The shortest slot it fits, untouched
Before working out what to cut, it is worth knowing whether you need to. At each of our three measured paces, this is the smallest slot on the list that a 2,000-word script fits into with no trimming at all:
| Pace | Script runs | Smallest slot that fits |
|---|---|---|
| Presentation — 140 wpm | 14:17 | 15 minutes |
| Speech — 165 wpm | 12:07 | 15 minutes |
| Podcast — 185 wpm | 10:49 | 12 minutes |
Those are script-only figures. They assume the slot is entirely yours, which it almost never is.
What comes out, slot by slot
Each block below takes one slot length and asks the same question at each pace: how many words fit, and how many of your 2,000 have to go. A negative cut is not shown because there is no such thing — where the script already fits, the row says so.
| Pace | Slot holds | Cut | Share of the draft |
|---|---|---|---|
| Presentation — 140 wpm | 1,400 words | 600 words | 30% |
| Speech — 165 wpm | 1,650 words | 350 words | 18% |
| Podcast — 185 wpm | 1,850 words | 150 words | 8% |
| Pace | Slot holds | Cut | Share of the draft |
|---|---|---|---|
| Presentation — 140 wpm | 1,680 words | 320 words | 16% |
| Speech — 165 wpm | 1,980 words | 20 words | 1% |
| Podcast — 185 wpm | 2,220 words | fits as written | — |
| Pace | Slot holds | Cut | Share of the draft |
|---|---|---|---|
| Presentation — 140 wpm | 2,100 words | fits as written | — |
| Speech — 165 wpm | 2,475 words | fits as written | — |
| Podcast — 185 wpm | 2,775 words | fits as written | — |
| Pace | Slot holds | Cut | Share of the draft |
|---|---|---|---|
| Presentation — 140 wpm | 2,520 words | fits as written | — |
| Speech — 165 wpm | 2,970 words | fits as written | — |
| Podcast — 185 wpm | 3,330 words | fits as written | — |
| Pace | Slot holds | Cut | Share of the draft |
|---|---|---|---|
| Presentation — 140 wpm | 2,800 words | fits as written | — |
| Speech — 165 wpm | 3,300 words | fits as written | — |
| Podcast — 185 wpm | 3,700 words | fits as written | — |
| Pace | Slot holds | Cut | Share of the draft |
|---|---|---|---|
| Presentation — 140 wpm | 3,500 words | fits as written | — |
| Speech — 165 wpm | 4,125 words | fits as written | — |
| Podcast — 185 wpm | 4,625 words | fits as written | — |
| Pace | Slot holds | Cut | Share of the draft |
|---|---|---|---|
| Presentation — 140 wpm | 4,200 words | fits as written | — |
| Speech — 165 wpm | 4,950 words | fits as written | — |
| Podcast — 185 wpm | 5,550 words | fits as written | — |
Read down a column and the pattern is stark: the same script needs a different edit depending on a variable you have not measured. The twelve-minute slot is the clearest case. A deliberate speaker at 140 wpm has to lose 320 words — 16% of the draft — a speaker at the median 165 wpm loses only 20, and a brisk one at 185 wpm keeps every word. Same script, same slot, three different edits. That is the entire argument for measuring your own rate before cutting anything.
Above about fifteen minutes the question stops being interesting: every pace in the table fits 2,000 words into a fifteen-minute slot with room to spare, so the constraint moves from your script to whatever else the session contains.
Talks of this length that we actually timed
Two thousand words is a normal length for a substantial talk. 19 of the 39 deliveries in our measured set had transcripts at or above it:
| Talk | Speaker | Words | Took | Rate |
|---|---|---|---|---|
| The surprising science of happiness | Dan Gilbert | 3,687 | 20:40 | 178.4 wpm |
| Your body language may shape who you are | Amy Cuddy | 3,622 | 20:31 | 176.5 wpm |
| Your elusive creative genius | Elizabeth Gilbert | 3,490 | 19:01 | 183.6 wpm |
| The power of introverts | Susan Cain | 3,240 | 18:35 | 174.3 wpm |
| The best stats you've ever seen | Hans Rosling | 3,148 | 19:28 | 161.7 wpm |
| How to stop screwing yourself over | Mel Robbins | 3,123 | 21:25 | 145.9 wpm |
| Do schools kill creativity? | Sir Ken Robinson | 3,106 | 18:53 | 164.5 wpm |
| The power of vulnerability | Brené Brown | 3,047 | 19:55 | 153.0 wpm |
| How great leaders inspire action | Simon Sinek | 3,006 | 17:41 | 169.9 wpm |
| The danger of a single story | Chimamanda Ngozi Adichie | 2,845 | 18:20 | 155.2 wpm |
| A teacher growing green in the South Bronx | Stephen Ritz | 2,785 | 13:15 | 210.3 wpm |
| The puzzle of motivation | Dan Pink | 2,700 | 18:14 | 148.1 wpm |
| My stroke of insight | Jill Bolte Taylor | 2,680 | 18:02 | 148.6 wpm |
| What I learned from 100 days of rejection | Jia Jiang | 2,615 | 15:14 | 171.7 wpm |
| The happy secret to better work | Shawn Achor | 2,509 | 12:00 | 209.2 wpm |
| The surprising habits of original thinkers | Adam Grant | 2,477 | 15:04 | 164.4 wpm |
| Inside the mind of a master procrastinator | Tim Urban | 2,220 | 13:42 | 162.0 wpm |
| Why you should define your fears instead of your goals | Tim Ferriss | 2,155 | 13:00 | 165.7 wpm |
| How to gain control of your free time | Laura Vanderkam | 2,062 | 11:35 | 178.0 wpm |
How to lose ten per cent without losing the argument
At 2,000 words a ten per cent cut is 200 words, which is roughly 1:13 of speaking. Places that reliably hold that much dead weight:
- The setup before the first real sentence. Thanks, housekeeping, an outline of what you are about to say. An audience that can see you does not need an agenda slide read to them.
- Second and third examples. One vivid case beats three sketched ones, and each example you drop is worth around 0:44.
- Hedging. "I think it might be reasonable to suggest that" is nine words for a claim you could make in three. Spoken hedges also make you sound less sure than you are.
- Anything the slide already says. Reading a slide aloud costs full speaking time and adds nothing the room has not already read.
- The recap. At this length the audience has not forgotten your opening. Summarising it back costs a minute you could spend on the close.
Cut in that order, re-time it aloud, and check the number against the calculator rather than against your memory of the last run. Then rehearse against a countdown set to the real slot so the pacing gets trained in.