Public Speaking Competition Checklist for Kids: How to Prepare Step by Step

Quick answer: how should a child prepare for a public speaking competition?

Start with the **actual competition rules**, not with a generic rehearsal routine. Confirm the topic, time range, judging criteria, permitted notes, visual-aid rules, question round, dress expectations, submission deadlines and venue details. Then help the child prepare one clear message, organise it well, rehearse specific skills, practise the timing, simulate the event and arrive with the required materials ready.

This page owns **competition preparation**. For building the speech itself, use How to Structure a Speech for Kids. For broader confidence practice, use How to Build Speaking Confidence in Kids. For visual-aid decisions, use How Kids Can Use Visual Aids in Public Speaking. For one-target review using a recording, use How Video Feedback Helps Kids Improve Public Speaking.

The Tiny Steps competition path: RULES → MESSAGE → STRUCTURE → REHEARSE → TIME → SIMULATE → PACK → RESET

• **RULES:** read the event instructions before changing the speech or rehearsal plan.
• **MESSAGE:** decide what the child wants the audience to understand, remember or consider.
• **STRUCTURE:** organise the opening, main points and ending so the message is easy to follow.
• **REHEARSE:** practise one skill at a time before doing repeated full runs.
• **TIME:** check the event’s minimum and maximum time rules and rehearse within them.
• **SIMULATE:** practise the actual sequence—waiting, introduction, speaking, possible questions and exit—when relevant.
• **PACK:** prepare permitted notes, visuals, identification, forms and practical items in advance.
• **RESET:** before speaking, return attention to the first idea and the communication goal rather than making last-minute changes.

Step 1 — Read the competition rules before rehearsing harder

There is no universal rulebook for children’s public speaking competitions. One event may require a prepared speech, another may use storytelling, recitation, debate, extempore speaking or a question round. Some allow cue cards or slides; others do not. Some score strictly for timing; others use a broader rubric. **The organiser’s published rules always take priority over generic advice.**

Competition rule sheet: what parents should confirm

• **Eligibility:** age/grade/category and any school or regional restrictions.
• **Topic:** fixed topic, theme, choice of topics or original topic.
• **Time:** minimum, maximum, warning signal and any penalty for going outside the range.
• **Notes:** whether a full script, cue card, keywords or no notes are allowed.
• **Visuals/props:** whether they are permitted and whether setup time counts.
• **Questions:** whether judges or audience members can ask questions afterward.
• **Judging:** the published criteria and weighting, if supplied.
• **Originality/source rules:** whether quotations, outside help, AI tools or sourced material must be declared or restricted.
• **Logistics:** venue, arrival time, reporting desk, online link, file format, microphone/technology and dress guidance.

Step 2 — Build the speech around one clear message

Competition pressure can tempt families to add too many facts, dramatic lines and gestures. A stronger starting question is: **What should the audience remember after this child finishes?** Once the central message is clear, every story, example, fact and visual should earn its place by supporting that message.

For a prepared talk, Hook → Body → Conclusion is one useful beginner structure, but the event format may require something different. A storytelling competition, poetry recitation, debate or extempore round should follow its own conventions rather than being forced into a generic speech template.

Step 3 — Separate content preparation from delivery practice

Trying to fix wording, timing, voice, gestures and memory in every run produces noisy feedback. First stabilise the **content and order of ideas**. Then practise delivery features one at a time. This keeps feedback connected to a specific goal and gives the child a realistic chance to act on it.

• **Content pass:** Is the message clear? Are the facts/examples relevant? Is anything confusing or unnecessary?
• **Structure pass:** Does the audience know where the talk is going? Are the main ideas connected?
• **Delivery pass:** Is the speech audible and appropriately paced? Are pauses helping meaning?
• **Competition pass:** Is the child following the specific event rules and timing?

Step 4 — Use focused rehearsal before repeated full runs

Full runs are useful, but they are not the only kind of practice. A child who repeatedly performs the whole speech may also repeatedly practise the same weak transition, rushed section or forgotten ending. Break rehearsal into smaller targets, then reconnect the parts.

A practical rehearsal sequence

• **Opening only:** say the first 20–30 seconds until the child can begin without a long prompt.
• **Middle-point drill:** practise one difficult transition or example separately.
• **Ending only:** practise finishing the message cleanly rather than fading out.
• **Recovery drill:** deliberately pause at an unexpected place and practise restarting from the next idea.
• **Full run:** combine the speech only after the target pieces are more stable.

If video helps the child review one target, use the video-feedback guide. If the camera increases self-consciousness, live or audio feedback is enough; video is not compulsory.

Step 5 — Time the speech using the competition’s actual range

Do not coach a child to rush simply to land on an exact number of seconds. First confirm whether the event has a **minimum, maximum, target range or penalty window**. Then practise at a natural speaking pace and edit the content if the speech consistently runs long. If the event allows a range, aim for enough margin that a natural pause, audience reaction or small recovery does not automatically push the child outside the rule.

Timing check: diagnose the cause before fixing it

• **Too long because there is too much content:** cut or combine ideas.
• **Too long because of repeated hesitation:** practise the unstable section instead of telling the child to speak faster.
• **Too short because ideas are underdeveloped:** add a relevant example or explanation if the rules and topic justify it.
• **Timing varies widely:** run the speech under slightly different conditions and identify where the variation occurs.

Step 6 — Practise delivery for meaning, not for a performance checklist

Delivery should help the audience follow the message. A pause can separate ideas. A change in pace or emphasis can highlight an important word. A gesture can support meaning. None of these should be inserted mechanically into every sentence. Likewise, smiling continuously or forcing constant eye contact can make a child look less natural rather than more effective.

• **Audibility:** can the intended audience hear the child clearly?
• **Pace:** is the child giving listeners enough time to follow the ideas?
• **Pausing:** are pauses placed between meaningful chunks rather than after every few words?
• **Expression:** does voice or movement support the meaning and genre?
• **Audience connection:** does the child periodically reconnect with listeners instead of staying buried in notes?

Step 7 — Do not use a universal microphone-distance rule

Microphones vary. A handheld microphone, headset, lectern microphone and laptop microphone all require different handling. Instead of teaching a fixed “two fingers” or “three fingers” distance, ask the organiser or technician what equipment will be used. If possible, let the child test it before the event and follow the venue’s instructions.

The useful general habit is simpler: **do not cover the microphone, do not swing it around, and keep the mouth oriented toward the microphone when speaking unless the technician advises otherwise.** For online competitions, test the device, microphone, camera, connection and presentation file before the event.

Step 8 — Rehearse visual aids only if the rules allow them

A visual aid is not automatically an advantage. If the competition permits visuals, decide whether the audience genuinely needs the picture, chart, slide or object. Then practise exactly when it will appear, what the child will say about it, where it will be placed and how the child will continue speaking afterward. See the full visual-aids guide.

If the event does not require a costume, prop or slide, do not add one merely because the performance feels “too simple.” Competition criteria matter more than decoration.

Step 9 — Prepare for questions without memorising every possible answer

If the event includes questions, prepare the **topic knowledge and response process**, not a giant bank of memorised answers. A useful sequence is **LISTEN → PAUSE → ANSWER → SUPPORT → STOP**. The child listens to the whole question, pauses briefly, answers the question directly, adds one relevant reason/example when useful, and stops when the answer is complete.

• “I think the main reason is…”
• “One example from my speech is…”
• “I am not sure about that detail, but what I do know is…”
• “Could you please repeat the question?”

Children should not be coached to invent an answer when they do not know something. A clear request for repetition or an honest limit is better than pretending to know.

Step 10 — Practise recovery, not just perfect runs

Competition rehearsal should include what happens when something goes slightly wrong. The goal is not to guarantee zero mistakes; it is to make small disruptions less surprising.

• **Forgot a line:** pause, return to the next idea or permitted keyword cue instead of apologising repeatedly.
• **Lost place in notes:** look for the next heading or keyword rather than scanning every sentence.
• **Visual does not appear:** continue the explanation verbally if possible instead of freezing while fixing technology.
• **Audience reaction interrupts timing:** pause, reconnect and continue; do not race through the next section automatically.
• **Question is unclear:** ask for clarification rather than guessing what the judge meant.

Step 11 — Simulate the event, not only the speech

A useful dress rehearsal copies the **relevant event sequence**, not necessarily a costume. Practise waiting for the child’s name, walking or joining the online room, arranging permitted notes/visuals, beginning after the signal, finishing, handling one sample question if applicable, and leaving the speaking area. This exposes practical gaps that another script run may not reveal.

Keep simulations proportionate. A young child does not need a home audience of twenty people to prepare for a small school event. Match rehearsal demand to the actual situation and the child’s current skill.

Step 12 — Use feedback that the child can act on

Feedback is more useful when it is tied to the goal and gives the child a next action. Instead of “Be confident” or “Use more expression,” say **“Your main points were easy to follow. On the next run, pause after each point before the example.”** Then let the child try that target while the feedback is still fresh.

Near the event, reduce the number of new corrections. If the speech is already functional, the final rehearsal period should prioritise stability, rule compliance and a small number of high-value adjustments rather than rewriting everything.

A practical preparation timeline — adapt it to the event date

There is no universal number of preparation days. A familiar two-minute class talk and a researched competition speech need different preparation. Use this sequence as a planning order rather than a fixed schedule.

• **Early stage:** read rules, choose/refine topic, define message, gather required information and build the structure.
• **Middle stage:** stabilise content, practise sections, check facts/examples and begin timing.
• **Later stage:** do complete runs, rehearse delivery targets, questions, visuals and recovery strategies.
• **Final stage:** simulate the event, pack materials, verify logistics and avoid unnecessary last-minute rewrites.

Competition-day checklist for parents and children

• Rules, reporting time and venue/online link checked again.
• Permitted notes or script packed in the correct format.
• Visuals/props packed only if allowed and genuinely needed.
• Required ID, school details, consent forms or registration proof ready.
• Water and any ordinary personal items prepared where venue rules allow.
• First idea/opening mentally available without another full rewrite.
• Recovery plan remembered: pause → next idea → continue.
• Parent feedback reduced to one useful reminder rather than a final list of corrections.

A simple pre-stage reset: PAUSE → ORIENT → FIRST IDEA

A reset routine should not be presented as a guaranteed way to remove nerves. Its purpose is to give the child a familiar task when attention starts jumping between judges, results, mistakes and the audience. Pause briefly, notice where to stand or where the camera is, relax unnecessary tension if possible, and return attention to the first idea or opening line.

If a child becomes highly distressed, panicked or unable to participate, do not turn the competition into an exposure test. Step away from the performance pressure and respond to the child’s wellbeing first. Persistent or severe distress may need discussion with the school and an appropriately qualified professional rather than more rehearsal alone.

What parents should avoid during competition preparation

• **Do not rewrite the whole speech in an adult voice.** The child should understand and own the message they are delivering.
• **Do not change five delivery habits in one run.** Pick the highest-value target.
• **Do not force a costume, prop, smile or gesture unless the event/genre genuinely requires it.**
• **Do not compare the child with another contestant’s accent, personality or style.** Use the event criteria and the child’s own progress.
• **Do not equate winning with successful preparation.** A competition result also depends on other speakers, judging criteria and event conditions.

How to review the result after the competition

After the event, separate **result** from **performance evidence**. Ask what the child communicated well, what felt difficult, what feedback the judges actually provided and which one skill is worth carrying into the next speaking task. If a score sheet is available, read the published criteria rather than guessing why the child placed where they did.

A useful reflection is: **What worked? What evidence do we have? What will we try next?** That keeps competition participation connected to long-term speaking development rather than making one ranking the entire story.

Choose the right Tiny Steps speaking guide for the next skill

• Speaking confidence roadmap — when the main need is broader participation and independence.
• Speech structure — when the message needs a clearer opening, body and conclusion.
• Visual aids — when the event permits pictures, props, charts or slides.
• Debate starters — when the event involves positions, reasons, evidence and rebuttal.
• Video feedback — when a short recording will help review one speaking target.
• Explore the Tiny Steps Public Speaking program and curriculum for structured skill development.

Evidence behind this competition-preparation guide

The English National Curriculum expects children to participate in presentations and performances, speak audibly and fluently, organise spoken explanations, maintain listener interest and adapt communication for different purposes and audiences: https://www.gov.uk/government/publications/national-curriculum-in-england-english-programmes-of-study/national-curriculum-in-england-english-programmes-of-study

EEF feedback guidance emphasises feedback that is linked to the learning goal, highlights strengths and gives specific next steps the learner can act on: https://educationendowmentfoundation.org.uk/education-evidence/guidance-reports/feedback

EEF metacognition and self-regulation guidance supports helping learners plan, monitor and evaluate their work so that strategy use becomes increasingly independent: https://educationendowmentfoundation.org.uk/16-19/developing-independent-learners/metacognition-and-self-regulation

EEF oral-language evidence supports purposeful spoken interaction, modelling and scaffolding, while also noting that the evidence base is broader than formal public-speaking training: https://educationendowmentfoundation.org.uk/education-evidence/teaching-learning-toolkit/oral-language-interventions

These sources support the communication, feedback, rehearsal and self-monitoring principles used here. They do **not** establish one universal competition checklist, microphone distance, rehearsal schedule or pre-stage routine. The RULES → MESSAGE → STRUCTURE → REHEARSE → TIME → SIMULATE → PACK → RESET sequence is Tiny Steps editorial teaching guidance and should always be adapted to the event’s published rules.