SPCH3
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| Denotative | the literal or dictionary definition of a word
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| Connotative | the individual associations that different people bring to bear on a word
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| Use language accurately | Use language clearly, Use familiar words, Choose concrete words instead of abstract, Eliminate clutter
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| Concrete words | nouns and verbs that convey specific (as opposed to abstract) meaning
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| Similes | a figure of speech used to compare one thing with another by using the words “like” or “as.”
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| Metaphors | a figure of speech used to make implicit comparisons without the use of “like” or “as.”
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| Rhythm – repeating key words, phrases, or even sentences at various intervals throughout a speech | repeating key words, phrases, or even sentences at various intervals throughout a speech
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| Parallelism | the arrangement of words, phrases, or sentences in similar grammatical and stylistic form. can help the speaker emphasize important ideas in the speech
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| Repetition | adds emphasis to important ideas, helps listeners follow your logic, and imbues language with rhythm and drama
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| Anaphora | a rhetorical device in which the speaker repeats a word or phrase at the beginning of successive phrases, clauses, or sentences
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| Alliteration | the repetition of the same sounds, usually initial consonants, in two or more neighboring words or syllables
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| Antithesis | a rhetorical device in which two ideas are set off in balance (parallel) opposition to each other.
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| Use language that is | 1. Appropriate to the Occasion, 2. To the Audience 3. To the Topic and 4. To the Speaker.
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| Try to use | nonsexist language and be able to identify examples
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| Prepare speeches for | the ear, strive for simplicity, be concise, use repetition, use personal pronouns
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| Code switching | the selective use of dialect within a speech
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| Use active verbs | not passive
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| Use familiar words, easy-to-follow sentences, and straight forward syntax |
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| Root out biased language |
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| Avoid unnecessary jargon | (specialized terminology developed within a given endeavor or field of study)
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| Use fewer rather than more words to express your thoughts. |
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| Make striking comparisons with similes, metaphors, and analogies |
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| Use the active voice |
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| Repeat key words, phrases, or sentences at various intervals (anaphora) |
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| Experiment with alliteration – words that repeat the same sounds, usually initial consonants, in two or more neighboring words or syllables. |
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| Experiment with parallelism – arranging words, phrases, or sentences in similar form. |
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| Strive for naturalness, show enthusiasm, project sense of confidence, be direct |
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| Manuscript | – a type of delivery in which the speaker reads the speech verbatim that is, from prepared written text that contains the entire speech, word for word.
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| Manuscript Pro – convey a very precise message | convey a very precise message
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| Manuscript Con | restricts eye contact and body movement, limit expressiveness in vocal variety and quality, and can be monotonous and boring for audience.
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| Memory (oratory) | a type of delivery in which the speaker puts the entire speech, word for word, into writing and then commits it to memory.
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| Memory Pro | good for brief speeches or parts of a speech like a direct quote
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| Memory Con – not natural, possibility of mental lapse or block, and no true eye contact | not natural, possibility of mental lapse or block, and no true eye contact
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| Impromptu – a type of delivery that is unpracticed, spontaneous, or improvised | a type of delivery that is unpracticed, spontaneous, or improvised
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| Impromptu Con | no planning time
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| Extemporaneously | a type of delivery that falls somewhere between impromptu and written or memorized deliveries. prepare well and practice in advance, giving full attention to all facets of the speech – content, arrangement, and delivery alike.
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| Extemporaneous Pro | achieves a natural, conversation quality of delivery, flexibility, have more eye contact, more direct body orientation, greater freedom of movement, and generally better control of your thoughts and actions
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| Extemporaneous Cons | may become repetitive and wordy, may take longer due to new thoughts, may lose memory
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| Volume for delivering speech | may be somewhat louder than everyday conversation
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| Volume | The relative loudness of a speaker’s voice while giving a speech
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| Pitch | the range of sounds from high to low (or vice versa) determined by the number of vibrations per unit of time; the more vibrations per unit (also called frequency), the higher the pitch, and vice versa
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| Rate | the pace at which a speech is delivered. The typical public speech occurs at a rate slightly less than 120 words per minute.
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| Strategic Pauses | strategic elements of a speech used to enhance meaning by providing a type of punctuation, emphasizing a point, drawing attention to a key thought, or just allowing listeners a moment to contemplate what is being said.
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| Vocal fillers | “uh”, “hmm,” “you know,”
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| Vocal Variety | the variation of volume, pitch, rate, and pauses to create an effective delivery
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| Pronunciation | the correct formation of word sounds
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| Articulation/Diction | the clarity or forcefulness with which sounds are made, regardless of whether they are pronounced correctly
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| Dialect – a distinctive way of speaking associated with a particular region or social group | a distinctive way of speaking associated with a particular region or social group
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| Pay attention to body language. |
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| Audience members pay close attention to the messages sent by the speaker’s body language: | facial expressions, eye behavior, gestures, and general body movements
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| B. Animate your facial expression because the speaker’s facial and eye behaviors convey emotion; | these behaviors help listeners determine how the speaker feels about the speech and the audience.
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| Few behaviors are as effective at building rapport with an audience as _________. | smiling
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| A smile is | a sign of mutual welcome, comfort, interest, and goodwill
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| Smiling can | help the speaker relax
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| Maintain eye contact to let listeners | know that they are recognized
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| Poor eye contact is | alienating
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| good eye contact | maintains the quality of directness in the delivery.
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| Eye contact indicates | acknowledgment and respect, and signals that the speaker sees the audience members as unique individuals.
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| Choosing three members of the audience from various sections of the room as anchors | helps the speaker scan effectively
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| Use gestures that feel | natural to help clarify the meaning of the speaker’s words
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| Use natural, spontaneous gestures. | Avoid exaggerated gestures
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| 3. Eliminate distracting gestures. |
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| 4. Analyze your gestures for effectiveness when you practice your speech. |
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| 5. Practice movements that come naturally to you. |
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| E. Be aware of general body movement. |
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| F. Dress appropriately as dress and props or objects | influence the audience’s perceptions of the speaker.
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| The speaker’s clothing is | the first thing that listeners notice
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| 2. Speakers should consider the audience’s expectations and the nature of the speech occasion when | choosing what to wear
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| 3. The speaker should avoid holding objects that are unnecessary, because | they might distract the audience
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| Practice the delivery. |
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| Practice is essential to | effective delivery
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| Focus on the message | to get your message across
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| Plan ahead and practice often. |
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| Record or videotape your speech. |
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| Be prepared to revise your speaking notes. |
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| Practice under realistic conditions. |
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| Time your speech. |
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| Props, Models, graphs, Charts, audio and video (Power Point-multimedia), overhead transparencies, projectors, flip charts, posters | visual aids
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| Why we use visual aids? | 1. Draw attention to the topic. 2. Illustrate an idea that can’t fully be described by words alone. 3. Stimulate an emotional reaction. 4. Clarify a key point. 5. Support your claim graphically with statistics and facts.
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| Remember- 1. Keep it simple 2. Emphasize only key ideas 3. Show what you can’t say 4. Use close up images and other photographs 5. Keep the number presented images manageable 6. Combine variety and coherence 7. Use large lettering. |
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| Strive for simplicity. |
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| Present one major idea per aid and try to keep presentation aids simple. Visuals that |
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| Visuals that try to communicate too many messages | can overwhelm the audience
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| Follow the eight by eight rule: Don’t use more than eight words in a line or eight | Don’t use more than eight words in a line or eight lines on one presentation aid.
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| Rather than using full sentences | state your points in short phrases
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| Construct your text in active verb form. |
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| Use short titles as signposts that reinforce your message for the audience. |
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| Avoid unnecessary graphics and text. |
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| Use design elements consistently to avoid distracting the audience. | distracting the audience
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| Select appropriate typeface, styles, and fonts. |
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| Check that the lettering | stands apart from the background
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| Use a typeface (font) that is easy to read and doesn’t distract from the message. |
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| Don’t overuse boldface, italics, or underlining. Use them sparingly to | call attention to important items.
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| Use color carefully. |
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| Use bold, bright colors to | emphasize important points
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| Warm colors such as yellow, red, and orange move to the | foreground of a field and thus are useful for highlighting.
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| Limit the number of colors you use. | Two or three are sufficient for simple presentation aids.
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| The goal of persuasion | to influence your audiences attitudes, values, beliefs and acts of other.
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| Target audience | those individuals within the broader audience who are most likely to be influenced in the direction the speaker seeks
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| Ethos Logos Pathos | credibility (your character and competence)
evidence and reasoning
emotional appeal
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| Arguments claims | a stated position, with support, for or against an idea or issue; contains the core elements of claim, evidence, and warrants
the declaration of a state of affairs in which a speaker attempts to prove something by providing evidence and reasoning
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| evidence warrants | Supporting material that provides grounds for belief.
The link between a claim and evidence
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| Maslow’s hierarchy of needs | physiological needs, safety needs, social needs, self-esteem needs, self-actualization needs
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| Central processing | a mode of processing a persuasive message that involves thinking critically about the contents of the message and the strength and quality of the speaker's arguments
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| peripheral processing | a mode of processing a persuasive message that does not consider the quality of the speaker's message, but is influenced by such non-content issues as the speaker's appearance or reputation, certain slogans or one-liners, and obvious attempts to manipul
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| Claims of fact | arguing whether something is true or false
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| Claims of value | arguing whether something is good or bad, right or wrong.
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| Claims of policy | can be fact or value based but have the added challenge of asking for action from the audience. (don’t forget 3 basic issues of policy claims-need, plan, practicality
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| Use convincing evidence | examples, facts, stats, testimony
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| Anticipate your audience’s objections and | address them with evidence and reasoning
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| Types of reasoning | inductive, deductive, causal and analogical
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| Fallacies in reasoning | begging the question, bandwagon, either-or, ad hominem, red herring, hasty generalization, slippery-slope, appeal to tradition, invalid analogy
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| Address Culture | core values, cultural norms, cultural premises, emotions
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| Types of audiences | hostile, critical and conflicted, sympathetic, uninformed
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| Patterns of organization: | Problem-Solution, Problem-Cause-Solution, Monroe’s Motivated Sequence, Comparative Advantages, Refutation pattern,
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