about your voice

Your body and your voice

noreply@blogger.com (Sandra Baigel) — Tue, 24 Jan 2012 18:40:00 +0000

Because it is housed by your body, your voice will manifest, in its own way, any excessive strain, tension and tightness that your body carries when it is under pressure.

By becoming more actively aware of where your body carries strain, you will be able to better release this strain and free up your voice for clear, confident speech.

Find your voice

noreply@blogger.com (Sandra Baigel) — Sun, 15 Jan 2012 10:32:00 +0000

Over the years, I've worked with a proportion of people who expressed the need to discover their voices.

For many personal and individual reasons they felt that the voices that emerged when they spoke were not the voices that they experienced or heard within themselves.

Their voice explorations were challenging, illuminating and, without exception, personally and professionally liberating. Without realising it, they had shut their true voices off, taken on alternative placement, projection and sound qualities that did not resonate with them.

Finding one's voice, identifying it and releasing it to its full strength and purpose is a uniquely satisfying experience.

Begin the journey here.

Over the holidays, let your voice GO!

noreply@blogger.com (Sandra Baigel) — Thu, 22 Dec 2011 00:16:00 +0000

2011 is drawing to a close. It's time to consolidate what you've learnt and set your sights on the year ahead.

It is also a time of letting go and that includes letting go of the restrictions, strains and obstructions that have got in the way of your natural voice.

Pick up a child's picture book, a fairy tale, a book of simple rhymes and enjoy the activity of speaking the words aloud.

Hear how the voice supports the words; how it gives them light, life and vitality.

Speak for the sheer enjoyment of feeling and hearing how voice and the spoken word combine in purpose and meaning.

Breathe to relax. Breathe for voice.

noreply@blogger.com (Sandra Baigel) — Tue, 29 Nov 2011 00:40:00 +0000

Via a regular subscription, a link to a video arrived in my inbox today. Hanuman Goleman and Mike Sjostedt of More than Sound were interviewed on Mass Appeal by Seth Stutman. The topic is apt for this time of year when 'Overcoming Holiday Stress' can become mandatory. Watch the video; it is worth your while.

What interested me is that speakers use a similar breath management strategy as the one taught by voice coaches across the globe. There is something significant in that. Conversations with teachers of yoga, pilates, meditation and the Alexander Method apply similar breath and breathing techniques.

When you view the video, please notice:

Around the 00.20 second mark - the difference in each man's posture - Goleman giving the full weight of his body to the couch, Sjostedt more upright yet supported and Stutman, upright on the couch and then leaning forward to engage, as is necessary for his role as interviewer. It is important to be aware of how you are sitting (standing or lying on the floor) as you do the exercise
See how Sjostedt uses his left leg to anchor himself comfortably. Notice the right leg up on the couch - this because he needs to sit at an angle to be taken into wider shots. Ideally, when seated, have both feet on the floor for the duration of the exercise
Do you remember my reminder to release the neck, and allow the chin to drop when doing your breathing for voice? You'll see the forward and upward thrust of the chin at roughly the 3.45 minute mark in Stutman. Notice how the neck thrust affects the muscles of the upper chest and shoulders and works counter to the exercise in its initial stages. This is a natural inclination - to sit up 'to perform' rather than to 'relax into' the exercise. You will see the difference in posture clearly here and the tightening in the upper chest as a result. What a wonderful example
And then, from the 4 minute mark onwards, Stutman relaxes. His lips open naturally and his body eases into the exercise within the 30 second timeline that Goleman and Sjostedt speak about. Magic!

Do take on board the life relaxation tips provided in this video. Note the daily 10-15 minute break Goleman and Sjostedt refer to; this is all you need for your voice warmups and voice release exercises.

And, consider the short breath pause when chaos surrounds you!

Open the link to view the video and find more on Relax Facebook

Voice Projection - What is it?

noreply@blogger.com (Sandra Baigel) — Wed, 19 Oct 2011 02:22:00 +0000

The ability to project one's voice involves a number of physical skills and techniques that include, but are not limited to:

being sufficiently at ease to release the voice into the mouth and related resonance chambers
being able to hold, shape and enrich the vocal sound
being able to control the exhaled breath that carries the voice beyond the vocal apertures
being able to sustain the voice throughout the speaking event

In addition, effective vocal projection is influenced by the context and intent of the speaker, their relationships with their audiences and their desire and motivation to speak.

Ask yourself the following questions:

Do I lack confidence in myself ?
Do I lack confidence in my ability to speak in front of a group?
Do I lack confidence in my my ability to deliver the message?
Do I lack confidence in the topic itself?
Do I lack confidence in my audience/s and their possible responses to the topic?
What else is stopping me from projecting my voice?

Your response (or responses) will illuminate the areas you may need to work upon in order to give yourself permission to better project your voice.

With self-permission in hand, you will be able to develop the physical skills and techniques that will give your voice the support it needs when projection is required.

Find out more

Frequently Confused?

noreply@blogger.com (Sandra Baigel) — Sat, 01 Oct 2011 21:00:00 +0000

Regularly, I send clients and readers to an excellent resource known as Daily Writing Tips. You will find it here.

I receive regular updates from them. Often, there is excellent detail and the capacity to build vocabulary from their material.

Today, I am inviting you to explore the link below and have a go at the pronunciation of some commonly confused adjectives.

You can use use the list to expand your use of language. Of course, you can also submit to me your audio version of the list of words. If you supply your email address, I will get back to you with free feedback.

Here is the link to the page that holds the document.

Your Voice in Story

noreply@blogger.com (Sandra Baigel) — Mon, 26 Sep 2011 02:58:00 +0000

Where would we be without 'story'?

Executives, strategic leaders, entrepreneurs and technical experts draw on practical examples and case studies to illustrate what is required from the various business units within an organisation. They use same techniques to explain to their public how the business delivers results to its clients.

Language indicators that show that a story is coming up include: 'for instance'; 'as an example'; 'this reminds me of'; 'when we ....', 'one of the challenges was...'

As listeners, we look out for these indicators of story. We know that, through story, we will expand our understanding and increase the relevance to us of the services and goods being provided.

When a business offers complex solutions, innovative ideas, something different to others, it is essential that senior players in the organisation have their story clear, uncomplicated and ready to deliver at a moment's notice.

Using your voice to engage, intrigue, influence and convince is an essential strategic skill within the story and narrative process.

Find out how to leverage your voice and its impact via a global, custom-made program, 'Your Voice in Strategic Story'. Test it out today.

Clarity - at the ends of the words

noreply@blogger.com (Sandra Baigel) — Mon, 12 Sep 2011 04:01:00 +0000

Is that singular or plural? Past or present?

Clarity at the ends of words is as important as clarity at the beginning of them.

There is a strong tendency to drop off the ends of words among speakers who have English as their second or subsequent language.

In these instances, confusion abounds.

Here are some examples.

Say the following sentence out loud and deliberately drop off the final s in each word to hear how plurals and verbal agreement is lost:

She owns two dogs and cares for three horses on her property.

Repeat this exercise dropping off the ed in the words below:

Anthony examined and tested the result last Friday.

Now, put them together in this one:

I liked the way the chef tried out the recipes and adjusted the ingredients to demonstrate versatility.

If this is what you hear when you speak; if this is what you hear at work; if this is what you notice among colleagues, it is time to polish your spoken English impact.

Explore more.

Clarity - the details at the start of words

noreply@blogger.com (Sandra Baigel) — Thu, 08 Sep 2011 04:01:00 +0000

How do you begin?

I'm thinking here of how audibly, clearly, well-structured the beginnings of your words are as they are released from your mouth. Pedantic? Perhaps. Realistic? Absolutely!

The way you form your words informs your listeners, your colleagues, your team about you. Your style. Your focus. Your attention and attentiveness. How you approach your work. And a whole lot more...

All of these clues operate in the background of what you are saying and how you say it. Inaccuracies can (and do) take people off track when they are listening to you.

Therefore, attend to consonant clusters.

There's one: 'cl'. You'll also find it in cleft, clamber, cliff, clobber and clutter.

Look out for these seemingly submerged traps where two consonants immediately follow one another.

Identify the clusters that trip you up.

Make a list.

Practise them. And submit an audio snapshot to me via + 61 3 8610 0193.

Explore more about clear speech in spoken word contexts here and here.

Clarity combined with voice communicates picture, sound and sensation

noreply@blogger.com (Sandra Baigel) — Mon, 05 Sep 2011 04:30:00 +0000

Articles on food, flavour, colour and sensation are excellent for testing and practising your clear speech impact.

Why is this so? Because food writers have learnt to write short, smart pieces that attract readers, hold their attention and keep them reading to the very last word.

Food writers and restaurant critics must present on paper, words that hold tangible, vivid experiences for all the senses: sight, sound, scent, taste and feel in the mouth.

When you speak, it is your clarity that holds attention, keeps the mind, ear and eye focused on what you are saying. Being crisp, clear and precise in the way you start, shape and finish your words will help you achieve this focused attention.

I have heard people label 'crisp, clear and precise' as being 'cold'. Not so. Because your voice, its warmth and energy brightens up the crispness and gives it a unique, memorable life.

Does your voice entice? Does your speech sparkle, sizzle and spice up attention? Learn how to use both to advance your spoken word impact.

Select any one of these small articles from The Age, Epicure, 6 August and test your clear speech impact.

You can record your audio via +61 3 8610 0193 and include your best contact number (Australia) or skype name (International). Then, we can talk through your unique impact.

Your Voice in Property Sales and Service

noreply@blogger.com (Sandra Baigel) — Wed, 31 Aug 2011 22:49:00 +0000

Do you work in the Real Estate industry?

If so, you know that your voice and its expressiveness is essential to your success.

You use your voice and expression each time you:

connect with a prospective buyer, seller or renter
describe the advantages of a property, a piece of land and a suburb location
explain and expand upon the sales and rental process

To keep your voice primed, regularly give it a gentle workout.

Just type ‘Property’ into your browser. Select any real estate website that comes up and follow their prompts. Within one or two clicks you will reach a piece of text that describes, in vivid terms, a desirable property.

Have a go at reading and speaking that aloud. And then, feel free to submit your audio snapshot to me via +61 3 8610 0193. Remember to supply your name, skype id or contact number in Australia. We can then speak through the text you have provided me.

Enjoy the exercise and benefit from the workout it gives your voice and speech.

Clarity - What drops out?

noreply@blogger.com (Sandra Baigel) — Wed, 17 Aug 2011 02:42:00 +0000

We all have them. Little slips of attention. Distractions. Speech and sound inefficiencies.

Do you know where, when and why yours arise?

If we don’t pay due attention to the finish of our words, then the endings of the words drop away and meaning can be lost.

Plurals become singular and make no sense. Tenses are confused and the past becomes the present.

Credibility is dented.

If you’re inclined to take short cuts and lose attention, get feedback today and never repeat the same errors in clarity and finish.

Voice and Vitality – Do you vary your pitch?

noreply@blogger.com (Sandra Baigel) — Mon, 15 Aug 2011 06:43:00 +0000

What are you thinking and feeling when you speak up and interact at work?

There are some naturally reserved people who describe themselves as feeling ‘exposed’, ‘under scrutiny’, ‘being reviewed’, ‘in examination mode’. It is an awkward sensation.

Some people respond to ‘scrutiny’ by adopting a monotone and speaking as rapidly as possible. It is ‘as if’ they want to get the conversation, meeting or presentation over and done with, fast, so that they can ‘get out of there’!

From observation and client experience, I can confirm that, by using the voice in its entirety, with variety, richness and expression, you will direct attention away from yourself and towards the content, the material, the information.

Get feedback from me on your vocal vitality, explore more about voice and read about presence and persona in the July and August updates. You can also listen to recent SoundBytes from this page.

Your Voice and its Staying Power

noreply@blogger.com (Sandra Baigel) — Fri, 12 Aug 2011 06:44:00 +0000

One of the outcomes of reduced confidence is to protect oneself. Some do this by holding onto the voice and keeping it close to the rear of the throat. As a result, the voice may sound tight and strangled.

Emerging leaders and people who are new to conducting client meetings and business presentations can demonstrate this vocal behaviour. I have also seen it appear in seasoned executives who are under immense pressure to constantly deliver on the company’s promise to staff, colleagues and shareholders.

Relaxation strategies, general physical activity (sport, swimming, gym workouts) and adjusted breathing and breath management techniques will help to keep the throat open. Relaxed throat muscles and placing the voice forward in the mouth will result.

If this is what you have noticed in yourself, it is worthwhile changing a habit that can harm your voice.

Get free feedback on your vocal impact now.

'In Full Voice' communicates confidence

noreply@blogger.com (Sandra Baigel) — Mon, 01 Aug 2011 11:52:00 +0000

While a voice's position within the vocal register is relevant, of greater importance is the placement of the voice by the speaker.

A well-placed speaking voice sits towards the front of the speaker's mouth. The voice is best enriched in this position as the mouth cavity acts as a flexible resonating chamber adding richness, depth and strength to the voice and its carrying power. From the speaker's point of view, it is as if the voice has left the mouth ahead of each sound, word, phrase and sentence.

Poorly placed voices can sound tinny, thin, nasal, throaty and gutteral. The attention of the listener is drawn to the voice's dominant quality and the message being delivered is lost in the distracting sound.

Through focused voice work, speakers can learn how to adjust their current vocal placement and achieve a full, rich voice that is consistently interesting to listen to.

Explore more about voice and its impact in professional environments. Receive feedback on your vocal fullness. Inspect your ACE Factor.

Voice and vocal vitality driven by energy

noreply@blogger.com (Sandra Baigel) — Mon, 18 Jul 2011 05:13:00 +0000

I am increasingly concerned about people, their voices and the effect that reduced energy levels have on voices and their vitality.

As we continue to do more with less we stretch our natural reserves and damage ourselves in the process.

The smooth-running of your voice depends on a primed, well cared for vocal mechanism. In practical terms this translates into:

sufficient rest and relaxation
effective and efficient breathing for voice
natural voice placement strategies
and clear, confident delivery styles

Constant pushing of the self results in a tight, closed, clamped neck, throat and jaw.

The voice sounds squeezed, strangled, stifled and strained.

It is true that 'Less is More'.

Take the time to do this relaxation exercise as a priority for at least 3 consecutive weeks. What do you notice? What changes have evolved?

This is one simple way to make a difference to how you sound when you speak.

Yes, a light voice can evoke authority in a speaker

noreply@blogger.com (Sandra Baigel) — Tue, 07 Jun 2011 06:15:00 +0000

Melissa was concerned about her imminent pitch to the board. She knew that her light voice gave the wrong impression of youthfulness, lack of experience and recent promotion to her role.

Working on the placement of her voice and its pitch range helped, but it was not enough. She had to extend her vocal reach and increase the strength and credibility of her delivery.

Taking a different path, she prepared her strategic case,used actual client experiences and won a budget increase in tough economic circumstances.

Then, we worked on her vocal delivery and vocal reach together.

By identifying her unique and particular strengths and working to those, she was able to minimise her vocal limitations and achieve the result she desired.

You can do this too. Explore more

More about Nasalisation

noreply@blogger.com (Sandra Baigel) — Fri, 28 Jan 2011 02:23:00 +0000

On 4 October 2010, in a posting on voice placement, the issue of nasalisation was touched upon in a single paragraph. A few more points need to be made on the topic. These give a wider context to nasalisation as it relates to nasal sounds, nasalisation as part of a spoken accent and voices that are dominated by nasal overtones.

Nasal Sounds. There are three nasal sounds in English. They are the sound [m]in mountain, the sound [n]in nest and the sound [ŋ]which is the final sound in words like ring, sing and king. When these sounds appear in words and phrases, it is likely that the sounds around them will take on marginal nasal aspects e.g. moon, main. It is up to individual speakers to manage how significant the nasal influence will be on the surrounding sounds

Geographic and regional influences. Some speakers use nasalisation as an integral component of their regional or geographic version of English. Examples include ranges of nasalisation in spoken English in America, Canada and Australia. Where people speak English as a second or third language, aspects of their first language will influence how they sound. Thus, someone who speaks French, for instance, may apply some nasalisation to their spoken English

Consistently nasalised speech. Some voices have a strong nasal component in speech. These voices sound nasal, as if the person constantly has a cold or a blocked nose. In extreme cases, this type of nasalisation needs to be addressed in order to help the speaker overcome nasalisation as a distraction for their listeners and where authority, credibility and skills in engagement are affected by this tendency.

When I touched on nasalisation a month ago, three particular examples of this last point came to mind. You'll find details in recent case-studies on the Makeovers blog.

Texture in Voice - Sensation

noreply@blogger.com (Sandra Baigel) — Mon, 06 Dec 2010 05:10:00 +0000

Words carry sensations within them. Consider 'slip', 'velvet', 'sour'. Each of these words bring to mind an action, a concept and a quality.

Use your voice to colour the sensation built into the word by making more of the individual sounds within it. Use your full vocal capacity to showcase the sensation as it occurs.

Start with 'slip'. Try it fast and slow. With a rise, a slide, a tight-rope balance, or a fall in your voice. Have fun with the many ways in which you can say this word to bring the picture, sound and sensation to life.

Now apply the same technique to 'velvet'. Allow the texture of the fabric, its richness, warmth and weight to come into your voice.

And then give 'sour' a go! Only four letters make up this word. Consider how they contribute to the sensation as you speak it.

If you wish, you can send me an audio of you experimenting with these words, or even reading this post out loud. I will get back to you if you leave your contact number or skype name. Are you ready? The number you can submit your audio to is +61 3 8610 0193.

Texture in Voice - Sound

noreply@blogger.com (Sandra Baigel) — Fri, 03 Dec 2010 05:09:00 +0000

Words carry sounds within them. Consider 'laptop', 'tremble', 'despair'. Each of these words bring to mind a concept an action or a quality.

Use your voice to demonstrate how the sounds within the words add value to their meaning. Make more of the individual sounds within the words; and make more of the rise/fall; depth/light and intensity in your voice.

How can you commuicate through your voice the efficiency and easy access of 'laptop'? Look at the short vowel sounds and the sharpness of the plosive p and t within the word. Give more weight to these sounds and word comes alive.

Apply the same strategy to the additional words in this post. The mood of your voice should shift significantly giving rise to a change in pitch and tone; pace and expression.

If you wish, you can send me an audio of you experimenting with these words, or even reading this post out loud. I will get back to you if you leave your contact number or skype name. Are you ready? The number you can submit your audio to is +61 3 8610 0193.

Texture in Voice - Sight

noreply@blogger.com (Sandra Baigel) — Wed, 01 Dec 2010 05:07:00 +0000

Words carry pictures within them. Consider bridge, stride, shallow. Each of these words bring to mind a concept and action and a quality.

Use your voice to draw the picture by making more of the individual sounds within the words; and making more of the rise/fall; depth/light and intensity in your voice.

Say 'bridge' a few times. Can you get the sense of creating a crossover as you say the word. Or perhaps the the rise and fall of the bridge. Even of its sway or shake if it is a wooden bridge you are speak about.

Now say the word 'stride'. It is different from 'walk', 'step' and 'trot'. Within it, the word 'stride' contains both action and pace. Are you able to give that sense to the word as you say it? What about a faster pace? Or, a slow one?

Now try 'shallow'. Compare it with 'deep' or 'rolling' or tumbling'. Can you hear the difference your voice makes to the quality of the word?

Put the picture in your voice and you will surely draw the same picture in the minds of your listeners.

If you wish, you can send me an audio of you experimenting with these words, or even reading this post out loud. I will get back to you if you leave your contact number or skype name. Are you ready? The number you can submit your audio to is +61 3 8610 0193.

Voice Placement - Fallout

noreply@blogger.com (Sandra Baigel) — Mon, 18 Oct 2010 21:54:00 +0000

What's interesting about ineffective voice placement in business contexts is that the fallout can be subtle.

Have you noticed that there are some people in leadership roles who could benefit from increased impact when they speak. There seems to be something missing from their spoken word delivery. There is an awkwardness in style that damages the way they come across. In many examples, you just can put your finger on what it is. As a result, these men and women miss out on career advancement; on emerging opportunities; on professional achievement.

Others are not taken seriously because their collegial communication lacks credibility. Their suggestions, recommendations and ideas are overlooked, even set aside in meetings, because they lack 'believe-ability'. Is this because of the way that they sound?

Again, when presenting to a group, there is a gap in the manner of their reaching towards and connecting with their audiences.

The ability of key people to use their voices effectively, efficiently and with desired impact is critical to business outcomes and professional success.

Being able to place the voice centrally in the mouth is a learnt skill. It is the key to conquering distracting vocal habits that disturb audience focus and distort the message. It is a skill that can advance each speaker's ability to influence colleagues and peers within and beyond an organisation.

Voice Placement - The Value

noreply@blogger.com (Sandra Baigel) — Mon, 11 Oct 2010 22:31:00 +0000

Following its success with Richard III in 1984, the Royal Shakespeare Company arrived in Australia with its production of the play, with Sir Antony Sher playing a dark, damaged, malevolent Richard. This was a traditional version full of hatred, distrust and manipulation.

One of many memories is the outstanding use of the stage whisper; where an actor's lines are communicated as if in a whisper, but delivered in a full, quiet voice that is easily heard by the audience. The trick is to give enough voice to be heard, delivered in such a manner that seemingly distances the voice from fellow actors.

To me this is an example of voice placement at its best. The voice has appropriate resonance and placed centrally in the mouth. The vocal volume is managed by excellent breath control. The impact is one of a whispered message, given as an aside to the audience.

Sher used the technique to create a conspiratorial relationship between his character and the audience, to keep us informed of his mental state, to illuminate his thinking and to ratchet up the tension as the story of Richard III unfolded to its inevitable climax.

Now, it is highly unlikely that the men and women I work with will ever need to use a stage whisper in their conversations! I simply want to highlight what can be achieved when attention is paid to the breath and to the effective use of breathing for voice and vocal resonance.

Voice mastery is supported and sustained by the delicate relationship between a relaxed, unfettered voice and finely-tuned breath management strategies.

Voice Placement - What is this?

noreply@blogger.com (Sandra Baigel) — Sun, 03 Oct 2010 21:22:00 +0000

Previously on this blog, you've read that a 'good voice' is one that serves as a medium, a conduit for the message without drawing undue attention to itself. Also, that vocal distortions, distractions and disturbances take attention away from the message to the voice itself. And, you've read about the challenges of de-voicing.

The placement of the voice in the mouth is central to being 'in good voice'. Using vocal release exercises, learning how to let the voice free can help anyone achieve 'good voice' impact. At the very least, develop awareness that allows you to identify when, how and and for what reasons you hold your voice back. Know how to gently and supportively adjust your physical, mental and emotional states so that you can allow the voice to easily flow.

In some cases when the voice is held back, the tension in the neck and throat distorts the pitch to an extent that the voice sounds shrill, harsh, strident and rough on the ear. If used constantly in this way, the vocal mechanism itself can become damaged.

Constant tension in the neck, chest and shoulder areas limit the breath flow for voice and prompt poor voice habits such as pushing the voice out rather than letting it go. Think of the raspy speaking voices of long-standing rock-stars who are now bound to sing ballads and love songs ... Rod Stewart, Jimmy Barnes, even John Farnham. Which, incidentally, they do, rather well!

When the speaking voice is trapped in the throat it can sound husky and be hard to hear. There is a lack of fullness in vocal sound and vocal reach. This is not just loudness; also minimal clarity and freshness to way in which the voice strikes the ear.

In some cases, the voice is filtered out through nose and mouth resulting in nasalisation. The sound of the voice is affected by its positioning way back in the pharynx. Due to its natural strength, the voice forces its way out of the throat through the nasal passages as well as the mouth. Nasalisation can become distracting.

All of these issues are addressed, in different ways via voice placement strategies. Being able to let your voice travel freely in the mouth cavity is a skill that can be learnt by singers and speakers alike.

Reluctance - 'How will they be?' - a reality check

noreply@blogger.com (Sandra Baigel) — Mon, 30 Aug 2010 21:54:00 +0000

No-one I have worked with across 30 years of my career, has lost a partner, a colleague or a friend by embarking on voice work.

In the early days of your spoken word change, there may be a time when some people say: 'There's something different about you..' You will be able to tell that they can't quite put a finger on it. It is the type of response that you receive when you change your physical presentation with a different haircut, dress style and such. On a superficial level the change has been noted. That is all.

Internally though, there is much that is different:

You have gained and increased your confidence to the extent that you sound different and speak with greater intention and focus

You have increased your personal ability to create an impact and generate a unique presence

In turn, thiscontributes to your professional and personal success

So, why the reluctance? What is there to fear, but your own capacity to accept the change you see, hear and feel in yourself?

You're invited to explore more information and examine opportunities here and here.

I trust that the following quotes on fear, and your responses to them, will help you take the action you require to become the best you can be in voice and at spoken word expression.

"The only thing we have to fear is fear itself - nameless, unreasoning, unjustified, terror which paralyzes needed efforts to convert retreat into advance."
Franklin D Rooseveldt - First Inaugural Address, March 4, 1933

"I must not fear. Fear is the mind-killer. Fear is the little-death that brings total obliteration. I will face my fear. I will permit it to pass over me and through me. And when it has gone past I will turn the inner eye to see its path. Where the fear has gone there will be nothing. Only I will remain."Frank Herbert, Dune - Bene Gesserit Litany Against Fear

"A man who has been in danger,
When he comes out of it forgets his fears,
And sometimes he forgets his promises."
Euripides - Iphigenia in Tauris (414-12 BC)

"Being frightened is an experience you can't buy."
Anthony Price - Sion Crossing (1984)

"What we fear comes to pass more speedily than what we hope."
Publilius Syrus - Moral Sayings (1st C B.C.)