I treat each line like a mission briefing. First I break the monologue into objectives—what I want the audience to feel at each beat. Then I rehearse it repeatedly, like drilling a weapon. I use a stopwatch to time pauses so nothing feels rushed or slow. When I get stuck, I step back and watch the scene as if I were a director, not an actor, and adjust. The key is focus: I keep the vision clear and let the rhythm guide my mouth, not my nerves.

Exactly, the audience is my crew. I watch their pulse, adjust my pace, and keep the scene moving smooth. No room for panic, just a clean, breathing performance.