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How to Use THE CREATIVE PROCESS FOR PUBLIC SPEAKING This Book 1 2 The tabs in this book correspond to the parts of the process for public speaking (Tabs 1 5) and the types of speaking (Tabs 6 9). STARTING RESEARCHING The brief contents shown in the charts to the right give a quick overview. OVERVIEW OF PUBLIC Chapter 3 SPEAKING LOCATING SUPPORT Detailed contents appear at Page 1 MATERIALS the beginning of each chapter, as Chapter 1 Page 69 well as inside the back cover of GETTING TO KNOW Chapter 4 the book. Chapter headings in the YOUR AUDIENCE AND SELECTING AND SITUATION TESTING SUPPORT book are in question-and-answer format to ask common questions Page 25 MATERIALS that beginning speakers have and Chapter 2 Page 109 SELECTING YOUR to provide clear answers. Each TOPIC AND PURPOSE chapter-opening contents section also serves as a list of learning Page 49 objectives for that chapter. TYPES OF SPEAKING 6 7 SPEAKING TO SPEAKING TO INFORM PERSUADE Chapter 13 Chapter 14 THE INFORMATIVE TOOLS FOR SPEECH PERSUADING Page 333 Page 369 Chapter 15 THE PERSUASIVE SPEECH Page 403 Z04_FORD0115_01_SE_NOTE.indd 535 11/15/10 2:20 PM 3 4 5 CREATING PRESENTING LISTENING & EVALUATING Chapter 5 Chapter 8 Chapter 11 OUTLINING YOUR USING LANGUAGE LISTENING SPEECH SUCCESSFULLY * Page 299 * Page 137 * Page 215 Chapter 12 Chapter 6 Chapter 9 EVALUATING SPEECHES ORGANIZING THE DELIVERING YOUR * Page 317 SPEECH BODY SPEECH * Page 173 * Page 237 Chapter 7 CHAPTER 10 INTRODUCING AND USING PRESENTATION CONCLUDING YOUR AIDS SPEECH * Page 261 * Page 195 NCA STUDENT OUTCOMES FOR SPEAKING AND 8 9 LISTENING * Page 507 GLOSSARY * Page 523 SPEAKING ON SPEAKING IN SPECIAL OCCASIONS PROFESSIONAL BIBLIOGRAPHY & GROUP SETTINGS * Page 533 NOTES Chapter 16 Chapter 17 SPEECHES FOR SPECIAL ON THE JOB SPEAKING * Page 535 EVENTS * Page 471 CREDITS * Page 443 Chapter 18 * Page 536 SPEAKING IN SMALL INDEX GROUPS * Page 541 * Page 493 DETAILED CONTENTS * Page 554 A01_FORD0115_01_SE_FM.indd 1 11/20/10 12:31 AM Guide to Public Speaking LISA A. FORD BROWN Columbia College Allyn & Bacon Boston Columbus Indianapolis New York San Francisco Upper Saddle River Amsterdam Cape Town Dubai London Madrid Milan Munich Paris Montréal Toronto Delhi Mexico City São Paulo Sydney Hong Kong Seoul Singapore Taipei Tokyo A01_FORD0115_01_SE_FM.indd 3 11/20/10 12:31 AM Text design, page layout, Editorial Director: Daryl Fox and cover design: Editor-in-Chief, Communication: Karon Bowers Stuart Jackman Director, Market Research and Development: Laura Coaty Director of Development: Meg Botteon Development Editor: Brenda Hadenfeldt Editorial Assistant: Megan Sweeney Associate Development Editor: Angela Mallowes Media Producer: Megan Higginbotham Marketing Manager: Blair Tuckman Managing Editor: Linda Behrens Associate Managing Editor: Bayani Mendoza de Leon Production Manager: Raegan Keida Heerema Project Coordination: Integra Software Services, Inc. Cover Photos (clockwise from top left ) : © Ladi Kirn/Alamy, GK Hart/Vikki Hart, © The National Trust Photolibrary/Alamy, © vario images GmbH & Co.KG/Alamy Visual Research Manager: Rona Tuccillo Senior Manufacturing Buyer: Mary Ann Gloriande Printer and Binder: RR Donnelley & Sons Company/Crawfordsville Cover Printer: Lehigh-Phoenix For permission to use copyrighted material, grateful acknowledgment is made to the copyright holders on pp. 536 540, which are hereby made part of this copyright page. Library of Congress Cataloging-in-Publication Data Ford-Brown, Lisa A. DK guide to public speaking / Lisa A. Ford-Brown. p. cm. ISBN-13: 978-0-205-75011-5 ISBN-10: 0-205-75011-7 1. Public speaking Handbooks, manuals, etc. I. Ford-Brown, Lisa A. II. Title. PN4129.15.F67 2012 808.51 dc22 2010044658 Copyright © 2012 by Pearson Education, Inc. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Printed in the United States. To obtain permission to use material from this work, please submit a written request to Pearson Education, Inc., Permissions Department, 501 Boylston Street, Suite 900, Boston, MA 02116, fax: (617) 671-2290. For information regarding permissions, call (617) 671-2295 or e-mail: [email protected]. 1 2 3 4 5 6 7 8 9 10 DOC 13 12 11 10 Allyn & Bacon is an imprint of ISBN-13: 978-0-205-75011-5 www.pearsonhighered.com ISBN-10: 0-205-75011-7 A01_FORD0115_01_SE_FM.indd 4 11/20/10 12:31 AM Preface The inspiration for this book was a 2008 study by a leading research institution concluding that students use a textbook for less than 15 percent of their study time for their public speaking course. The picture that emerged from 25 hours of interviews and more than 300 diary entries was this: Although students found textbooks to be useful when studying for quizzes, they did not nd them at all useful for guidance while developing their speeches. As a result, DK Guide to Public Speaking was created to give students the practical information and examples they seek right up front, supported with the concepts and theories instructors know students need. To test students experiences, usability studies were commissioned for this text. Students from two- and four-year colleges used DK Guide to Public Speaking for tasks such as creating oral citations, evaluating central ideas (thesis statements), and locating and selecting sources. These studies resulted in many hours of video feedback that helped hone the text in areas students nd most challenging in creating a speech. The insights of more than 300 public speaking instructors, including a Faculty Advisory Board of nearly 50, ensure the text meets the needs of students and faculty in a conceptually, theoretically, and pedagogically sound way. Combining its comprehensive coverage with the powerfully visual DK design, the student- and instructor-tested DK Guide to Public Speaking offers an easy-to-navigate resource with dynamic visuals, current examples, and concise instruction that will equip students with the tools and con dence to be effective speakers. * See pages vi xi for highlights and features of the book. PREFACE v A01_FORD0115_01_SE_FM.indd 5 11/20/10 12:31 AM Origins of DK Guide to Public Speaking Extensive student feedback Student diary studies and usability testing highlighted the challenging areas that students need their public speaking text to address and demonstrated how the design of the material could help. Students emphasized that they look for practical information and easy-to- nd examples to provide them with the guidance they want, when they need it most during their speech preparation. Thorough instructor Expert collaboration reviews To create this vision, DK Guide to Public Speaking paired an Focus groups, editorial award-winning public speaking teacher with one reviews, and ongoing of the worlds leading THE HIERARCHY OF NEEDS MONRO feedback from the Self-actualization needs guidebook designers. relate to the need to reach your highest goal or Faculty Advisory potential. ACTUNSAEELELIDZFAS TION Working in tandem with Board helped to ensure Stboee itlnhf-gee vnsiteeeewedem fdo nrb ryee eospdthesec rrtes ol aarts e SELNFEEESDTSE EM the publisher, this team took signi cant the text facilitates ifmeeplionrgt agnoto, wd haibcohu let aodnse tsoe lf. course content and developed it into an SOCIAL NEEDS the conceptual and Social needs relate to engaging visual presentation. theoretical outcomes for tohr et on ebeed in t ola bsteinlogn g SAFETY NEEDS relationships, such as intimate partnerships, public speaking. fsroiecniadl sghriopusp, fsa.milies, and PHYSNIOELEODGS ICAL THE HIERARCHY OF NEEDS MONROES MOTIVATED SEQUENCE Self-actualization needs relate to the need to ATTENTION STAGE rpeoatcehn tyioalu. r highest goal or ACTUNSAEELELIZDFAS TION ayYtootuuer nd ttioiroepncic tt .oyowuarr dau ydoiue nacneds Self-esteem needs relate tboe itnhge vnieeewde fdo rb rye osptheecrts o ars SELNFEEESDTSE EM ifmeeplionrgt agnoto, wd haibcohu let aodnse tsoe lf. SOCIAL NEEDS NYaouEudE ideDne mcSeTo tAnhGsattEr athtee yto h yaovuer o ne Social needs relate to of the needs in the hierarchy. tohr et on ebeed in t ola bsteinlogn g SAFETY NEEDS relationships, such afsrosie cinniatdli msghraioptuesp, pfsaa.mrtnilieerss,h aipnds, PHYSNIOEELODGS ICAL SYmoAeuTe pItS rtoFhpAeo CnseTeeI aOd .sNo lSuTtiAonG tEo Safety needs are needs for overall security and protection, such as a sense orefl asatifoentys hinip yso, ourr shhoemlteer, . VYoIuS UhAelLpI tZhAeT aIuOdNie nScTeA GE visualize the benets of the Physiological needs are solution. needs for food, water, air, general comfort, and sex. ACTION STAGE You tell the audience what they must do to adopt the solution and achieve satisfaction. *Sfoere m Cohraep otenr u6s (inTagb M 3o) nanrode Cs hmapotteivra 1te5d ( Tab 7) sequence to structure a persuasive speech. WHAT ARE THE MODERN APPEALS USED TO PERSUADE?381 vi ORIGINS OF THIS BOOK A01_FORD0115_01_SE_FM.indd 6 11/20/10 12:31 AM Features What Is the Creative Process for Public Speaking? Composing and presenting a sypoeue vcihe wm athye s pereomce dsasu onntliyn ga sif 1 2 3 4 5 a whole, but you can break it down into workable parts. The poTurhatic st thcicihsaa lbr iton osfohkr owmwialslt ithohenel p t hyvroeou ub.g ahsi-c STARTING RESEARCHING CREATING PRESENTING LEIVSATLEUNAINTIGN &G activities you will use to create a spfbrureeoctqwccueeeessenssnt fmlu yal a cmsytpi ovleovietoeicke bh sla..i nAceklta har,no yudo gfuoh r wtthhile l GYS*KswpnOIEhTeoTeUaUSwrTkReeA iIn,w e TNAwg IhpGUO hotao eDNT gy naOIoe,Es u a NKw2 naN5CderelE Olw aWAhs Ny yDo u LS*FtlsihuibOUnrrroCdPvaSue rAPsyegyTuO,s ehIpi.nRN ppttThGeoa eMrr g vt I eiAnme Ttw6eaE9rtsRne, areIAinta,Lld stSh e OS*SopintuPrUcaetElrplTuStiEna dLewCreIeeaN,Hi tt acphiIor Nc aeaniagGt waote etYuo i 1oatOrlk n3iUnis7ne R pg, a agned. US*WlcaaonUnSrndigtICc SeNuvCr eiaeyGvEgeotied Sue L,p. Sr aAtU ahsFpNpsgaUpeeteGr Leidos Uc2L pefhYa1vAr imiu5acGste ieilEnisa, glri,k e L*BectsohaeI San elairT scSoenttEeesv iav Nenerceeri Itncp sNliovipgasGemot gae,n neenestd eibh2b rwai9 iwclri9ahrthiyleo, oria ns n tdh e are speaking. Create a delivery outline to repetition and parallelism to communication process. p*StSAhetuENselrL e pyDoSEcooect CuP sctee,ThUa y spIeoRoNi ofatu PGoyngrOop . e aYDuiS ucO4reE d t9sUhipenaRenete c TbtcehOeh, esa.Pt n ICd STM*LeveavEEAaraLSirleTSunETtEea yCIhNtRe oTeo IG,fIpw A cNs ah uSLtGgoopSU e opAeP so1NPere0,tO Dc a9mtnR ivdaTet uelyrs iea las. uOS*IpodrsPoRegeiEnnGa SEdtntAiseCufi zyNaeHra iny nIt poZBdigoauI Onc Ngyrha DomGeol Yu s oaT1trsir H7nase3pt E aee nge yc.h. adDS*SseintenPaErdlsigEivLtv SaieEaIceVge pC,rt ceyoEepH.o R rybPponoIrepNaau nrcdgGritaae eai tctnYeuu e2tO dr!,i na3eiUel n,7y neRgocn auetgrh. iun-g, aamldE*Dan eVsneadpltAgitve eeSauLererepmairUcaeygphliA s nerapo,sT ,en opaatI dotrNngrgh ipedaeaeGitt cn hoee 3,Si nfizsc1 Paueaes7 ts.pEcsisoptpE ionevoCfe,ar Hatnk neeErdsSss ICS*CtsacaNheonnPOreatTnddEsNtaRc S EuyetgCleOeCuonpeL esuHadD tUyi snrospoU D as nwiuapCnt ItgrtiNeIte htNrceehnoGarcG etdti1 him Ydous 9A.Oui ncpbC5Nmt UairaileoDcinRstant yd u .t e p a UP*KucyyaooannsRSepuudoEI tNrr SwpSru ecaerGEr erumweeNe s d dhaeeTpitiemnAebatnnteTigbalcn IiateteOetiynori No ,u2d ynanno6 Anha,du1 dioeIedrD n wrshsSshp e tttaeoalopnen ccdhe . 1 16 OVERVIEW OF PUBLIC SPEAKING WHAT IS THE CREATIVE PROCESS FOR PUBLIC SPEAKING? 17 Designed for easy use and navigation: Tabs and process charts help students quickly nd answers to questions on any part of the speech process or type of speaking. Blue cross- references guide students to related sections. What Is the Process of Public speaking is a communication process If you have the ability to carry on an ordinary and best understood when represented as conversation, you have the ability to speak Communicating? a model where several parts interact and publicly. The difference between public inuence each other. speaking and everyday conversation is that SPEAKER CGORMOUMNODN CHANNEMLE SSAGE & FEEDMBAECSSKAGE FEEDBACK AUDIENCE FNTTTTTcmsnaoearasIemawdaeneopouflnnirinoehhhhheoert hceee unendddnwhetcceeeeemie ssihnasiti covde oossileinarsamcsekevldeshneraaiddbunvpiohu be inrs vtggdsreniiesiatncbreau dutsenniehieeto ssged.cvaaaa tnsrria eggr asi keealbeoagpnoka ntn t na ir tmhrccan rrdo((nnieogecbey a gttorolefn vctdfrhh doeoatlemd efomen ishe teseensls iesiedrr hbis s isp e sciusn mdbiiconepp dv eysa,sdioettaab loncgsrri e es hguhanbstltltoodato ua hheehMenuktstsmaffcccedshcheo see eeiiaceekpomdcs eeha erea relkess,ldtefp a d s r sto m nbseasss.snpa r ttoess co i saiuchyibcsraomnuoordaooaroeno c esyogf gffttssbantnv io dhse eh dtite.lcie vlt io l nnhvs eret eheoo nwoseoafa&snot d e deeu fenrfoasaeaki hi b r ngssa crvrvtburgeFsbeeor has p neeeepypsdeepostxy .lert dyrih e eewia tonpettobaw etie edamrihgnvhtitlrnannssr atikiib eeegefn mlniotdgeccoeo ,a rah )gnase err ntect ta.s.lm)se.th h k anh iseen gde e . cpsYapruirTirsTminnseeetaou ournoh rffscsooFcsratsmTPTamudoodbduepehperiicoso ahh irrlecmtnaetceoeiesem iemmmrurveericrty e hmctnnsncuwsuaatye, iuaia mtosiptsstcoctvtlwrernmi rnea,tettpii,euteveim iaa biiaoupsga nnn,bieooeole e vnrcnindanaaukpi dtgnnuasl pivavsiessi nieecs,l k t otbvlcf itiei toiteye swwtentecdiinnthionarxsnnu oie orwaogepifaoateuoo ee gwgwsno vivpo- nll fant nd nolta. crm vicec frylher dlnemd tg focioataooelioi hkdewh eidt ns tecmnllqpnnmbaa eehmv se ea effg gsfuotprwy os erenmt rsmsaieoiu swo hia oordr da dssrr itspmamuaogeoanmtuee heeleititmh egninncecsln.nrprtearhr a,aie. ewetgtie e niratoaacttbchiktc,ed i- vsi ors h towoaoaaoaeeawtmaa es t te-tnismcn nrct btashl sow apie oye kbrdsawo ayuebremeyqtar l hea nsnc anyratee da raue capiy sudtn ntdti pnterlaoa tafnni wrel nooddeocsr olo tsnlus ai ae fituhr urt vetacca sfran mhse eneoleetseeaace a dtoea rmdrnestatt:wrt y c iist. clthtoo u h hheuswon.nc eltelfal yhti tulal .he srI. e t. Background refers to the speakers and the audiences identities and life experiences. Common ground refers to the overlap within the speakers and audiences identities and life experiences. BACKGROUND NOISE SITUATION 2 14 OVERVIEW OF PUBLIC SPEAKING WHAT IS THE PROCESS OF COMMUNICATING? 15 Presents concepts visually, supported by text: The pairing of visuals and detailed explanations allows students to get an overview at a glance and read on for speci cs. 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Tan n eo,epemvae sd oyng oena geyhsdo ?tn popo.p,preuonoudl tpeoos ,awg ypt iunLavpefr tg ,tiddusetu aau irtr.bode o.d rmton a hwe ewndYs otnnTibl soeirgkpsiotdoaeidoenpcetp hkelashzi eaf b i.stnsrau e ro teavifs eefeohrv iienoy gd o taefanmassuewofrpigu rtrketeos irdnuiyep tesir i no antl m lolonsayn gff l SlwwatntP iohkroepcstpmytltksSsrraTITTTBiieR retlihhooefmavlooet aosnorhho rr hha adeayAaaeyb ouoiyymteoeluiomrssnrosiid enentl ogm nnu uta Co rlpuwem uitti.y enh yedupemto taTskkgroo p xTerso. asa teypdlth eaitn e h pnekheh xpnrkuIaaihIlcroreeesarmpsee tieteCedipsebabtogrp mo ,u drrtsnpe a aib iieu.gmtvermIo nrooce sr.f a ergmorftNpd iooIenere ouurusnireePt pofrrrn r tan sy eri eGdoettil edrteiyemntat yyge atwodsoi e,itoism osmfho.ocoywn hoo menmoreeu edE ptwpnapt ouetugdiupnr. taaar nhsphmou.Ter leulytrr a snketRisure o.tdekc,apnuc Hdaouakr t Bre il, moadwxiatbo osh aneatnw aunemp psinlIejinepeiolp nmt pegebdCyerrgh nunaaiee nt iv t,eecrd l n iblcoh tumSorturtla i t einaiartet steypnn cloo ud toktwiros cbiio b . ee hosehe otkyismydeo renhet s soe pn.uayrssotmohio nho tgr a,nooyWrmhua .:ieca ruwu ceetwtmviMuwtko nevt efon tre sfe re e bh ufmoedoidhs pnoa altlr rnp tlrainss rey.rs t ooron btwg imo?tgtekstasit ot?eu nsoms aso mpoelrseaaauo aeosg sbktdfouHlyttkn er ee fdyi otenhoehodoctbet t hdos cthsw n iot tefrari eyali wmaiiw fots itbeemaron nrtn uot oht. t ti lhshlueeigs l if y wo ohmreesifsdeoo ter rd fpo cgey .y ig eyerorfe yr bne suf-yeeiio itooeeeytat-o,ygltr i uu eu sok cr a u l 8 OVERVIEW OF PUBLIC SPEAKING HOW CAN YOU BE AN ETHICAL PUBLIC SPEAKER? 9 WHAT ARE THE METHODS OF DELIVERY?251 every stage: Building from the introductory material on ethics and avoiding PRACTICING ETHICS plagiarism in the Overview chapter, Practicing Ethics sections Sometimes impromptu speaking will make you feel are integrated throughout the text to give students insights into like you are being put on the spot or asked to speak without preparation. Remember: Most of the time you ethical issues to keep in mind when dealing with each part of the will be asked for impromptu comments because you are an expert on the subject or have something critical speech process. to add. Therefore, ethically, it is your responsibility to never make up information to sound good or to get through the moment. Be honest. 7 7 8 3 ITaopaanntfrpi apccdepclha ulebtceiivdccohcaaaxek lsltluse titis aasooCttg osnefhe lo :gs te ro hEitc vfopex ket itrhhsrlea i eessnsc plttspptuesiir vdcec oaeercace nnheula dtesstsssee . BsstMdlofuatWbnprOstsPorhhehhpop rreseeioonne eeaoeeirRPIAHtwatBpeumoelekcetmnfhhig b cds cvhr raeuwevatceoadlespyhkteaeeeeem hhe i hcelipyfurst anroiolcsoc f rt nstei ehryonihseneweo esoemcgu octptnesm t twp crgaiu coeenfsavoei a r pidheeca mceoaear.i tit ms re pnatil atssce eb ayep ecellcnos he hicnapleyapwslie ntnl o dr timd aixeyaoopesbuhaoe roi econrtditnnsle ti dronulnyoesro cee hreuh soe piodteofmtdsco hpu stcgrcomte rnesmeahac.eelftddroecraahsms r is rddhnearocieCcdnpecan ciu,ps on,p e ge n tonasiinnosecpiaoiihsmaeotc st danornostsfgc ae ottuus,rrne rs io, lt eini ilgatt ao ne sinaa ioloctlrfc cSooahtfptspdgla uct yeynns genhsho siaa na,cneas nnfth ol eas. e ppa eu btmnlsinncw atraas itbidugcoeHspe ts.mlcdemad pyh sh e pi eouvas y hsteheo egows iO ee ea deuopeceusmaorcefnetiiirfhaeeanrntohnleo aidu Wbtheh cty aoerstccwa hrwcnmtetuati aot. ahw.natmvshi gebi eeh c kshoo mtiuM as ideDmsnhlersdie actf.tr elntntuah pr o ehsac a eo rr ribdrOyepsdotdeiesr etsvo e g trpwhe.em nshwdore hi ee e ipucAnsi oo teetYcselaneil raci rsaoairefrlngramtfe vyaltlruthoeO si oesmn ahl c s male ctbr o cyeytepsrdlnuhUteohnmrtihmeeio ,osoieefe .iss aaauemdoece o tu,unadn ac lrnWh t,tn i i n eelkr nter fone oeia a esa Rgp yr .n r tI?d?T E Aoc agrspsstydUsastoaEOehhpppptcadorrp******ieuOCni vmeeegPIvcneeeuelvrpcSrHl flce s DDIDIIiaeccee cporamo a e rssssnrenwceaPyhnuircanEm rrsociicoooosrmtmepnaaaegmeaagohu ssareeeiipEhhCcdar iivaale oczllesInyyesssue nrtlrs iinb rneeutdbyyaK i eCeait nonletdomtmlill hiais yoaewheoa ysvseit kazasthenl.ceLiyncaniI ela nyye irr etitnuesl?ti cfaaaeoevgoIi tyA:rgs ese oov ic abioa rS etnaaasas tuofdntcusieoma.Sa r lorrhftLh tmtf canTpsmrritamesanerrryIpytudnpno yesgaoaftoei e crele co o gyoi atmo aaufel ddea Ofleap lsn e tdsues s tougpntr otmyuflthaetcrkoefl atStst,hc itil Cnfuy cr rlcnaii ertseolihe yme cairsweyomvn athaho olotlttpsEai,tp rnh C npm los,ig sessn set.afypuereyepnwoeapv,p ntgees iu, v Auravia e nnt eresuecegscat ygauoee ih itipaardec rd ven eeloipalSe calSenclnycsellas cslidiccuanm icdaumnunr lteh,hdeocehlmplId a ypot,ducdhW ae caae aag dn ,neOaaoeeoes edhy fee.nsontntsnph b eOx dccaseeeoc aunuedttaiNhdsitpd s eleW nhc niotep icoasadnao t rtchash,na omnu arop fv ni ogecs .s e puleilctSemnr ep afasoii o a e ospeHross npkol ayteaarrvitapaPiaanilaomin oprdratetaecglnonolneoe ceftrpmsslavSEitsnitalcylna diuntptndew coaayeerol?inricp g cta r?aEnpto,rm tym s dccii ne?oeih ?aons,ca ecptpp vj owraaCt Inavsoieivroerfoneaacvunoeeroi r,ah-eanenb n?Htoiia fdeesgpn epaaaf st tri.lrntpereteyrw p u,e co ptp,?i tkSold?t oa sdreaysrdh t ht eo or Dtoiettiohnf iee e 4hee orprof ot,wn ue s kcssrerr ci?Iy e a h i5ett e h, 3 TAgemgreYTawSovvl eorhP lioaaRSMKBBPTSetrghbtsowoaeaet aotejhehEyadohsnptrrnnoraroereneedsa ea dcaoiro pyu pCakeinlrdx tottoswaeidlneibpoes o, se eriaaoss o e wwfa IeinedpEppomryrodafcifsfetkrtrcAtnie les igttoos ,siul vieit,e co trn aitlrdio)a,womLiitt uh tseel o.fn ehlotfnoaf .gtc leao o , l hribnoaahmc tepaor synvoG n h wshrdntunett ,vateh s eo ldephtauepoodreab i oUmed tue,isini r ptora aaRlaera atntta er adeymssokIonm k,aeruossotrlyv tasippcD dlns tetattioedbyr Wrata otowo no hoeips tisoidenr r tEbhllnaotfrn lmoogcreoe oasri u u auvHd etoumdteoa g,bLwo,annc ssre dhsxa mfsuwtrneepasylAshmIc ,uh euse eipnevtodvt,dNnrt ftgto inih Trts . aosiiar,abihentrr dit b mradan eiEeA rp olrmbhr on io aneolh rtokse Arghesnyu rueetSp uirtt ftyerieosaetd ha e ts h,rn t bRlmlf yotpotrirhh.iitpt eneeaeaon.h gdhissmiooah,u eeEo o sr rd nlAo,gue etoeist lteuerissaonsenho odmhfr c trnvmb .hehet fhT nows vo o odh emiyashegc eloohotrmtafHftueor nht ieao .rfnn annopailehthsn efsmaonutEeelsIu tsnooonpmel erittat.csut kee( nt rehror lw erN ep.iapiili.desoTeo s gosoa.demr ao p Y,ga,eoeae fr t Yun n k ar ityya,.rooenb rwite h,sie,a t.tPmoo nh nauvresi.,.oren e ofusdeeTg sEitr dsatn n .e, h S . sgtn eA.t s . O , F SEGcPhAugssTXaiuMebssslspIawbaabdtSJbtOccsshJtnlspae aEIwhhrteheottodaag vnnnttraeeaAiea PnarspraharsaneiseiarelmegCeainlsg dd peaslsoasom vdw tiyao:ttlp metM,o tendteo ae,i , dte. pa m hep aIs gmcig n. vR s hyctron,tItwofc uSd drtnueAeTo wi , serioeuh vocP t hthanetsnentsd hwaooelod dtohs hroe ematauihhnhaael LlmdsLhizgeninoyaon ne y .l eaqi olnil v esieSii ss sp lbe e niW tgpE,aedfnnn tbduooiystkels edb pt nO sr, Iwtln,elrc.yo po ete i.g e u ved bkeiiaJY edoaoea awyoroyWftngadwCopurenoe itnn,oe e dtcnn madouolima min g hie. cruoehlnluene idso dlds n ddCuiaf uaadf Srebi ientraif etgs twnsehws a uo aisly r selo thyrt eetA hi iojemb n n tins ibldmo twoer procwhnyptt neab o tarawpe maigpeioihegygeybuSh toeean ttusgmnoreqh aic e ie eere tro dege,non!ot leuIawoe sdkt h aenu dfnrcgpo sItfe rotyg(Oretha l,ptn ler t.ei h ittn a a,h itltraphalo, c arloItdbgy eoelol fo hIwi,aehsciel Ndltdtyee ercaslmlw aleaeirleoma owhki feamdi, ette ilkpro coit se ar yiteptu eeshe .ja awte tr e na tapn iobmhSrGnJoonytnhot mdrbsl oana bt oet )aosehimsaaeeasyt, lddiutPactrrn hhdo aaashtnrcduessa.help rrasgh r dstrel eat.ar.w oEe sshS f ensrys, r tthe ,l.iicgi iaH aaaahavee nsdetisn op,aCimWtyiE owo fi oeet cA wyyueree aaho ttel n ioe oiyhWp uauoe t ncoy en nCnnseynl fttoudati c lndo i .htleoteesCSo.ros u l h t vdadtui a hmH J ildegitlmau eaFhfmtad ?ai foed e sohpo tnsotspea es brbrlorreioifhesyWiEotut nteaeevkarteiedpsogrprt ar..eco.ast i o ap si lldeets S nlw Trow khothneyem.eltauirrswutl esdt oW hgmheia a.w ?suropfo shacttc lnm drsi elv e.daNe no ditphe,apaylila h,emo4oog aelkea tpa Jsoo.i lcw aloty o wnmti emvn esywoeey iroo oopf,ndiw eeh o n5 , e ntuens t- g.hd saro e srs s e te ,7 Tip boxes provide useful information and advice along CHECKLIST for Evaluating a Special TIP: Responding from the Audience the way. Occasion Speech As an audience member to a toast, if you pick up your * Does my introduction include an attention-getter, glass at the beginning of the toast, dont put it down credibility material, statement of relevance, and until the end. You should always raise your glass and preview? sip some liquid, or you will appear impolite or seem to * Does the body of my speech have an appropriate suggest that you dont agree with the toast. organizational strategy and supported main points? * Is my language clear, vivid, and appropriate? * Does my conclusion include a summary, an audience reaction statement, and a WOW ending? * Is the length of my speech appropriate? * Is my delivery dynamic and enthusiastic? If appropriate, am I delivering the speech extemporaneously? Do I 8 maintain almost constant eye contact? Highlights how to evaluate speeches: A unique chapter on Evaluating Speeches (Chapter 12) teaches students how to better evaluate and critique their own work and that of others. In addition, chapters on subjects such as informative and persuasive speaking offer further tips on evaluating speci c types of speeches and messages. FEATURES ix A01_FORD0115_01_SE_FM.indd 9 11/20/10 12:31 AM

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