy, and that's why marketing copy is full of words appealing to this emotion: even when overused or cliche, they still work.

With targeted messages (what you want to tell or sell with your speech), consider using words that can help convince and convert your audience. Help them get what they want by suggesting exceptional value to them.

Appeal to greed with the following power words:

inexpensive

Establish your authority

As a speaker, you want to gain the audience's respect and trust. It's critical to exude authority when sharing presentation materials, and you can do that with words too.

A strong way to do this is to present third-party materials (statistics, research or study results, testimonials, and others) supporting your words. Prove that your data is relevant and critical enough for the audience to pay attention and listen to you.

Here are some power words to try to accomplish this:

unquestionable

Build trust

Trust goes hand in hand with authority in public speaking. It is more about building long-term relationships with the audience and convincing them that they can rely on you. Trust-related power words need to be consistent across your speech.

Here are some to try:

Lust is not just about romantic love. It can be about craving or longing for anything, whether an emotion or material possessions. Choose the correct power words in your speech to appeal to what your consumers long for, and satisfy those desires.

Some power words to try here are:

captivating

charismatic

fascinating

Use them together or by themselves to hook the audience and improve your speechwriting while you’re at it.

Make them feel powerful

This is your other weapon to gain the trust of your audience. Why do you think all those corny motivational speakers and internet marketing fraudsters are so popular with thousands of people? They make their audience members feel powerful. We’re not suggesting that you take advantage of, or are dishonest with your audience, but used in moderation, making them feel powerful will help get them on your side.

These are words you can use to boost your audience’s self-esteem:

accomplished

Encourage the audience

Let's face it, most people aren't that excited and motivated to listen to a speech on coaching platforms , conferences, or other events. There’s a good chance that they sat in front of you or their screens tired, bored, or even a bit depressed. Your challenge as a speaker is to wake them up and involve them in your communication.

The power words of encouragement can help. Here go some to consider in speech:

Additional tips for motivating and persuading the audience

Power words are numerous. Their biggest ambassador is Jon Morrow from Smart Blogger, continuously sharing and updating the list of power words on his blog. You can also find power word lists from copywriters, marketers, and bloggers. You can use these words in both headlines and copy, as well as your speeches. It’s a good idea to refer to such lists when looking for unique and action-driven words for your speech.

Together with power words, also consider these extra tips when trying to inspire and persuade your audience:

Use "you" more often than "I."

Call the audience and members by name when you can.

Practice using positive words and phrases: avoid "not" wherever possible.

Try using some literary devices to make your speech more compelling: Look into polysyndeton (extra conjunctions), chiasmus (reversal of structure), anaphora (word repetition at the beginning), or epistrophe (repetition at the end). Experiment with them and let us know the results.

Power words have nothing to do with psychological hacks or tricks to manipulate your audience. The use of power words is an instrument to engage people, grab their attention, and make them listen to your speech. Mix and match them whenever relevant to communicate your message and motivate your audience to take action.

Remember that certain words evoke specific emotions. Decide on what you want your audience to feel and choose your words carefully. Emotions overlap sometimes, so do your best to craft your public speech accordingly.

About the author:

Lesley Vos is a professional copywriter and guest contributor, currently blogging at Bid4Papers , a platform that helps students and authors with writing solutions. Specializing in data research, web text writing, and content promotion, she is in love with words, non-fiction literature, and jazz.

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How to Build Vocabulary You Can Actually Use in Speech and Writing?

• Updated on Nov 12, 2023

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This post comes from my experience of adding more than 8,000 words and phrases to my vocabulary in a way that I can actually use them on the fly in my speech and writing. Some words, especially those that I haven’t used for long time, may elude me, but overall the recall & use works quite well.

That’s why you build vocabulary, right? To use in speech and writing. There are no prizes for building list of words you can’t use. (The ultimate goal of vocabulary-building is to use words in verbal communication where you’ve to come up with an appropriate word in split second. It’s not to say that it’s easy to come up with words while writing, but in writing you can at least afford to think.)

This post also adopts couple of best practices such as

• Spaced repetition,
• Deliberate Practice,
• Begin with end in mind, and
• Build on what you already know

In this post, you’ll learn how you too can build such vocabulary, the one you can actually use. However, be warned. It’s not easy. It requires consistent work. But the rewards are more than worth the squeeze.

Since building such vocabulary is one of the most challenging aspects of English Language, you’ll stand out in crowd when you use precise words and, the best part, you can use this sub-skill till you’re in this world, long after you retire professionally. (Doesn’t this sound so much better when weighed against today’s reality where most professional skills get outdated in just few years?)

You may have grossly overestimated the size of your vocabulary

Once your understand the difference between active and passive vocabulary, you’ll realize that size of your vocabulary isn’t what you think it to be.

Active vs. Passive vocabulary

Words that you can use in speech and writing constitute your active vocabulary (also called functional vocabulary). You, of course, understand these words while reading and listening as well. Think of words such as eat , sell , drink , see , and cook .

But how about words such as munch , outsmart , salvage , savagery , and skinny ? Do you use these words regularly while speaking and writing? Unlikely. Do you understand meaning of these words while reading and listening? Highly likely. Such words constitute your passive vocabulary (also called recognition vocabulary). You can understand these words while reading and listening, but you can’t use them while speaking and writing.

Your active vocabulary is a tiny subset of your passive vocabulary:

(While the proportion of the two inner circles – active and passive vocabulary – bears some resemblance to reality, the outer rectangle is not proportionate because of paucity of space. In reality, the outer rectangle is much bigger, representing hundreds of thousands of words.)

Note : Feel free to use the above and other images in the post, using the link of this post for reference/attribution.

Many mistakenly believe that they’ve strong vocabulary because they can understand most words when reading and listening. But the real magic, the real use of vocabulary is when you use words in speech and writing. If you evaluate your vocabulary against this yardstick – active vs. passive – your confidence in your vocabulary will be shaken.

Why build vocabulary – a small exercise?

You would be all too aware of cases where people frequently pause while speaking because they can’t think of words for what they want to say. We can easily spot such extreme cases.

What we fail to spot, however, are less extreme, far more common cases where people don’t pause, but they use imprecise words and long-winding explanations to drive their message.

The bridge was destroyed (or broken) by the flooded river.

The bridge was washed away by the flooded river.

Although both convey the message, the second sentence stands out because of use of precise phrase.

What word(s) best describe what’s happening in the picture below?

Image source

Not the best response.

A better word is ‘emptied’. Even ‘dumped’ is great.

A crisp description of the above action would be: “The dumper emptied (or dumped) the stones on the roadside.”

What about this?

‘Took out grapes’.

‘Plucked grapes’ is far better.

If you notice, these words – wash away , empty , dump , and pluck – are simple. We can easily understand them while reading and listening, but rarely use them (with the possible exception of empty ) in speech or writing. Remember, active vs. passive vocabulary?

If you use such precise words in your communication you’ll stand out in crowd.

Little wonder, studies point to a correlation between strength of vocabulary and professional success. Earl Nightingale, a renowned self-help expert and author, in his 20-year study of college graduates found :

Without a single exception, those who had scored highest on the vocabulary test given in college, were in the top income group, while those who had scored the lowest were in the bottom income group.

He also refers to a study by Johnson O’Connor, an American educator and researcher, who gave vocabulary tests to executive and supervisory personnel in 39 large manufacturing companies. According to this study:

Presidents and vice presidents averaged 236 out of a possible 272 points; managers averaged 168; superintendents, 140; foremen, 114; floor bosses, 86. In virtually every case, vocabulary correlated with executive level and income.

Though there are plenty of studies linking professional success with fluency in English overall, I haven’t come across any study linking professional success with any individual component – grammar and pronunciation, for example – of English language other than vocabulary.

You can make professional success a motivation to improve your active vocabulary.

Let’s dive into the tactics now.

How to build vocabulary you can use in speech and writing?

(In the spirit of the topic of this section, I’ve highlighted words that I’ve shifted from my passive to active vocabulary in red font . I’ve done this for only this section, lest the red font become too distracting.)

Almost all of us build vocabulary through the following two-step process:

Step 1 : We come across new words while reading and listening. Meanings of many of these words get registered in our brains – sometimes vaguely, sometimes precisely – through the context in which we see these words. John Rupert Firth, a leading figure in British linguistics during the 1950s, rightly said , “You shall know a word by the company it keeps.”

Many of these words then figure repeatedly in our reading and listening and gradually, as if by osmosis , they start taking roots in our passive vocabulary.

Step 2 : We start using some of these words in our speech and writing. (They are, as discussed earlier, just a small fraction of our passive vocabulary.) By and large, we stay in our comfort zones, making do with this limited set of words.

Little wonder, we add to our vocabulary in trickle . In his book Word Power Made Easy , Norman Lewis laments the tortoise-like rate of vocabulary-building among adults:

Educational testing indicates that children of ten who have grown up in families in which English is the native language have recognition [passive] vocabularies of over twenty thousand words. And that these same ten-year-olds have been learning new words at a rate of many hundreds a year since the age of four . In astonishing contrast, studies show that adults who are no longer attending school increase their vocabularies at a pace slower than twenty-five to fifty words annually .

Adults improve passive vocabulary at an astonishingly meagre rate of 25-50 words a year. The chain to acquire active vocabulary is getting broken at the first step itself – failure to read or listen enough (see Step 1 we just covered). Most are not even reaching the second step, which is far tougher than the first. Following statistic from National Spoken English Skills Report by Aspiring Minds (sample of more than 30,000 students from 500+ colleges in India) bears this point:

Only 33 percent know such simple words! They’re not getting enough inputs.

Such vocabulary-acquisition can be schematically represented as:

The problem here is at both the steps of vocabulary acquisition:

• Not enough inputs (represented by funnel filled only little) and
• Not enough exploration and use of words to convert inputs into active vocabulary (represented by few drops coming out of the funnel)

Here is what you can do to dramatically improve your active vocabulary:

1. Get more inputs (reading and listening)

That’s a no-brainer. The more you read,

• the more new words you come across and
• the more earlier-seen words get reinforced

If you’ve to prioritize between reading and listening purely from the perspective of building vocabulary, go for more reading, because it’s easier to read and mark words on paper or screen. Note that listening will be a more helpful input when you’re working on your speaking skills .

So develop the habit to read something 30-60 minutes every day. It has benefits far beyond just vocabulary-building .

If you increase your inputs, your vocabulary-acquisition funnel will look something like:

More inputs but no other steps result in larger active vocabulary.

2. Gather words from your passive vocabulary for deeper exploration

The reading and listening you do, over months and years, increase the size of your passive vocabulary. There are plenty of words, almost inexhaustible, sitting underutilized in your passive vocabulary. Wouldn’t it be awesome if you could move many of them to your active vocabulary? That would be easier too because you don’t have to learn them from scratch. You already understand their meaning and usage, at least to some extent. That’s like plucking – to use the word we’ve already overused – low hanging fruits.

While reading and listening, note down words that you’re already familiar with, but you don’t use them (that is they’re part of your passive vocabulary). We covered few examples of such words earlier in the post – pluck , dump , salvage , munch , etc. If you’re like most, your passive vocabulary is already large, waiting for you to shift some of it to your active vocabulary. You can also note down completely unfamiliar words, but only in exceptional cases.

To put what I said in the previous paragraph in more concrete terms, you may ask following two questions to decide which words to note down for further exploration:

• Do you understand the meaning of the word from the context of your reading or listening?
• Do you use this word while speaking and writing?

If the answer is ‘yes’ to the first question and ‘no’ to the second, you can note down the word.

3. Explore the words in an online dictionary

Time to go a step further than seeing words in context while reading.

You need to explore each word (you’ve noted) further in a dictionary. Know its precise meaning(s). Listen to pronunciation and speak it out loud, first individually and then as part of sentences. (If you’re interested in the topic of pronunciation, refer to the post on pronunciation .) And, equally important, see few sentences where the word has been used.

Preferably, note down the meaning(s) and few example sentences so that you can practice spaced repetition and retain them for long. Those who do not know what spaced repetition is, it is the best way to retain things in your long-term memory . There are number of options these days to note words and other details about them – note-taking apps and good-old word document. I’ve been copying-pasting on word document and taking printouts. For details on how I practiced spaced repetition, refer to my experience of adding more than 8,000 words to my vocabulary.

But why go through the drudgery of noting down – and going through, probably multiple times – example sentences? Why not just construct sentences straight after knowing the meaning of the word?

Blachowicz, Fisher, Ogle, and Watts-Taffe, in their paper , point out the yawning gap between knowing the meaning of words and using them in sentences:

Research suggests that students are able to select correct definitions for unknown words from a dictionary, but they have difficulty then using these words in production tasks such as writing sentences using the new words.

If only it was easy. It’s even more difficult in verbal communication where, unlike in writing, you don’t have the luxury of pausing and recalling appropriate words.

That’s why you need to focus on example sentences.

Majority of those who refer dictionary, however, restrict themselves to meaning of the word. Few bother to check example sentences. But they’re at least as much important as meaning of the word, because they teach you how to use words in sentences, and sentences are the building blocks of speech and writing.

If you regularly explore words in a dictionary, your vocabulary-acquisition funnel will look something like:

More inputs combined with exploration of words result in even larger active vocabulary.

After you absorb the meaning and example sentences of a word, it enters a virtuous cycle of consolidation. The next time you read or listen the word, you’ll take note of it and its use more actively , which will further reinforce it in your memory. In contrast, if you didn’t interact with the word in-depth, it’ll pass unnoticed, like thousands do every day. That’s cascading effect.

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4. Use them

To quote Maxwell Nurnberg and Morris Rosenblum from their book All About Words :

In vocabulary building, the problem is not so much finding new words or even finding out what they mean. The problem is to remember them, to fix them permanently in your mind. For you can see that if you are merely introduced to words, you will forget them as quickly as you forget the names of people you are casually introduced to at a crowded party – unless you meet them again or unless you spend some time with them.

This is the crux. Use it or lose it.

Without using, the words will slowly slip away from your memory.

Without using the words few times, you won’t feel confident using them in situations that matter.

If you use the words you explored in dictionary, your vocabulary-acquisition funnel will look something like:

More inputs combined with exploration of words and use of them result in the largest active vocabulary.

Here is a comparison of the four ways in which people acquire active vocabulary:

The big question though is how to use the words you’re exploring. Here are few exercises to accomplish this most important step in vocabulary-building process.

Vocabulary exercises: how to use words you’re learning

You can practice these vocabulary activities for 10-odd minutes every day, preferably during the time you waste such as commuting or waiting, to shift more and more words you’ve noted down to your active vocabulary. I’ve used these activities extensively, with strong results to boot.

1. Form sentences and speak them out during your reviews

When you review the list of words you’ve compiled, take a word as cue without looking at its meaning and examples, recall its meaning, and, most importantly, speak out 4-5 sentences using the word. It’s nothing but a flashcard in work. If you follow spaced repetition diligently, you’ll go through this process at least few times. I recommend reading my experience of building vocabulary (linked earlier) to know how I did this part.

Why speaking out, though? (If the surroundings don’t permit, it can be whisper as well.)

Speaking out the word as part of few sentences will serve the additional purpose of making your vocal cords accustomed to new words and phrases.

2. Create thematic webs

When reviewing, take a word and think of other words related to that word. Web of words on a particular theme, in short, and hence the name ‘thematic web’. These are five of many, many thematic webs I’ve actually come up in my reviews:

(Note: Name of the theme is in bold. Second, where there are multiple words, I’ve underlined the main word.)

If I come across the word ‘gourmet’ in my review, I’ll also quickly recall all the words related with food: tea strainer, kitchen cabinet, sink, dish cloth, wipe dishes, rinse utensils, immerse beans in water, simmer, steam, gourmet food, sprinkle salt, spread butter, smear butter, sauté, toss vegetables, and garnish the sweet dish

Similarly, for other themes:

Prognosis, recuperate, frail, pass away, resting place, supplemental air, excruciating pain, and salubrious

C. Showing off

Showy, gaudy, extravaganza, over the top, ostentatious, and grandstanding

D. Crowd behavior

Restive, expectant, hysteria, swoon, resounding welcome, rapturous, jeer, and cheer

E. Rainfall

Deluge, cats and dogs, downpour, cloudburst, heavens opened, started pouring , submerged, embankment, inundate, waterlogged, soaked to the skin, take shelter, run for a cover, torrent, and thunderbolt

(If you notice, words in a particular theme are much wider in sweep than just synonyms.)

It takes me under a minute to complete dozen-odd words in a theme. However, in the beginning, when you’re still adding to your active vocabulary in tons, you’ll struggle to go beyond 2-3 simple words when thinking out such thematic lists. That’s absolutely fine.

Why thematic web, though?

Because that’s how we recall words when speaking or writing. (If you flip through Word Power Made Easy by Norman Lewis, a popular book on improving vocabulary, you’ll realize that each of its chapters represents a particular idea, something similar to a theme.) Besides, building a web also quickly jogs you through many more words.

3. Describe what you see around

In a commute or other time-waster, look around and speak softly an apt word in a split second for whatever you see. Few examples:

• If you see grass on the roadside, you can say verdant or luxurious .
• If you see a vehicle stopping by the roadside, you can say pull over .
• If you see a vehicle speeding away from other vehicles, you can say pull away .
• If you see a person carrying a load on the road side, you can say lug and pavement .

Key is to come up with these words in a flash. Go for speed, not accuracy. (After all, you’ll have similar reaction time when speaking.) If you can’t think of an appropriate word for what you see instantaneously – and there will be plenty in the beginning – skip it.

This vocabulary exercise also serves an unintended, though important, objective of curbing the tendency to first think in the native language and then translating into English as you speak. This happens because the spontaneity in coming up with words forces you to think directly in English.

Last, this exercise also helps you assess your current level of vocabulary (for spoken English). If you struggle to come up with words for too many things/ situations, you’ve job on your hands.

4. Describe what one person or object is doing

Another vocabulary exercise you can practice during time-wasters is to focus on a single person and describe her/ his actions, as they unfold, for few minutes. An example:

He is skimming Facebook on his phone. OK, he is done with it. Now, he is taking out his earphones. He has plugged them into his phone, and now he is watching some video. He is watching and watching. There is something funny there in that video, which makes him giggle . Simultaneously, he is adjusting the bag slung across his shoulder.

The underlined words are few of the new additions to my active vocabulary I used on the fly when focusing on this person.

Feel free to improvise and modify this process to suit your unique conditions, keeping in mind the fundamentals such as spaced repetition, utilizing the time you waste, and putting what you’re learning to use.

To end this section, I must point out that you need to build habit to perform these exercises for few minutes at certain time(s) of the day. They’re effective when done regularly.

Why I learnt English vocabulary this way?

For few reasons:

1. I worked backwards from the end result to prepare for real-world situations

David H. Freedman learnt Italian using Duolingo , a popular language-learning app, for more than 70 hours in the buildup to his trip to Italy. A week before they were to leave for Rome, his wife put him to test. She asked how would he ask for his way from Rome airport to the downtown. And how would he order in a restaurant?

David failed miserably.

He had become a master of multiple-choice questions in Italian, which had little bearing on the real situations he would face.

We make this mistake all the time. We don’t start from the end goal and work backwards to design our lessons and exercises accordingly. David’s goal wasn’t to pass a vocabulary test. It was to strike conversation socially.

Coming back to the topic of vocabulary, learning meanings and examples of words in significant volume is a challenge. But a much bigger challenge is to recall an apt word in split second while speaking. (That’s the holy grail of any vocabulary-building exercise, and that’s the end goal we want to achieve.)

The exercises I described earlier in the post follow the same path – backwards from the end.

2. I used proven scientific methods to increase effectiveness

Looking at just a word and recalling its meaning and coming up with rapid-fire examples where that word can be used introduced elements of deliberate practice, the fastest way to build neural connection and hence any skill. (See the exercises we covered.) For the uninitiated, deliberate practice is the way top performers in any field practice .

Another proven method I used was spaced repetition.

3. I built on what I already knew to progress faster

Covering mainly passive vocabulary has made sure that I’m building on what I already know, which makes for faster progress.

Don’t ignore these when building vocabulary

Keep in mind following while building vocabulary:

1. Use of fancy words in communication make you look dumb, not smart

Don’t pick fancy words to add to your vocabulary. Use of such words doesn’t make you look smart. It makes your communication incomprehensible and it shows lack of empathy for the listeners. So avoid learning words such as soliloquy and twerking . The more the word is used in common parlance, the better it is.

An example of how fancy words can make a piece of writing bad is this review of movie , which is littered with plenty of fancy words such as caper , overlong , tomfoolery , hectoring , and cockney . For the same reason, Shashi Tharoor’s Word of the Week is not a good idea . Don’t add such words to your vocabulary.

2. Verbs are more important than nouns and adjectives

Verbs describe action, tell us what to do. They’re clearer. Let me explain this through an example.

In his book Start with Why , Simon Sinek articulates why verbs are more effective than nouns:

For values or guiding principles to be truly effective they have to be verbs. It’s not ‘integrity’, it’s ‘always do the right thing’. It’s not ‘innovation’, it’s ‘look at the problem from a different angle’. Articulating our values as verbs gives us a clear idea… we have a clear idea of how to act in any situation.

‘Always do the right thing’ is better than ‘integrity’ and ‘look at the problem from a different angle’ is better than ‘innovation’ because the former, a verb, in each case is clearer.

The same (importance of verb) is emphasized by L. Dee Fink in his book Creating Significant Learning Experiences in the context of defining learning goals for college students.

Moreover, most people’s vocabulary is particularly poor in verbs. Remember, the verbs from the three examples at the beginning of the post – wash away , dump , and pluck ? How many use them? And they’re simple.

3. Don’t ignore simple verbs

You wouldn’t bother to note down words such as slip , give , and move because you think you know them inside out, after all you’ve been using them regularly for ages.

I also thought so… until I explored few of them.

I found that majority of simple words have few common usages we rarely use. Use of simple words for such common usages will stand your communication skills out.

An example:

a. To slide suddenly or involuntarily as on a smooth surface: She slipped on the icy ground .

b. To slide out from grasp, etc.: The soap slipped from my hand .

c. To move or start gradually from a place or position: His hat slipped over his eyes .

d. To pass without having been acted upon or used: to let an opportunity slip .

e. To pass quickly (often followed by away or by): The years slipped by .

f. To move or go quietly, cautiously, or unobtrusively: to slip out of a room .

Most use the word in the meaning (a) and (b), but if you use the word for meaning (c) to (f) – which BTW is common – you’ll impress people.

Another example:

a. Without the physical presence of people in control: an unmanned spacecraft .

b.  Hovering near the unmanned iPod resting on the side bar, stands a short, blond man.

c. Political leaders are vocal about the benefits they expect to see from unmanned aircraft.

Most use the word unmanned with a moving object such as an aircraft or a drone, but how about using it with an iPod (see (b) above).

4. Don’t ignore phrasal verbs. Get at least common idioms. Proverbs… maybe

4.1 phrasal verbs.

Phrasal verbs are verbs made from combining a main verb and an adverb or preposition or both. For example, here are few phrasal verbs of verb give :

We use phrasal verbs aplenty:

I went to the airport to see my friend off .

He could see through my carefully-crafted ruse.

I took off my coat.

The new captain took over the reins of the company on June 25.

So, don’t ignore them.

Unfortunately, you can’t predict the meaning of a phrasal verb from the main verb. For example, it’s hard to guess the meaning of take over or take off from take . You’ve to learn each phrasal verb separately.

What about idioms?

Compared to phrasal verbs, idioms are relatively less used, but it’s good to know the common ones. To continue the example of word give , here are few idioms derived from it:

Give and take

Give or take

Give ground

Give rise to

Want a list of common idioms? It’s here: List of 200 common idioms .

4.3 Proverbs

Proverbs are popular sayings that provide nuggets of wisdom. Example: A bird in hand is worth two in the bush.

Compared to phrasal verbs and idioms, they’re much less used in common conversation and therefore you can do without them.

For the motivated, here is a list of common proverbs: List of 200 common proverbs .

5. Steal phrases, words, and even sentences you like

If you like phrases and sentences you come across, add them to your list for future use. I do it all the time and have built a decent repository of phrases and sentences. Few examples (underlined part is the key phrase):

The bondholders faced the prospect of losing their trousers .

The economy behaved more like a rollercoaster than a balloon . [Whereas rollercoaster refers to an up and down movement, balloon refers to a continuous expansion. Doesn’t such a short phrase express such a profound meaning?]

Throw enough spaghetti against the wall and some of it sticks .

You need blue collar work ethic to succeed in this industry.

He runs fast. Not quite .

Time to give up scalpel . Bring in hammer .

Note that you would usually not find such phrases in a dictionary, because dictionaries are limited to words, phrasal verbs, idioms, and maybe proverbs.

6. Commonly-used nouns

One of my goals while building vocabulary has been to learn what to call commonly-used objects (or nouns) that most struggle to put a word to.

To give an example, what would you call the following?

Answer: Tea strainer.

You would sound far more impressive when you say, “My tea strainer has turned blackish because of months of filtering tea.”

Than when you say, “The implement that filters tea has turned blackish because of months of filtering tea.”

What do you say?

More examples:

Saucer (We use it every day, but call it ‘plate’.)

Straight/ wavy/ curly hair

Corner shop

I’ll end with a brief reference to the UIDAI project that is providing unique biometric ID to every Indian. This project, launched in 2009, has so far issued a unique ID (popularly called Aadhaar card) to more than 1.1 billion people. The project faced many teething problems and has been a one big grind for the implementers. But once this massive data of billion + people was collected, so many obstinate, long-standing problems are being eased using this data, which otherwise would’ve been difficult to pull off. It has enabled faster delivery of scores of government and private services, checked duplication on many fronts, and brought in more transparency in financial and other transactions, denting parallel economy. There are many more. And many more are being conceived on top of this data.

At some level, vocabulary is somewhat similar. It’ll take effort, but once you’ve sizable active vocabulary, it’ll strengthen arguably the most challenging and the most impressive part of your communication. And because it takes some doing, it’s not easy for others to catch up.

Anil is the person behind content on this website, which is visited by 3,000,000+ learners every year. He writes on most aspects of English Language Skills. More about him here:

Such a comprehensive guide. Awesome…

I am using the note app and inbuilt dictionary of iPhone. I have accumulated over 1400 words in 1 year. Will definitely implement ideas from this blog.

Krishna, thanks. If you’re building vocabulary for using, then make sure you work it accordingly.

Building solid vocabulary is my new year’s resolution and you’ve perfectly captured the issues I’ve been facing, with emphasis on passive vocabulary building. So many vocab apps are multiple choice and thereby useless for this reason. Thanks so much for the exercises! I plan to put them to use!

It was everything that I need to boost my active vocabulary. Thank you so much for sharing all these precious pieces of information.

Anil sir, I am quiet satisfied the way you laid out everything possible that one needs to know from A-Z. Also, thanks for assuring me from your experience that applying this will work.

This post definitely blew me away…. I am impressed! Thank you so much for sharing such valuable information. It was exactly what I needed!

Amazing post! While reading this post, I am thinking about the person who developed this. I wanna give a big hug and thank you so much.

Comments are closed.

What this handout is about

This handout will help you create an effective speech by establishing the purpose of your speech and making it easily understandable. It will also help you to analyze your audience and keep the audience interested.

What’s different about a speech?

Writing for public speaking isn’t so different from other types of writing. You want to engage your audience’s attention, convey your ideas in a logical manner and use reliable evidence to support your point. But the conditions for public speaking favor some writing qualities over others. When you write a speech, your audience is made up of listeners. They have only one chance to comprehend the information as you read it, so your speech must be well-organized and easily understood. In addition, the content of the speech and your delivery must fit the audience.

What’s your purpose?

People have gathered to hear you speak on a specific issue, and they expect to get something out of it immediately. And you, the speaker, hope to have an immediate effect on your audience. The purpose of your speech is to get the response you want. Most speeches invite audiences to react in one of three ways: feeling, thinking, or acting. For example, eulogies encourage emotional response from the audience; college lectures stimulate listeners to think about a topic from a different perspective; protest speeches in the Pit recommend actions the audience can take.

As you establish your purpose, ask yourself these questions:

• What do you want the audience to learn or do?
• If you are making an argument, why do you want them to agree with you?
• If they already agree with you, why are you giving the speech?
• How can your audience benefit from what you have to say?

Audience analysis

If your purpose is to get a certain response from your audience, you must consider who they are (or who you’re pretending they are). If you can identify ways to connect with your listeners, you can make your speech interesting and useful.

As you think of ways to appeal to your audience, ask yourself:

• What do they have in common? Age? Interests? Ethnicity? Gender?
• Do they know as much about your topic as you, or will you be introducing them to new ideas?
• Why are these people listening to you? What are they looking for?
• What level of detail will be effective for them?
• What tone will be most effective in conveying your message?
• What might offend or alienate them?

For more help, see our handout on audience .

Creating an effective introduction

Get their attention, otherwise known as “the hook”.

Think about how you can relate to these listeners and get them to relate to you or your topic. Appealing to your audience on a personal level captures their attention and concern, increasing the chances of a successful speech. Speakers often begin with anecdotes to hook their audience’s attention. Other methods include presenting shocking statistics, asking direct questions of the audience, or enlisting audience participation.

Establish context and/or motive

Explain why your topic is important. Consider your purpose and how you came to speak to this audience. You may also want to connect the material to related or larger issues as well, especially those that may be important to your audience.

Get to the point

Tell your listeners your thesis right away and explain how you will support it. Don’t spend as much time developing your introductory paragraph and leading up to the thesis statement as you would in a research paper for a course. Moving from the intro into the body of the speech quickly will help keep your audience interested. You may be tempted to create suspense by keeping the audience guessing about your thesis until the end, then springing the implications of your discussion on them. But if you do so, they will most likely become bored or confused.

For more help, see our handout on introductions .

Making your speech easy to understand

Repeat crucial points and buzzwords.

Especially in longer speeches, it’s a good idea to keep reminding your audience of the main points you’ve made. For example, you could link an earlier main point or key term as you transition into or wrap up a new point. You could also address the relationship between earlier points and new points through discussion within a body paragraph. Using buzzwords or key terms throughout your paper is also a good idea. If your thesis says you’re going to expose unethical behavior of medical insurance companies, make sure the use of “ethics” recurs instead of switching to “immoral” or simply “wrong.” Repetition of key terms makes it easier for your audience to take in and connect information.

Incorporate previews and summaries into the speech

For example:

“I’m here today to talk to you about three issues that threaten our educational system: First, … Second, … Third,”

“I’ve talked to you today about such and such.”

These kinds of verbal cues permit the people in the audience to put together the pieces of your speech without thinking too hard, so they can spend more time paying attention to its content.

Use especially strong transitions

This will help your listeners see how new information relates to what they’ve heard so far. If you set up a counterargument in one paragraph so you can demolish it in the next, begin the demolition by saying something like,

“But this argument makes no sense when you consider that . . . .”

If you’re providing additional information to support your main point, you could say,

“Another fact that supports my main point is . . . .”

Helping your audience listen

Rely on shorter, simpler sentence structures.

Don’t get too complicated when you’re asking an audience to remember everything you say. Avoid using too many subordinate clauses, and place subjects and verbs close together.

Too complicated:

The product, which was invented in 1908 by Orville Z. McGillicuddy in Des Moines, Iowa, and which was on store shelves approximately one year later, still sells well.

Easier to understand:

Orville Z. McGillicuddy invented the product in 1908 and introduced it into stores shortly afterward. Almost a century later, the product still sells well.

Limit pronoun use

Listeners may have a hard time remembering or figuring out what “it,” “they,” or “this” refers to. Be specific by using a key noun instead of unclear pronouns.

Pronoun problem:

The U.S. government has failed to protect us from the scourge of so-called reality television, which exploits sex, violence, and petty conflict, and calls it human nature. This cannot continue.

Why the last sentence is unclear: “This” what? The government’s failure? Reality TV? Human nature?

More specific:

The U.S. government has failed to protect us from the scourge of so-called reality television, which exploits sex, violence, and petty conflict, and calls it human nature. This failure cannot continue.

Keeping audience interest

Incorporate the rhetorical strategies of ethos, pathos, and logos.

When arguing a point, using ethos, pathos, and logos can help convince your audience to believe you and make your argument stronger. Ethos refers to an appeal to your audience by establishing your authenticity and trustworthiness as a speaker. If you employ pathos, you appeal to your audience’s emotions. Using logos includes the support of hard facts, statistics, and logical argumentation. The most effective speeches usually present a combination these rhetorical strategies.

Use statistics and quotations sparingly

Include only the most striking factual material to support your perspective, things that would likely stick in the listeners’ minds long after you’ve finished speaking. Otherwise, you run the risk of overwhelming your listeners with too much information.

Watch your tone

Be careful not to talk over the heads of your audience. On the other hand, don’t be condescending either. And as for grabbing their attention, yelling, cursing, using inappropriate humor, or brandishing a potentially offensive prop (say, autopsy photos) will only make the audience tune you out.

Creating an effective conclusion

Restate your main points, but don’t repeat them.

“I asked earlier why we should care about the rain forest. Now I hope it’s clear that . . .” “Remember how Mrs. Smith couldn’t afford her prescriptions? Under our plan, . . .”

Call to action

Speeches often close with an appeal to the audience to take action based on their new knowledge or understanding. If you do this, be sure the action you recommend is specific and realistic. For example, although your audience may not be able to affect foreign policy directly, they can vote or work for candidates whose foreign policy views they support. Relating the purpose of your speech to their lives not only creates a connection with your audience, but also reiterates the importance of your topic to them in particular or “the bigger picture.”

Practicing for effective presentation

Once you’ve completed a draft, read your speech to a friend or in front of a mirror. When you’ve finished reading, ask the following questions:

• Which pieces of information are clearest?
• Where did I connect with the audience?
• Where might listeners lose the thread of my argument or description?
• Where might listeners become bored?
• Where did I have trouble speaking clearly and/or emphatically?
• Did I stay within my time limit?

Other resources

• Toastmasters International is a nonprofit group that provides communication and leadership training.
• Allyn & Bacon Publishing’s Essence of Public Speaking Series is an extensive treatment of speech writing and delivery, including books on using humor, motivating your audience, word choice and presentation.

Works consulted

We consulted these works while writing this handout. This is not a comprehensive list of resources on the handout’s topic, and we encourage you to do your own research to find additional publications. Please do not use this list as a model for the format of your own reference list, as it may not match the citation style you are using. For guidance on formatting citations, please see the UNC Libraries citation tutorial . We revise these tips periodically and welcome feedback.

Boone, Louis E., David L. Kurtz, and Judy R. Block. 1997. Contemporary Business Communication . Upper Saddle River, NJ: Prentice Hall.

Ehrlich, Henry. 1994. Writing Effective Speeches . New York: Marlowe.

Lamb, Sandra E. 1998. How to Write It: A Complete Guide to Everything You’ll Ever Write . Berkeley: Ten Speed Press.

You may reproduce it for non-commercial use if you use the entire handout and attribute the source: The Writing Center, University of North Carolina at Chapel Hill

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127 big fancy words to sound smart and boost your eloquence

Karolina Assi

Everyone wants to sound smart and come across as someone that can express their thoughts eloquently. And even though you might have this fantastic ability in your native language, you may feel limited doing this in English if you’re beginning your journey in expanding your vocabulary with unusual or rarer words.

Fortunately, the English language has thousands of big words that will make you sound instantly more eloquent and knowledgeable.

These words will help you express yourself in a more elegant way by substituting the basic, everyday words with their more fancy synonyms. Learning those “big” words in English is also a great way to impress those around you - whether it’s at school, at work, or during your next date.

To help you take your English vocabulary to the next level, we’re prepared a list of 120+ big words to sound smart, with their meaning and an example of how to use them in context.

The do’s and don'ts of using big words in English

Throwing in a few fancy words into your conversations or monologue is a good idea to sound more eloquent and impress everyone around you.

It’s also a great way to sound smart when you don’t know what to say on a specific topic but want to make a good impression and appear more knowledgeable than you are (like this English student during his literature class ).

But there’s a fine line between using fancy words that truly make you sound eloquent and those that make you sound like you’re trying too hard.

Sometimes, using big words to sound smart may backfire, especially if you don’t really know what they mean. Then, you may end up saying something that makes no sense and leaving everyone in the room perplexed. Plus, using complex words you don’t understand can make you sound pompous - so tread the line between careful and carefree.

Use them only if you truly understand their meaning and know what context to use them in. But don’t use them mindlessly as it will result in an opposite effect to what you intended.

Aside from learning those fancy words and their meaning, another challenge lies in their pronunciation. If you choose those big words that are also hard to pronounce , like “epitome” or “niche,” you might end up saying something that makes everyone laugh (it wouldn’t be such a bad scenario!).

The point is: if you’re going to use fancy words to sound smart, learn their meaning, understand how to use them in context, and practice their pronunciation first.

Big words to sound smart and their meaning

The smartest way of sounding more eloquent when expressing yourself in English is to change basic, everyday words for their fancier versions. For instance, instead of saying “very big,” say “massive.” Instead of saying “detailed.” say “granular,” and instead of saying “not interesting,” say “banal.”

See? Using the word “granular” in a sentence will inevitably add more elegance to your speech and make you appear more fluent and eloquent.

The words we’ve chosen to include in the tables below follow this exact principle. Most of them are just a fancier version of a basic, simple word you’d normally use. Others are words used in a professional or academic setting that simply add more articulacy to your statement.

Fancy words you can use at work

The question isn’t whether you should learn a couple of fancy words you can use at work to impress your boss and coworkers. The question is, how do you use them without coming across as a pompous know-it-all, irritating everyone around you?

Well, it’s all about using them wisely. Don’t cram 10 fancy words into a simple sentence just to sound smarter. Only use them when they help you get your message across. If they don’t bring any value to your sentence, simply don’t use them.

In other words - don’t force it! Be natural.

With that said, here are some big words you can use at work.

Ready to further your career with a new language?

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Clever words you might use academically

The academic setting does not only encourage you to sound smart. It forces you to. To get higher grades and convince your professors of your knowledge and eloquence, you need to elevate your vocabulary.

Whether it’s in written or spoken assignments, these words will help you express yourself in a more intelligent and elegant way while impressing your colleagues and professors.

Big interesting words you might use socially

Being the smartest person among your friends is surely a great boost for your ego. It can help you gain their approval, receive compliments, and maybe even get a date or two while hanging out at the bar with your friends.

But the other side of the coin is that using overly sophisticated words in a casual, social setting can make you appear pretentious and out of place. That’s why you need to be careful and not overdo it! If you do, you might only end up humiliating yourself, and that’s a terrible place to be in.

Here are 20+ big words in English you can use in social situations with their meaning and an example of a sentence you could say.

Impressive words you might use romantically

Even if you’re not a very romantic person, some occasions require a bit of romanticism. Using elegant words in your expressions of love and affection can make your romantic conversations and gestures more special and memorable.

Still, don’t use big words if you don’t mean them! You should always be sincere and genuine in your expressions. Remember that words hold tremendous power in inspiring emotions in those who receive them.

With that said, here are 30 big words you can use in a romantic setting to express your love and affection for your significant other or to take your relationship with the person you’re currently dating to the next level (congrats!).

Sophisticated words you might use when discussing art and literature

Are you an art or literature? These two areas often require eloquent vocabulary to describe them. At least, that is the sort of language that people expect to hear from someone who’s an avid reader and art connoisseur.

You might want to express how the allegory in that poem made you feel or the way the plot of the book has enthralled you to keep reading but lack the right words to do it. If so, here’s a list of 20+ words you can use to talk about art and literature in different contexts.

Fancy words you might use when talking about your hobbies

When talking about our hobbies, we want to come across as more knowledgeable than others. After all, they’re our special interests, and we naturally possess a greater deal of expertise in these areas.

Whether you’re into literature, movies, or sports, here are some fancy words you can use to describe your interests.

Make the Thesaurus your new best friend

In this article, we’ve only covered 126 big words. Understandably, we can’t include all the fancy words you might need in one article. There are simply too many!

But luckily, there’s a free online tool you can use to find the synonyms of everyday words to expand your vocabulary and make yourself sound smarter.

Can you take a guess?

That’s right - it’s the online Thesaurus . You’ve surely heard about it from your English teacher, but in case you haven’t, Thesaurus is a dictionary of synonyms and related concepts. It’s a great way to find synonyms of different words to spice up your oral or written statements and avoid repeating the same old boring words time and time again.

Choose your words wisely

Whether you’re using simple, everyday words in casual conversations or those big, fancy words in a professional or academic environment, remember one thing: words have power.

They’re spells that you cast (there’s a reason why it’s called “spelling”) onto yourself and those who you speak them to. The words you speak inspire emotions and shape how other people perceive you. But they also influence your own emotions and shape how you perceive yourself.

So choose them wisely.

Learn more about the fascinating English language on our English language blog here.

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Revolutionize Your Speeches: Guide to Language and Word Choice in Public Speaking

The impact of using technical jargon in delivery

Understanding complex terminology can have a profound effect on the audience’s comprehension and engagement levels during public speaking. A speaker appearing before an audience might be tempted to litter their delivery with technical jargon, believing it demonstrates their expertise.

However, though this may showcase mastery of the subject matter, it may also unintentionally create a language barrier that alienates listeners unfamiliar with such specialized terms.

To keep your language accessible and clear is vital for effective communication. The use of unnecessarily complicated workplace terminology or industry-specific slang can often lead to misunderstanding between you and your audience, causing confusion around the key message you’re looking to convey.

Hence, precision in using familiar words alongside minimal use of technical jargon ensures inclusivity – bridging any gap between your detailed knowledge of the topic and your listeners’ understanding level.

The importance of using appropriate language for different audiences

Understanding your audience is crucial in public speaking. The use of appropriate language ensures that you’re not only heard but understood, fostering effective communication and high-level engagement.

Tailor your speech to suit the audience’s characteristics – their demographic, level of knowledge about the topic, or cultural background. This technique is known as  audience adaptation  and it promotes comprehension.

Let’s say you’re addressing a group of tech-savvy individuals, peppering your talk with industry jargon might be acceptable here; however this approach could alienate an audience unfamiliar with such terminology resulting in decreased clarity in speech.

Therefore contextual appropriateness plays a key role too when picking out words for speeches or presentations. Make sure to keep your language honest and transparent to establish trust between yourself and listeners while also maintaining necessary formality levels in language depending on the context.

Being aware of these factors can elevate you from being just a speaker to an exceptional communicator.

The role of tone in word choice during delivery

The art of effective communication in public speaking intertwines with the thoughtful selection of words and the tone. The attitude adopted by a speaker, known as tone, can significantly influence their message delivery.

It’s not solely about what you say; it’s about how you convey it. From relaxed to serious or jovial to stern – striking the right tone brings life to your speech.

Tone serves as an essential part of your speaking style. It sets up an emotional undertow in the voice that stirs audiences’ feelings and keeps them absorbed throughout. With a well-mastered vocal technique like articulation and pitch, each word is given its deserving emphasis translating into impactful delivery.

Using language effectively while maintaining appropriate tonal variation enhances understanding among listeners. For instance, opting for descriptive language imbued with emotion can evoke imagery, creating a vivid picture in minds leading to better comprehension.

Therefore mastering this craft requires long-term practice but surely pays off by offering compelling speeches that connect deeply with audiences at all levels.

The use of inclusive language in effective communication

Inclusive language stands as a crucial element in the realm of effective public speaking. It’s all about respecting diversity, promoting equitable opportunities and ensuring that your choice of words fairly represents every listener within your audience.

Labels are often seen as restricting identities; by avoiding such tags, you ensure no groups feel excluded during your delivery.

Practicing inclusive communication extends beyond steering clear from offensive terms and phrases – it’s about fully embracing clarity and sensitivity in engaging with an audience. Indeed, making  use of inclusive language  is more than just politeness or political correctness; it’s about giving equal importance to individuals of different genders, races, religions, sexual orientations or disabilities.

A simple technique like pluralization can work wonders here: for instance choosing ‘they’ over the generic ‘he’. This way we foster a sense of community and create speeches that resonate with both the individuality and universality present in our diverse audiences.

The impact of using slang and colloquial language in delivery

Using slang and colloquial language in public speaking can have a powerful impact on your delivery. It adds a sense of informality and familiarity, helping you connect with your audience on a more personal level.

Slang terms and colloquialisms are expressions that are unique to certain groups or regions, creating a sense of shared identity among those who understand them.

However, it’s important to use slang and colloquial language judiciously. Mindless or excessive use of these informal expressions can negatively affect how your audience perceives you and your message.

It may come across as unprofessional or lacking in clarity.

Consider your audience when deciding whether to incorporate slang into your speech. If you’re speaking to young people or a specific community where the use of slang is common, it can help establish rapport and make them feel understood.

On the other hand, if you’re addressing a more formal setting or diverse group, it’s best to minimize the use of slang to ensure everyone can easily comprehend what you’re saying.

Remember that effective communication involves being able to adapt your language choices based on the situation and audience. By striking the right balance between using familiar language without veering too far into overly casual territory, you’ll be able to engage listeners while still maintaining professionalism in public speaking.

The use of metaphors and analogies to enhance understanding

Metaphors and analogies are like colorful paints on a canvas, adding depth and vibrancy to your words. In the world of public speaking, incorporating metaphors and analogies can be a game-changer when it comes to enhancing understanding.

These powerful tools compare complex ideas to something simple, making them easier for your audience to grasp.

When you weave metaphors into your speech or presentation, you create imagery that resonates with your listeners. By transferring connotations and connections between two seemingly unrelated things, you open up a whole new realm of comprehension.

Imagine explaining the intricacies of astrophysics by comparing the vastness of the universe to an ocean – suddenly, concepts become more tangible and relatable.

Analogies serve a similar purpose in helping your audience understand difficult concepts. They strengthen arguments by drawing parallels between different scenarios or situations. Even if there is no direct similarity in terms of semantics, an analogy can bridge gaps in knowledge and provide clarity.

Effective public speakers know how to use metaphors and analogies strategically without overwhelming their audience. Balancing creative associations among ideas ensures that these linguistic devices enhance understanding rather than confuse it further.

So next time you’re preparing a speech or presentation, consider incorporating metaphors and analogies into your language arsenal. By doing so, you’ll enrich your communication skills while fostering deeper connections with those who listen to you speak.

The importance of avoiding offensive language in communication

Using offensive language in communication can have detrimental effects on your effectiveness as a public speaker. It is essential to be mindful of the words we use and ensure they are respectful and inclusive.

Offensive language not only alienates certain individuals or groups but also undermines your credibility as a speaker.

In order to maintain a positive rapport with your audience, it is crucial to steer clear of any derogatory terms or phrases that may cause offense. This includes avoiding racial slurs, gender-based insults, or any other form of discriminatory language.

By maintaining a respectful tone and using appropriate language, you show respect for the diversity within your audience.

Remember that offensive language goes beyond overtly derogatory remarks; it can also include inappropriate levels of formality, euphemisms, or even slang that may be deemed disrespectful by some individuals.

Therefore, it’s important to choose words carefully and be aware of the potential impact they may have on different members of your audience.

By focusing on using clear and understandable language while actively avoiding offensive terms, you enhance your ability to effectively communicate with diverse audiences. Your aim should be inclusive speech that embraces everyone without excluding or discriminating against any individual or group.

In doing so, you foster an environment where all participants feel valued and respected.

In summary: Avoiding offensive language in communication is crucial for public speakers as it promotes inclusivity and shows respect towards all members of the audience. By choosing our words carefully and being mindful of their potential impact, we can create an engaging atmosphere that encourages active participation from everyone present.

The impact of using humor in delivery and its effect on word choice

Using humor in your speech can have a powerful impact on both your delivery and word choice. Incorporating comedy into your presentation not only makes people laugh but also helps you connect with the audience, relieve tension, enhance your status as a speaker, and build trust .

Humor creates an engaging and enjoyable atmosphere, making your message more memorable and increasing audience engagement. When it comes to word selection, humor allows you to choose words that are witty, clever, and playful.

It enables you to use language creatively and effectively to convey ideas in an entertaining way. By using humor strategically in your public speaking engagements, you can elevate the overall effectiveness of your communication efforts while keeping the audience entertained and informed.

The role of cultural sensitivity in language and word choice during delivery

Cultural sensitivity plays a crucial role in language and word choice during public speaking. As speakers, it is important to be aware of the diverse cultural backgrounds and identities of our audience.

Understanding and respecting different cultures allows us to communicate effectively and avoid unintentional offense or misinterpretation.

Language reflects cultural values, norms, and identities. By being culturally sensitive in our language choices, we can create an inclusive environment that promotes understanding and connection.

This involves selecting words that are neutral, respectful, and appropriate for the diverse audience we are addressing.

Moreover, language barriers may exist when communicating with multicultural audiences. Adapting our word choice by simplifying complex terms or using clear examples ensures that everyone can understand the message being conveyed.

Cultural competence also requires recognizing linguistic diversity and making efforts to bridge any communication gaps through effective use of language.

In conclusion, incorporating cultural sensitivity into our language and word choices is key for successful public speaking. By considering the unique characteristics of our audience’s culture, we can create an inclusive environment where all individuals feel respected and understood.

Being mindful of linguistic diversity helps ensure effective communication across cultural boundaries while promoting empathy and connection among diverse groups.

The use of active vs. passive voice in effective communication

In public speaking, the use of active voice can significantly enhance communication effectiveness. Active voice focuses on action and actors, making your speech more engaging and dynamic. Instead of saying “Mistakes were made,” you can say “I made mistakes.” This not only takes ownership but also creates a stronger connection with the audience.

Active voice allows for clear and concise sentences that captivate listeners’ attention. By using active verbs, you convey a sense of purpose and directness in your delivery. For example, instead of saying “The problem was solved by our team,” you can say “Our team solved the problem.”.

Furthermore, active voice helps to maintain a rhythmic flow throughout your speech. It contributes to the overall clarity and impact of your message. Remember to consider both style and substance when utilizing this technique.

By employing active voice in your public speaking endeavors, you will effectively engage your audience while building trust through confident and compelling communication. So take charge, be bold, and let your words resonate with power!

1. Why is language and word choice important in public speaking?

Language and word choice are crucial in public speaking as they can impact the audience’s understanding, engagement, and perception of the speaker. Using clear, concise, and appropriate language helps convey ideas effectively and ensures that the audience remains attentive throughout the presentation.

2. How can I improve my language skills for public speaking?

To enhance your language skills for public speaking, you can practice reading books or articles to expand your vocabulary, listen to speeches or presentations by skilled speakers to observe their use of language, and engage in activities like debates or discussions to develop clarity and fluency in expressing your thoughts.

3. What are some tips for choosing the right words during a speech?

When selecting words for a speech, consider your audience’s knowledge level on the topic at hand. Choose words that are familiar to them but still appropriate for conveying complex ideas if needed. Avoid jargon or technical terms unless necessary, speak using active rather than passive voice for greater impact, and strive for simplicity while maintaining precision.

4. How can I maintain an inclusive tone in my public speaking through word choice?

To maintain inclusivity in your public speaking engagements through word choice, be mindful of using gender-neutral terms instead of assuming gender-specific roles when referring to individuals or groups. Additionally, avoid discriminatory or offensive language that may alienate certain sections of your audience based on race, ethnicity, religion, socioeconomic status or any other personal attributes

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• 40 Useful Words and Phrases for Top-Notch Essays

To be truly brilliant, an essay needs to utilise the right language. You could make a great point, but if it’s not intelligently articulated, you almost needn’t have bothered.

Developing the language skills to build an argument and to write persuasively is crucial if you’re to write outstanding essays every time. In this article, we’re going to equip you with the words and phrases you need to write a top-notch essay, along with examples of how to utilise them.

It’s by no means an exhaustive list, and there will often be other ways of using the words and phrases we describe that we won’t have room to include, but there should be more than enough below to help you make an instant improvement to your essay-writing skills.

If you’re interested in developing your language and persuasive skills, Oxford Royale offers summer courses at its Oxford Summer School , Cambridge Summer School , London Summer School , San Francisco Summer School and Yale Summer School . You can study courses to learn english , prepare for careers in law , medicine , business , engineering and leadership.

General explaining

Let’s start by looking at language for general explanations of complex points.

1. In order to

Usage: “In order to” can be used to introduce an explanation for the purpose of an argument. Example: “In order to understand X, we need first to understand Y.”

2. In other words

Usage: Use “in other words” when you want to express something in a different way (more simply), to make it easier to understand, or to emphasise or expand on a point. Example: “Frogs are amphibians. In other words, they live on the land and in the water.”

3. To put it another way

Usage: This phrase is another way of saying “in other words”, and can be used in particularly complex points, when you feel that an alternative way of wording a problem may help the reader achieve a better understanding of its significance. Example: “Plants rely on photosynthesis. To put it another way, they will die without the sun.”

4. That is to say

Usage: “That is” and “that is to say” can be used to add further detail to your explanation, or to be more precise. Example: “Whales are mammals. That is to say, they must breathe air.”

5. To that end

Usage: Use “to that end” or “to this end” in a similar way to “in order to” or “so”. Example: “Zoologists have long sought to understand how animals communicate with each other. To that end, a new study has been launched that looks at elephant sounds and their possible meanings.”

Adding additional information to support a point

Students often make the mistake of using synonyms of “and” each time they want to add further information in support of a point they’re making, or to build an argument . Here are some cleverer ways of doing this.

6. Moreover

Usage: Employ “moreover” at the start of a sentence to add extra information in support of a point you’re making. Example: “Moreover, the results of a recent piece of research provide compelling evidence in support of…”

7. Furthermore

Usage:This is also generally used at the start of a sentence, to add extra information. Example: “Furthermore, there is evidence to suggest that…”

8. What’s more

Usage: This is used in the same way as “moreover” and “furthermore”. Example: “What’s more, this isn’t the only evidence that supports this hypothesis.”

9. Likewise

Usage: Use “likewise” when you want to talk about something that agrees with what you’ve just mentioned. Example: “Scholar A believes X. Likewise, Scholar B argues compellingly in favour of this point of view.”

10. Similarly

Usage: Use “similarly” in the same way as “likewise”. Example: “Audiences at the time reacted with shock to Beethoven’s new work, because it was very different to what they were used to. Similarly, we have a tendency to react with surprise to the unfamiliar.”

11. Another key thing to remember

Usage: Use the phrase “another key point to remember” or “another key fact to remember” to introduce additional facts without using the word “also”. Example: “As a Romantic, Blake was a proponent of a closer relationship between humans and nature. Another key point to remember is that Blake was writing during the Industrial Revolution, which had a major impact on the world around him.”

12. As well as

Usage: Use “as well as” instead of “also” or “and”. Example: “Scholar A argued that this was due to X, as well as Y.”

13. Not only… but also

Usage: This wording is used to add an extra piece of information, often something that’s in some way more surprising or unexpected than the first piece of information. Example: “Not only did Edmund Hillary have the honour of being the first to reach the summit of Everest, but he was also appointed Knight Commander of the Order of the British Empire.”

14. Coupled with

Usage: Used when considering two or more arguments at a time. Example: “Coupled with the literary evidence, the statistics paint a compelling view of…”

15. Firstly, secondly, thirdly…

Usage: This can be used to structure an argument, presenting facts clearly one after the other. Example: “There are many points in support of this view. Firstly, X. Secondly, Y. And thirdly, Z.

16. Not to mention/to say nothing of

Usage: “Not to mention” and “to say nothing of” can be used to add extra information with a bit of emphasis. Example: “The war caused unprecedented suffering to millions of people, not to mention its impact on the country’s economy.”

Words and phrases for demonstrating contrast

When you’re developing an argument, you will often need to present contrasting or opposing opinions or evidence – “it could show this, but it could also show this”, or “X says this, but Y disagrees”. This section covers words you can use instead of the “but” in these examples, to make your writing sound more intelligent and interesting.

17. However

Usage: Use “however” to introduce a point that disagrees with what you’ve just said. Example: “Scholar A thinks this. However, Scholar B reached a different conclusion.”

18. On the other hand

Usage: Usage of this phrase includes introducing a contrasting interpretation of the same piece of evidence, a different piece of evidence that suggests something else, or an opposing opinion. Example: “The historical evidence appears to suggest a clear-cut situation. On the other hand, the archaeological evidence presents a somewhat less straightforward picture of what happened that day.”

19. Having said that

Usage: Used in a similar manner to “on the other hand” or “but”. Example: “The historians are unanimous in telling us X, an agreement that suggests that this version of events must be an accurate account. Having said that, the archaeology tells a different story.”

20. By contrast/in comparison

Usage: Use “by contrast” or “in comparison” when you’re comparing and contrasting pieces of evidence. Example: “Scholar A’s opinion, then, is based on insufficient evidence. By contrast, Scholar B’s opinion seems more plausible.”

21. Then again

Usage: Use this to cast doubt on an assertion. Example: “Writer A asserts that this was the reason for what happened. Then again, it’s possible that he was being paid to say this.”

22. That said

Usage: This is used in the same way as “then again”. Example: “The evidence ostensibly appears to point to this conclusion. That said, much of the evidence is unreliable at best.”

Usage: Use this when you want to introduce a contrasting idea. Example: “Much of scholarship has focused on this evidence. Yet not everyone agrees that this is the most important aspect of the situation.”

Adding a proviso or acknowledging reservations

Sometimes, you may need to acknowledge a shortfalling in a piece of evidence, or add a proviso. Here are some ways of doing so.

24. Despite this

Usage: Use “despite this” or “in spite of this” when you want to outline a point that stands regardless of a shortfalling in the evidence. Example: “The sample size was small, but the results were important despite this.”

25. With this in mind

Usage: Use this when you want your reader to consider a point in the knowledge of something else. Example: “We’ve seen that the methods used in the 19th century study did not always live up to the rigorous standards expected in scientific research today, which makes it difficult to draw definite conclusions. With this in mind, let’s look at a more recent study to see how the results compare.”

26. Provided that

Usage: This means “on condition that”. You can also say “providing that” or just “providing” to mean the same thing. Example: “We may use this as evidence to support our argument, provided that we bear in mind the limitations of the methods used to obtain it.”

27. In view of/in light of

Usage: These phrases are used when something has shed light on something else. Example: “In light of the evidence from the 2013 study, we have a better understanding of…”

28. Nonetheless

Usage: This is similar to “despite this”. Example: “The study had its limitations, but it was nonetheless groundbreaking for its day.”

29. Nevertheless

Usage: This is the same as “nonetheless”. Example: “The study was flawed, but it was important nevertheless.”

30. Notwithstanding

Usage: This is another way of saying “nonetheless”. Example: “Notwithstanding the limitations of the methodology used, it was an important study in the development of how we view the workings of the human mind.”

Giving examples

Good essays always back up points with examples, but it’s going to get boring if you use the expression “for example” every time. Here are a couple of other ways of saying the same thing.

31. For instance

Example: “Some birds migrate to avoid harsher winter climates. Swallows, for instance, leave the UK in early winter and fly south…”

32. To give an illustration

Example: “To give an illustration of what I mean, let’s look at the case of…”

Signifying importance

When you want to demonstrate that a point is particularly important, there are several ways of highlighting it as such.

33. Significantly

Usage: Used to introduce a point that is loaded with meaning that might not be immediately apparent. Example: “Significantly, Tacitus omits to tell us the kind of gossip prevalent in Suetonius’ accounts of the same period.”

34. Notably

Usage: This can be used to mean “significantly” (as above), and it can also be used interchangeably with “in particular” (the example below demonstrates the first of these ways of using it). Example: “Actual figures are notably absent from Scholar A’s analysis.”

35. Importantly

Usage: Use “importantly” interchangeably with “significantly”. Example: “Importantly, Scholar A was being employed by X when he wrote this work, and was presumably therefore under pressure to portray the situation more favourably than he perhaps might otherwise have done.”

Summarising

You’ve almost made it to the end of the essay, but your work isn’t over yet. You need to end by wrapping up everything you’ve talked about, showing that you’ve considered the arguments on both sides and reached the most likely conclusion. Here are some words and phrases to help you.

36. In conclusion

Usage: Typically used to introduce the concluding paragraph or sentence of an essay, summarising what you’ve discussed in a broad overview. Example: “In conclusion, the evidence points almost exclusively to Argument A.”

37. Above all

Usage: Used to signify what you believe to be the most significant point, and the main takeaway from the essay. Example: “Above all, it seems pertinent to remember that…”

38. Persuasive

Usage: This is a useful word to use when summarising which argument you find most convincing. Example: “Scholar A’s point – that Constanze Mozart was motivated by financial gain – seems to me to be the most persuasive argument for her actions following Mozart’s death.”

39. Compelling

Usage: Use in the same way as “persuasive” above. Example: “The most compelling argument is presented by Scholar A.”

40. All things considered

Usage: This means “taking everything into account”. Example: “All things considered, it seems reasonable to assume that…”

How many of these words and phrases will you get into your next essay? And are any of your favourite essay terms missing from our list? Let us know in the comments below, or get in touch here to find out more about courses that can help you with your essays.

At Oxford Royale Academy, we offer a number of  summer school courses for young people who are keen to improve their essay writing skills. Click here to apply for one of our courses today, including law , business , medicine  and engineering .

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Targeted Word Lists for Speech Therapy Practice

The speech therapy word lists are perfect for anyone who needs practice with speech and language concepts . For any type of practice...

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Each list of articulation sounds contains words with the target sound in the beginning, middle, and end position, including blends when applicable, as well as words that...

• are common and functional (words we use all day...everyday)
• are mostly 1 syllable (multi-syllabic words are more difficult)
• have a phonemic context that don't interfere with production of the target sound (most words)

If "R" is the problem sound using the word "Rope" makes saying the "R" sound harder because the "O" sound is considered a round vowel.

A round vowel is one where you round your lips to say it. Go ahead...try it by saying "O" as in "boat". You rounded your lips didn't you? I thought you might.

Children who have difficulty with the "R" sound tend to say the "W" sound...they say "Wabbit" instead of "Rabbit".

The "W" sound is considered a rounded sound too. Try saying the "W" sound without rounding your lips...you can't because that is how the sound is made.

So by pairing the "R" sound with the "O" sound like in the word "Rope", this makes the word extra difficult for a child who has a problem saying the "R" sound because the "O" that follows the "R" will naturally make them want to round there lips.

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Literary Techniques for your Speech, with Examples Analyzed

March 2, 2021 - Dom Barnard

Planned use of language has a major impact on how your speech is received by the audience. Saying the right words at the right time, and in the right way, can achieve a specific impact.

Use language to achieve impact

Careful use of language has produced many powerful speeches over the years. Here are a few literary devices you can employ for your next speech.

Rhetorical Questions

Start your next presentation with an open question. It engages the audience and gets them thinking about your speech early on. Use questions throughout and leave pauses after, letting the audience think about an answer.

Pause at the Right Moment

This adds impact to sentence just before or after the pause. This is a good literary technique to use for the key message of your speech. Don’t be afraid to wait 3-5 seconds before speaking, adding maximum impact to your words.

Messages and words are remembered best in groups of three. The power of three is used in all aspects of speaking in public and by the media. Couple words in groups of three with alliteration for maximum impact, such as “They grew up with a long, lasting, love for each other.”

Repeat the Key Point

A technique used frequently by politicians, a word needs to be said on average 5 times before the audience begins to take in what is being said.

Dramatic Contrast

Contrasting two points, such as “Ten years ago we had a reputation for excellence. Today, we are in danger of losing that reputation.”

For additional literary techniques, check out these links:

• Stylistic Devices (Rhetorical Devices, Figures of Speech)
• BBC Literary Techniques

Spend time planning which of these language techniques you will use in your speech. You can add these in after your first draft of the speech has been written.

Two great speeches analyzed

1. martin luther king – i have a dream, transcript snippet.

And so even though we face the difficulties of today and tomorrow, I still have a dream. It is a dream deeply rooted in the American dream.

I have a dream that one day this nation will rise up and live out the true meaning of its creed: “We hold these truths to be self-evident, that all men are created equal.”

I have a dream that one day on the red hills of Georgia, the sons of former slaves and the sons of former slave owners will be able to sit down together at the table of brotherhood.

I have a dream that one day even the state of Mississippi, a state sweltering with the heat of injustice, sweltering with the heat of oppression, will be transformed into an oasis of freedom and justice.

I have a dream that my four little children will one day live in a nation where they will not be judged by the color of their skin but by the content of their character.

I have a dream today! I have a dream that one day, down in Alabama, with its vicious racists, with its governor having his lips dripping with the words of “interposition” and “nullification” — one day right there in Alabama little black boys and black girls will be able to join hands with little white boys and white girls as sisters and brothers.

I have a dream today! I have a dream that one day every valley shall be exalted, and every hill and mountain shall be made low, the rough places will be made plain, and the crooked places will be made straight; “and the glory of the Lord shall be revealed and all flesh shall see it together.”

Literary devices and techniques used

Anaphora  – Repetition of the “I have a dream” phrase at the beginning of each sentence.

Metonymy  – The phrase “The let freedom ring from Stone Mountain of Georgia… Let freedom ring from Lookout Mountain of Tennessee… Let freedom ring from every hill and molehill of Mississippi“, King uses these well-known racist locations to enhance his point.

Hyperbole  – King uses the words ‘all’ and ‘every’ many times, exaggerating his point, “when we let it ring from every village and every hamlet, from every state and every city”

Alliteration  – used throughout the speech, alliterations add a poetic quality to the speech, for example this sentence “judged by the color of their skin but by the content of their character.”

Amplification  – King repeats many of his points a second time, with greater emphasis and explanation the second time, “America has given the Negro people a bad check, a check which has come back marked insufficient funds.”

Speeches which mastered literary techniques

• Martin Luther King, Jr. – I Have A Dream
• Winston Churchill – We shall fight on the beaches
• John F. Kennedy – Inaugural Address
• Margaret Thatcher – The Lady’s Not For Turning
• Barack Obama – The Audacity Of Hope
• Elizabeth Gilbert – Your Creative Genius
• J. K. Rowling – Harvard Commencement Address

For addition detail on these speeches, check out  this article  on speeches that changed the world.

2. Winston Churchill – We shall fight on the beaches

Even though large tracts of Europe and many old and famous States have fallen or may fall into the grip of the Gestapo and all the odious apparatus of Nazi rule, we shall not flag or fail. We shall go on to the end.

We shall fight in France, we shall fight on the seas and oceans, we shall fight with growing confidence and growing strength in the air, we shall defend our island, whatever the cost may be.

We shall fight on the beaches, we shall fight on the landing grounds, we shall fight in the fields and in the streets, we shall fight in the hills; we shall never surrender.

And if, which I do not for a moment believe, this island or a large part of it were subjugated and starving, then our Empire beyond the seas, armed and guarded by the British Fleet, would carry on the struggle, until, in God’s good time, the New World, with all its power and might, steps forth to the rescue and the liberation of the old.

Anaphora  – The repetition of the phrase “we shall fight” can be seen in the transcript snippet. This adds dramatic emphases on the words he is saying in these paragraphs.

Alliteration  – Churchill uses repetition of letters to emphasize the dark time Europe was in, “I see also the dull, drilled, docile, brutish masses of the Hun soldiery plodding on like a swarm of crawling locusts” and “your grisly gang who work your wicked will.”

Antistrophe  – The repetition of words at the end of successive sentences, “the love of peace, the toil for peace, the strife for peace, the pursuit of peace“.

Hypophora  – Churchill asks various questions and then answers them himself, “You ask, what is our policy? I can say: It is to wage war, by sea, land and air” and “You ask, what is our aim? I can answer in one word, it is victory”.

Rule of Three  – Churchill uses this literary technique in many of his speeches, “This is not the end. It is not even the beginning of the end. But it is, perhaps, the end of the beginning” and “Never before in the field of human conflict was so much owed by so many, to so few”.

Easy to use literary techniques for your next speech

Rhetoric Question

Start your next speech with a rhetoric question – “Who here has used a virtual reality headset?”

Repetition of Phrase

Repeat a key phrase around 5 times throughout the speech, the phrase should be short – “Virtual reality is changing the world”.

Use the Rule of Three

Emphasize a product or service by describing it with three words – “Our software is faster, cheaper and easier to use”. For greatest impact on your audience, combine this with alliteration.

Ask a question then immediately answer it – “How many virtual reality headsets were sold last month? Over 2 million.”

• Conjunctions
• Prepositions

Speech Adjectives: Examples of Describing Words

Have you ever struggled to find the right words to describe someone’s speech? Whether you’re a writer, a public speaker, or just someone who appreciates the power of language, having a diverse vocabulary to describe speech can make all the difference. In this article, I’ll be sharing a comprehensive list of adjectives that you can use to describe different types of speech, along with examples to help you understand how to use them effectively.

From passionate and persuasive to hesitant and monotonous, the way we speak can convey a wide range of emotions and characteristics. By using descriptive adjectives, you can paint a vivid picture of someone’s speech, capturing its nuances and impact. Whether you’re looking to add depth to your writing or simply want to be more articulate in your conversations, these adjectives will prove to be invaluable tools in your linguistic arsenal.

So, if you’re ready to elevate your descriptive skills and bring your descriptions of speech to life, let’s dive into the world of adjectives for speech and explore the various ways we can capture the essence of communication.

Table of Contents

How to Describe speech? – Different Scenarios

Describing speech is an important skill that allows us to effectively convey the nuances and impact of someone’s words. By using descriptive adjectives, we can paint a vivid picture of how someone speaks in various scenarios. Let’s explore different scenarios and the adjectives that can be used to describe speech in each context:

• Casual Conversations:
• Formal Presentations:
• Emotional Discussions:
• Intellectual Debates:
• Inspirational Speeches:

Remember, the key to effectively describing speech is to choose adjectives that accurately capture the tone, mood, and impact of the words being spoken. By utilizing a diverse vocabulary, we can enhance our writing and communication skills, allowing us to paint a more vibrant picture for our readers or listeners.

So, whether you’re describing a casual conversation, a formal presentation, an emotional discussion, an intellectual debate, or an inspirational speech, having a variety of adjectives at your disposal will help you convey the essence of someone’s speech more vividly.

Describing Words for speech in English

As a language expert, I believe that having a diverse vocabulary is crucial when it comes to describing speech. It enables us to capture the nuances, tone, and impact of the words being spoken. Whether it’s casual conversations, formal presentations, emotional discussions, intellectual debates, or inspirational speeches, using the right adjectives can enhance our ability to effectively convey someone’s speech.

Adjectives for speech

Speech is a powerful and versatile tool for communication. The choice of words and the tone we use can greatly impact how our message is received. As a writer and communicator, I understand the importance of using descriptive adjectives to accurately portray speech in various situations. In this section, I will explore positive and negative adjectives that are commonly used to describe speech, along with example sentences.

Positive Adjectives for Speech

When it comes to describing speech in a positive light, we have a range of adjectives that can be used. These adjectives not only highlight the speaker’s effectiveness but also convey a sense of enthusiasm, passion, and confidence. Here are some examples:

Negative Adjectives for Speech

In some situations, it may be necessary to describe speech in a negative light. These adjectives help to convey a sense of disappointment, lack of clarity, or even deception in someone’s speech. Here are some examples:

By using these descriptive adjectives, we can paint a more vivid and accurate picture of someone’s speech. Whether it is to highlight the effectiveness and impact of a positive speech or to highlight the weaknesses in a negative one, descriptive adjectives allow us to capture the nuances of communication more effectively.

Synonyms and Antonyms with Example Sentences

Synonyms for speech.

When it comes to describing speech, there are several synonyms that can be used to add variety and depth to our language. Here are some synonyms for “speech” along with example sentences:

By using these synonyms, we can make our descriptions more interesting and engaging, capturing the different ways people communicate their ideas.

Antonyms for speech

On the other hand, we may also want to describe speech using antonyms, which provide a contrast to the positive aspects. Here are some antonyms for “speech” along with example sentences:

Including these antonyms in our descriptions adds depth and realism to the portrayal of speech, allowing us to capture the nuances of communication more effectively.

In this article, we’ve explored the power of adjectives in describing speech and how they can enhance our language. By using synonyms and antonyms, we can bring variety and depth to our descriptions, making them more engaging and captivating for our readers.

Through the examples provided, we have seen how different adjectives can be used to portray speech in unique and nuanced ways. By incorporating these adjectives into our writing, we can effectively capture the different ways people communicate their ideas, adding realism and depth to our descriptions.

Using synonyms and antonyms for the word “speech” allows us to paint a more vivid picture of how individuals express themselves, creating a more immersive experience for our readers. It enables us to go beyond the mundane and explore the intricacies of communication.

So, the next time you’re describing speech, remember to leverage the power of adjectives. Use them wisely to bring your descriptions to life and make your writing more dynamic and engaging. Let your words paint a vivid picture of the diverse ways people communicate their thoughts and ideas.

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How to use speech to text in Microsoft Word

Speech to text in Microsoft Word is a hidden gem that is powerful and easy to use. We show you how to do it in five quick and simple steps

Master the skill of speech to text in Microsoft Word and you'll be dictating documents with ease before you know it. Developed and refined over many years, Microsoft's speech recognition and voice typing technology is an efficient way to get your thoughts out, create drafts and make notes.

Just like the best speech to text apps that make life easier for us when we're using our phones, Microsoft's offering is ideal for those of us who spend a lot of time using Word and don't want to wear out our fingers or the keyboard with all that typing. While speech to text in Microsoft Word used to be prone to errors which you'd then have to go back and correct, the technology has come a long way in recent years and is now amongst the best text-to-speech software .

Regardless of whether you have the best computer or the best Windows laptop , speech to text in Microsoft Word is easy to access and a breeze to use. From connecting your microphone to inserting punctuation, you'll find everything you need to know right here in this guide. Let's take a look...

How to use speech to text in Microsoft Word: Preparation

The most important thing to check is whether you have a valid Microsoft 365 subscription, as voice typing is only available to paying customers. If you’re reading this article, it’s likely your business already has a Microsoft 365 enterprise subscription. If you don’t, however, find out more about Microsoft 365 for business via this link . 

The second thing you’ll need before you start voice typing is a stable internet connection. This is because Microsoft Word’s dictation software processes your speech on external servers. These huge servers and lighting-fast processors use vast amounts of speech data to transcribe your text. In fact, they make use of advanced neural networks and deep learning technology, which enables the software to learn about human speech and continuously improve its accuracy. 

These two technologies are the key reason why voice typing technology has improved so much in recent years, and why you should be happy that Microsoft dictation software requires an internet connection. 

Once you’ve got a valid Microsoft 365 subscription and an internet connection, you’re ready to go!

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Step 1: Open Microsoft Word

Simple but crucial. Open the Microsoft Word application on your device and create a new, blank document. We named our test document “How to use speech to text in Microsoft Word - Test” and saved it to the desktop so we could easily find it later.

Step 2: Click on the Dictate button

Once you’ve created a blank document, you’ll see a Dictate button and drop-down menu on the top right-hand corner of the Home menu. It has a microphone symbol above it. From here, open the drop-down menu and double-check that the language is set to English.

One of the best parts of Microsoft Word’s speech to text software is its support for multiple languages. At the time of writing, nine languages were supported, with several others listed as preview languages. Preview languages have lower accuracy and limited punctuation support.

Step 3: Allow Microsoft Word access to the Microphone

If you haven’t used Microsoft Word’s speech to text software before, you’ll need to grant the application access to your microphone. This can be done at the click of a button when prompted.

It’s worth considering using an external microphone for your dictation, particularly if you plan on regularly using voice to text software within your organization. While built-in microphones will suffice for most general purposes, an external microphone can improve accuracy due to higher quality components and optimized placement of the microphone itself.

Step 4: Begin voice typing

Now we get to the fun stuff. After completing all of the above steps, click once again on the dictate button. The blue symbol will change to white, and a red recording symbol will appear. This means Microsoft Word has begun listening for your voice. If you have your sound turned up, a chime will also indicate that transcription has started. 

Using voice typing is as simple as saying aloud the words you would like Microsoft to transcribe. It might seem a little strange at first, but you’ll soon develop a bit of flow, and everyone finds their strategies and style for getting the most out of the software. 

These four steps alone will allow you to begin transcribing your voice to text. However, if you want to elevate your speech to text software skills, our fifth step is for you.

Step 5: Incorporate punctuation commands

Microsoft Word’s speech to text software goes well beyond simply converting spoken words to text. With the introduction and improvement of artificial neural networks, Microsoft’s voice typing technology listens not only to single words but to the phrase as a whole. This has enabled the company to introduce an extensive list of voice commands that allow you to insert punctuation marks and other formatting effects while speaking. 

We can’t mention all of the punctuation commands here, but we’ll name some of the most useful. Saying the command “period” will insert a period, while the command “comma” will insert, unsurprisingly, a comma. The same rule applies for exclamation marks, colons, and quotations. If you’d like to finish a paragraph and leave a line break, you can say the command “new line.” 

These tools are easy to use. In our testing, the software was consistently accurate in discerning words versus punctuation commands.

Microsoft’s speech to text software is powerful. Having tested most of the major platforms, we can say that Microsoft offers arguably the best product when balancing cost versus performance. This is because the software is built directly into Microsoft 365, which many businesses already use. If this applies to your business, you can begin using Microsoft’s voice typing technology straight away, with no additional costs. 

We hope this article has taught you how to use speech to text software in Microsoft Word, and that you’ll now be able to apply these skills within your organization. 

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Dictate your documents in Word

Dictation lets you use speech-to-text to author content in Microsoft 365 with a microphone and reliable internet connection. It's a quick and easy way to get your thoughts out, create drafts or outlines, and capture notes. 

Start speaking to see text appear on the screen.

How to use dictation

Tip:  You can also start dictation with the keyboard shortcut:  ⌥ (Option) + F1.

Learn more about using dictation in Word on the web and mobile

Dictate your documents in Word for the web

Dictate your documents in Word Mobile

What can I say?

In addition to dictating your content, you can speak commands to add punctuation, navigate around the page, and enter special characters.

You can see the commands in any supported language by going to  Available languages . These are the commands for English.

Punctuation

Navigation and selection, creating lists, adding comments, dictation commands, mathematics, emoji/faces, available languages.

Select from the list below to see commands available in each of the supported languages.

• Select your language

Arabic (Bahrain)

Arabic (Egypt)

Arabic (Saudi Arabia)

Croatian (Croatia)

Gujarati (India)

• Hebrew (Israel)
• Hungarian (Hungary)
• Irish (Ireland)

Marathi (India)

• Polish (Poland)
• Romanian (Romania)
• Russian (Russia)
• Slovenian (Slovenia)

Tamil (India)

Telugu (India)

• Thai (Thailand)
• Vietnamese (Vietnam)

More Information

Spoken languages supported.

By default, Dictation is set to your document language in Microsoft 365.

We are actively working to improve these languages and add more locales and languages.

Supported Languages

Chinese (China)

English (Australia)

English (Canada)

English (India)

English (United Kingdom)

English (United States)

French (Canada)

French (France)

German (Germany)

Italian (Italy)

Portuguese (Brazil)

Spanish (Spain)

Spanish (Mexico)

Preview languages *

Chinese (Traditional, Hong Kong)

Chinese (Taiwan)

Dutch (Netherlands)

English (New Zealand)

Norwegian (Bokmål)

Portuguese (Portugal)

Swedish (Sweden)

Turkish (Turkey)

* Preview Languages may have lower accuracy or limited punctuation support.

Dictation settings

Click on the gear icon to see the available settings.

Spoken Language:  View and change languages in the drop-down

Microphone: View and change your microphone

Auto Punctuation:  Toggle the checkmark on or off, if it's available for the language chosen

Profanity filter:  Mask potentially sensitive phrases with ***

Tips for using Dictation

Saying “ delete ” by itself removes the last word or punctuation before the cursor.

Saying “ delete that ” removes the last spoken utterance.

You can bold, italicize, underline, or strikethrough a word or phrase. An example would be dictating “review by tomorrow at 5PM”, then saying “ bold tomorrow ” which would leave you with "review by tomorrow at 5PM"

Try phrases like “ bold last word ” or “ underline last sentence .”

Saying “ add comment look at this tomorrow ” will insert a new comment with the text “Look at this tomorrow” inside it.

Saying “ add comment ” by itself will create a blank comment box you where you can type a comment.

To resume dictation, please use the keyboard shortcut ALT + `  or press the Mic icon in the floating dictation menu.

Markings may appear under words with alternates we may have misheard.

If the marked word is already correct, you can select  Ignore .

This service does not store your audio data or transcribed text.

Your speech utterances will be sent to Microsoft and used only to provide you with text results.

For more information about experiences that analyze your content, see Connected Experiences in Microsoft 365 .

Troubleshooting

Can't find the dictate button.

If you can't see the button to start dictation:

Make sure you're signed in with an active Microsoft 365 subscription

Dictate is not available in Office 2016 or 2019 for Windows without Microsoft 365

Make sure you have Windows 10 or above

Dictate button is grayed out

If you see the dictate button is grayed out

Make sure the note is not in a Read-Only state.

Microphone doesn't have access

If you see "We don’t have access to your microphone":

Make sure no other application or web page is using the microphone and try again

Refresh, click on Dictate, and give permission for the browser to access the microphone

Microphone isn't working

If you see "There is a problem with your microphone" or "We can’t detect your microphone":

Make sure the microphone is plugged in

Test the microphone to make sure it's working

Check the microphone settings in Control Panel

Also see How to set up and test microphones in Windows

On a Surface running Windows 10: Adjust microphone settings

Dictation can't hear you

If you see "Dictation can't hear you" or if nothing appears on the screen as you dictate:

Make sure your microphone is not muted

Adjust the input level of your microphone

Move to a quieter location

If using a built-in mic, consider trying again with a headset or external mic

Accuracy issues or missed words

If you see a lot of incorrect words being output or missed words:

Make sure you're on a fast and reliable internet connection

Avoid or eliminate background noise that may interfere with your voice

Try speaking more deliberately

Check to see if the microphone you are using needs to be upgraded

Need more help?

Want more options.

Explore subscription benefits, browse training courses, learn how to secure your device, and more.

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Dialogue words: Other words for ‘said’ (and what to avoid)

Writing effective, compelling dialogue has multiple elements. It’s not only what characters say but how they say it that matters. Read other words for said as well as tips for keeping your dialogue natural and engrossing:

• Post author By Jordan
• 438 Comments on Dialogue words: Other words for ‘said’ (and what to avoid)

What is a ‘dialogue tag’ (or speech tag)?

Tags (like name tags) identify.

In written conversation or a piece of dialogue, a tag is a group of words following quoted speech (e.g. ‘she said’). It identifies who spoke and/or the tone or emotion behind their speech. Words for ‘said’ may show or suggest:

• Volume (e.g. yelled, shouted, bellowed, screamed, whispered)
• Tone or pitch (e.g. shrieked, groaned, squeaked)
• Emotion (e.g. grumbled, snapped, sneered, begged)
• Intent (e.g. suggested, asked, demanded)

The connotations of dialogue tags are important. It would be strange, for example, for a character to ‘sneer’ the words ‘I love you’, since the word ‘sneer’ connotes contempt rather than affection. Unless their words ran counter to how they truly felt. Even then, this would maybe need additional, clarifying narration.

Given that there are countless verbs that can take the place of ‘said,’ should you simply find a stronger, more emotive one and use that?

Not always. ‘He said’ and ‘she said’ are often preferable because they do not draw the reader’s attention to the fact they are reading written dialogue. They let characters’ words do the emoting. ‘Said’ is the most common dialogue tag. 

Read more in our complete guide to dialogue . Here are some tips for using dialogue tags such as said and synonyms for said well:

How to use said and its synonyms well:

• Use all dialogue tags sparingly
• Use said or other tags only where necessary
• Show how people speak using action and gesture

1. Use all dialogue tags sparingly

The problem with dialogue tags is they draw attention to the author’s hand. The more we read ‘he said’ and ‘she said’, the more we’re aware of the author creating the dialogue.

Novel writing coach Romy Sommer says of dialogue:

Keep it as tight as possible, and move as quickly as possible into the purpose of the conversation. Romy Sommer in ‘Writing dialogue: What to avoid’, webinar preview here.

Whenever you read the author attributing who said what, it reminds us a narrative convention is being used.

Compare these two versions of the same conversation:

“I told you already,” I said, glaring. “Well I wasn’t listening, was I!” he said. “Apparently not,” he replied.

Now compare this to the following:

I glared at him. “I told you already.”   “Well I wasn’t listening, was I!”   “Apparently not.”

For some authors, it’s a matter of stylistic preference.

Even so, it’s hard to argue that the first version is better than the second. In the second, making glaring an action rather than tethering it to the dialogue gives us a stronger sense of the scene. A stronger sense of dialogue’s ‘back and forth’.

Because it’s clear the glaring first-person ‘I’ is the character speaking at first, we don’t need to add ‘I said’. The strength of the exclamation mark in the second character’s reply makes any dialogue tag showing emotion (e.g. ‘he snapped’) unnecessary. Because it’s on a new line, and responds to what the other said, we know it’s a reply from context.

Similarly, in the first speaker’s retort, we don’t need a tag telling us his tone (that it’s curt, sarcastic, or hostile). The brevity, the fact it’s only two words, conveys his tone. We can infer the character is still mad.

Using dialogue tags sparingly allows your reader the pleasure of inferring and imagining. Tweet This

Using dialogue tags sparingly allows your reader the pleasure of inferring and imagining. Keep in mind that they do have a purpose in writing, and often can be used to break up long lines of dialogue. 

The reader gets to fill in the blank spaces, prompted more subtly by the clues you leave (an exclamation mark or a pointed, cross remark).

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2. Use said or other tags only where necessary

The word ‘said’, like ‘asked’, does not tell you anything about the emotion behind a character’s words. Often, this is preferable, letting the character’s emotion or tone show in their precise choice of words, phrasing, movement (more on this below) or gestures.

In conversation between characters, alternatives for said can tell the reader:

• The individual emotional or mental states of the conversants
• The degree of conflict or ease in the conversation
• What the relationship is like between characters (for example, if one character always snaps at the other this will show that the character is short-tempered and perhaps unkind towards the other)

Here are dialogue words you can use instead of ‘said’, categorised by the kind of emotion or scenario they convey:

Shouted, bellowed, yelled, snapped, cautioned, rebuked.

Consoled, comforted, reassured, admired, soothed.

Excitement:

Shouted, yelled, babbled, gushed, exclaimed.

Whispered, stuttered, stammered, gasped, urged, hissed, babbled, blurted.

Determination:

Declared, insisted, maintained, commanded.

Sighed, murmured, gushed, laughed.

Cried, mumbled, sobbed, sighed, lamented.

Jabbed, sneered, rebuked, hissed, scolded, demanded, threatened, insinuated, spat, glowered.

Apologised, relented, agreed, reassured, placated, assented.

Teased, joked, laughed, chuckled, chortled, sniggered, tittered, guffawed, giggled, roared.

Storytelling:

Related, recounted, continued, emphasized, remembered, recalled, resumed, concluded.

Despite there being many other words for said, remember to use dialogue tags and ‘said’ synonyms only where necessary:

• Is it clear who’s speaking? (E.g. There are only two characters in the scene and the first to speak is clear). If yes, you don’t need a tag
• Too many tags make your dialogue start to feel like a compendium of emotive speech-verbs. Use colourful dialogue tags occasionally, for emphasis. They’re the salt and spice in dialogue, not the whole meal
• Use emotive dialogue tags for the peaks and valleys of a scene. If a character screams or declares every line, your reader may become irritated by the constant visibility of the author’s hand

Over at The Write Practice, Kellie McGann takes a look at dialogue tags and how to use them effectively in your writing.

3. Show how people speak using action and gesture

One problem we often see in beginners’ dialogue is that all the emotion is crammed into either spoken words or dialogue tags.

Characters who never move or gesture in dialogue may read a little like talking heads in jars (like the satirical preserved famous figures in the sci-fi comedy Futurama) .

Your characters likely do have bodies, so don’t be afraid to use them. Compare these examples:

“That’s not what you said yesterday,” she said, her voice implying she was retreating, withdrawing. “Well I hadn’t thought about it yet. The truth is now that I’ve had time I see that maybe it’s not going to work out. But let’s not be hasty,” he said, clearly wanting to control her retreat, too.

Now compare:

“That’s not what you said yesterday…” She hesitated, turned and walked to the window. “Well I hadn’t thought about it yet.” He stepped closer. “The truth is now that I’ve had time I see that maybe it’s not going to work out. But let’s not be hasty.” He placed his hand on the small of her back.

In the second example, the actual dialogue is interspersed with setting. How the characters engage with the setting (the woman turning to face the window, for example) reveals their emotions mid-dialogue.

These are also termed ‘action beats’: a short sentence that describes what the character is doing. They can occur before, during, or after an exchange between characters. 

Movement and gesture conveys similar feelings to the first dialogue example. Yet there’s a clearer sense of proximity and distance, of two characters dancing around each other’s words, thoughts, feelings and personal space. It is appropriate too, to the situation (the end of an intimate relationship).

Vary the way you show who’s speaking in your dialogue. Use emotive other words for said to season characters’ conversations. Yet seasoning shouldn’t overpower substance. Use the content of what characters say, their movement, body language, pauses, and silences, to create deeper, more layered exchanges .

Join a concise, self-study four-week course to learn how to write dialogue that builds character and plot without needing 500 words for said.

Related Posts:

• Choosing description words: 10 questions to ask
• How many words are in a novel? Finding the right book length
• Adjectives for description: 60 precise words
• Tags alternatives for said , dialogue tags , dialogue words , writing dialogue

Jordan is a writer, editor, community manager and product developer. He received his BA Honours in English Literature and his undergraduate in English Literature and Music from the University of Cape Town.

438 replies on “Dialogue words: Other words for ‘said’ (and what to avoid)”

Sorry. This is totally wrong. Said and asked disappear in the readers mind. Adding synonyms to those brings the reader out of the narrative. Everything I’ve read on dialogue states not to do this. Make the dialogue show what the character is saying. Or have the character do something. “It’s just that.” He shoved his hands in his pockets. “We’ve been fighting a lot.”

It may be a differnent teaching in other countries, but here in the states every book I’ve read says to only use said. And ask where appropriate.

Like every single bit of writing advice that tells you to ALWAYS do x or NEVER do y it needs to be taken in moderation. There are times when it is appropriate to use something other than said or asked, much of the time it is not. The trick is learning to recognize those times.

Yes, the trick is to choose the best possible way to get the meaning across to the reader while considering genre expectations and not relying on any one technique or repeating too much. Don’t be afraid to break rules and don’t ignore them completely either.

That’s spot-on, Conrad. The way dialogue is crafted should fall naturally on the ear since it is mimicking speech and sometimes tags are a distraction which is why many authors do away with them entirely and use actions more, as Alice suggested. It’s interesting how everyone has such a strong opinion on this subject. If you are going to use tags at all, it is useful to be aware of the many alternatives and the subtle and not-so-subtle connotations they carry, at least.

I have to agree with you, Alice, and thanks for pointing that out. Reading all of those different attributions (chortled, shouted, exclaimed, replied, inquired, ejaculated, etc.) in a text makes me close the book and pick up another. It’s such a distraction from the forward momentum of the story. Furthermore, the problem is exactly that using these other attributions constitutes TELLING, which is just the opposite of the “show, don’t tell” rule of reader engagement.

And agreed with Conrad, as well, that everything must be taken in moderation, but the ultimate goal of every rule (or of breaking a rule) has to be keeping the reader engaged in the story. The first second the reader disengages from the story, you should have followed that rule (or not broken it in the first place). Attributions like these cause me to disengage from any writing.

Thanks for raising those points, Eleanore. Sometimes telling is useful and even necessary (as Ursula K. Le Guin argues in an interesting article on her personal website) but you’re right that dialogue tags, if used excessively (and for some readers, at all) can be a deterrent. A lot depends on frequency of use, genre (some genres are more amenable to dialogue tags than others) and so on.

Thanks for your reply! I have to admit that after having posted my thoughts yesterday, I remembered that when I’m reading books written by authors like Austen and Dickens, I don’t mind the varied attributions so much. Somehow, stylistically, things like “ejaculated” and “replied” and “murmured” seem to fit better in that kind of historical, sweeping literary style.

I did have another thought on the subject, in general. As a freelance editor for fiction writers, I’ve seen a lot of the use of words like “sighed” and “laughed” and “chuckled” (etc.) in dialogue (e.g., “I can’t understand it,” she sighed). Those words in particular drive me crazy. Has anyone ever actually tried to “chuckle” speech? Or “sigh” words? You can sigh before or after speaking, but not as speech. Similarly, you can laugh before, in the middle of, or after having spoken, but you can’t laugh speech. Perhaps it’s more those attributions to which I find myself *really* objecting! 🙂

Hi Alice – thanks for contributing a different viewpoint. I think it’s more a question of repetition perhaps – after the tenth ‘asked’ or ‘said’ in a scene, it starts to stand out and become a little tedious for some. Many literary writers do away with dialogue tags entirely, possibly partly for this reason, relying on context and the reader’s interpretation of other markers (e.g. characters’ differing personalities and ways of expressing themselves) to work out who is saying what. You’re right that actions are excellent for subtly conveying tone and emotion. A lot does depend on the genre and the age of the intended audience, as younger readers might not have quite as variegated perception of what these different bodily gestures suggest.

Thanks for stimulating debate on this subject. It’s quite a subjective topic.

I agree with Alice. I once read a book in which the author used every word BUT “said” and “asked”… and I *hated* that book. The writing came off as amateur, and it seemed as though the author had done this just to sound smarter. Ironically, in most cases, the tag didn’t even make sense, because it didn’t actually have anything to do with vocalization, nor do many of the suggestions above. And it’s true — words like this detract from the dialogue… Because that’s all I remember about the book are those horrible tags. This is, in my opinion, lazy writing. There are much stronger ways to convey what a person is thinking, doing, feeling, etc.

Thanks for sharing your thoughts on the subject, Krysten. It is a fine line between using dialogue tags in places to avoid ambiguity of expression and overusing them and coming across amateurish, as you say. Alice’s suggestion of using actions instead of tags is another discussion but is a very effective way to keep the author’s presence in the text less obtrusive.

yeah, I agree with the others. I don’t think this is great advice. Favoring colorful alternatives to ‘said’ and ‘asked’ is just distracting and comes off as amateurish in my opinion. What trumps everything is clarity in the reader’s mind. Don’t use ‘said’ and then go on to describe how the character pounded the desk and his words echoed until they rang in everyone’s ears–use ‘shouted’. But for heaven’s sake, don’t use words like mused, sighed, and cajoled just for the sake of changing it up and keeping it fresh. I don’t think there’s a great risk of word fatigue if you use ‘said’. Better yet, use nothing at all if you can get away with it.

Good advice, Matt. It does depend (as you say) on whether using a dialogue tag will avoid unnecessary and cliched action description or whether it is better to make actions or simple word choice convey the shifting emotions, tensions and resolutions in a piece of dialogue. I think avoiding ‘gimmicky’ use of any device or technique is always wise. Thanks for contributing your perspective to the discussion.

You don’t need to use “asked” because if the dialogue ends with a question mark, it’s obvious. I agree with Alice on this. “Said” disappears for the reader, whereas “grumbled,” etc. jumps out. Let the dialogue and action show the character’s state of mind. Tags help the reader keep straight who is talking if there are multiple people in the scene. But you can do away with many of them by just using action instead of the word “said.”

You both raise a good point, Diane. Dialogue tags are definitely controversial. As always, it’s up to the writer to do as she (or he) feels is best. There will be readers who like emphatic dialogue tags and readers who loathe them. A lot depends on genre, but you’re right that they can draw too much attention to the construction/craftedness of the text.

Also, it’s not necessary to use a dialogue tag after every line of dialogue. Once the writer has set up who is speaking, she can skip several lines of dialogue before adding another tag, which at that point can be action. There’s a fine balance between too many tags and too few.

You’re right there. A lot of this is a matter of balance. Dialogue is something where many trip up because it’s a constant measuring and deciding between getting the natural patterns of speech right (so that the reader’s ear doesn’t vehemently disagree) and making choices around the fact that it is given to the reader textually, not aurally.

The magic of using said is that it doesn’t jump out at the reader. Writers who use a wide variety of dialog tags feel like they are trying too hard.

Good point, Jeri! I’m loving the spirited debate everyone is having here. Of course everything should be used in moderation, and I think there are certain genres where colourful dialogue tags are more the norm (and norms must of course be questioned and examined) than others. Thanks for your perspective.

I’m glad to see someone finally come out against the fallacy that “said/asked” are better because they “disappear” in the test and don’t “jolt” the reader. After years of only using beats (which take up much more space) or inserting descriptions of tone while desperately trying not to be cliche, I’ve found that bookisms and adverbs get the correct intent across with a minimum of words or fuss. The tag “he asked sharply” will not jolt the reader. It will allow the reader to picture and hear the scene correctly — and enjoy the novel more. Great post!

Thank you, Lexa. Glad you enjoyed reading it. I like that everyone commenting has strong feelings one way or the other on the topic of dialogue tags. I think it all depends on genre. Definitely in more ‘literary’ fiction obtrusive dialogue tags are less common. I think they can richness, especially for younger readers. So much depends on audience.

I was taught the opposite. Most craft books I’ve read say “said” is invisible, while “fancy tags” call attention to themselves. So we’re supposed to use such devices sparingly, only when the way things are said isn’t implicit in the words or context. Some (Elmore Leonard) go even further, and claim no tag but said should EVER be used, which seems excessive in the other direction. I was also taught that tags that can’t actually be spoken, like “stormed” or “coughed” are signs of amateur writing.

Having said this, I think “florid” tags can work for some voices or styles. I don’t think Douglas Adams’s Hitchhiker’s Guide to the Galaxy would have been as as funny without its “gushing” doors and “opining” androids.

Thanks for sharing your thoughts, E.L. You’re right that tags that can’t be said or voiced in some way are not ideal. At the same time you’re also right that it’s a stylistic/genre matter. A lot of fantasy writers (particularly those writing for YA/middle school audiences) use more florid, as you say, tags. A lot is down to taste, but there are some (ab)uses that are more commonly disliked than others.

Great series – Douglas Adams is hilarious.

Thanks, Bridget for this update.Certainly, the speech about the couple as has been rewritten in the update comes across as very well written. It beats the other two. It has the quality of clarity as it is more vivid. Of course, it is also more interesting. I’ll go for this style any day.

It’s a pleasure. Thank you for contributing your perspective, Ohita.

I been reading your “dialogues” post. I write in spanish. And for be honest, the advise we receive from people is used “said” not particullary another words. Why? the reason they explaine is when you write “he asked, he questioned, he explained… etc., people made a kind of stop, because is habituated to read “said” as a common word, and this turns “invisible” and people can read easy; use a different word can be a extra efford from the author to “look smart”. (They says). For me, that explanation does not have to much sense. For me, if a word is necessary, you must to used it, but not just to “delete/change” the words “said/asked/answered”. And you can explaine with another words which character is doing. For me, if you read words (dialogue), is because someone is speaking…

I guess the rules are different between spanish and english writing style. I tried do not use just Said/asked when a character talks. But some word in spanish are not so common to use as: “replicar” (replay) “expresar” (express). In this case, in spanish is not “good way to write” when you “reconfirm” a statement (?). “When?”, he asked. “Tomorrow”, she answered. In those cases, you even can omit the words asked/said. For that, this point is really interesting for me, see the difference in the style in both lenguages. In spanish, if you wanted express something, just take off the obvious thing, and the example dialogue can turns in: “When?”, he mused. “Tomorrow”, she complained and walked away.

Its good see another point of view.

The varation on traslated book, can defines, why in our spanish “original english books” are so different. But, the fact I learn is when you write, you must to use the balance, the dialogues are great if you use the right words, do it too much “florid” if is a neutral narrator, can be a desaster, as if you use a “plain” (said) if the narrator is a erudit, first witness narrator. For me, each narrator will ask always a good balance, not ignore or abuse with some particular words.

P.S.: Sorry for my english mistakes, is not my mother lenguage.

Thank you for this detailed input – it’s interesting to hear your perspective as a Spanish speaker. You’re right that the dialogue tag is better omitted in instances such as your example, of course. Tags aren’t usually necessary when it’s clear who is speaking and the tone/feeling behind their words.

this is so helpful…..Jupiter Thanks

It’s a pleasure! Thanks for reading.

in a novel im working on I wanted some good words for awnsering questions that another character asked. I noticed there was only persisted. Am I missing something? If not what are some good words to use in my situation.

Hi SC. It depends on the nature of the conversation. If the character asks a silly question, you could use ‘scoffed’ or ‘laughed’ for the reply. If you want to create a little awkwardness (say, for example, the questioning character is being too probing/personal), you could use ‘she paused’ or ‘she hesitated’ (more a descriptor of the flow of conversation than explicit statement of how the character is speaking). I hope these give you some ideas!

You spelt all the words in your sentece wrong. https://www.everyjobforme.com/?asID=38338658&creative=177118047034&matchtype=e&network=g&mobile=&placement=&aceid=&pos=1t1&kw=mcdonalds%20application&vtcid=188313298&vtagid=15813199378&vttid=aud-47140501152:kwd-774007650&vtlpid=9031667&device=c&gclid=CjwKEAjwvr3KBRD_i_Lz6cihrDASJADUkGCakq7qnLvEUQtujuq9aoujcg7R6CLQgwyY3PdygLhtSRoCjIHw_wcB The next time you decide to be a twelve year old on a site with clearly more intelectual people on it I strongly recommend you click this McDonald’s application link.

Great!!!Helped me a lot

Thanks, Nishanth. Glad to hear it. Thanks for reading.

Thanks a bunch! It helped me a lot with a story I have to pass to my teacher and she was delighted of my work! You’re the best!

It’s a pleasure, Immawi.

This is fantastic!

Thanks, Detective! Feel free to share it.

Okay, I will. C: Btw, I Make Stories Feel free to read! ^-^ Here the link: https://www.wattpad.com/story/126989834-the-final-journey-to-detective-conan

same here but I’m just a beginner lol…check my stories out https://www.wattpad.com/user/Gibby_The_Gibster

Lol, same. I’m beginner; you know what it means? I’m getting stupid.

Why did you say you are getting stupid?

I’m the worst…People at my school called me a stupid kid, four eyes asshole, that loser who is obsessed with stupid kiddy (anime) shows, and that guy is the worst writing in the planet, tell him that go home and kill yourself…

I don’t know who am I anymore… 🙁

look do you enjoy writing and do YOU think your good at it

But…My grammar mistakes… https://uploads.disquscdn.com/images/d42a4b365a483e2437b21c4f7dcf9dbb2cdf8339c7e4f4eadbdb30f865803a20.gif

It’s ok I’m writing my first book (not for publish yet) and I made so many grammar mistakes. Just keep practicing and you’ll do great at it!

heck even i have grammerly humans make mistakes its why the backspace button exists

True…

I feel bad for you. At my school, most people accept me for being a person that likes anime (or not a lot who complains about it). I also have lots of friends also who like anime and lots who aren’t a fan. I guess I got lucky with my location. Hope you find others who share the same interest as you. But I reckon you can use your experience to write a book as a good book relies on the author’s experience.

Your lucky… ;-;

Don’t worry, the world is a big place. Sooner or later you’ll meet some1 with the same interest.

Maybe….Maybe in seven years or ten years…

Better than never.

Jesus your book is good, im making one at the moment, wow

yep, it is very good and… creative that’s how you describe it

right there with you

love the little anime girl thing

no u is good writer i read your recent release its great

don’t fell that way I watch Poke’mon and beyblade all the time

man, I cried when I read that. My Narrative has Miku Hatsune in it( don’t know if I spelled that right, though) LOL

They’re just dumb kids who probably can’t write a paragraph as good as ur stories. Plus, 4 eyes is better than 2

I knew there were people who used this to write on wattpad. I love wattpad to be honest, I’m writing a story as well. Although my story aren’t being published because I’m not comfortable yet. Good luck with your story! uwu

I’m in the same situation as you. Wattpad is amazing. I’m also writing a story but I don’t have enough confidence to post it yet. I get petrified when someone says something really bad about my things. I’m sure every will feel bad when someone does that, so make sure you only post nice comments and appropriate feedback. ^-^

Dude I’m in the same boat with you. And I agree

Hey you guys, I’m a Wattpad author myself, and I just reached my 20 followers point, actually 🙂 You shouldn’t be afraid of the haters, let them say what they want to say! I bet half of them couldn’t even work up the courage to write anything at all! Wattpad is a friendly community of people, there’s only a few haters. Most people will encourage you to follow your passion! And it’s no big deal if you’re just not comfortable, though I’m sure it’s more amazing than you take credit for 😀

P.S. Gods, I really don’t want to sound like I’m advertising, but my user is @Awesomeandscary123 if y’all are interested in reading my works. Always up to you, though 🙂

What I am doing is writing the full story and then publishing it all at once so that my readers don’t have to wait and wait for another chapter.

I don’t agree with your advice. Said is often used because it’s unobstrubsive, so that the reader will focus more on the dialogue.

Thank you for the feedback, Iva. It is a a contentious topic, but you’re right about ‘said’ being less obtrusive. Often no dialogue tag at all is even less obtrusive, however, as often the reader can infer from speech marks and context who is speaking, making it unnecessary to use ‘said’. Yet everyone has their preferences. Essentially the advice is not to use ‘growled’ or ‘whispered’ every other line. Thank you for weighing in.

thanks it was a good website

Thank you, Maeve. Good luck with your writing.

helped me so much my teacher said my narrative wasn’t boing 🙂 thank you so much

I’m so glad to hear that, Anna. I’m sure you deserve all credit for that.

“Dude I love this it helps so much” admired Deamyn

Thanks, Daemyn. I’m glad you found the suggestions helpful.

thank you, my teacher doesn’t allow the usage of ‘said’ every time someone speaks. So now my writing is fantastic thanks to this article. So, again thank you so very much. 🙂

That’s great to hear. Sounds as though your teacher has the right idea. It’s a pleasure!

These words are great, but I can’t really find any words for people/things that are just talking in a normal tone, without much expression.

Hi Asgore – that’s where a simple ‘said’ here and there where tags are necessary would be good. My advice would be to put some expression in all the same, as if there’s no expressive quality at all to the dialogue the characters could seem strangely uninterested in the conversation at hand. You can also focus more on their surrounds or movements if these elements show more of the scene’s tone and mood or purpose than the conversation itself. Hope that helps!

Thank you so much!!

It’s a pleasure, I’m glad you found this helpful.

I’m so glad I came across this! I found it very helpful, and it was exactly what I was looking for!

I’m really happy to hear that, Nona. Good luck in your writing.

Very helpful, ive lost count as to how many times ive refered to this while writing my novel. Thank you so much

Thanks, Magnet. I’m glad you’re motivated and working on your novel. Keep going.

Very nice! I plan on using this for stories and papers I write. I find the way I describe dialogue is often bland and boring; I hope this makes it more interesting.

Thank you, good luck for your next story or paper!

Regarding dialogue tags: This is exactly the opposite of the advice most editors will give you when you’re publishing your novel. In fact, when I published my first novel, my editors made me go back through my entire manuscript and weed out all of these kinds of words and replace them with “said” and “asked” in almost every instance. Said and asked are the words you should use most of the time. Alternate words like the ones you listed above should be used sparingly, unless there is a good reason (i.e. whispering, etc). However, I do agree with your points about action and gesture, generally.

hmmm, interesting…

Genre and market do come into the equation too. For example, YA readers might be more forgiving (as they were of J.K. Rowling) of ‘fruitier’ dialogue tags 🙂 It depends on a number of factors but I prefer the minimalist approach myself and using gesture and staging more to attribute dialogue than tags, personally. There’s never a ‘one size fits all approach’ so it all depends. Thanks for reading and engaging!

Dude, you really ruined the fun. Boi, just Boi!

This was very helpful! I always found ‘said’ so bland and boring, I realised I mentioned that word way too often in my writings (As well as Responded,Replied etc.) I plan on using these tips 🙂

You can use said for the halfway- beginning, but then you can use the other more advanced words, it will make your story more interesting and more suprising. At first, they’ll probably think your a not-so-good writer, then you can show them you are one. Note : This is just an advice.

hi guys from my classroom

I use this all the time when I create stories with Wattpad. It really helps! In fact I think I’m getting used to these, so now I can memorize these words! Thank you.

It’s a pleasure! Thank you for reading our blog.

thank you so much!!

It’s a pleasure, MK. Thanks for reading!

I bet you that you are here bc of an ff. I know this because I am doing the same.

hahaha same

Why’d you expose me like that haha

I’m writing a zombie story on Wattpad. My account is KingKawaiiKiwi, if you search it in the Wattpad search bar, you’ll find my vampire story (which I just might discontinue) and my new zombie apocalypse story.

This is really useful thank you I use it with every story 🙂 I love it

It’s a pleasure, Jan. Glad you enjoyed this.

Thank you so much, this helped me to improve my writing.

That’s great, Matthew. Keep writing!

This is great and I totally agree. I have always found it hard when reading to know who is saying what until after they have said it, which just takes you away from the moment.

You’re right about that, Mandy – so important it’s clear to the reader who’s speaking so they don’t get distracted from the content of the dialogue itself.

Yes. Great point. And thanks for your information it is great.

Thank you so much, was a great website helped a lot with my assignments. My teacher was astound with my work.

That’s fantastic to hear, Susan. Good luck with your studies further! Thanks for reading.

you put agreed in the Making up twice.

Great catch, Leo, thanks! Nobody’s immune to mistakes. That’s been corrected.

Thank you so much. It is so simple and easy to apply. Sometimes I hit a roadblock trying to explain my characters’ feelings at certain moments. This is so helpful.

I’m glad to hear that, Kgomotso! Good luck with your story 🙂

I agree with using tags sparingly, strongly disagree with using the “said” tag more sparingly than others. The word itself may not add color or personality, but that’s the dialogue’s job.

Thank you for this feedback! It’s not that the ‘said’ tag should be used more sparingly than others necessarily but rather that you don’t have to attribute every line. For example:

Cara saw her mother was limping up the driveway. ‘What the heck happened, mom?’ ‘Fell down the stairs at gym… don’t laugh!’

Here you don’t need ‘Cara said’ or ‘her mom said’ because the first line of narration sets up the context for each character’s words. So ‘said’ should be used more where there’s possible ambiguity regarding who spoke. I hope that clarifies a little 🙂

Thanks so much for this! Really helped when writing my novel!!

I was typing an assignment and this really helped 🙂

Thank you so much.

It’s a pleasure, thank you for reading 🙂

Very helpful, kept me from being dull or overly expressive

I’m glad to hear that 🙂

“Thank you so much” Nicholas applauded. ” I am writing a story WRITE now! The main characters name is Kane.” He continued. “Oh! Here he is! He’s a little shy, being a werewolf and all.” Nic exclaimed

“NIC!” Kane was surprised at his mess up. “You can’t just tell everyone! But… erm, thank you…” Kane nervously thanked.

“And guess what!” Nic proclaimed “I’m only a middle schooler!”

Hi WolfyBoi, that’s quite a few dialogue tags! I’d particularly advise against using an adverb ending ‘ly’ plus a verb, as that really draws attention to the tag and the ‘writtenness’ of the speech. You could use a gesture to show Kane’s nerves instead, e.g. ‘Kane fidgeted at his desk.’ Keep writing 🙂

Thank you, I really appreciate your reply. My book is much further along than it was 3 months ago. I have this website to thank. I recently got into dnd and I couldn’t help but add him to the story. However, I am switching between medieval fantasy, and modern fantasy, tunic vs hoodie amiright? What do you think I should do to help decide? Thank you.

Hi Wolfy, it’s a pleasure. I’m glad to hear you’ve made progress in this time 🙂 Take my opinion with a grain of salt, but I would personally go with modern (medieval is such a saturated market with the likes of GoT and other big series). At the same time, readers still love dragons, warriors and all things mythological, so it depends. My hunch is modern but go with which era you feel most excited about, I’d say. The advantage of modern is it’s easier to create a niche that’s all your own (because it doesn’t have as many standard elements/tropes).

helped, thanks

it needs some for curiosity

OMG!!! This is amazing! Now I don’t have to get stucked when i’m writing my short story for ELA. thank you so much!!!

It’s a pleasure, Vivian. Good luck with ELA!

Me when im typing my essay https://uploads.disquscdn.com/images/a8e595d23e040d52ccf86d6b93c03e018101916392cf7c381acd1b57473b1f52.jpg

OMG. I was in such a bind before I found this! Seriously, I was like, “I can’t keep making people interrupt and drop the phone every time they finish talkling.” LOL You… Just rescued me from hell in the third chapter of my favorite movie of all time!

I LOVE YOU!

I’m glad to hear that, and you’re right – variety (coupled with good sense and taste and moderation) is key.

Thank you, I’m really bad at coming up with different words, and this has helped me a whale load. 😀 😀 😀 😀 😀 😀 😀 😀

I just realized it is called “dialogue tags”. Thank you so much.

It’s a pleasure, Johnny! Yup, that’s the technical term 🙂

Do you have list of different ways to say “asked” like you did here for “said”?

Because My struggle is my main words are asked, questioned, wondered, inquired . So yeah. I guess I’m asking for more colorful words for that.

What you have for “said” is helpful 🙂

Hi Brad, thank you for your question! ‘Asked’ is probably best (using ‘wondered’ as a tag might read strangely, especially in a conversation context, since ‘wondering’ is usually something we do to ourselves rather than in communicating with others). I’d say ‘asked’ is the most versatile, as you can imply the tone (e.g. one of wonder) in the actual words said. For example, wondering or incredulity: “Can you believe Miss A gave us all that homework!?” I asked Jay.’

I hope that helps!

You saved my life! I write fanfiction on Wattpad, I needed this! My Wattpad—> TheFoxInTheShadows

Hi Kitsune,

I’m glad to read that, good luck with your fanfiction!

Lmao me too My Wattpad—> Shuichis_Ahoge

I love this site! I use it every time I write a story!

Hi Blue, thank you! We’re glad we can help.

We’re glad to hear it, Blue. Thanks for visiting 🙂

A very handy guide, thank you.

It’s our pleasure, Jason. Thank you for reading our blog!

no worries.

This helped me a lot! i was having trouble with the dialogues in my story sounding a bit bland. Thank you.

Hi Colour! Thank you for reading it, we’re glad to have helped 🙂 Good luck with revising your story further.

what is a good word to used when like frustrated and stuff without saying said before it like, “You can’t have waffles!” Dad said , angrily or something?

Hi Lovealot, thanks for asking If the underlying emotion is irritability, ‘snapped’ is a common acceptable tag. Otherwise a simple ‘said’ is always a good neutral go-to, with the words themselves supplying tone. I hope this helps!

I feel like there should be more scenarios that involve more words to describe dialogue. Such as an intro, where the character says hello. Or instances that require a much larger vocabulary to describe what is happening, not every situation where you want comedy/humor should you say Teased, joked, laughed, chuckled, chortled, sniggered, tittered, guffawed, giggled, roared. Otherwise it’s a great place to expand your vocabulary and/or get advice to write a great story. Just a critique.

Hi SpartanISO, thanks for reading and sharing your critique, we’ll keep it in mind when we update this article. Happy writing 🙂

This really helped with my homework

I’m glad to hear that, Jaxson. Hope you get a good grade!

My teacher will be amazed

This really helped my Narrative fall into the right place, thank you! I really appreciate it you know!

is everyone here also writing a ff on wattpad too?

bish how tf you know lmaooo

o-o how tf do you know

I’ve been exposed

oof im here for school but i do write ffs

Well, not for an ff but it is on Wattpad. ?

me zara24567

I was about to. But I realized I could get copyrighted, so I decided to make an OG vampire story. It’s the second result when you search, The Vampire Experience.

Edit: First result

*Me writing an OG story on wattpad* -Well f*ck I’ve been exposed

ahhh how did you know? I’m writing a hp fanfic on wattpad

I am writing an Avengers ff on Wattpad, but I am using this for and ELA essay.

At my school, Wattpad is blocked on school internet filters, for “mature” and “forums.”

SAME! I’m writing a Loki one tho. If you’d be interested it’s called “Mirrors and Magic” my @ is @CrazyPerson4967.

Omg! your ff is so good! I love it!

I’m writing an avengers fanfic too haha. My account is APPOJUICE and the story is called ‘Winx Club’ if anyone wants to read

Good luck with your Avengers fanfic and your ELA essay! I hope you got top marks 🙂

Thank you so much! Every kind comment makes me want to write even more.

THATS LITERALLY *PRECICELY* WHAT IM DOING

I’m trying to write a Naruto fanfic UwU. I’m righting on Grammarly and getting words from here! my account name is called Nightshade_Kuro and the story is going to be named Someone Lost

lol actually I’m writing a short story (OG) just for me, but I might post it on wattpad when I’m done now that I think about it

Uhm…okay yes. But I’m also a published writer. I just happen to enjoy shooting writer’s block down with a powerful fanfic. I actually looked for this post since I’m writing in English which is clearly not my native language hahaha. Anyroad, best wishes to every single Wattpad writer here!! If you need me I’ll be word spinting in my account CeciliaPerazaArias 😛

i’m writing a life is strange 2 fic on wattpad. you caught me.

What’s the name? If you’re posting I’d read it

yep descendants one called the warriors son about Shan Yu’s son, this site is actually really helpful

I just need this for my ELA class XD

Hope you ace your class, Temmoo 🙂

this did not help much but i got a little bit out of it

I´m making a book this is very helpful to me because I´m only 12

I’m glad to hear that, Shayla. Good luck with your book!

*smacks head on computer* i’m so stupid for not looking this up earlier XD

Anyone on this for Wattpad? My story is the second result when you search, The Vampire Experience. (Unfinished!)

Yep! Writing a OG book! Its -a night to myself- :3

Good luck with your book, Oliver 🙂

Good luck! What’s it called?

Edit: first result, but I’m writing 2 different books now, so I might just tag it as discontinued.

I didn’t know I need these tips up until this day :’0 thank you so much!

It’s a pleasure, Cactus. Thank you for reading our blog.

Thanks this really help for my wattpad story!

We’re happy to hear that, keep writing!

This is really helpful. I’m entering a writing contest, and this was amazing.

We’re glad to hear this, Sara! Good luck for your contest and thanks for reading our blog 🙂

*when you here to write a book but people are here to write fanfics*

Really helped with my writing! Thank you!

It’s a pleasure, Ally! Thank you for reading our blog 🙂

rewriting a ff i made in 2018,thanks 🙂

Really appreciative of this blog piece. I was trying to wrap my mind around descriptive emotions and this helps shatter my writer’s block. Thank you.

That’s lovely to hear, keep writing! 🙂 Thank you for reading our blog, too.

I’m writing because it’s fun when your fantasies come true even if it’s just words. This helped me a lot thanks 2020 here

Hi. I’m also a wattpad writer. I only started writing on wattpad recently but if you have a chance, would you please check out my story called: The Alpha, rejected his mate? My username is aaliyahisaas2003.

im writing a descendants oc fanfic about Shan Yu’s son called the Warriors son if anyone wants to read it this site really helps thans

I have just started writing because I have so many stories going on in my head and I knew it was time I put these fantasies into words. This blog really helped a bunch, especially as a young writer!

That’s awesome to hear, thank you Nic. When it’s time, it’s time 🙂

Thank you! I was looking for something like these to help me with my writing class. This is really going to be of great use from now on. Thanks!

It’s a pleasure, Johanna! Good luck with your class.

This was so helpful, I don’t know what I would have done without this extra information. I’m a Jr in high school and I ‘m writing a narrative and I’m tired of saying “He said”, “She said” it’s getting repetitive.

Hey Aries, that’s great to hear. It can be repetitive. Remember that when its clear who’s speaking (e.g. when one character already named in the scene replies to the only other character in the scene) you can leave them out. Have a good weekend.

omg me too, I’m writing a narrative right now and my teacher said she would take points off if we continuously said “he said, she said”

Hey thank you a lot I am doing a English paper right now and i needed a word for a determined person and I found it right here clear as day.

I’m glad to hear that, Remi! Good luck with your paper.

This is great! An amazing novel to read for this is Catch-22. Joseph Heller came up with about a million ways to say “said,” and it really helps you hear each character’s individual voice.

Thank you, Suzanne. Great recommendation.

Loved this so much 🙂 Perfect for me as I was writing a college essay and had some serious word block. Thank you so much

Hello Jordan This is awesome, but I didn’t find what I wanted I needed. It’s a different word for said and the context is leaving somewhere. Could you please tell me it. Thanks, Sherbek

Hi Sherbek,

Thank you. When you say ‘the context is leaving somewhere’, do you mean it’s a dialogue tag word indicating a character is leaving? I’d suggest using an action tag instead, e.g. “OK, sayonara, bye, whatever.” He made air quotes on ‘whatever’ and slouched out of the room, trying to look as hip and disinterested as possible.’

The benefit of an action tag is you can get quite specific about the way a person leaves. Saying ‘he farewelled’ or finding a similar way to squish a sense of departure into the dialogue tag would stick out and be less effective, for sure. I hope this is helpful.

These words were very helpful to me thank you so much you are a lifesaver!!

That’s great to hear, Via. Thanks for reading our blog.

This helped me so much! I’m in middle school and writing a story for my class and I didn’t know what else to say, so thank you!

I’m glad to hear that, Norah. Good luck for your class, I hope you get good feedback on your story.

Hey thanks for the help I’m 12 and I’m trying to write a novel about hell’s creatures invading a small town but i was tricky to think of elaborate words in the beginning

That sounds like a fun story scenario, Asher. I hope you’re finding it easier to find the right words.

It’s beneficial for my new fantasy novel, I’m a newbie writer, and I really had a hard time dialoguing. Thank you for this.

It’s a pleasure, Vywx. Good luck with your new fantasy novel!

Yea, super helpful! I’m in middle school and I needed better words other than ” I said. ” That was getting old.

That’s good to hear, Aarya. I’d say remember that ‘said’ can also be the least obtrusive option (or using action tags instead ).

This is extremely helpful, but I couldn’t find what I was looking for! I’m writing for school (and a little for fun) and I don’t know what to write. The quote is “Where are you going?” and it’s a child speaking respectfully to an elder. Do you think you might know what I’m looking for?

Hi Michael, thank you! I’m sorry you couldn’t find precisely what you’re looking for. Do you mean the quote is a prompt? If you’re trying to write a story based on that quote I’d suggest brainstorming about where the elder is going, and involving the child in the object of their departure (for example, are they coming back? Is the object of their departure something relating to the child, that they’re perhaps intending to do something for them?).

Here’s a blog post on finding ideas that may help!

When you use dialogue such as: he teased, he smirked or he laughed. Are these action beats with periods and capital H’s?

Great question, Connie. It would depend whether it is being used to describe the voice of the character immediately following speech or whether it comprises a separate action. Compare:

He teased her mercilessly, until she turned beet red. “I can’t believe you said Japan is larger than Australia in the quiz.”

This is an action tag, the action being complete in a sentence apart from the dialogue it characterizes.

Compare to:

“I can’t believe you said Japan is larger than Australia in the quiz,” he teased. Here, the teasing action serves as a dialogue tag as it’s describing the speech without being a separate sentence. You could also have:

“I can’t believe you said Japan is larger than Australia in the quiz.” He teased her mercilessly, until she turned beet red.

This is the same as the first action tag, of course, with the action simply coming after the dialogue. This would be incorrect:

“I can’t believe you said Japan is larger than Australia in the quiz.” He said [or teased].

Here the ‘he said’ is describing the manner of the man’s speech (you can see it more clearly than with ‘he teased’, as this could be a complete action fragment).

Dialogue tags should always have a comma preceding them as they’re part of the previous line. Just the same as you wouldn’t have ‘He ran. Fast heading for the train’ but ‘He ran fast, heading for the train’.

I hope this helps to clarify!

Thank you so much for this Jordan! I’m doing a retelling of a long movie. Over 10 pages I have forgotten to use more specific and more advanced vocabulary instead of “Said” or “Asked”

This helped me a lot so keep doing what you’re doing your good at it, you help thousands of kids like me! =)

Hi Nate, thank you, it’s a pleasure. That sounds a fun project. I’d add the caveat that ‘said’ is often the least obtrusive option. Action tags and making the content of the speech itself convey the feeling and character are other alternatives to using very exotic tags.

Good luck with your movie retelling!

Ooh thanks! I needed another word to convey sadness, and I found just the one!

This helped me alot, writing a book at a young age. Thank you and I wish everyone luck!!

I’m glad to hear that, Emma. Good luck to you, too!

This helped a lot, since I’m in middle school and had to write a story for school. Thanks!

It’s a pleasure, Anna! I hope you got the grade you wanted.

How do you come up with a good book name? Mine is Submerged…

Hi Emma, these ideas for brainstorming titles should help! Good luck.

This made writing easier for me. Thank you very much!

That’s great to hear, Rose. Thank you for reading our blog!

this really helped

Fantastic, Daniella. Thank you for reading our blog!

Thank you so much for this! Im writing a story in my middle school and my teacher always says “Said is Dead!” This helped me to get a good grade!

Hi Trixibelle, we’re always glad to help here. Congratulations on your good grade! Thank you for reading our articles.

Very helpful. Thank you, Jordan. Per Connie Parker’s question about “teased”, would “laughed” be treated the same way? I’m thinking it would, but I’ve had a couple of people tell me you can’t “laugh” dialogue. Do you agree?

Hi Keith, it’s a pleasure, thank you for reading. It’s a tricky one, since I would say you can laugh to a degree while speaking (or a laugh could interrupt your speech). Personally, I would lean more towards using an action tag and making the sense of amusement evident in the speaker’s words themselves. For example:

“You mean to say … he actually … seriously?” Laughing, unable to finish a sentence, she wiped her eyes and tried to suppress another fit of giggles.

Thanks for writing this article, it helped me greatly. I have a question. If I were to write an emotional ‘scene’, is is fine if I use a lot of different words than “said”? Or should I limit the amount of words that express emotion?

It’s a pleasure, Gillian. Great question.

I would say try to make the words being spoken themselves convey the bulk of the emotion, so that the tag doesn’t need to do that much ‘heavy lifting’. One could also use action tags to convey emotion, particularly loaded gestures. For example, “I’m not going!” She slammed the door so hard the crack snaking from the doorframe must have grown an inch. Varying devices will keep dialogue from sticking out as overly ‘written’, making the scene more immersive.

This helped a lot! I am in the middle of writing a book, but I have a little problem. Even though my problem isn’t associated with the topic of this blog, I wanted to ask: How can I make any battle scenes in my book seem more natural? I feel like I have been adding too many battle scenes that end too quickly.. (3 battle scenes throughout 13 pages) Can you maybe refer an article or give me advice?

I’m glad to hear that! You might find this article on writing fight scenes helpful. Thank you for reading our blog.

I was wondering what word you could use other than said to express happiness and sadness.

Hi Brianna,

Thank you for asking. I’d suggest making the words your character says happy or sad in themselves and then perhaps using an action tag (as adverbs can be weak in effect). For example:

“So I guess we can’t go to the beach this year?” She sat with her shoulders slumped, frowning.

Or “It’s so good to be here again.” She ran down to the shoreline, shrieking when an unexpected wave raced for her feet still in shoes and ran back laughing to where we had stood minutes before.

So putting the despondent or joyful tone into a mixture of tone and action will help to give your dialogue the overall emotional character. Think about how you can weave in setting too at times, so that dialogue also helps to describe where your characters are at this point in time while they converse.

LOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOVE ITTTTTTTTTTTTTTTTTTTT!!!!!!!!!!!!!!!!!!!!!!!!!!! It is soooooo helpful

This was helpful for me again, Thank you for making this. This wants me to make more books.

I’m trying to find a word for said that expresses both confusion and shock but I can’t think of one

Hi Scarrlett, thank you for sharing that. Perhaps ‘gasped’? Also try to find the words in the dialogue that convey those emotions, and perhaps gestures too (e.g. a character suddenly turning their head with a frown on their face, or giving a reaction-based start. Good luck!

Great job, guys. Very helpful. Thank you, Merry Christmas, and Happy New Year in advance. Stay Safe

Hi Ben, thank you! A belated Merry Christmas to you too, and a Happy New Year. Stay safe and may 2021 bring many blessings and inspirations.

Dude, I’m writing a book right now, and you have no idea how much this helps

Hi Pulse, that’s great to hear. Good luck with your book!

Hi, I am writing an essay for school, but it has lots of dialogue. Do you know any words with like, a questionable tone but a suggestion. Thanks! (Ex. “Hmm, maybe we could make it using the other recipe?

Hi Malyiah, thank you for your question! What you’ve used there is good.

You could also use ellipses (e.g. “That went well … Maybe we could make it using the other recipe?”). Using ellipses to show someone thinking or to imply a pause can be used subtly with specific surrounding words to create a specific tone. For example, if a character has worn a questionable outfit to a formal event, you could use this to create a questioning/’shade-throwing’ tone: “I see you dressed … for the occasion.”

I hope this is helpful. You could also use action tags to show gestures or movements that suggest questioning (e.g. ‘She peered into the pot and gave her sister a doubtful look. “Maybe we could make it using the other recipe?”).

Helped a lot! was very useful. thank you!

Great, Pooja. Thank you for the feedback!

Thank you for making this webpage, it helps me a lot in school, My teachers like us to write paragraphs, with a lot of dialogue, this really helps out!

It’s a pleasure, Daisy! It’s good practice. I hope you do well in your next assignment.

I am making a story, and every now and then I have the character talk to him self, (e.g ‘since when has he listened to someone?’ Zenitsu thought.) What other word can I use other than thought?

Hi there! One great option is to use an action tag like you would in dialogue. For example ‘Since when have I listened to anyone?’ Zenitsu frowned. Or, ‘Since when have I listened to anyone?’ Zenitsu half turned, ready to storm out.

One thing to remember is it should be in first person rather than third (since a person would typically think in first person when referring to themslves). It’s also conventional practice to put thoughts (if it isn’t the character talking aloud) in italics, e.g. Since when have I listened to anyone? Zenitsu crossed his arms, preparing his argument.

I hope this helps! Keep writing 🙂

hello, I am making a prequel for a story but I am having trouble choosing words for dialogue for example “it’s fine I can give it to him,” she …………

Hi Donna, thank you for sharing that. In this case (and many others), a simple ‘said’ would suffice. Otherwise you could also use an action tag to show the speaker’s emotions or intent. For example:

“It’s fine, I can give it to him.” She reached her hand out for the folder.

I hope this helps!

How would describe dialogue when thanking someone?

Hi Victoria, thank you for your question. It would depend on what the person is thanking for. You could have a simple, “Thanks,” he said.’ Or, for example, if someone didn’t actually like what the person gave them, said or did, and was being sarcastic: “Gee, thanks.” He rolled his eyes’. So try to balance showing the feeling through the words of the dialogue itself with showing feeling through the gestures and expressions people make when they speak.

I hope this helps! Happy writing.

Hi there! Im a young author and already know most words for ‘said’ but i wanted to know more words for feelings or for thought. And i am so very sorry if you already wrote some of it, i just didnt have time to read it since I am a really busy kid.

Hi Yuko, thank you for sharing that. When you say ‘words for feelings or for thought’ do you mean words to show that a phrase is what a character felt or thought, or words for feelings and thoughts themselves (e.g. “X,” he thought…’ or the names for different emotions and such?). In place of ‘thought’ you could have tags such as ‘wondered’, ‘reasoned’, ‘puzzled’ etc as thought-actions. For example: “But if the shooter was standing here…” The detective puzzled over the scene.’

Thank you for the feed back! I really appreciate you writing back! This is a fan fiction story, from an anime in Kimetsu no naiba and often they have scenes when a character is talking to them selves. So the scene I made was: “We shall not have that language in here Inosuke!” Kiena chided firmly. Almost immediately Inosuke bowed and replied “I’m sorry Miss!” ‘Since when did when have he listened to someone?’ Zenitsu questioned himself. When I have scenes like this, I often write the same thing over again (e.g thought Tanjiro/ thought to himself.) I am looking for another word for thought..do you have any ideas?

I made a mistake! It meant to say: ‘Since when has he listened to himself. (not have)

Note well Elmore Leonard’s Rule #3 of his Rules for Writing (and I quote): “3. Never use a verb other than ”said” to carry dialogue. The line of dialogue belongs to the character; the verb is the writer sticking his nose in. But said is far less intrusive than grumbled, gasped, cautioned, lied. I once noticed Mary McCarthy ending a line of dialogue with ”she asseverated,” and had to stop reading to get the dictionary.” Verbum sab sat!

Hi Alex, absolutely, this very good point is exactly why we revised this. There also is a genre/literary debate about this, as one does tend to see more ‘nose-in’ tags in certain genres, but ‘said’ is definitely least obtrusive. Action tags are also a helpful way to avoid making the dialogue tag do too much of the work. We also followed up on this with another post here , with more examples showing why unobtrusive is often as effective and renders the author’s hand less visible.

Thank you for sharing your thoughts and for reading our blog.

This helped me so much! We had to write a narrative and I was using a lot of “said” Because I couldn’t figure out other words instead of “said” Thank you so much!

Hi Ari, it’s a pleasure! I’m glad it’s helped with your assignment. Just remember to use action tags and other devices too so you aren’t overusing odd substitutes for ‘said’.

This has helped me ever so much!!! I had to write a suspense story for school. My mind was completely blank so I searched up synonyms for said and this website came up! I tried it out and it really helped! Thanks so much. Will definitely come here for future assignments.

Hi Ant, it’s a pleasure! Thanks for reading our blog and good luck with your school assignment.

Thank you so much! This helped me with an assignment for my English class. I could not think of any words besides said, but thankfully I got some words thanks to this.

Hi Grace, that’s fantastic. I hope your assignment went well (English class was always my favourite ?). Thank you for sharing your feedback.

This was incredibly helpful, and also articulate and comprehensible for a non-native speaker like me! I especially enjoyed the part about using the speaker’s gestures and actions to substitute tags; it’s something I love in dialogues, so this helped me so much. Thanks a lot! 🙂

Thank you, Lena! I love that in dialogues too, it brings in a little more visual specificity and movement. Thank you for reading our articles.

This helped me so much – I’m writing a so-called book/novel and my head couldn’t think of anything besides “Said”. This came in handy, thank you! 🙂

Hi Alma, that’s great to hear. I hope your novel is coming along well! Thanks for reading our articles.

This helped me a lot while writing a passion project of mine thanks so much

That’s great to hear, PK-Volt. Thank you for sharing your feedback!

This really helped me! I am righting a book named ” The Secret Demigod”, and it adds a lot of expression using these words!

That’s great, Gleam! Good luck with The Secret Demigod as you progress further!

This website helped a lot! I couldn’t find any words other than “said” for my novel and It really bothered me but thanks to this I have different, interesting, better words to use. Thanks!!

Hi Lizzie, thank you for sharing that. I’m glad to hear it’s been helpful. Good luck with your novel.

This is really useful! I just couldn’t think of any other words besides “said” and “asked”, so this really helped me out. Thanks!

That’s great to hear, Sakura. It’s a pleasure, good luck with your WIP.

This helped me so much with my book I’m writing! My mind was completely blank before. And now I’m the top of my class! Thank you very much!

Great, Pankaj, keep excelling at school.

This really helped! I’m writing a story and I was only putting said and stuff like that. Now I’ve changed the story around and it sounds a lot better!

That’s great to hear, Alex. Good luck with the rest of your story.

Hey! I am in still and school and I am planning on writing a book but I always say ‘said’ so it gets repetitive. This Helped me loads! Thanks so much!

It’s a pleasure, Dakota/Flynn. Here’s to less repetition 🙂

Thank you for this post. I am writing a story and I needed better words than said, shouted, yelled and other lame words like that. Thanks for helping my story sound better.

It’s a pleasure! Remember that ‘said’ is often the least obtrusive (if the words a character says can convey the emotion, that’s half the work a tag could be doing already done).

Hey Jordan, I think that it’s so cool that you reply to everybody’s comments. It really shows how much you actually care. And pay attention to the comments instead of ignoring them like so many other people. Really awesome.

Thank you, L.P.S. I try to reply to everyone, we want to encourage discussion and questions as much as possible. Thank you for reading our blog, too ?

This helps me a lot! Using a ‘said” word is very repetitive and sounds boring. I am still in school and I was planning to write my own story and published it on Wattpad. This really saves me from using said. And I thank you for that Jordan.

It’s a pleasure, Yvonne! Good luck with your Wattpad story (feel free to share stories for feedback with our critique community, too).

Thank you so much this really helped me with my writing, thanks again.

I wrote my entire book but found so many plot holes when rereading it, I ended up scrapping it and going back to work on my timeline, while doing that I’ve been researching a lot of stuff to make my book as perfect as I can get it. Dialogue has always been something I was confident about, but after reading this I realize that I would almost always have a “spoke (character)” at the end of each phrase. I never really thought much of it till reading this. I want to have it more sparingly, and after going over this blog? I think I finally get how to do that. Thank you so much.

It’s a pleasure Ross, it’s good you’re getting stuck into revision and learning as you go. Keep it up.

This is great, I’m writing a story and I never know what to put down instead of said. Also i would say to add to the words a bit.

Hi there, thank you for your feedback! When you say ‘add to the words’, could you maybe be more specific (to which words in what way)?

It helped me a lot. Thanks to this I’ve gotten an idea of rewriting my story.

That’s great to hear, Ej. Good luck with your rewriting!

It helped a lot for my parable I did in Ela thankyou

It’s a pleasure, Samuel, we’re glad it helped with your assignment!

I think this website is awesome And as other people said, I love how you reply to everybody’s comments and remind them of what they can do and how you encourage them with there projects or books

Thanks, Sam! It’s a pleasure, we’re here to encourage and help 🙂 Thank you for sharing your feedback with us.

It helped a lot with my parable. Thank You!

It’s a pleasure, Briana! Thank you for reading our blog.

thanks this helped a lot with my school project

That’s awesome, Marie. Thanks for letting us know and for reading our blog.

Thank you so much for the free advice. I am writing my first book, which I started on three weeks ago. 20,000 words into the novel, I am amazed at how difficult it is to write dialog without making it sound repetitive, cumbersome and monotonous. Conveying emotion through writing is so challenging. And capturing body language, emotion, tone and intention only through words in a concise, creative and captivating manner is an art, as I have now come to appreciate. I am learning as I go because I don’t want to be the person who says “I will write a novel some day” and never get around to it. I have been writing at least a 1000 words a day and I have promised myself to not be judgement even if it is crap and a plot is not developing. Later, when I go for a walk on the beach, the characters take on a life of their own and the plot develops. It’s a leap of faith and in the interest of making myself accountable to someone, I hereby pledge that I will complete the novel by April 25th.

Thanks again.

Congratulations on the progress you’ve made so far. It’s a good sign that your ‘characters take on a life of their own’ when you’re not writing as that shows your unconscious mind is showing up for the task, imagination is taking hold. 25th April is an ambitious deadline if you’re about a quarter of the way through (keeping in mind that the average trade paperback is around 80,000 words long) but if you have the time, focus and commitment I’m sure you can do it.

i really needed this. i was writing a story right now cause i cant sleep and these really helped with expressing the dialogue. thank you!!

It’s a pleasure, Stacy. Good luck with your story (and with getting more sleep!).

This is great! It helped a lot with my school study!

Hi Olivia, thank you for your feedback. I hope you get great grades 🙂

I really love to write fanfiction, and I post it, but sometimes it’s just so frustrating with the lack of anything but ‘said’ in some of the fics I read! and write, too. I really can’t express how much this helped me. I hope to write a book someday as well, and if (hopefuly when) I do, I’ll be sure to keep this in mind! Here’s a bit from one of my stories that I changed before I found this site. ‘Harry Potter picked moodily at his food. The year was turning out to be even worse than the last, and that’s saying something.

So far, he’d been attacked by dementors in front of Dudley, been to a hearing at the Ministry, almost been expelled from Hogwarts, had a VERY bad (to put it lightly) Defense Against the Dark Arts teacher, Dumbledore had been kicked out, he’d been having dreams, his scar hurt, had to take extra lessons with Snape, deal with everyone calling him a liar and insane, deal with everyone keeping secrets from him, Dumbledore would barely LOOK at him all year, AND, to top it all off, that toad had etched words into his hand! Oh, and he was also banned from Quidditch for life.

Ron Weasley nudged him. “You okay mate?”

His eyebrows furrowed with concern. “You need to eat, Harry,” Ron continued when Harry didn’t respond.

Harry just shrugged in response.

To tell the truth, no he wasn’t okay.

Hermione Granger sighed and closed the book she had been reading. “Harry, please, at least eat one piece of bacon.”

Harry bit his lip.

“If you don’t eat, you might get detention!” Ron joked in hopes of getting the moody raven-haired boy to eat.

But even that wasn’t enough to lift the teen’s spirits.

“Harry,” Neville Longbottom piped up, “seriously, answer. You’re scaring us.”

Harry pushed his plate back, ignoring the stares he was garnering from his friends, and a couple other Gryffindors who had been listening. “Guys, I’m fine, really,” he tried to tell them.

“Then why aren’t you eating?” his (male) best mate countered, quick to jump on the opportunity.

“Not everyone had a bottomless pit of a stomach, you know,” Harry replied, a bit amused.

His friends sighed in relief. But Harry went back to staring at his plate when Professor- oh, sorry, I meant Headmistress Umbridge walked in.

He quickly looked up, though, when he heard the toad clear her throat. “Hem hem,” she began, getting the attention of the students. “Classes will be cancelled until otherwise said. Until then, we will be reading a series of seven books, about the life of Harry Potter, from years one thr- ough seven.”

At this, there was an outcry.

“You can’t do this!”

“This is an outrage!”

“Invasion of privacy!”

“Slimy wart-covered toad!”

These were just some of the things that were called out. The last one, the insult, was probably one of the mild things said.

“Dolores, you can’t possibly do this!” protested Professor McGonagall. “First off, this is an inva- sion of privacy, and Mr. Potter is only in his fifth year! And, even if he wasn’t, you should at least have full permission to do this, which you obviously do not have!”

Umbridge smiled in a sickly-sweet way. “Yes, Minerva, I am aware. Perhaps you’d like to read the note that came with the books out loud so people will see the reason?”

McGonagall grinded her teeth but read the note.

As she did, people looked at Harry in various degrees of pity, surprise, horror, and some disgust, the last from a couple Slytherins.

“This has to be illegal!” Hermione cried out, standing up from the bench and putting her book down.

“Not cool,” snapped Ron angrily.

Harry just sunk down in his seat to avoid the stares. Sure, he really didn’t want everyone to read his private thoughts, and the idea that he’d feel the pain was just cruel, but in the note it said that they didn’t want it to be like that. At least Umbit- sorry, Umbridge -wouldn’t be able to do anything.

The door opened and the people mentioned in the note walked in. “Snuffles!” Harry cried joyfully as the great black grim came loping over. Snuffles barked, and Harry ran a soothing hand through his fur.

It was still weird to him that he was petting his godfather, but if it would calm him down . . .

And reading the books would save lives, at least that’s what the note said. And, the books would prove Hagrid and Sirius innocent!

And, they’d only read up to the fourth book, and then they needed Harry’s permission to continue reading. That was a plus.

Remus and Tonks came over to sit with Harry and his friends. “Wotcher, Harry,” greeted Tonks. “The rest of you as well.”

“Hi Tonks!” responded Ginny brightly.

“Professor Lupin!” Dean Thomas stood up. “What are you doing here?”

“Same as everyone else.” Remus shrugged. “I got a note from the Ministry and came straight here.”

“Oh, Harry!” Molly Weasley gushed, coming over to sit with them. “Are you okay? Oh, this must be dreadful for you!”

Everyone looked expectantly at Harry, waiting for his reply.

Harry fidgeted uncomfortably at the sudden attention. “Well- I don’t like it, obviously, but if it’ll save lives . . .”

Ginny sighed, and Harry had a good idea why.

“Hem, hem.”

Gathering everyone’s attention, Umbridge stood up. “Now that we’re all clear on what’s happening, why don’t we start reading?” ‘ well, there it is! again, that you so much!

[…] speak, you can use descriptive verbs and nouns to paint a picture with a simple word. Here are some voice synonym ideas to give a try when you write your next dialogue […]

This site helps out a lot. I am currently writing a little story and this site is helping me with it. Thank you!

It’s a pleasure, Makoa. Good luck with your story!

This website is amazing and really helpful. At the moment I am writing my own story and I am trying not to repeat the word “said”. Thank you so much, I recommend this website to my friend and she too thinks this is wonderful, thank you again : )

That’s great to hear, Alicia. We’re glad to help. Thank you for recommending Now Novel to your friend, too. Good luck to you both with your stories!

This has helped so much, thank you! I used to have no idea what to type in dialogue except for said. Now I can just come here and look for one. My friend and I are writing a book now it sounds much better. Again, thank you! 🙂

That’s great to hear, Leona. It’s a pleasure! Good luck with your co-authored book.

The website doesn’t let me respond to your last message to me. Thanks for the encouragement.

Today, I am at 52,000 words and plot has been built. Maybe I won’t get to exactly 80,000 by April 25th but I anticipate that I will and if not, I will be somewhere in the 70s (thousands, that is :).

I have learnt that taking a leap of faith just means setting that time aside. I can do 1000 words in 50 minutes and my commitment to this effort in a minimum 1000 words a day. On a good weekend, I can do 5000 words but this weekend I only went 2000 words over because obviously, if the story is not flowing out of my fingers, I don’t want to produce for the sake of producing.

But when all is said and done, I have more stories, characters and plots in my head than I can ever get out into a novel. The difference between now and before is that previously, I never thought I had what it takes to be a writer and now I believe that anyone write a novel. I’ve learnt that it takes a combination of imagination and discipline.

Thanks again, Rajita

It’s my pleasure, Rajita. That sounds like fantastic progress, congratulations! You’re absolutely right that it takes imagination and discipline as well as making smart choices (e.g. where you describe writing 2000 when you aimed for 5000 but not letting this discourage you or pushing yourself past what felt a natural stopping point).

It sounds as though you’ve developed a process that works for you. Good luck finishing your story!

This is so cool, I’m in 6th grade and this helps a lot!

That’s great to hear, Juliana. Good luck with your story!

I am a 9th grade student. I started to write a book during the quarantine and this helped me a lot. thank you 🙂

That’s awesome, Joan. Thank you for reading our blog and sharing your feedback! Good luck finishing your book ☺

i love them for my new na no wir mo book

Hey Jordan,

I made it to 77,000 words today, finished writing the climax, and tied up most loose ends. I have 3,000 words to go, which I can reach simply by bulking up a few sections that need more description. I started mid-Feb and haven’t missed a day of writing at least 1000 words. This is in addition to the 60 hours I work per week. Once I hit 80,000 on Wednesday or sooner, I can’t wait to take a day’s break before entering editing hell. So much cleaning up to do and if I have a mental block, this is it. Something about going back and cleaning up raises fear that I will look back at all the words I wrote will look like drivel lol. and then there’s the hunt for an editor and with any luck a publisher/Audio book procers. I will definitely be coming back to this site for cleaning up the dialog in the next few weeks.

I think posting here on March 14th that I would finish the book by April 25th kept me accountable as I am not good at straying on my word. Thanks again for your forum 🙂

Hi Rajita, congratulations on your progress in writing your story! That is fantastic progress, especially given the 60 hours you work per week. Editing can be hell, but it can also be heaven, too! I would say try to shift your view of editing away from ‘cleaning up’ to ‘freshening up’. So often when I edit the author has a hidden gem behind some overwriting here, a little repetition and waffle there. Try to see it as an additional creative process rather than a chore, I’m sure that will help you find it more fun.

I’m glad we could help you keep accountable! You can be proud of the progress you’ve made.

I’m writing a book for a school project and this helped me a lot!

Great, Lily! Good luck with your school project.

thanks for the other words jordan, i’m doing a project on disney and this helps a lot with the work!

It’s a pleasure, Aiden. Good luck with your Disney project!

I just want to thank you for all of your work on this article! I’m working on a Dystopian story and needed all these words.

It’s a pleasure, Lisa! Thank you for reading our blog. Good luck with your dystopian story.

Thank you, so much for this. I’m a 5th grader and this is helping a lot. I am currently writing a story and this is helping a lot, thank you again

It’s a pleasure, Jie. Have fun writing your story!

This helps so much! I’m in 7th grade and I’ve been writing story’s for about two years now, and this site has helped me significantly improve in my writing.

That’s great to hear, Ava. I’m glad we’ve helped with your writing. It does take time, so it’s good you’re persevering with your story. Keep going 🙂

thx! im writing a story and im just trying my best to use the word ‘said’ so much lol!

thank you this helped me a lot! ?

this was so helpful for the book I’m writing!

That’s great to hear, Olivia! Thank you for your feedback.

i’m writing a book and this was super helpful. thank you! ?

It’s a pleasure, Mar! Thank you for reading our articles ?.

Wow! Thank you all so much for helping me, my writer’s block has been going on for a while now and this really helped.

That is great to hear, Akai. Happy writing 🙂

I’ve heard of show and not tell. I’m trying it now and it works great.

I’m glad to hear that, Richard. It does help immersion. Good luck with your story and thanks for reading our blog.

This has been really helpful for me

I’m glad to hear that, Josh. Happy writing!

I’m writing a story on Wattpad right now and this helped so much!

Hi Arshiya, I’m glad to hear that! Thank you for reading our blog.

This really helps me with my writing!!

That’s great to hear, Juli. Keep it up!

This really helps me with the short story I’m writing for class. Thanks!

I’m glad to hear that, Lacey. Thank you for sharing your feedback!

This really helps me to write wattpad books. Thanks!

I’m writing my debut novel as we speak and I’ve always struggled with dialogue as my skills lie in plot-building, scene descriptors, etc. It’s always been my weakness and I couldn’t figure out why. This put the why behind my dialogue that was okay, but not good. This was specific so now I see why mine always felt a touch wrong. I can pinpoint the differences in my own versus the examples that are clearly better. Thank you thank you!

Hi Cate, that’s great to hear. I’m glad this article had practical utility for you. Good luck with writing dialogue further, and thank you for taking time to leave your feedback and for reading our blog!

I am doing my first story for fun, I never thought to use gestures and such. Thanks!

It’s a pleasure, LG. Enjoy the process! Thank you for reading our blog and leaving us feedback.

This was super helpful! I’m writing a book, and since I haven’t done anything like that in a while, I needed a bit of a refresher. Now I use this as a guide of some sort! Thank you 🙂

Thank you. This helped me so much cause I have to write a fiction story in my class.

It’s a pleasure, Sean. Good luck for your class!

This really helps!

I’m glad to hear that, Sammie. Thanks for reading our blog!

I have to write a realistic fiction story in my ELA class in school, and I say “said” or “says” so much, so this is a program was sent by an angel! LOL!

Hi Sadie, I hope you get a top mark or we’ll be hiring new angels ?. Thank you for reading our blog.

Thank you this really helps me write my story in my ELA Class in school I didn’t use say a much and a now how to write past, present, and future tense.

Hi Darius, that’s great to hear. I hope you do well in your class. Thanks for reading our blog and leaving feedback!

[…] Dialogue words: Other words for ‘said’ (and what to avoid) […]

This was so helpful for everything! It helped me understand more of the work ethic for writing so much better! And guess what? I got an A all because of this amazing source! Thank you so much!!

Hi Fiona, that’s awesome, congratulations on your A 🙂 Keep it up and thanks for reading our blog.

I rarely leave replies on anything, but this was fantastic. Thank you!

Hi Carmine, thank you in that case for the rare comment 🙂 Thank you for reading our blog, it’s a pleasure.

I’m using this article for some help in writing a smaller novel/novella I’m writing. I have almost 14k words in it and wanted to see how many “said” words i had in it. I used it about 48 times, but wanted to lower that, so that’s what i did! Now its at around 10 🙂

also the word “said” was mainly used in the dialogue parts of it such as, “Oh, I said that to him.”

Hi Aaliyah, that sounds like a productive edit, I’m glad you found this article helpful. Good luck with your novella 🙂

hi, this really helped me in my realistic fiction writing thank you for making a page about this

It’s a pleasure, Insiyah. Thank you for reading our blog.

Wow this helps me a lot thanks!

Hi Joshua, it’s a pleasure. I’m glad you found this helpful, thanks for reading our blog and sharing your feedback.

This is great advice. Like some of you, I have struggled with using he said, she said so much in my novel. I feel a bit more freedom now to let these characters yell, mumble, etc.! Thanks for the great post.

Hi Billy, thank you for sharing your feedback! A great rule of thumb is to favor words that one can easily imagine saying. For example, ‘she whispered’ (versus ‘she trilled’). The more ‘out there’ or creative the dialogue tag, the more it draws attention to the author’s hand usually.

I am so impressed and challenged by the information shared here and in the comments of your readers. I am working on a post for Education, as well, so it’s a timely visit. It is an important post, and I’ve not taken enough time to write it yet just thinking and researching so far.

Hi Vincent, thank you for sharing that. Good luck for your research and for writing it, I hope you enjoy the process.

Thank you this is so helpful I’m actually currently writing a book so I really appreciate this advise!

Hi Hayden, it’s a pleasure. Good luck with your book and thanks for sharing your feedback.

I’m only in middle school and my friend showed my story to her teacher that used to be a highschool teacher and he said it would a A if I were in highschool and it was probably because I used a lot of the tips from this website.

That’s so lovely to hear, Zoey. I’m glad you received such encouraging words from your friend’s teacher. Keep writing!

it was too long i could not read it

Hi Shlok, I’m sorry to hear that. What is an ideal word count to you? We value our readers’ feedback 🙂 The links in the sidebar hopefully help to jump the sections that are most important/useful to you.

i like this website a lot it helps me

This was awesome, I kept referring back to this page, and my vocabulary got so much bigger.

Hi Little_Cat, thank you for your kind feedback, I’m glad you found this article useful.

Hello Jordon, Thank you for sharing this article with category-wise dialog words. I have one question, though. Can we use ‘thought’ also as a dialogue verb/word? An example: “Then, we have to get some solid proof somehow,” thought John.

Hi Mvsagar,

Great question. This can be used to indicate a thought, but is maybe best used for thoughts that are spoken aloud as the speech marks make it easy to confuse with spoken/voiced material. So the more common approach for thoughts is to italicize the thought. In this case, if the surrounding narration is in third person, the thought is written in first-person, present-tense (since it occurs in the unfolding moment).

Example: They had plenty of evidence, but hardly enough to sway a jury. Then we have to get some solid proof somehow, thought John.

It looks like I missed an email from your website about your reply. I have seen your reply just now. Thank you for your clarification. Now, I realize that we quite frequently say “I think ….” while speaking with others. So usage of the verb “thought” as a dialog verb seems right!

Thank you! I’m writing a story and this helped me a lot!

That’s lovely to hear Ayra, it’s a pleasure! Thank you for reading our blog. Remember to subscribe to our newsletter if you want to know whenever we share new articles.

Thank you so much! I’m making a story right now and this helped me out. 🙂

Hi Julia. We’re glad we could help! Dialogue is crucial to making your story come alive, so it is worth taking the time to write believable conversations. We wish you the best of luck with your story, and hope you come and share it with us on our critique groups.

Do you have other words to use in your writing instead of thought?

Thanks for question. You could say contemplates, ponders, wonders, muses on, considers or reflected, for instance. All of these could work well in place of ‘thought’. My personal preference is to write as plainly as possible, and ‘thought’ is good. The reader’s eye almost just glides over it to the meat of what is being said or thought. But I agree you need some other options if thought is being used over and over especially on one page!

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• Open access
• Published: 26 April 2024

Online speech synthesis using a chronically implanted brain–computer interface in an individual with ALS

• Miguel Angrick 1 ,
• Shiyu Luo 2 ,
• Qinwan Rabbani 3 ,
• Daniel N. Candrea 2 ,
• Samyak Shah 1 ,
• Griffin W. Milsap 4 ,
• William S. Anderson 5 ,
• Chad R. Gordon 5 , 6 ,
• Kathryn R. Rosenblatt 1 , 7 ,
• Lora Clawson 1 ,
• Donna C. Tippett 1 , 8 , 9 ,
• Nicholas Maragakis 1 ,
• Francesco V. Tenore 4 ,
• Matthew S. Fifer 4 ,
• Hynek Hermansky 10 , 11 ,
• Nick F. Ramsey 12 &
• Nathan E. Crone 1  

Scientific Reports volume  14 , Article number:  9617 ( 2024 ) Cite this article

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• Amyotrophic lateral sclerosis
• Neuroscience

Brain–computer interfaces (BCIs) that reconstruct and synthesize speech using brain activity recorded with intracranial electrodes may pave the way toward novel communication interfaces for people who have lost their ability to speak, or who are at high risk of losing this ability, due to neurological disorders. Here, we report online synthesis of intelligible words using a chronically implanted brain-computer interface (BCI) in a man with impaired articulation due to ALS, participating in a clinical trial (ClinicalTrials.gov, NCT03567213) exploring different strategies for BCI communication. The 3-stage approach reported here relies on recurrent neural networks to identify, decode and synthesize speech from electrocorticographic (ECoG) signals acquired across motor, premotor and somatosensory cortices. We demonstrate a reliable BCI that synthesizes commands freely chosen and spoken by the participant from a vocabulary of 6 keywords previously used for decoding commands to control a communication board. Evaluation of the intelligibility of the synthesized speech indicates that 80% of the words can be correctly recognized by human listeners. Our results show that a speech-impaired individual with ALS can use a chronically implanted BCI to reliably produce synthesized words while preserving the participant’s voice profile, and provide further evidence for the stability of ECoG for speech-based BCIs.

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Introduction.

A variety of neurological disorders, including amyotrophic lateral sclerosis (ALS), can severely affect speech production and other purposeful movements while sparing cognition. This can result in varying degrees of communication impairments, including Locked-In Syndrome (LIS) 1 , 2 , in which patients can only answer yes/no questions or select from sequentially presented options using eyeblinks, eye movements, or other residual movements. Individuals such as these may use augmentative and alternative technologies (AAT) to select among options on a communication board, but this communication can be slow, effortful, and may require caregiver intervention. Recent advances in implantable brain-computer interfaces (BCIs) have demonstrated the feasibility of establishing and maintaining communication using a variety of direct brain control strategies that bypass weak muscles, for example to control a switch scanner 3 , 4 , a computer cursor 5 , to write letters 6 or to spell words using a hybrid approach of eye-tracking and attempted movement detection 7 . However, these communication modalities are still slower, more effortful, and less intuitive than speech-based BCI control 8 .

Recent studies have also explored the feasibility of decoding attempted speech from brain activity, outputting text or even acoustic speech, which could potentially carry more linguistic information such as intonation and prosody. Previous studies have reconstructed acoustic speech in offline analysis from linear regression models 9 , convolutional 10 and recurrent neural networks 11 , 12 , and encoder-decoder architectures 13 . Concatenative approaches from the text-to-speech synthesis domain have also been explored 14 , 15 , and voice activity has been identified in electrocorticographic (ECoG) 16 and stereotactic EEG recordings 17 . Moreover, speech decoding has been performed at the level of American English phonemes 18 , spoken vowels 19 , 20 , spoken words 21 and articulatory gestures 22 , 23 .

Until now, brain-to-speech decoding has primarily been reported in individuals with unimpaired speech, such as patients temporarily implanted with intracranial electrodes for epilepsy surgery. To date, it is unclear to what extent these findings will ultimately translate to individuals with motor speech impairments, as in ALS and other neurological disorders. Recent studies have demonstrated how neural activity acquired from an ECoG grid 24 or from microelectrodes 25 can be used to recover text from a patient with anarthria due to a brainstem stroke, or from a patient with dysarthria due to ALS, respectively. Prior to these studies, a landmark study allowed a locked-in volunteer to control a real-time synthesizer generating vowel sounds 26 . More recently, Metzger et al. 27 demonstrated in a clinical trial participant diagnosed with quadriplegia and anarthria a multimodal speech-neuroprosthetic system that was capable of synthesizing sentences in a cued setting from silent speech attempts. In our prior work, we presented a ‘plug-and-play’ system that allowed a clinical trial participant living with ALS to issue commands to external devices, such as a communication board, by using speech as a control mechanism 28 .

In related work, BCIs based on non-invasive modalities, such as electroencephalography (EEG), functional near-infrared spectroscopy (fNIRS) or functional magnetic resonance imaging (fMRI) have been investigated for speech decoding applications. These studies have largely focused on imagined speech 29 to avoid contamination by movement artifacts 30 . Recent work by Dash et al., for example, reported speech decoding results for imagined and spoken phrases from 3 ALS patients using magnetoencephalography (MEG) 31 . While speech decoding based on non-invasive methodologies is an important branch in the BCI field as they do not require a surgery and may be adopted by a larger population more easily, their current state of the art comes with disadvantages compared to implantable BCI’s as they lack either temporal or spatial resolution, or are currently not feasible for being used at home.

Here, we show that an individual living with ALS and participating in a clinical trial of an implantable BCI (ClinicalTrials.gov, NCT03567213) was able to produce audible, intelligible words that closely resembled his own voice, spoken at his own pace. Speech synthesis was accomplished through online decoding of ECoG signals generated during overt speech production from cortical regions previously shown to represent articulation and phonation, following similar previous work 11 , 19 , 32 , 33 . Our participant had considerable impairments in articulation and phonation. He was still able to produce some words that were intelligible when spoken in isolation, but his sentences were often unintelligible. Here, we focused on a closed vocabulary of 6 keywords, originally used for decoding spoken commands to control a communication board. Our participant was capable of producing these 6 keywords individually with a high degree of intelligibility. We acquired training data over a period of 6 weeks and deployed the speech synthesis BCI in several separate closed-loop sessions. Since the participant could still produce speech, we were able to easily and reliably time-align the individual’s neural and acoustic signals to enable a mapping between his cortical activity during overt speech production processes and his voice’s acoustic features. We chose to provide delayed rather than simultaneous auditory feedback in anticipation of ongoing deterioration in the patient’s speech due to ALS, with increasing discordance and interference between actual and BCI-synthesized speech. This design choice would be ideal for a neuroprosthetic device that remains capable of producing intelligible words as an individual’s speech becomes increasingly unintelligible, as was expected in our participant due to ALS.

Here, we present a self-paced BCI that translates brain activity directly to acoustic speech that resembles characteristics of the user’s voice profile, with most synthesized words of sufficient intelligibility to be correctly recognized by human listeners. This work makes an important step in adding more evidence that recent speech synthesis from neural signals in patients with intact speech can be translated to individuals with neurological speech impairments, by first focusing on a closed vocabulary that the participant can reliably generate at his own pace, before generalizing towards unseen words. Synthesizing speech from the neural activity associated with overt speech allowed us to demonstrate the feasibility of reproducing the acoustic features of speech when ground truth is available and its alignment with an acoustic target is straightforward, in turn setting a standard for future efforts when ground truth is unavailable, as in the Locked In Syndrome. Moreover, because our speech synthesis model was trained on data that preceded testing by several months, our results also support the stability of ECoG as a basis for speech BCIs.

In order to synthesize acoustic speech from neural signals, we designed a pipeline that consisted of three recurrent neural networks (RNNs) to (1) identify and buffer speech-related neural activity, (2) transform sequences of speech-related neural activity into an intermediate acoustic representation, and (3) eventually recover the acoustic waveform using a vocoder. Figure  1 shows a schematic overview of our approach. We acquired ECoG signals from two electrode grids that covered cortical representations for speech production including ventral sensorimotor cortex and the dorsal laryngeal area (Fig.  1 A). Here, we focused only on a subset of electrodes that had previously been identified as showing significant changes in high-gamma activity associated with overt speech production (see Supplementary Fig.  2 ). From the raw ECoG signals, our closed-loop speech synthesizer extracted broadband high-gamma power features (70–170 Hz) that had previously been demonstrated to encode speech-related information useful for decoding speech (Fig.  1 B) 10 , 14 .

Overview of the closed-loop speech synthesizer. ( A ) Neural activity is acquired from a subset of 64 electrodes (highlighted in orange) from two 8 × 8 ECoG electrode arrays covering sensorimotor areas for face and tongue, and for upper limb regions. ( B ) The closed-loop speech synthesizer extracts high-gamma features to reveal speech-related neural correlates of attempted speech production and propagates each frame to a neural voice activity detection (nVAD) model ( C ) that identifies and extracts speech segments ( D ). When the participant finishes speaking a word, the nVAD model forwards the high-gamma activity of the whole extracted sequence to a bidirectional decoding model ( E ) which estimates acoustic features ( F ) that can be transformed into an acoustic speech signal. ( G ) The synthesized speech is played back as acoustic feedback.

We used a unidirectional RNN to identify and buffer sequences of high-gamma activity frames and extract speech segments (Fig.  1 C,D). This neural voice activity detection (nVAD) model internally employed a strategy to correct misclassified frames based on each frame's temporal context, and additionally included a context window of 0.5 s to allow for smoother transitions between speech and non-speech frames. Each buffered sequence was forwarded to a bidirectional decoding model that mapped high-gamma features onto 18 Bark-scale cepstral coefficients 34 and 2 pitch parameters, henceforth referred to as LPC coefficients 35 , 36 (Fig.  1 E,F). We used a bidirectional architecture to include past and future information while making frame-wise predictions. Estimated LPC coefficients were transformed into an acoustic speech signal using the LPCNet vocoder 36 and played back as delayed auditory feedback (Fig.  1 G).

Synthesis performance

When deployed in sessions with the participant for online decoding, our speech-synthesis BCI was reliably capable of producing acoustic speech that captured many details and characteristics of the voice and pacing of the participant’s natural speech, often yielding a close resemblance to the words spoken in isolation from the participant. Figure  2 A provides examples of original and synthesized waveforms for a representative selection of words time-aligned by subtracting the duration of the extracted speech segment from the nVAD. Onset timings from the reconstructed waveforms indicate that the decoding model captured the flow of the spoken word while also synthesizing silence around utterances for smoother transitions. A comparison between voice activity for spoken and synthesized speech revealed a median Levenstein distance of 235 ms, hinting that the synthesis approach was capable of generating speech that adequately matched the timing of the spoken counterpart. Figure  2 B shows the corresponding acoustic spectrograms for the spoken and synthesized words, respectively. The spectral structures of the original and synthesized speech shared many common characteristics and achieved average correlation scores of 0.67 (± 0.18 standard deviation) suggesting that phoneme and formant-specific information were preserved.

Evaluation of the synthesized words. ( A ) Visual example of time-aligned original and reconstructed acoustic speech waveforms and their spectral representations ( B ) for 6 words that were recorded during one of the closed-loop sessions. Speech spectrograms are shown between 100 and 8000 Hz with a logarithmic frequency range to emphasize formant frequencies. ( C ) The confusion matrix between human listeners and ground truth. ( D ) Distribution of accuracy scores from all who performed the listening test for the synthesized speech samples. Dashed line shows chance performance (16.7%).

We conducted 3 sessions across 3 different days (approximately 5 and a half months after the training data was acquired, each session lasted 6 min) to repeat the experiment with acoustic feedback from the BCI to the participant (see Supplementary Video 1 for an excerpt). Other experiment parameters were not changed. All synthesized words were played back on loudspeakers while simultaneously recorded for evaluation.

To assess the intelligibility of the synthesized words, we conducted listening tests in which human listeners played back individual samples of the synthesized words and selected the word that most closely resembled each sample. Additionally, we mixed in samples that contained the originally spoken words. This allowed us to assess the quality of the participant’s natural speech. We recruited a cohort of 21 native English speakers to listen to all samples that were produced during our 3 closed-loop sessions. Out of 180 samples, we excluded 2 words because the nVAD model did not detect speech activity and therefore no speech output was produced by the decoding model. We also excluded a few cases where speech activity was falsely detected by the nVAD model, which resulted in synthesized silence and remained unnoticed to the participant.

Overall, human listeners achieved an accuracy score of 80%, indicating that the majority of synthesized words could be correctly and reliably recognized. Figure  2 C presents the confusion matrix regarding only the synthesized samples where the ground truth labels and human listener choices are displayed on the X- and Y-axes respectively. The confusion matrix shows that human listeners were able to recognize all but one word at very high rates. “Back” was recognized at low rates, albeit still above chance, and was most often mistaken for “Left”. This could have been due in part to the close proximity of the vowel formant frequencies for these two words. The participant’s weak tongue movements may have deemphasized the acoustic discriminability of these words, in turn resulting in the vocoder synthesizing a version of “back” that was often indistinct from “left”. In contrast, the confusion matrix also shows that human listeners were confident in distinguishing the words “Up” and “Left”. The decoder synthesized an intelligible but incorrect word in only 4% of the cases, and all listeners accurately recognized the incorrect word. Note that all keywords in the vocabulary were chosen for intuitive command and control of a computer interface, for example a communication board, and were not designed to be easily discriminable for BCI applications.

Figure  2 D summarizes individual accuracy scores from all human listeners from the listening test in a histogram. All listeners recognized between 75 and 84% of the synthesized words. All human listeners achieved accuracy scores above chance (16.7%). In contrast, when tested on the participant’s natural speech, our human listeners correctly recognized almost all samples of the 6 keywords (99.8%).

Anatomical and temporal contributions

In order to understand which cortical areas contributed to identification of speech segments, we conducted a saliency analysis 37 to reveal the underlying dynamics in high-gamma activity changes that explain the binary decisions made by our nVAD model. We utilized a method from the image processing domain 38 that queries spatial information indicating which pixels have contributed to a classification task. In our case, this method ranked individual high-gamma features over time by their influence on the predicted speech onsets (PSO). We defined the PSO as the first occurrence when the nVAD model identified spoken speech and neural data started to get buffered before being forwarded to the decoding model. The absolute values of their gradients allowed interpretations of which contributions had the highest or lowest impact on the class scores from anatomical and temporal perspectives.

The general idea is illustrated in Fig.  3 B. In a forward pass, we first estimated for each trial the PSO by propagating through each time step until the nVAD model made a positive prediction. From here, we then applied backpropagation through time to compute all gradients with respect to the model’s input high-gamma features. Relevance scores |R| were computed by taking the absolute value of each partial derivative and the maximum value across time was used as the final score for each electrode 38 . Note that we only performed backpropagation through time for each PSO, and not for whole speech segments.

Changes in high-gamma activity across motor, premotor and somatosensory cortices trigger detection of speech output. ( A ) Saliency analysis shows that changes in high-gamma activity predominantly from 300 to 100 ms prior to predicted speech onset (PSO) strongly influenced the nVAD model’s decision. Electrodes covering motor, premotor and somatosensory cortices show the impact of model decisions, while electrodes covering the dorsal laryngeal area only modestly added information to the prediction. Grey electrodes were either not used, bad channels or had no notable contributions. ( B ) Illustration of the general procedure on how relevance scores were computed. For each time step t , relevance scores were computed by backpropagation through time across all previous high-gamma frames X t . Predictions of 0 correspond to no-speech, while 1 represents speech frames. ( C ) Temporal progression of mean magnitudes of the absolute relevance score in 3 selected channels that strongly contributed to PSOs. Shaded areas reflect the standard error of the mean (N = 60). Units of the relevance scores are in 10 –3 .

Results from the saliency analysis are shown in Fig.  3 A. For each channel, we display the PSO-specific relevance scores by encoding the maximum magnitude of the influence in the size of the circles (bigger circles mean stronger influence on the predictions), and the temporal occurrence of that maximum in the respective color coding (lighter electrodes have their maximal influence on the PSO earlier). The color bar at the bottom limits the temporal influence to − 400 ms prior to PSO, consistent with previous reports about speech planning 39 and articulatory representations 19 . The saliency analysis showed that the nVAD model relied on a broad network of electrodes covering motor, premotor and somatosensory cortices whose collective changes in the high-gamma activity were relevant for identifying speech. Meanwhile, voice activity information encoded in the dorsal laryngeal area (highlighted electrodes in the upper grid in Fig.  3 A) 19 only mildly contributed to the PSO.

Figure  3 C shows relevance scores over a time period of 1 s prior to PSO for 3 selected electrodes that strongly contributed to predicting speech onsets. In conjunction with the color coding from Fig.  3 A, the temporal associations were consistent with previous studies that examined phoneme decoding over fixed window sizes of 400 ms 18 and 500 ms 40 , 41 around speech onset times, suggesting that the nVAD model benefited from neural activity during speech planning and phonological processing 39 when identifying speech onset. We hypothesize that the decline in the relevance scores after − 200 ms can be explained by the fact that voice activity information might have already been stored in the long short-term memory of the nVAD model and thus changes in neural activity beyond this time had less influence on the prediction.

Here we demonstrate the feasibility of a closed-loop BCI that is capable of online synthesis of intelligible words using intracranial recordings from the speech cortex of an ALS clinical trial participant. Recent studies 10 , 11 , 13 , 27 suggest that deep learning techniques are a viable tool to reconstruct acoustic speech from ECoG signals. We found an approach consisting of three consecutive RNN architectures that identify and transform neural speech correlates into an acoustic waveform that can be streamed over the loudspeaker as neurofeedback, resulting in an 80% intelligibility score on a closed-vocabulary, keyword reading task.

The majority of human listeners were able to correctly recognize most synthesized words. All words from the closed vocabulary were chosen for a prior study 28 that explored speech decoding for intuitive control of a communication board rather than being constructed to elicit discriminable neural activity that benefits decoder performance. The listening tests suggest that the words “Left” and “Back” were responsible for the majority of misclassified words. These words share very similar articulatory features, and our participant’s speech impairments likely made these words less discriminable in the synthesis process.

Saliency analysis showed that our nVAD approach used information encoded in the high-gamma band across predominantly motor, premotor and somatosensory cortices, while electrodes covering the dorsal laryngeal area only marginally contributed to the identification of speech onsets. In particular, neural changes previously reported to be important for speech planning and phonological processing 19 , 39 appeared to have a profound impact. Here, the analysis indicates that our nVAD model learned a proper representation of spoken speech processes, providing a connection between neural patterns learned by the model and the spatio-temporal dynamics of speech production.

Our participant was chronically implanted with 128 subdural ECoG electrodes, roughly half of which covered cortical areas where similar high-gamma responses have been reliably elicited during overt speech 18 , 19 , 40 , 42 and have been used for offline decoding and reconstruction of speech 10 , 11 . This study and others like it 24 , 27 , 43 , 44 explored the potential of ECoG-based BCIs to augment communication for individuals with motor speech impairments due to a variety of neurological disorders, including ALS and brainstem stroke. A potential advantage of ECoG for BCI is the stability of signal quality over long periods of time 45 . In a previous study of an individual with locked-in syndrome due to ALS, a fully implantable ECoG BCI with fewer electrodes provided a stable switch for a spelling application over a period of more than 3 years 46 . Similarly, Rao et al. reported robust responses for ECoG recordings over the speech-auditory cortex for two drug-resistant epilepsy patients over a period of 1.5 years 47 . More recently, we showed that the same clinical trial participant could control a communication board with ECoG decoding of self-paced speech commands over a period of 3 months without retraining or recalibration 28 . The speech synthesis approach we demonstrated here used training data from five and a half months prior to testing and produced similar results over 3 separate days of testing, with recalibration but no retraining in each session. These findings suggest that the correspondence between neural activity in ventral sensorimotor cortex and speech acoustics were not significantly changed over this time period. Although longitudinal testing over longer time periods will be needed to explicitly test this, our findings provide additional support for the stability of ECoG as a BCI signal source for speech synthesis.

Our approach used a speech synthesis model trained on neural data acquired during overt speech production. This constrains our current approach to patients with speech motor impairments in which vocalization is still possible and in which speech may still be intelligible. Given the increasing use of voice banking among people living with ALS, it may also be possible to improve the intelligibility of synthetic speech using an approach similar to ours, even in participants with unintelligible or absent speech. This speech could be utilized as a surrogate but would require careful alignment to speech attempts. Likewise, the same approach could be used with a generic voice, though this would not preserve the individual’s speech characteristics. Here our results were achieved without the added challenge of absent ground truth, but they serve as an important demonstration that if adequate alignment is achieved, direct synthesis of acoustic speech from ECoG is feasible, accurate, and stable, even in a person with dysarthria due to ALS. Nevertheless, it remains to be seen how long our approach will continue to produce intelligible speech as our patient’s neural responses and articulatory impairments change over time due to ALS. Previous studies of long-term ECoG signal stability and BCI performance in patients with more severe motor impairments suggest that this may be possible 3 , 48 .

Although our approach allowed for online, closed-loop production of synthetic speech that preserved our participant’s individual voice characteristics, the bidirectional LSTM imposed a delay in the audible feedback until after the patient spoke each word. We considered this delay to be not only acceptable, but potentially desirable, given our patient’s speech impairments and the likelihood of these impairments worsening in the future due to ALS. Although normal speakers use immediate acoustic feedback to tune their speech motor output 49 , individuals with progressive motor speech impairments are likely to reach a point at which there is a significant, and distracting, mismatch between the subject’s speech and the synthetic speech produced by the BCI. In contrast, providing acoustic feedback immediately after each utterance gives the user clear and uninterrupted output that they can use to improve subsequent speech attempts, if necessary.

While our results are promising, the approach used here did not allow for synthesis of unseen words. The bidirectional architecture of the decoding model learned variations of the neural dynamics of each word and was capable of recovering their acoustic representations from corresponding sequences of high-gamma frames. This approach did not capture more fine-grained and isolated part-of-speech units, such as syllables or phonemes. However, previous research 11 , 27 has shown that speech synthesis approaches based on bidirectional architectures can generalize to unseen elements that were not part of the training set. Future research will be needed to expand the limited vocabulary used here, and to explore to what extent similar or different approaches are able to extrapolate to words that are not in the vocabulary of the training set.

Our demonstration here builds on previous seminal studies of the cortical representations for articulation and phonation 19 , 32 , 40 in epilepsy patients implanted with similar subdural ECoG arrays for less than 30 days. These studies and others using intraoperative recordings have also supported the feasibility of producing synthetic speech from ECoG high-gamma responses 10 , 11 , 33 , but these demonstrations were based on offline analysis of ECoG signals that were previously recorded in subjects with normal speech, with the exception of the work by Metzger et al. 27 Here, a participant with impaired articulation and phonation was able to use a chronically implanted investigational device to produce acoustic speech that retained his unique voice characteristics. This was made possible through online decoding of ECoG high-gamma responses, using an algorithm trained on data collected months before. Notwithstanding the current limitations of our approach, our findings here provide a promising proof-of-concept that ECoG BCIs utilizing online speech synthesis can serve as alternative and augmentative communication devices for people living with ALS. Moreover, our findings should motivate continued research on the feasibility of using BCIs to preserve or restore vocal communication in clinical populations where this is needed.

Materials and methods

Participant.

Our participant was a male native English speaker in his 60s with ALS who was enrolled in a clinical trial (NCT03567213), approved by the Johns Hopkins University Institutional Review Board (IRB) and by the FDA (under an investigational device exemption) to test the safety and preliminary efficacy of a brain-computer interface composed of subdural electrodes and a percutaneous connection to external EEG amplifiers and computers. All experiments conducted in this study complied with all relevant guidelines and regulations, and were performed according to a clinical trial protocol approved by the Johns Hopkins IRB. Diagnosed with ALS 8 years prior to implantation, our participant’s motor impairments had chiefly affected bulbar and upper extremity muscles and had resulted in motor impairments sufficient to render continuous speech mostly unintelligible (though individual words were intelligible), and to require assistance with most activities of daily living. Our participant’s ability to carry out activities of daily living were assessed using the ALSFRS-R measure 50 , resulting in a score of 26 out of 48 possible points (speech was rated at 1 point, see Supplementary Data S5 ). Furthermore, speech intelligibility and speaking rate were evaluated by a certified speech-language pathologist, whose detailed assessment may be found in the Supplementary Note . The participant gave informed consent after being counseled about the nature of the research and implant-related risks and was implanted with the study device in July 2022. Additionally, the participant gave informed consent for use of his audio and video recordings in publications of the study results.

Study device and implantation

The study device was composed of two 8 × 8 subdural electrode grids (PMT Corporation, Chanhassen, MN) connected to a percutaneous 128-channel Neuroport pedestal (Blackrock Neurotech, Salt Lake City, UT). Both subdural grids contained platinum-iridium disc electrodes (0.76 mm thickness, 2-mm diameter exposed surface) with 4 mm center-to-center spacing and a total surface area of 12.11 cm 2 (36.6 mm × 33.1 mm).

The study device was surgically implanted during a standard awake craniotomy with a combination of local anesthesia and light sedation, without neuromuscular blockade. The device’s ECoG grids were placed on the pial surface of sensorimotor representations for speech and upper extremity movements in the left hemisphere. Careful attention was made to assure that the scalp flap incision was well away from the external pedestal. Cortical representations were targeted using anatomical landmarks from pre-operative structural (MRI) and functional imaging (fMRI), in addition to somatosensory evoked potentials measured intraoperatively. Two reference wires attached to the Neuroport pedestal were implanted in the subdural space on the outward facing surface of the subdural grids. The participant was awoken during the craniotomy to confirm proper functioning of the study device and final placement of the two subdural grids. For this purpose, the participant was asked to repeatedly speak a single word as event-related ECoG spectral responses were noted to verify optimal placement for the implanted electrodes. On the same day, the participant had a post-operative CT which was then co-registered to a pre-operative MRI to verify the anatomical locations of the two grids.

Data recording

During all training and testing sessions, the Neuroport pedestal was connected to a 128-channel NeuroPlex-E headstage that was in turn connected by a mini-HDMI cable to a NeuroPort Biopotential Signal Processor (Blackrock Neurotech, Salt Lake City, UT, USA) and external computers. We acquired neural signals at a sampling rate of 1000 Hz.

Acoustic speech was recorded through an external microphone (BETA® 58A, SHURE, Niles, IL) in a room isolated from external acoustic and electronic noise, then amplified and digitized by an external audio interface (H6-audio-recorder, Zoom Corporation, Tokyo, Japan). The acoustic speech signal was split and forwarded to: (1) an analog input of the NeuroPort Biopotential Signal Processor (NSP) to be recorded at the same frequency and in synchrony with the neural signals, and (2) the testing computer to capture high-quality (48 kHz) recordings. We applied cross-correlation to align the high-quality recordings with the synchronized audio signal from the NSP.

Experiment recordings and task design

Each recording day began with a syllable repetition task to acquire cortical activity to be used for baseline normalization. Each syllable was audibly presented through a loudspeaker, and the participant was instructed to recite the heard stimulus by repeating it aloud. Stimulus presentation lasted for 1 s, and trial duration was set randomly in the range of 2.5 s and 3.5 s with a step size of 80 ms. In the syllable repetition task, the participant was instructed to repeat 12 consonant–vowel syllables (Supplementary Table S4 ), in which each syllable was repeated 5 times. We extracted high-gamma frames from all trials to compute for each day the mean and standard deviation statistics for channel-specific normalization.

To collect data for training our nVAD and speech decoding model, we recorded ECoG during multiple blocks of a speech production task over a period of 6 weeks. During the task, the participant read aloud single words that were prompted on a computer screen, interrupted occasionally by a silence trial in which the participant was instructed to say nothing. The words came from a closed vocabulary of 6 words ("Left", "Right", "Up", "Down", "Enter", "Back", and “…” for silence) that were chosen for a separate study in which these spoken words were decoded from ECoG to control a communication board 28 . In each block, there were ten repetitions of each word (60 words in total) that appeared in a pseudo-randomized order by having a fixed set of seeds to control randomization orders. Each word was shown for 2 s per trial with an intertrial interval of 3 s. The participant was instructed to read the prompted word aloud as soon as it appeared. Because his speech was slow, effortful, and dysarthric, the participant may have sometimes used some of the intertrial interval to complete word production. However, offline analysis verified at least 1 s between the end of each spoken word and the beginning of the next trial, assuring that enough time had passed to avoid ECoG high-gamma responses leaking into subsequent trials. In each block, neural signals and audibly vocalized speech were acquired in parallel and stored to disc using BCI2000 51 .

We recorded training, validation, and test data for 10 days, and deployed our approach for synthesizing speech online five and a half months later. During the online task, the synthesized output was played to the participant while he performed the same keyword reading task as in the training sessions. The feedback from each synthesized word began after he spoke the same word, avoiding any interference with production from the acoustic feedback. The validation dataset was used for finding appropriate hyperparameters to train both nVAD and the decoding model. The test set was used to validate final model generalizability before online sessions. We also used the test set for the saliency analysis. In total, the training set was comprised of 1570 trials that aggregated to approximately 80 min of data (21.8 min are pure speech), while the validation and test set contained 70 trials each with around 3 min of data (0.9 min pure speech). The data in each of these datasets were collected on different days, so that no baseline or other statistics in the training set leaked into the validation or test set.

Signal processing and feature extraction

Neural signals were transformed into broadband high-gamma power features that have been previously reported to closely track the timing and location of cortical activation during speech and language processes 42 , 52 . In this feature extraction process, we first re-referenced all channels within each 64-contact grid to a common-average reference (CAR filtering), excluding channels with poor signal quality in any training session. Next, we selected all channels that had previously shown significant high-gamma responses during the syllable repetition task described above. This included 64 channels (Supplementary Fig. S2 , channels with blue outlines) across motor, premotor and somatosensory cortices, including the dorsal laryngeal area. From here, we applied two IIR Butterworth filters (both with filter order 8) to extract the high-gamma band in the range of 70 to 170 Hz while subsequently attenuating the first harmonic (118–122 Hz) of the line noise. For each channel, we computed logarithmic power features based on windows with a fixed length of 50 ms and a frameshift of 10 ms. To estimate speech-related increases in broadband high-gamma power, we normalized each feature by the day-specific statistics of the high-gamma power features accumulated from the syllable repetition task.

For the acoustic recordings of the participant’s speech, we downsampled the time-aligned high-quality microphone recordings from 48 to 16 kHz. From here, we padded the acoustic data by 16 ms to account for the shift introduced by the two filters on the neural data and estimated the boundaries of speech segments using an energy-based voice activity detection algorithm 53 . Likewise, we computed acoustic features in the LPC coefficient space through the encoding functionality of the LPCNet vocoder. Both voice activity detection and LPC feature encoding were configured to operate on 10 ms frameshifts to match the number of samples from the broadband high-gamma feature extraction pipeline.

Network architectures

Our proposed approach relied on three recurrent neural network architectures: (1) a unidirectional model that identified speech segments from the neural data, (2) a bidirectional model that translated sequences of speech-related high-gamma activity into corresponding sequences of LPC coefficients representing acoustic information, and (3) LPCNet 36 , which converted those LPC coefficients into an acoustic speech signal.

The network architecture of the unidirectional nVAD model was inspired by Zen et al. 54 in using a stack of two LSTM layers with 150 units each, followed by a linear fully connected output layer with two units representing speech or non-speech class target logits (Fig.  4 ). We trained the unidirectional nVAD model using truncated backpropagation through time (BPTT) 55 to keep the costs of single parameter updates manageable. We initialized this algorithm’s hyperparameters k 1 and k 2 to 50 and 100 frames of high-gamma activity, respectively, such that the unfolding procedure of the backpropagation step was limited to 100 frames (1 s) and repeated every 50 frames (500 ms). Dropout was used as a regularization method with a probability of 50% to counter overfitting effects 56 . Comparison between predicted and target labels was determined by the cross-entropy loss. We limited the network training using an early stopping mechanism that evaluated after each epoch the network performance on a held-out validation set and kept track of the best model weights by storing the model weights only when the frame-wise accuracy score was bigger than before. The learning rate of the stochastic gradient descent optimizer was dynamically adjusted in accordance with the RMSprop formula 57 with an initial learning rate of 0.001. Using this procedure, the unidirectional nVAD model was trained for 27,975 update steps, achieving a frame-wise accuracy of 93.4% on held-out validation data. The architecture of the nVAD model had 311,102 trainable weights.

System overview of the closed-loop architecture. The computational graph is designed as a directed acyclic network. Solid shapes represent ezmsg units, dotted ones represent initialization parameters. Each unit is responsible for a self-contained task and distributes their output to all its subscribers. Logger units run in separate processes to not interrupt the main processing chain for synthesizing speech.

The network architecture of the bidirectional decoding model had a very similar configuration to the unidirectional nVAD but employed a stack of bidirectional LSTM layers for sequence modelling 11 to include past and future contexts. Since the acoustic space of the LPC components was continuous, we used a linear fully connected output layer for this regression task. Figure  4 contains an illustration of the network architecture of the decoding model. In contrast to the unidirectional nVAD model, we used standard BPTT to account for both past and future contexts within each extracted segment identified as spoken speech. The architecture of the decoding model had 378,420 trainable weights and was trained for 14,130 update steps using a stochastic gradient descent optimizer. The initial learning rate was set to 0.001 and dynamically updated in accordance with the RMSProp formula. Again, we used dropout with a 50% probability and employed an early stopping mechanism that only updated model weights when the loss on the held-out validation set was lower than before.

Both the unidirectional nVAD and the bidirectional decoding model were implemented within the PyTorch framework. For LPCNet, we used the C-implementation and pretrained model weights by the original authors and communicated with the library via wrapper functions through the Cython programming language.

Closed-loop architecture

Our closed-loop architecture was built upon ezmsg, a general-purpose framework which enables the implementation of streaming systems in the form a directed acyclic network of connected units, which communicate with each other through a publish/subscribe software engineering pattern using asynchronous coroutines. Here, each unit represents a self-contained operation which receives many inputs, and optionally propagates its output to all its subscribers. A unit consists of a settings and state class for enabling initial and updatable configurations and has multiple input and output connection streams to communicate with other nodes in the network. Figure  4 shows a schematic overview of the closed-loop architecture. ECoG signals were received by connecting to BCI2000 via a custom ZeroMQ (ZMQ) networking interface that sent packages of 40 ms over the TCP/IP protocol. From here, each unit interacted with other units through an asynchronous message system that was implemented on top of a shared-memory publish-subscribe multi-processing pattern. Figure  4 shows that the closed-loop architecture was comprised of 5 units for the synthesis pipeline, while employing several additional units that acted as loggers and wrote intermediate data to disc.

In order to play back the synthesized speech during closed-loop sessions, we wrote the bytes of the raw PCM waveform to standard output (stdout) and reinterpreted them by piping them into SoX. We implemented our closed-loop architecture in Python 3.10. To keep the computational complexity manageable for this streamlined application, we implemented several functionalities, such as ringbuffers or specific calculations in the high-gamma feature extraction, in Cython.

Contamination analysis

Overt speech production can cause acoustic artifacts in electrophysiological recordings, allowing learning machines such as neural networks to rely on information that is likely to fail once deployed—a phenomenon widely known as Clever Hans 58 . We used the method proposed by Roussel et al. 59 to assess the risk that our ECoG recordings had been contaminated. This method compares correlations between neural and acoustic spectrograms to determine a contamination index which describes the average correlation of matching frequencies. This contamination index is compared to the distribution of contamination indices resulting from randomly permuting the rows and columns of the contamination matrix—allowing statistical analysis of the risk when assuming that no acoustic contamination is present.

For each recording day among the train, test and validation set, we analyzed acoustic contamination in the high-gamma frequency range. We identified 1 channel (Channel 46) in our recordings that was likely contaminated during 3 recording days (D 5 , D 6 , and D 7 ), and we corrected this channel by taking the average of high-gamma power features from neighboring channels (8-neighbour configuration, excluding the bad channel 38). A detailed report can be found in Supplementary Fig. S1 , where each histogram corresponds to the distribution of permuted contamination matrices, and colored vertical bars indicate the actual contamination index, where green and red indicate the statistical criterion threshold (green: p > 0.05, red: p ≤ 0.05). After excluding the neural data from channel 46, Roussel’s method suggested that the null hypothesis could be rejected, and thus we concluded that no acoustic speech has interfered with neural recording.

Listening test

We conducted a forced-choice listening test similar to Herff et al. 14 in which 21 native English speakers evaluated the intelligibility of the synthesized output and the originally spoken words. Listeners were asked to listen to one word at a time and select which word out of the six options most closely resembled it. Here, the listeners had the opportunity to listen to each sample many times before submitting a choice. We implemented the listening test on top of the BeaqleJS framework 60 . All words that were either spoken or synthesized during the 3 closed-loop sessions were included in the listening test, but were randomly sampled from a uniform distribution for unique randomized sequences across listeners. Supplementary Fig. S3 provides a screenshot of the interface with which the listeners were working.

All human listeners were only recruited through indirect means such as IRB-approved flyers placed on campus sites and had no direct connection to the PI. Anonymous demographic data was collected at the end of the listening test asking for age and preferred gender. Overall, recruited participants were 23.8% male and 61.9% female (14% other or preferred not to answer) ranging between 18 to 30 years old.

Statistical analysis

Original and reconstructed speech spectrograms were compared using Pearson's correlation coefficients for 80 mel-scaled spectral bins. For this, we transformed original and reconstructed waveforms into the spectral domain using the short-time Fourier transform (window size: 50 ms, frameshift: 10 ms, window function: Hanning), applied 80 triangular filters to focus only on perceptual differences for human listeners 61 , and Gaussianized the distribution of the acoustic space using the natural logarithm. Pearson correlation scores were calculated for each sample by averaging the correlation coefficients across frequency bins. The 95% confidence interval (two-sided) was used in the feature selection procedure while the z-criterion was Bonferroni corrected across time points. Lower and upper bounds for all channels and time points can be found in the supplementary data . Contamination analysis is based on permutation tests that use t-tests as their statistical criterion with a Bonferroni corrected significance level of α = 0.05/N, where N represents the number of frequency bins multiplied by the number of selected channels.

Overall, we used the SciPy stats package (version 1.10.1) for statistical evaluation, but the contamination analysis has been done in Matlab with the statistics and machine learning toolbox (version 12.4).

Data availability

Neural data and anonymized speech audio are publicly available at http://www.osf.io/49rt7/ . This includes experiment recordings used as training data and experiment runs from our closed-loop sessions. Additionally, we also included supporting data used for rendering the figures in the main text and in the supplementary material.

Code availability

Corresponding source code for the closed-loop BCI and scripts for generating figures can be obtained from the official Crone Lab Github page at: https://github.com/cronelab/delayed-speech-synthesis . This includes source files for training, inference, and data analysis/evaluation. The ezmsg framework can be obtained from https://github.com/iscoe/ezmsg .

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Acknowledgements

Research reported in this publication was supported by the National Institute Of Neurological Disorders And Stroke of the National Institutes of Health under Award Number UH3NS114439 (PI N.E.C., co-PI N.F.R.). The content is solely the responsibility of the authors and does not necessarily represent the official views of the National Institutes of Health.

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M.A. and N.C. wrote the manuscript. M.A., S.L., Q.R. and D.C. analyzed the data. M.A. and S.S. conducted the listening test. S.L. collected the data. M.A. and G.M. implemented the code for the online decoder and the underlying framework. M.A. made the visualizations. W.A., C.G. and K.R., L.C. and N.M. conducted the surgery/medical procedure. D.T. made the speech and language assessment. F.T. handled the regulatory aspects. H.H. supervised the speech processing methodology. M.F. N.R. and N.C. supervised the study and the conceptualization. All authors reviewed and revised the manuscript.

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Angrick, M., Luo, S., Rabbani, Q. et al. Online speech synthesis using a chronically implanted brain–computer interface in an individual with ALS. Sci Rep 14 , 9617 (2024). https://doi.org/10.1038/s41598-024-60277-2

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Doctoral Dissertations and Projects

How to create things with words: identifying the performative speech acts of god’s spoken words in the genesis 1 creation account.

Ivan C. Yu , Liberty University Follow

Rawlings School of Divinity

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David D. Pettus

Genesis 1, creation, creationism, material creation, functional creation, Trinity, Elohim, logos, yom, day, young earth, Speech Act Theory, J.L. Austin, John Searle, locutionary act, illocutionary act, perlocutionary act, Kevin Vanhoozer, John H. Walton, Ancient Near East, form criticism, comparative studies

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Yu, Ivan C., "How to Create Things with Words: Identifying the Performative Speech Acts of God’s Spoken Words in the Genesis 1 Creation Account" (2024). Doctoral Dissertations and Projects . 5483. https://digitalcommons.liberty.edu/doctoral/5483

Speech Act Theory is a branch of linguistics that explores not only how language is used to convey meaning, but also how it is used to perform actions or functions. In recent decades, it has been applied as a viable hermeneutical tool to aid biblical interpretation and defend the inerrancy of Scripture. Identifying the speech acts of the biblical author or speakers in the biblical narratives can be useful to understand the meaning and intention of the utterances, phrases, and words spoken. In the Genesis 1 creation narrative, God spoke words to create the universe. While adopting a canonical approach to interpretation and a trinitarian reading, this research applied Speech Act Theory to Genesis 1 to identify the locutionary, illocutionary, and perlocutionary acts God performed with His speech on each day of creation. In doing so, it showed how the application of Speech Act Theory to the Genesis 1 creation narrative can be a viable hermeneutical tool to understand that the narrative intended to communicate how God created a universe of material origins instantaneously in a way that is consistent with His character as the Trinitarian God. This research also used Speech Act Theory to critique John H. Walton’s functional view of creation in Genesis 1 and reveal the challenges of his speech act methodology with Ancient Near East comparative studies.

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Today's Wordle Hints and Answer: Help for April 26, #1042

T oday's Wordle answer could be tricky. It's not the most commonly used word and has some letters that aren't that commonly guessed. Speaking of common letters, we've got a new Wordle cheat sheet for you: A list ranking all the letters in the alphabet according to how frequently they're used in English words. 

Every day, we'll post hints and then the answer for the current day's Wordle, just in case you need it.

Today's Wordle hints

Warning: If you keep reading, you'll see the  Wordle  answer for Friday, April 26, puzzle No. 1042 (preceded by hints that might give it away). That could be a devastating spoiler for some players. But if you just need the answer -- maybe you're on your last guess and simply don't want to see an 800-game streak go poof -- keep reading. 

Wordle hint No. 1: Vowels

Today's Wordle answer features two vowels.

Wordle hint No. 2: No repeats

None of the letters in the word are repeated

Wordle hint No. 3: Starting letter

Today's Wordle answer begins with the letter V.

Wordle hint No. 4: Meaning

Today's Wordle answer means dull, flat or unstimulating.

Wordle hint No. 5: Part of speech

Today's Wordle answer is an adjective.

TODAY'S WORDLE ANSWER

Here comes the spoiler: Today's Wordle answer is VAPID, which we generally use to mean boring or empty-headed, not interesting. If you use it to describe a person, you're insulting them.

Yesterday's Wordle answer

Yesterday's answer, #1041, April 25, was INTRO.

Past Wordle answers

April 21, No. 1037: JOLLY

April 22, No. 1038: LASER

April 23: No. 1039: ROVER

April 24, No. 1040: OVERT

Everyday Wordle tips

I've written a lot about Wordle -- from  covering its 1,000th word  to my list of the  best starter words  to a  helpful two-step strategy  to news about  controversial word changes . I've even rounded up  what I learned playing the hit online word puzzle for a full year . So if you're rethinking your need for the actual answer, you might try tips from one of those stories.

Still need a starter word? One person told me they just look around and choose a five-letter object that they've spotted to use as their starter word -- such as COUCH or CHAIR. I tend to stick to starter words that have the most popular letters used in English words. I like TRAIN as a starter, though I have a friend who uses TRAIL. I've read that people use the financial term ROATE , but I like to use words I actually know.

What is Wordle?

If you read this far, you know how to play. You have six chances to guess a five-letter word, and the game gives you feedback as to whether the letters you've guessed are in the puzzle, and if they're in the same spot where you guessed they are. The New York Times  bought the game from creator Josh Wardle  for seven figures in 2022. Wardle famously created the game for his partner and let her narrow down the 12,000 five-letter words in the English language to just 2,500, creating the database of answers. It was convenient, too, that he has a name that plays off "word."

A Times spokesperson told me it lists the very first Wordle as appearing on June 19, 2021, and the paper  celebrated the game's 1,000th word on March 15 . Spoiler: That 1000th word was ERUPT. As in, "Dad will erupt if the Wordle is so tough he loses his streak."

There are other fun games in the Times Games stable. My  latest addiction is Connections , which I think is trickier than Wordle. This is the game where you look at a grid of 16 words and try to put them into four groups of related words. Sometimes the relationships between the words are pretty out there -- like the time when it was four words that all began with rock bands, such as "Rushmore" and "journeyman." (Connections got a little sassy on April Fools' Day with an  all-emoji puzzle . Some gamers did NOT find that funny.)

Spelling Bee  is a popular Times game too. And there's a new game that's still in beta,  Strands , which I'm trying to master.

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When I use a word . . . The languages of medicines—British Approved Names

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• Centre for Evidence Based Medicine, Nuffield Department of Primary Care Health Sciences, University of Oxford, Oxford, UK
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Approved names of medicines, later known as British Approved Names, were introduced in the UK in the 1940s, as part of wartime efforts to ensure the supply of important medicines, including antimalarial drugs manufactured in Germany. Giving them approved names allowed any manufacturer to market a product containing the medicine, which would otherwise only be available as a branded product. Such products were also cheaper than the originators. The 1968 Medicines Act made it a statutory requirement that approved names be used as the headings of monographs in publications such as the British Pharmacopoeia and the British Pharmaceutical Codex. Today, almost all British Approved Names (BANs), lists of which are published at regular intervals, are the same as the WHO’s International Nonproprietary Names (INNs).

Vocabularies, lexicons, and glossaries

All languages have vocabularies. The definition of a vocabulary in the Oxford English Dictionary ( OED ) 1 is “The body or range of words used in a particular language.” “Vocabulary” is synonymous with “lexicon,” defined as “The complete set of meaningful units in a language; the words, etc., as in a dictionary, but without the definitions.” 2

These two words are both connected to speaking. “Vocabulary” comes from the Latin word vocabulum, a term or a name, or more specifically a noun, from the verb vocare, to call out or address by name, which in turn derives from vox, the voice. “Lexicon” is Greek, from the adjective λεξικός, of or for words, which is from the noun λέξις, speech or diction, a word or phrase, and that comes from the verb λέγειν- to speak; λεξικόν βιβλίον is a book of words, in other words a glossary. “Glossary” is also Greek in origin, from γλῶσσα , a tongue and also an obsolete or foreign word that needs explaining. A glossary is “a list with explanations of abstruse, antiquated, dialectal, or technical terms; a partial dictionary.” 3

Approved names

The set of approved names of medicines constitutes a specialised vocabulary, a subset of words in the language to which it belongs.

The General Medical Council (GMC) was established under the Medical Act of 1858, “An Act to regulate the Qualifications of Practitioners in Medicine and Surgery.” 4 One of the council’s responsibilities, enunciated in Section LIV of the act, was the production of “a Book containing a List of Medicines and Compounds, and the Manner of preparing them, together with the true Weights and Measures by which they are to be prepared and mixed, and containing such other Matter and Things relating thereto as the General Council shall think fit, to be called ‘British Pharmacopoeia’.” The BP, as it came to be known, replaced three existing pharmacopoeias, the London, Edinburgh, and Dublin Pharmacopoeias.

It seems that the task was not an easy one. The preface to the 1864 edition of the British Pharmacopoeia begins thus 5 :

“Of the several functions conferred on the General Medical Council of the United Kingdom by the Medical Act of 1858, not one has caused the Council more anxiety than the preparation of the British Pharmacopoeia. To supersede three Pharmacopoeias, each of them long held in great repute, — to reconcile the varying usages, in pharmacy and prescriptions, of the people of three countries hitherto in these respects separate and independent, — to consult the prepossessions of three important public professional bodies, which have ruled long and ably over this branch of Medicine,— to represent accurately, yet with caution, the advancement made in chemistry and pharmacy during the thirteen years which have elapsed since the last edition of any of the Pharmacopoeias of the Colleges of Physicians was published,— has been no light task.”

Accordingly, the GMC established a British Pharmacopoeia Commission to help it in the task, and the commission reported to a Pharmacopoeia Committee, which met twice a year. 6

The idea of giving approved names to medicines in the UK arose during the second world war, when efforts were being made to ensure the continued supply of medicines such as antimalarials in the face of shortages. As was reported in The BMJ , 7 “it is much to be desired that a [medicine should have a] name which is free from trade-mark rights and which can be used by any manufacturers ... There is a regrettable tendency for manufacturers of British equivalents or alternatives for drugs previously manufactured abroad to introduce their own proprietary names for them. This diversity of nomenclature can only mystify and confuse the practitioner who uses the drugs.”

Thus, for example, “Atebrin” was given the name mepacrine hydrochloride, “Fouadin” became stibophen, and “Plasmoquin” became pamaquin. The desirability of coining new names for these particular products was enhanced by the fact that they were all originally manufactured in Germany. Nor did the fiscal advantages of the introduction of such names go unnoticed. 8 The approved names in these cases were largely derived from aspects of the structures of the compounds, and the -pa- in “mepacrine” was an infix derived from the Latin word palus, a swamp, swamp fever or marsh fever being synonyms for malaria. Proguanil hydrochloride was later given the brand name Paludrine.

These new names were originally known as “official names” or “pharmacopoeial names,” but before long the term “approved names” was introduced. For example, in May 1941 The Lancet reported 9 that “The General Medical Council has now approved names for further substances which are produced, or are likely shortly to be produced by British manufacturers, in some instances under licences granted by the Comptroller-General of Patents, Designs and Trade Marks. These substances have hitherto been known under other names. The question of including these substances in the British Pharmacopoeia is under consideration, and if any of them is included the intention is that the approved name given below will be its official title.” There followed a list of six “Approved Names,” each with its corresponding “Proprietary Name.” For example, what had previously been known as “Cignolin” now became “dithranol,” a derivative of dihydroanthracenone.

In 1944 The BMJ also reported that the Pharmacopoeia Commission “has continued its active interest in the provision of approved names for drugs, which, it hopes, will be generally used in prescribing. If any of the names is used in association with a proprietary name, the label should bear the approved name in letters no less conspicuous than those in which the proprietary one is printed.” 10

From the early 1940s the British Pharmacopoeia Commission issued lists of new Approved Names and included lists of them in leaflets enclosed with copies of the Addenda to the British Pharmacopoeia. And by the late 1950s approved names had become known as British Approved Names (BANs). 11

The legal position

The Pharmacy and Medicines Act of 1941 prohibited retail sale of all substances that were recommended for use as medicines, unless the ingredients of the product being sold were listed on the product. If the substance was named in the official poisons list, according to the Poisons Act of 1933, the name would be that on the list; otherwise it would be the name, typically the approved name, given in the BP or the British Pharmaceutical Codex (BPC), which had been a parallel publication of the Pharmaceutical Society of Great Britain since 1907.

Subsequently, the Therapeutic Substances Regulations of 1952 required that the “proper name” of a substance (i.e. usually the approved name) must be included on the label of any product that contained it.

However, there was no statutory requirement that the proper name should be the officially approved name. In 1962 therefore, the GMC proposed that, although manufacturers should be allowed to continue using their brand names on their labels, the proper names that they were also required to use should be required to be the British Approved Names. The same applied to advertising material. This would be facilitated by the assignment of an approved name before the medicine was allowed to be marketed.

The Committee on Safety of Drugs

In the early 1960s, in the wake of the problems caused by the use of thalidomide, the UK government established a working party to consider legislation relating to control of medicines. The working party’s report led to the establishment of the Committee on Safety of Drugs in 1963, and its report resulted in a government white paper, which became the 1968 Medicines Act. There is no mention of approved names in the act, but section 100 refers to “suitable names to be used as the names of any substances and articles to which subsection (1) or subsection (3)(b) of section 99 of this Act applies and to be placed at the head of monographs relating to those substances or articles in any edition of the British Pharmacopoeia, or in any compendium or edition of a compendium, prepared under that section.”

The BAN Book

The first compilation of all the British Approved Names (“the BAN Book”) was published in 1970. It included all of the approved names that had been issued since 1948, as well as those that had been issued earlier for substances that had not been described in monographs. 12 Updates have appeared regularly since then. Today, almost all British Approved Names are the same as the WHO’s International Nonproprietary Names (INNs).

Competing interests: JKA chairs The British Pharmacopoeia Commission’s Expert Advisory Group on Pharmacy and Nomenclature and is a member of the WHO’s Expert Advisory Panel on International Pharmacopoeia and Pharmaceutical Preparations.

Provenance and peer review: Not commissioned; not peer reviewed.

• ↵ “vocabulary, n.” Oxford English Dictionary . Oxford University Press, July 2023 , doi: 10.1093/OED/7683214052 .
• ↵ “lexicon, n.” Oxford English Dictionary . Oxford University Press, September 2023 , doi: 10.1093/OED/7713886356 .
• ↵ “glossary, n. (1).” Oxford English Dictionary . Oxford University Press, September 2023 , doi: 10.1093/OED/6627915500 .
• ↵ Anonymous. British Pharmacopoeia . Spottiswoode & Co, 1864: ix-xx.
• Cartwright AC

University of Utah researcher faked data for years, according to investigators

Gian-stefano brigidi was highly regarded among neuroscientists for his work on how life experiences change the brain. but a federal office found he manipulated his data..

(Francisco Kjolseth | The Salt Lake Tribune) University of Utah research park is pictured on Thursday, Oct. 27, 2022. A neuroscience researcher at the school was fund to have manipulated data in his studies of the brain, according to federal investigators.

A former University of Utah neuroscientist — who was regarded in the field as a “visionary” — manipulated results and faked data in his research for years, according to the findings of a federal investigation.

The report on the misconduct from the U.S. Office of Research Integrity states that Gian-Stefano Brigidi used at least 43 fabricated numbers across several scientific presentations, a handful of grant applications and one published paper in the peer-reviewed journal “Cell.” Using that faked data, he was awarded more than $1 million in federal funding.

The U. stated this week that Brigidi no longer works at the school, but declined to comment further on his employment or the findings from investigators. Brigidi, who was widely considered a creative thinker in the study of the brain, was first hired as an assistant professor at the school in January 2021. His tenure there ended in August 2023, a spokesperson confirmed.

Prior to working at the U., Brigidi was a postdoctoral fellow in a lab at the University of California San Diego, as well as an assistant professor there.

Brigidi told The Transmitter — a publication that writes about neuroscience research and first reported on the faked data — that no misconduct happened during his time at the U., though the federal report shows that he continued to use the numbers in Utah that he had originally manipulated while in California. He did not respond to requests for comment from The Salt Lake Tribune.

Both the U. and UC San Diego did their own analyses of his work, which also confirmed the research misconduct that has called into question years of Brigidi’s work. And it provides a glimpse into the oversight of research and the rigorous process for when allegations arise that research is not based on real results.

“Allegations of misconduct can come through many channels, and as soon as we are aware of an allegation, UC San Diego’s Office of Research Compliance and Integrity begins our inquiry,” a spokesperson for the California school said in an email to The Tribune.

The faculty leader of the Bloodgood Lab at UC San Diego , Brenda Bloodgood, did not respond to a request for comment. Her lab is renowned for its studies of how experiences shape the neurons of the brain — work that Brigidi was continuing in his position at the U. and for which he was also awarded hundreds of thousands of dollars in funding.

Currently, his picture remains with the noted alumni on the Bloodgood Lab’s website . His staff page has been removed from the U.’s site.

Brigidi specifically was heralded by the National Institutes of Health in 2021 , a few months after joining the U.’s faculty, for his “highly innovative” project on how the electrical circuitry of the human brain is altered by memories or behaviors — such as having a kid or earning a promotion.

The idea was that significant experiences leave a mark on a molecular level, according to the announcement of the award.

The U. has since requested the National Institutes of Health to terminate that $1.37 million grant.

It’s unclear what happens to other funding awarded to Brigidi through the U.S. Public Health Service.

The research office’s report states that Brigidi “knowingly or intentionally manipulated” graphs, figures and images in presentations and posters over seven years, from 2015 to 2022.

Now, he has entered into a voluntary agreement that will require his research at future jobs to be supervised by two or three senior faculty members for the next five years. If he submits any applications for federal funding, the institution employing him must include a certification that the research is “based on actual experiments.”

Brigidi must also correct or retract the paper he published in “Cell” in 2019.

This is the second time in the last two years that a faculty member at the University of Utah has been cited by the federal Office of Research Integrity for misconduct. Last year, Ivana Frech, a former assistant professor in the U.’s School of Medicine, was also found to have manipulated data by altering images in her work about cellular iron regulation.

“ORI found that these acts constitute a significant departure from accepted practices of the relevant research community,” the office wrote in that report.

Frech is no longer employed by the U., with her last day there in October 2013. It’s unclear why the investigation into image manipulation came a decade after that. But she will be required to retract or correct her findings that were also published in “Cell.” Frech did not respond to a request for comment from The Tribune.

Julie Kiefer, a U. spokesperson, said the school “takes research misconduct seriously.” When manipulation in research occurs, she said, the university will work to correct the record, notify federal funding agencies and provide training on responsible research practices.

She said that the U. is committed to “ethical conduct and excellence in scientific inquiry.”

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