Emphasis in Writing

Techniques > Use of language > Modifying meaning > Emphasis in Writing Strong words | Using space | Text devices | Don't over-do it | See also

Sometimes you have to persuade through the written word alone which, if this is makes up only 7% of communication, makes it very difficult to persuade. There are, however, several ways to emphasis in written language.

Strong words
One way of enlivening and emphasizing in written text is to use strong words that trigger emotional reactions. Just as strong words in spoken language grab attention, so they also work in written work. "If you really love me then you will..."

Using space
When a word or phrase is embedded within a sentence, it does not stand out as well. You can use the space on the page to make what you want people to remember to stand out, so... Remember to Save the Whales

Text devices
Written words can also be made to stand out by using the standard text devices, as below: Method Italics Usage Gives light emphasis. Use for subtle stressing of words. More insistent. Works well for emphasis of a complete phrase. Some people only use italic and bold, in which case the difference will cause attention. Is clearly visible when you first look at the whole page. Can create tension as they read towards it. This can be useful if done deliberately. Bigger fonts stand out more and small fonts recede. But beware of reducing readability by mixing font sizes too much. In particular the exclamation mark, gives a strong emphasis. Use sparingly. Be very careful when using multiple marks!!! It can be interpreted as either enthusiasm or attempted manipulation. Is the written equivalent of shouting. Avoid where possible, including use in headings.

Underline

Bold

size

punctuation!

UPPERCASE

Color

There are many colors you can use. Brighter colors and those towards the red end of the spectrum stand out more. Blues and dark colors are more subtle. A neat usage is in headings (which often include the key message). And you can combine any of the above, shouting in a deafening way.

COMBINATION S

On a computer, you may also find other ways of emphasizing, such as using shadow, double underline, etc. Do consider the computer on which it will be read. If you are using graphics on a website, for example, it could make the reader with a slow modem give up waiting before they've even set eyes on it. Headings Headings in text are great places for emphasis of key points you want to make. You'll note that we use colored headings to help them stand out (and to add some visual variation in an otherwise deliberately simple layout). Consistency Do remember to be consistent in your use of emphasis and abide by common rules. If you use different methods of emphasis for the same sense, then you will only confuse the reader. And readers are not bound by the manners which keep them listening to you face-to-face. If what you write is unclear or uncomfortable, they can usually stop at any time.

Don't even think about over-doing it!!!!

Have you ever received advertisement literature through the door that is plastered with bright color, uses many different fonts and is full of 'persuasive' words? Were you taken in? Of course not - in fact you were probably so dazzled you threw it immediately into the bin. One word causes a slight tension, a whole section amplifies and sustains this. If you use emphasis a lot, it will LOSE its effect and is LIKELY to make the other person rather annoyed!! So be conservative. Emphasis in writing works only because it makes words stand out. As with many other forms of communication, it is very easy to over-do emphasis, to the point where it no longer has any impact. Emphasis works when it uses contrast with the surrounding text, and when its use is a surprise, not when it is used as a sledgehammer. This may trigger confusion, which results in them acting in a way that you do not want.

Emphasis
Techniques > Use of language > Modifying meaning > Emphasis What is emphasis? | Emphasis changes meaning | See also

What is emphasis?
Or should I say what is emphasis? When you emphasis spoken words, the sound of the sentence changes. Typical characteristics of an emphasized spoken word include: The first syllable of a key word is pronounced louder than other syllables. The pitch goes down from the previous word.

A key word is spoken more slowly. A vowel sound is stretched. A pause after the word is spoken. Accompanying emphasis in body language .

What this is doing is causing the emphasized word to be highlighted as particularly important, signaling to the other person that when they infer meaning from your sentence, they should take particular care with understanding the meaning you have given to this word. Emphasis may also be created or increased by pausing just before the word or phrase to emphasize. This can be more subtle than heavy accentuation of the word itself. Emphasis can also be added with body language, for example by nodding or tilting the body forward slightly in time with verbal emphasis. Emphasis works by the contrast principle, where emphasizing something makes it different from the thing around it. Where it stimulates needs, such as with aggressive body language, it may use the arousal principle to get people stimulated. Emphasis can also be caused by repetition, with subsequent repeats increasing the importance being signalled. Multiple repetition thus says 'this is very, very important.'

Emphasis changes meaning

Emphasis causes attention An emphasized word says 'Look at me! I am more important than the words around me. Pay attention to my meaning.' It makes the other person linger on that word as they search for the special meaning you have inferred. If I say 'You are so good' it drags attention to the emphasized word 'good'. It can be as if you just said 'good'. The other person will linger longer here, taking more notice of the feelings that the word invokes and pondering more your intent in making this emphasis. Using a pause before the word causes tension as the person wonders what will be said next. 'You are so...good'. Emphasis distracts When emphasis grabs attention for one word, it automatically removes attention from other words, distracting the person from something which you want to slip in without them really noticing them too much. If I say 'You are so good to help tidy the house' you may be so focused on the 'good' that before you realize it, you find that you have volunteered to help tidy up. If you do not help, then you are refuting the sentence, including the emphasized 'good' that feels so nice. Emphasis implies a contrast Emphasizing something often leads to it being contrasted with something else. Note how a simple change in emphasis changes the meaning of the line from the nursery rhyme 'Mary had a little lamb.' Mary had a little lamb Mary had a little lamb Mary had a little lamb Mary, not Tom, had the lamb She had it once, but she does not have it now She had one, not two, and not

'the' lamb Mary had a little lamb Mary had a little lamb The lamb was little, not big It was a lamb, not a dog

You may well have spotted that emphasis invokes the opposite. Mary, not Tom. Little, not big. You can use this if you want to imply a contrast. 'It's warm today' invokes memories of cold days, making today seem even warmer. 'You are very kind' contrasts the other person with less kind people, setting up their identity as a generous person (and allowing you to ask something else of them). Emphasis indicates arousal When a person uses greater emphasis, more frequently, then this is a typical indication that they are emotionally aroused in some way. It may be a simple passion for the subject. It may also be anger -- other language and non-verbal signals will indicate which.

Emphasis in body language

Techniques > Using body language > Emphasis in body language Basic rules | Big emphasis | Subtle emphasis | See also

You can amplify the words you emphasize with your body. In fact you probably do without noticing it. A slight nodding of the head. The beating of an outstretched finger. The thrust of an entire body. TV presenters are interesting in how they create emphasis. They know that only their heads are in view, so they twist, turn and nod their heads far more than you or I. When emphasizing in two places, with the voice and with the body, beware of mixed messages. This includes emphasis from one whilst the other remains flat or stationary. If I say 'That's really great!" whilst standing rigidly to attention, you may be forgiven for concluding that I was not that enthused.

Basic rules
The basic rules of using your body to emphasize are to synchronize and exaggerate: Synchronize To make emphasis count, it must all act together. Words and intonation, as well as all the bits of your body you are using to support the emphasis. Imagine it as playing in an orchestra - you need to get the whole lot playing in tune, otherwise all you have is a cacophony that communicates very little. Exaggerate When you want to emphasize, do thing bigger. Move such as an arm further and faster. Move the whole body with the arm. Include facial expressions.

Big emphasis
Use big emphasis when you want to overtly show your energy and passion about a point. You are not trying to hide your light under a bushel here: the goal is to overpower the

other person with the force of your point. Your words should also synchronize with big emphasis, using power words, spoken more loudly with energy and passion. The other person should be under no illusion: this is a very important point. Big emphasis is particularly useful if you are on a stage and need to communicate with those in the back. Do remember also that it can be intimidating, which is more about coercion, where although you may gain short-term conformance, you may also get longer-term hatred. Big movements For big emphasis, make big movements. Exaggerate arm movements, making wide sweeps. Nod or shake your head. Point with an outstretched arm. Move about the stage. Create contrast, sometimes not moving, then moving suddenly.

Simulated aggression Big emphasis often (but not always) uses simulated aggression, such as: Beating of an arm down in time with the points you are making. Pounding of a fist on the table or into palm of the other hand. Throwing the body forward (not actually, though - this is simulation, so use more of an 'exaggerated lean'). Stamping of a foot. Exaggerated facial expressions. Sudden movement.

Connection In a less hazardous form than simulated aggression, you can use methods of connecting with the person to connect the idea more firmly to them. Move towards them when making important points. Reach out towards them, palms curved and up or towards one another, as if giving them something. Touch them (if you are close and the social situation permits). Lightly touch their hand or arm. Hold both shoulders. Use a simulated embrace, curving your arms with palms inwards as if hugging them. Make unblinking eye contact, gazing directly at them (particularly transitioning from no eye contact). Use 'doe eyes' or other romantic indicators to connect passion for the idea with passion for the person.

Repetition Repeated moves are like blows to the body. A boxer can win with a big knockout blow or, more likely, with repeated blows that wear the other person down. The same effect is

created with big emphasis. Rhythmic action also taps into primitive senses and can create an almost hypnotic effect.

Subtle emphasis
Big emphasis is not always appropriate and, done well, subtle emphasis can be a far more effective approach, especially in one-to-one situations. To do this well, it often helps if you are in a relaxed frame of mind and 'think small and delicate' as if big emphasis would hurt or damage the other person. Small movements For subtle emphasis with your body, do movement in the small, including: Turns of the wrist. Finger movement. Slight inclines of the head. Subtle facial expressions (the face is well-built for doing this).

Shaped movement You can also do subtlety through the static shapes into which you put your body, for example: Cupped palm, as if holding something delicate. Rounded arms, as if embracing the other person. Pointing feet, legs or arms in a particular direction.

Light contact Connect with them gently, ensuring they are listening. For example: Make brief eye contact, as if checking that they are paying attention. Look in their direction, for example scanning a crowd. Move or lean a little towards them. Nod, to encourage agreement (and hence prior thought). Move your hands a little towards them, as if wanting to give something or reach out to them.