A Complete Guide To Sermon Delivery - Al Fasol - Book Summary

Ricardo DIEGUE Book Summary Fasol, Al. A Complete Guide To Sermon Delivery. Nashville: Broadman and Holman Publishers, 1996.

The first chapter covers the term “full vocal production” which is a means to describe the proper vocalization process, according to Fasol. He explains diaphragmatic breathing, which implies respiration. He recommends some exercises for proper breathing based on Lincoln, Patrick Henry, Billy Graham… and advices to practice by standing straight, speaking loud, controlling exhalation while signing a hymn. He recognizes that full vocalization requires proper muscular coordination and helps with developing individual potential of voice. The next step is about articulation: the shaping process of sounds that communicate thoughts. Beside articulation, enunciation is defined as the overall quality of speech and pronunciation refers to where emphasis is placed within a word. Both enunciation and articulation’s goal is to clarify speech. The rest of the chapter covers some articulation exercises based on pronunciation of proper names and some regional accents. Chapter three and four are about improvement of vocal variables and body languages. These two are called paralanguage and refers to the emotional language – meaning the feelings, authority, love, resentment, and others – and differ to intellectual message which pivot on the words that are used to communicate the message. The vocal variables include the pitch (high or low): the tonal qualities produced in vocalization. The pitch implies volume (the amount of force on words) and rate (the speed of speech). Rate and pauses (brief, long or short) however work together. On the other hand, body language is also called non-verbal communication and includes appearance, first impressions, walking to the pulpit, eye contact, facial expressions, posture and gestures. Body language should support the content by reinforcing the vocal variables. Al adds that body languages communicates message that is not or cannot be communicated orally. Oral interpretation implies a scientific and an artistic process. Scientifically, it requires hypothesis, analysis, experimentation and application. Artistically, it requires physical and vocal expressions. The author considers Keith Brooks’ definition of oral interpretation: “the process by which a reader, communicating from a manuscript through vocal and physical suggestions, stimulates a listener response that is favorable to the reader’s judgments of the intent of the literature.” Al suggests to be coherent while reading and pay attention the either the reading is done at the experimental or the application stage. When it comes to public proclamation, he recommends to first practicing the following: practice preaching sermons, use tape or video recorder to evaluate, listen to and watch other preachers, and use evaluation form. Chapter six is a set of guidelines for programs of radio and TV. On radio one should: speak in a manner that is authoritative, urgent and sincere, respect the time limits, strive for acceptable technical quality, make sure the content does not cause difficulty to the radio station, appeal to human interest, and paint word-pictures. On TV one should: create visual variety, be 1

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aware of on-camera stage presence, communicate a sense of confidence, maintain strong eye contact with congregation, avoid looking at monitor while on camera, not be disappointed if the station does not have a chapel for telecasting, advise other people not to be featured on camera during the program, maintain vivacious and energetic level throughout the program, strive to attain the highest quality, and magnify the message rather than the messenger. The final chapter is a set of ten frequent questions about sermon delivery about: how to smooth a sermon, how to be sure about full vocal production, how to protect voice, the differences in natural voice and delivery speech, preaching regular sermons and narrative, or dramatic monologues, or sermons about biblical character, listening to other preachers, manipulating and exercising power over people, language variables and paralanguages, methods in preaching, and studying sermons. The appendixes provide materials for self-evaluation for voice quality, for clear speech, vocal variables, and oral interpretation.

Some helpful features of the book for Christian proclamation: one should be aware of the vocal variables. For instance, the tone of voice and the volume can highly help express the meaning of a word more than just the word by itself: saying “the wrath of God” should differ to the way “the compassion of God” is said. Being able to maintain proper voice tone and volume is a most for any public speaker because clear communication is a means for teaching and learning: articulation, enunciation, and pronunciation are part of the art of speech that is necessary for good transmission in communication. Besides doing hermetical work in preaching a sermon, the delivery itself requires a learning process. In fact, it is not worth well-preparing a sermon that will be poorly delivered. I would definitely recommend Al’s guide as a practical guide to exercise skills for sermon delivery.