Professional Documents
Culture Documents
Full Ebook of Public Speaking Choice and Responsibility Explore Our New Communications 1St Editions William Keith Online PDF All Chapter
Full Ebook of Public Speaking Choice and Responsibility Explore Our New Communications 1St Editions William Keith Online PDF All Chapter
Full Ebook of Public Speaking Choice and Responsibility Explore Our New Communications 1St Editions William Keith Online PDF All Chapter
https://ebookmeta.com/product/public-speaking-choices-and-
responsibility-4th-edition-william-keith/
https://ebookmeta.com/product/our-purpose-in-speaking-1st-
edition-william-orem/
https://ebookmeta.com/product/professional-writing-and-
speaking-5th-edition-william-h-baker/
Human Rights and Public Goods: The Global New Deal 3rd
Edition William F. Felice
https://ebookmeta.com/product/human-rights-and-public-goods-the-
global-new-deal-3rd-edition-william-f-felice/
Economics: Private & Public Choice 17th Edition James
D. Gwartney
https://ebookmeta.com/product/economics-private-public-
choice-17th-edition-james-d-gwartney/
https://ebookmeta.com/product/macroeconomics-private-public-
choice-17th-edition-james-d-gwartney/
https://ebookmeta.com/product/public-relations-activism-and-
social-change-speaking-up-1st-edition-kristin-demetrious/
https://ebookmeta.com/product/fighting-corruption-in-african-
contexts-our-collective-responsibility-1st-edition-chris-jones/
https://ebookmeta.com/product/sell-your-research-public-speaking-
for-scientists-alexia-youknovsky/
PUBL PEAKN
CHOICES AND RESPONSIBILITY
Wadsworth
20 Channel Center Street
Boston, MA 02210
USA
Printed in China
2 3 4 5 6 7 16 15 14 13
Contents
(;�1 �
l✓\f ,\ 1 :i (c, J..,
P1"i fac xi
Public Speaking 3
Introduction: Why L am Public Speaking? 4 Your Goals (Chapter 5) 18
h ls Powerful 4 Creating Your First
Th Power of Public Speaking to Change the World 5 Speech 19
Th Power of Speeches to Change Your World 5 Information and Arguments
peaking Connects You to Others: Democracy (Chapters 6, 7) 19
In Everyday Life 6 Research (Chapter 8) 20
The Conversational Framework 7 Organizing (Chapter 9) 20
The Communication Process 9 Finding the Words (Chapter 10) 21
•
2
r
. . . . . . . . . . . . . . . . . . . .. .. . .. . ... ... . . . . . . . . . . . .. .. . . . . . . . . .. . . . .. .. . . . . . . . . . .. . . .. . . . . . . . . . . .
Understanding Audiences and Publics 47
Introduction: Those People Sitting in Fro nt of You 4 8 Two Views of the Audience:
Audience Analysis 49 Marketing vs.
The Literal Audience: Demographics 49 Engagement 55
Problems With the Demographic Approach 51 Marketing 55
Engagement 56
The Rhetorical Audience 51
The "As" Test 52 The Audience and the
From "Me" to "Us" 54 Public 58
Advancing the Public Conversation 59
Adapting Your Speech to Your Audience 54
Identify Common Interests 54 Your Responsibilities to Your Audience 60
Make the Most of Shared Experience 55
Work from Common Premises 55
Be Directive 55
.... .......................................................................................
Becoming a Skilled Listener 65
Introduction: Public Hearing and Listening 66 Giving Constructive and
Types of Listening 66 Useful Feedback 77
Passive Listening 66 Criticize Speeches, Not
Active Listening 67 People 79
Critical Listening 68 Be Specific 79
Focus on What Can Be
The Ethics of Listening 69 Changed 79
Obstacles to Good Listening 71 Be Communication Sensitive 80
Distractions 72
Your Mental Zone 73
Taking Good Notes 74
...........................................................................................
Choosing a Topic and Purpose 85
Introduction: Picking a Topic How to Focus Your Topic
and Defining Your Purpose 86 for Your Audience 93
Geography or Location 93
A Strategy for Picking a Topic 86
Past, Present, or Future 94
What Interests You? 88
Typical Audience
What Will Interest Your Audience? 88
Interests 94
What Is the Occasion? 88
What Is Your Purpose? 89 Speaking Purposes and Speaking Situations 95
What Is Your Thesis? 89 General Purposes of Speeches 95
Types of Speaking Situations 95
How to Find a Topic Among Your Interests 90
Time Constraints 98
What Do You Already Know or Care About? 90
What Do You Want to Know More About? 91 The Thesis Statement: Putting Your
Brainstorming 91 Purpose Into Words 98
Choosing One of Your Topic Ideas 92
• CONTENTS
······················-· · · · · ······· · · · · · · · · · · · · · · · · · · ··· · · · · · · · · · · ··· · ··· · · · · · · · ···· · · • · " '
Informative Speaking 103
Introduction: T lling It Like It Is l04 Technlqut'S of rnformatlvP
Goals of Informative peaking l05 Spt:'nl<lng 11r,
P1 ent New Information lOti Deflnlnl( I In
Provide Ne, Perspectives 107 D�s rlhln� 11.l'i
Generate Positive 01· N gntlVl' l�eellngs 108 Explaining 117
How to Choose nn Int'ormnt.lve Gonl 100 hole s 'fhat Make
The Responsibilities of the Informative Speaker 110 Information Effective 119
Keep It Simple 119
Topics for Informative Speech s 112 Connect Your Topic to Your Audience l lf.J
Objects and Events 112 Use Supporting Material Wisely 120
People 113
Choose Effective Organizational Patt rns 120
Processes 113
Choose Effective Language 121
Ideas 114
...........................................................................................
Being Persuasive 125
Introduction: Giving the Audience Proofs 126 Formal Arguments
(Deductive
Ethos: Why Audiences Should Believe You 128 Reasoning) 139
Classical Dimensions of Ethos 130
Causal Arguments 140
Why Are You Speaking on This Topic? 130
Arguments From
Pathos: The Framework of Feelings 131 Analogy 141
Appeals to Positive Emotions 132 Arguments From Signs 142
Fear and Other Negative Appeals 133 Arguments From Authority 143
Framing 134
What About the Other Side? Dealing
Logos: Who Needs an Argument? 135 with Counterarguments 144
Making Connections: The Process of Reasoning 138 Why Addressing Counterarguments Is Persuasive 144
Tips for Dealing With Counterarguments 144
Types of Arguments 138
Arguments From Examples (Inductive Reasoning) 138
......................................... ..................................................
Research 149
Introduction: Becoming an Expert 150 Biogs 163
News Articles 164
Researching Responsibly 151
Opinion or Advocacy
The Research Process 152 Pieces 164
Figuring Out What You Already Know 153 Scholarly, Peer-Reviewed
Designing a Research Strategy 154 Articles 165
Deciding Where to Go 155 Wilds 165
Making a Methodical Search 158 Websites and Web Pages 165
How to Conduct an Online Search 158 Revising Your Claims 166
Creating Search Terms 158
Focusing Your Search 159 Organizing Your Research Information 166
Gathering Your Materials 160 Choosing the Sources for Your Speech 167
Reading Your Materials and Taking Notes 161 Citing Your Sources and Avoiding Plagiarism 168
Evaluating Sources 163 Getting Help From a Research Expert 169
CONTENTS •
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Organization 173
Introduction: Getting Organiz d 174 Patterns of
ThP Basic Three-Parl Structure 174 Organization 184
Chronological 184
The lntroduct ion 176 Spatial 186
Fu net Ions of an Efft'ctlvc I nlroducl.lon 176 Cause and Effect 186
Ell•ml'nts oftlw Introduction 176
Problem-Solution 188
The Body 179 Topical 188
Functions of the Dody 180 Combination 190
Point 180 Choosing the Order of Points: Prima.c.-y vs. P.ect:n,~1 l/.,
Transitions 180
Arranging Your Supporting Materials 192
Internal Previews 181
Outlining 193
The Conclusion 183
Outline Structure 193
Functions of the Conclusion 183
Preparation and Delivery Outlines 194
Elements of the Conclusion 183
...........................................................................................
Delivery 215
Introduction: Stand and Deliver 216 Walking 229
Speaking or Talking? 217 Using Gestures 230
• CONTENTS
............................................. ..... .. ..................................... ..
Presentation Aids 239
Introduction: Adding Media to Your Message 240 Non-Electronic Media 253
Why Use Presentation Aids? 241 Handouts 253
Posters and l<'lip Charts 254
Principles for Integrating Presentation Aids 241 Objects 254
Static Visual Elements 246 Demonstration Speeches
Pictures and Photos 245 and Presentation
Charts and Graphs 247
Aids 266
Maps and Diagrams 251
Text 252 Presentation Software 256
Moving Images 262 Delivering Your Speech With Presentation Aids 259
Preparing to Use Digital Media 260
Audio 253
Developing a Backup Plan for Digital Media 260
··························································································
Special Types of Speeches
and Presentations 263
Adapting Your Skills to New Challenges 264 Group Presentations 277
Speeches at Life Transitions 264 Cooperation 277
Toasts 266 Coordination 279
Eulogy 268 Delivering the Group
Graduation 270 Presentation 280
Rehearsing the Group
Speeches at Ceremonies 272 Presentation 280
Introducing a Speaker 272
After-Dinner Speaking 274
Presenting an Award 275
Endnotes 301
Index 304
CONTENTS •
----·
Preface
Those of us who teach public speaking know that the abilicy to engage an audi
ence with skill, elegance, and clarity can make a decisive impact in the lives of students.
The difference between success and failure in a student's academic work, personal re
lationships, and vocational path can often turn on the ability to create ethical and effec
tive speech. Although future personal success is one important reason a student should
cultivate skill in public speech, it is not the only reason. In an increasingly globalizing
and information-saturated world, educating more engaged, informed, and responsible
public speakers may well be one of the last and best hopes for our civic and democratic
life together. In an era of hyperpartisan politics and creeping disillusionment with pub
lic discourse and the political system, our best recourse may be turning to the ancient
arts of rhetoric and public speaking. These arts can teach us, once again, how to really
listen to, respond to, and respectfully engage with our fellow citizens. Thus, this book
seeks to remake an art with ancient roots for modem times, or, to put it in more con
temporary terms, to remix an ancient beat for the information era
We wrote PUBLIC SPEAKING: Choices and Responsibility because we be
lieve firmly that public speaking matters profoundly to our personal and collective
futures. We hope this text embodies a vision of public speaking that is accessible,
easy to engage, and relevant to our students without sacrificing the most important
lessons the tradition of public speaking has to teach us. While many approaches to
public speaking present a catalogue of tips and techniques for giving a speech, we
have attempted to create a simple framework for helping students learn to be better
public speakers.
This framework is easy to understand and teach, and better yet, it pays homage to
the best insight of the traditions of public speaking, which is that addressing any au
dience is about making choices and taking responsibility. For us, "making choices"
means seeing every public speech as a collection of decisions that starts with invent
ing a topic, moves through effective research, organization, and delivery, and ends
with successful interaction with an audience. "Taking responsibility" means owning
your choices, both by making them very intentionally and by accepting the obligation
to be responsive to the audience.
In making these two concepts the core of the book, we believe we have provided
a set of guiding principles that ties many of the best insights of public speaking peda
gogy together around a central theme and that satisfies the demands of the current
generation of students for broader civic and social engagement. The style of the book
also reflects our concern not only to engage students but also to inspire them to use
their voices to make a difference in their communities, future workplaces, and the
broader public sphere. Many of our examples are directly relevant to student's every
day lives; others are drawn from issues that occupy the front pages of newspapers,
websites, and social media sources. In both cases, our goal is to provide students with
examples that are relevant and engaging and that demonstrate the importance of pub
lic speaking to the broader health of civic life.
To create a text that is intuitive, easy to teach and learn from, and engaging to
students, we have placed special emphasis on significant themes. In the introductory
chapter we emphasize the world-changing power of public speech, and we introduce
st11de nts t.o our cen t ral con cepts of making choices and taking responsibilit
y \,
them. Our goal here is to "pu t the public back in public peaking" �Y introd cing �
� � ,�
den ts to the idea that every speech bot h targets a specific strategic goal (mfonni
ni
or persua ding an audience, for exa mple) and si multaneously fonns a pa rt of the lar
er public conversation around issues important to each of us. In addition, studrn ;
need to unde rstand that this is also the best approach to speaking in professional a �
n
business contexts. Speeches here need to be well argu ed and researched and cleari
organized, just like those in the civic context. If a "pu blic" is a group of people wii�
a common set of concerns, then there are publics bot� intern� and ext ernal to an
\
business or organization. The basic skills of good choice-making can be applied 1,,
nearly any context.
To help get students up and speaking, and more importantly, to give them a ba�ir
understanding of the choices that go into an effective public speech, in Chapter
1
we provide a brief, early overview of the process of creating and delivering a PUhlir·
speech. Perhaps most significantly for many first-time speakers, this chapte r tackJf'\
the issue of speech anxiety head on, offering effective introductory advice for dealin�
with public-speaking jitters.
Because this book is so centrally concerned with the idea of responsible speak.
ing in personal, work, and public contexts, Chapter 2 on ethics is the first subs tantive
chapter of the book. We believe our approach to ethics will resonate with contempo.
rary students because instead of simply producing a list of dos and don'ts, we have
provided a set of principles for thinking about ethical public speaking practice as an
intrinsic element of every communicative interaction. The chapter treats all the stan.
<lard topics in an ethics chapter-including properly citing sources, accurately rt0pre
senting evidence, avoiding deception and prejudicial appeals--but it does so L the
broader context of encouraging students to think about the health and quality the
relationship they are establishing with their audience.
To be ethically sound and strategically effective, good public speaking sho1. ·,e
gin and end with thinking about the audience. In Chapter 3 we discuss how th ng
about the audience influences the choices speakers make and the ways they :hr
take responsibility for the audience in composing and delivering speeches. Not c io
we talk about skills at the core of good public speaking in this chapter-for ex, le.
analyzing and adapting to your audience-but we emphasize thinking about uc
speaking as an opportunity for engaging the audience in a conversation around ies
of personal and public concern. Our goals in this chapter are to take advantage 1he
current sentiment among students, promoted in colleges and universities, for g irer
public and civic engagement and to demonstrate to students that in addressing ,pe
ci.fic audience, they are also making their views known in the context of a br !der
public conversation.
For the model of public speaking as a part of a broader public conversat ·1 to
work, we believe a public speaking text should present more than just the bes1 ays
to speak to an audience. Thus, Chapter 4 addresses how we should listen. One ,1ur
goals is to help students be better audience members and more responsive spl ,ers
by emphasizing the role of active, critical, and ethically sound listening. We in •1de
detailed advice on eliminating impediments to good listening, taking good note::-. and
giving constructive feedback. But perhaps more importantly, we believe that pri'- tlt>g
ing listening in the public speaking classroom is a pivotal first step toward i.rnpro1·
ing the quality of public conversation in that it emphasizes paying attention to Llw
claims of others as a necessary part of participating in a robust and respectf ul public
conversation.
In the subsequent three chapters, we move from a basic framework for rnak·
ing choices and taking responsibility in public speech toward a practically orient·
ed treatment of how to make effective choices in selecting a topic and purpose
• PREFACE
(Chapter 5), ghing an infom1ati e speech (Chapter 6), and giving a persuasive
speech ( hapter 7). hapter provides students a pra tical rubric for making good
speech choices that be t balance their interests, lhcir goals for inlera lion with
the audience. and the nature of the public speaking situation. We provide easily
implementable solutions for picking a topic area, dellning a purpose, generating a
th · statement, and focu ing the speech in light of the occasion and character of
the audience.
Chap er 6 focuses on infonnati e speaking by beginning with thinking about how
our contemporary conte.xt and news media in particular have changed the way we
think about information. More than ever, the culture broadly, and our students specifi
cally. haYe begun to think about the notion of "spin" in presenting information. Our
goal in this frame is to help students think about responsible choices for presenting
information in a \\'-ay that is clear, well organized, and useful for the audience. This
chapter returns to theme of topic selection to deal with l:he unique challenges of pick
ing a good informative topic and then moves on to discuss techniques for informative
speaking and the set of choices a speaker might make to ensure that information is
helpful for the audience.
Chapter 7 updates from Aristotle's three modes of proof-logos, ethos, and pa
thos, or rational argument:, the speaker's character, and emotional appeals-to give
concrete guidance to students in composing and delivering an effective speech.
Though our inspiration is ancient, we draw from contemporary examples to provide a
basic framework for thinking about how to best convince modern audiences through
appeals to reason, character, and emotion. This chapter places special emphasis on
processes of reasoning, not only to help students give better speeches, but also to help
them sharpen their critical thinking skills.
But public speaking is about more than simply using appeals to logic, character, or
emotion. It is also about teachlng students to make claims that are well supported by
evidence. A culture of search engines and social media have fundamentally changed
the way students relate to information, and any public speaking pedagogy worth its
salt needs t-0 take this sea change in information culture into account. Chapter 8 faces
head-on the unique challenges of researchlng in a digital world, providing students
with a detailed guide to navigating a research context substantially more challenging
than it even was a decade ago. Once again emphasizing the central role of making
choices and taking responsibility, our chapter on research provides a detailed, easy
to-follow, step-by-step protocol for designing a research strategy. Because contempo
rary students research primarily online, we start with a discussion of all the research
options available to them and provide concrete instructions for effectively searching
the Internet and other sources. Given changes in student research practices, we place
a heavy emphasis on methodical searching, including designing and keeping track
of search tenns, and on focusing research efforts amid the near-avalanche of online
sources from which students can choose. Because today's student often struggles with
what to use and how best to use it, we devote parts of the chapter to evaluating the
credibility of sources and to thinking critically about the role evidence plays in the
composition of a good speech.
Chapter 9 teaches students how best to integrate their claims, arguments, and
evidence in a lucid and compelling format that effectively engages an audience. Our
chapter on organization presents a rubric from thinking about introductions, sign
posting, the body of a speech, and a good conclusion. But instead of simply offering a
catalogue of possible speech formats or deferring to the nature of the topic for invent
ing an organizational pattern, we discuss organization as a choice that, like any other,
entails specific advantages and drawbacks. Thus, students should come away with a
set of resources for developing a capacity for critical thinking about organizational
choices.
PREFACE •
Chapters 10 and 11 deal with verbal style and deli ver y, applyi ng the san1e h·
sic fr amewor k for m akin g choices and taking responsi bi lity tha� we h ave Wovr�.
throughou t the text. Chapter 10 addresses the best of the rhetoncal trnctition's rr'.1
flec tions on lively language use, borrowing fro m a wide range of contemporary an,
1
pop culture discourses to discuss effective choices for the use ?f �gures and trop!'\
including treatm ents of repetition , contrast, comparison, subs titution, exaggeratiri n
and personification. We conclude this chapte r by re flecting on the ways the speak.
er's topic and the occasion might se r ve as a guide to the style choices goo d speak�
t\
make . Chapter 11 extends this same line of thinking to choices to make in deliver.
ing a speech. To help students negotiate these choices, we discuss differ ent typ
e,,
of delivery-from mem ory, f rom a manuscript, extemporaneously , with the help or a
presentation aid, and so on. We conclude this chapter with sections on how best l.ri
practice and effectively handle audience interaction.
We follow physi cal delivery with a detailed and visuall y rich chapter that
applies the principles of choice and responsibility to the use of presentation aido.
Whether the student is using a static visual aid such as a chart, moving ima ge s, an
audio clip, or presentation softw are, we believe applying the basi c frame work or
choices and responsibility can provide important insights. Chapter 12 in cludes an
integrate d section on how to give a demonstration speech, which by its nature h as
a multimedia element. It concludes with a pragmatic, detailed discuss ion ahou1
integrating presentation software into a speech without leaning on it as a replace.
ment for good public-speaking practices. Here we discuss a number of messy �,ut
critically important practicalities that go into effective presentation softwan- ·,e.
including how to think about delivery with presentation software, how to r
tice with and use presentation software in the classroom, and how to deve 1 a
backup plan.
Chapter 13 concludes the text by focusing on other types of speeches and sr :1
occasions. Although a first course will appropriately focus on basic informatiH
persuasive speeches, with classmates as the main audience, students will enco
many other speaking situations in the world, and these will present new corc ,.
nication challenges. We believe the skills to meet these challenges are exten�
of the skills already learned. Students can easily learn to give effective and ; ,·
pelling speeches at life transitions and ceremonial occasions, and at work in g ·.1p
presentations.
So, we believe we have produced a public speaking curriculum that is
• Comprehensive, but systematically organized around a coherent systen ,r
making good speech choices and taking responsibility for them
• Simple to learn and to teach, always returning to the themes of making chr ,,
and taking responsibility
• Rich in practical advice and concrete detail for composing and deliw •1g
speeches
• Focused on the biggest struggles and conceptual issues public speaking ,Pt·
dents face
• An effective "remix" of ancient arts for the modern world-faithful to the bl'SI
insights of the rhetorical tradition but responsive to the contemporary stuctr1H
in its use of examples, composition and delivery practices, and style
• A curriculu m that puts the civic and relationa l character of public speaking in
the foreground of choice making
We have included a number of instructional features we think advance these
goals. We have tried to compose a visually engaging book, with images that match
the diversity and vitality of contemporary public culture. Each chapter begins with
,:EFACt
a vigne"e that tit� th art\utl " rk of student t tJu, nt nt f tJu, h. ptt>r In to .
Ii rm and nd "itJ, re,iew and di · n qui: Hons, \\ E' ha al lndud«-d t, major
kind f interncth f-e-at\u in the lt>�"t t kffp tudt'nt e1\gn,;tetl Try ltl pt't' nt ru1
e tudent an d wllile wadit tlw t xt. I rovi ling m1 immediate pp rtu-
d n prn 'ti wiU1 the 1wepts in th tJu� Try
" up w rk, think-pail'-sh m rk
k-ature. Q uently sked hrume
fi nlin it ·
.Q. bo. anticl tud
vari u pro.ts f te..�, providing a brief in · · · king
ate uni ulum and toward m f tl1 bigg q ·
impli p
peaking.
ial resources for students iu1d ill b1.1ctors d igned to treamlin t ach
ing and facllitat leamitlg romplete the teaming packag for P 1JLl SPEAK11 G:
1wi aud Responsibility.
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ... . . . . . . . . . . . . . . . . . . . . ... ..
■ CourseMate
Cengage Learning's Speech Communication CourseMate for PUBLIC SPEAKING
brings course concepts to life with interactive learning, study, and exan1 prepara
tion tools that support the printed textbook. Watch student comprehension soar
as your class works with the printed textbook and the textbook-specific website.
CourseMate includes an integrated eBook, student workbook, interactive teaclung
and learning tools including quizzes, :flashcards, Interactive Video Activities, Making
Choices Simulations and Engagement Tracker-a first-of-its-ldnd tool that monitors
student engagement in the course. VI.Sit www.cengage.com/coursemate to learn more
about CourseMate. Students can access (and purchase access if necessaiy) at www
.cengagebrain.COIIL
.............................................................................................
■ Interactive Video Activities
Interactive Video Activities give your students a chance to watch videos of real
speeches that correspond to the topics in PUBUC SPEAKING. Each speech activity
provides a video of the speech; a full transcript so that viewers can read along; the
speech outline-many in notecard, keyword and sentence form; evaluation questions
so that students are guided through their assessment; and a note-taking tool. While
PREFACE •
it:'v in� C'RC'h dip, i-uct nts evaluat th e speec h or scenario by completing s hort ai
, <'r nmt 1T1ultiple
ho\ e qu stlons or by embedding notes into the video and sun �
ting th Irr ult� dir ctJ nii
y to th Ir Instructor.
Making holces Simul at ions help students identify the moments of choice 1,
preprutng a p h I an d guid th m in making ethical decisions based on their aIJ.
di n ru1d P aking goal . Th s simulations are built around key topic s and con.
pt in th book, fi•om hoosing a focus and theme to selecting source s and Visua
\
ttid and mo r .
Thi online video upload and grading program improves the learning comprehension
of yolU' public speaking students. With Speech Studio 2.0, students can uplo ad video
files of practice speeches or final performances, comment on their peers ' speeches.
and review their grades and instr uctor feedback . Instructors create courses ancl as
�<1nments, comment on and grade student speeches with a library of commenr� and
grading rubrics, and allow peer review. Grades flow into a gradebook that allow, 'hem
to easily manage their course from within Speech Studio. Grades can also be c 011.
ed for use in lea.ming management systems. Speech Studio's flexibility lends it :· ro
use in traditional, hyblid, and online courses .
.............. ....... . ..... . .. . . . . .... . . .... . . ...... . .. . . ... .... . . .... . .... . . . . . . . . . .
■ Speech Builder Express 3.0™
This e..'<:clusive program guides students through every step of the speech-b 1 .1 g
process. Nine sin1ple steps provide a series of critical-thinking questions that de
students to effective speech delivery. Links to video clips and an online dict1 .try
and thesaurus help students pull all aspects of their speeches together. Tutoria rip
is included for every aspect of the speech building process. Any portion of the 01 .111e
can be e-mailed to the instructor.
• Speecl1 Communication CourseMate (with eBook, Speech Builder Expn , ".
and InfoTrac®) for PUBLIC SPEAKING Printed Access Code: 97812850. _;!
• Speecl1 Communication CourseMate (with eBook, Speech Builder Exprf 11
and InfoTrac®) for PUBLIC SPEAKING Instant Access Code: 97812850� .�l1
• Speech Communication CourseMate (with SpeechStudio 2.0, eBook, S1 ·,·h
Builder ExpressTM , and InfoTrac®) for PUBLIC SPEAKING Printed A t ,,�s
Code:9781285O7234O
• Speech Communication CourseMate (with SpeechStudio 2.0, eBook, Sp,'1',·h
Builder ExpressTM , and InfoTrac®) for PUBLIC SPEAKING Instant Acct'ss
Code:9781285O72357
PREFACE
of \\ b quizze , a tivitie , erci e , and \, eb links. Robust communication tools-
u h as a com e calendar, asynchronous discu ion. real-time chat a whlteboard, and
an int grated email t m-make it easy to stay connected to the course.
• In tant ode for WebTutor with eBook for WebCT® 9781285072012
• In tant ode for \\ebTutor with eBook for BlackBoard® 9781285071992
• Print ct ard for WebTutor with eBook fo r WebCT® 9781285072326
• Printed ard for\ ebTutor with eBook for BlackBoard® 9781285072296
lnfoTrac ollege EditionTM, This vutual library's more than 18 million reliable, full
I ngth ruticles from 5,000 academic and popular periodicals allow students to retrieve
re ttlts almost in ta.ntly.
A Guide to the Basic Course for ESL Students. Written by Esther Yook, Mary
Washington College, this guide for non-native speakers includes strategies for accent
management and overcoming speech apprehension, in addition to helpful Web ad
dresses and answers to frequently asked questions.
Power Lecture. This one-stop lecture tool makes it easy for you to assemble, edit,
publish, and present custom lectures for your coru-se, using Microsoft PowerPoint®.
The PowerLecture lets you bring together text-specific lecture outlines and art,
along with video and animations from the Web or your own materials-culminating
in a powerful, personalized, media-enhanced presentation. The CD-ROM offers an
PREFACE •
1t1f' , �IA- '� � Y.a-:a
'" ,,1 dilf' b , lf'6 1/�� ,, ✓,.,,. · ,
'XI ( /��
..,,, ,r.,,
'ir.M:I! t:liWI. , ,,
Acknowledgments
J would like to thank aJJ the students I've taught over the last 30 years; 1 ban: . ., :..-,
HO much about teaching public .speaking from them. I also owe heartfeh a;:,;::-.:;i·
tkm to the wa(.iung � I've worked with at Oregon State University �-•: ·.::r
niv� of Wi8con8in-Milwau.kff. Their creativity, freshness, and passion ru:.·,c- -=?
• PREFACE
me inspired more t.han they know, and they have improved my teaching immensely.
hlis Lundberg is the b st co-author imaginable, and I owe him more than I can say:
EuxaptOT6 EKarnvranMata, q>LA� µou. And finally, enormous thanks to my wife Kari
you make everything possible.
-William Keith
I would like to thank Bill Keith for being a fantastic co-author and colleague, and Beth
Lundb rg for putting up with us in the process of writing this book.
-Chris Lundberg
The authors would like to thank the amazing editorial team at Cengage, including
Monica Eckman, as well as Elisa Adams, Barbara Armentrout, and Edward Dionne.
-Will'iam Keith and Chris Lundberg
........ . ....................................................................................
Reviewers
We are grateful to all the reviewers whose suggestions and constructive criticisms
have helped us shape this book.
Brenda Armentrout, Central Piedmont Community College
Joseph Averbeck, Marshall University
Thomas Benson, Penn State University
Marcia Berry, Azusa Pacific University
Sakile Camara, California State University Northridge
Nick Carty, Dalton State College
Mark Chase, Slippery Rock University
Jodi Cohen, Ithaca College
Doug Cole, Elizabethtown Community and Technical College
James Darsey, Georgia State University
Deanna Dannels, North Carolina State University
Katrina Eicher, Elizabethtown Community and Technical College
Lisa Eutsey, Dine College
Michael Fleming, Mt. San Jacinto College
Bonnie Gabel, McHenry County College
Susan Gilpin, Marshall University
Deborah Haffey, Cedarville University
Daria Heinemann, Keiser University
Kirn Higgs, University of North Dakota
Lawrence Hosman, University of Southern Mississippi
Mike Hostetler, St. John's University
Macdonald Kale, California University of Pennsylvania
Jim Kuypers, Virginia Tech
Rona Leber, Bossier Parish Community College
Richard Lindner, Georgia Perimeter College
Matt McGarrity, University of Washington
Terri Metzger, California State University San Marcos
Diane Monahan, Belmont University
Dante Morelli, Suffolk County Community College
Phyllis Ngai, University of Montana-Missoula
PREFACE •
V1 �' II 1wh,,f ,,,,, /M/11 111m1 f :11oli1m11111 I ht41m r1t11111
t
II t-1111 11,11,1 1 1 I l11t/11,,,r1tll!J/ 1 1 Nll flh11J ,1, IJ11/1rr 111/11
ll llf f 11,,-,, II, /1 11"/11 I /11/111(/t'
I 1, ,,,,,. I 1,I, , ,._, I I 111l•lftlf'l4lh1/ tl W111mvl1ttf/
A11 m1 I 11, II 114 ,,,,,,,,.1/t// 11,f' M111r11 Wo11h;/;rtf//1m,
If litflfh f(I, 'kW II, l,ll//f,/,11, / hlllilltt '/ftl!// (Jfd,1111,(///
H M ,&,,,,.,.. u, lf11/;111mJrJ,11, 011/JJtf/tt
JJ!//II
It h'11Wf ft, N111'/111tt/J, /11,tu IJ11m1m1111f1411// Jo/
tJ HI I,,m,., ( /(J/fl/fllffl, I ln;l11IIN1lftl!//
,II m • i,mrl , V1m,111N11,1,1t11 I ht4111f//rlftt111
,, 111 I ff lf#III 1, , "'llfUll/,li HIit/ft I Jrt;/J(ff//, '/ff,IJ//
uUt , ht// /'ttlfh tJ11m1r,111Prt/4//IJ 011 Ue11e
1
"'
. µt1 'f 1 tu rl f,, Iht4111flJrlJil!111t Mww //111rr/;11ri HtJJ/j/Jtr
1
,I
I Sm u , 'f'1 ff t'1 M111r11Jfwi,t I/tn!111Jl!rlli/1JJ
mm '1'11'1'1, Jlol1f//r't M11, rt" IJ11J1111tfrlfill/J
1 J1 vM VU Us m#, 'J'{lj1:lt11 'lwJ/1, Url!111Jlff'lttll/J
. CHOICES AND RESPONSIBILITY
One
CHAPTER 1
Public Speaking
CHAPTER 2
Ethics and the Responsible
Speaker
CHAPTER 3
Understanding Audiences
and Publics
CHAPTER 4
Becoming a Skilled Listener
n h
mmuni ion
• in hy ubli
in i p w rful
o h in
•I n ify h kill
o compo e
p ch
choices at
g of the speech
er ion proc s
CHAPTER OUTLINE
In roduc:tlon: Why Learn Public
Sp king?
Sp ch I Pow rful
Th Communication Process
Th Public in Public Speaking
Sp king I About Making Choices
Th Sp king Proce s: Thinking,
Cr tlng, and Speaking
Thinking Through Your Choices
Cr tlng Your Fir t Speech
Giving Your Fir t Spa ch
M king R pon lbl Choices
Public Speaking
anielle has a problem. Rather, her town has a
problem. Supplies at the local blood bank are
starting to get low, and this could be a problem
for the local hospital and trauma center. As the head of a
student volunteer group, she has been assigned to give
speeches to different groups on campus, trying to persuade
them to donate blood. As she thinks about her task, it seems
pretty intimidating. So many students! They are all so busy!
Who cares about blood donation while they are trying to make
rent or scrounge up some extra money for social activities?
Danielle imagines herself standing in front of lecture classes
and social groups like fraternities and sororities, and she feels
lost. Should she just get up and say, "Please donate?" No, it
needs to be more than that: She needs to give a short speech.
But how should she even get started?
Overview
If you want to be an effective speaker, first you'll want
to understand a few basic principles about public
speaking as a communication activity. This chapter will
give you an overview of the communication process,
highlighting the difference that public speaking can
make in your life and in the lives of the people listening
to you. You will learn about the process of composing
and delivering a public speech, focusing on the variety of
•
C'hoices you have to make when you give a speech. Finally, to
g t you started on the process of composing and delivering a
peech, we will walk you through the basic element s of speec:h
preparation, wh ich are the topics of the subsequent chapters. )
Speech Is Powerful
The study of publi c speaking began in ancient Greece. For the Greeks, public spec ,::r;
rhetoric Term from ancient was part of the broader field of rhetoric, or the study of how words could persuade> :lf,
audience. In the modern world , many people associa te public speaking with marnpul.1-
Greek for the study of how
words can persuade an
audience. tion, and the term rhetoric with "empty talk." They may say, "Let's have less rhewn,
and more action." Although it is true that talk is sometimes empty, good speech car
also be a f orm of action, motivating people to make important changes in the worl,1
yo1,
To see why, the first thing to understand is that bec ause speech is powerful.
f .
speech c an be pow er ul
SPEAKING
• PART ONE • FUNDAMENTALS OF GOOD
j
■ Th
• • . • ♦ • ♦ • •• • ♦ • • ♦ • • • • . ♦ •• t ••• t. t • t • t • •
e
The skills you will le arn here will also make you a more effective speaker in your
career. If you want to come across as the candidate to hire when applying for a dream
democracy A system of
1:- good public speech, no matter what the context, ultimately strives towards the best
government where people ideals of democracy. If you have a dollar bill in your pocket, take it out. The Great
govern themselves, either S�al of �he U �ted States is reproduced on the back of the bill. On the left side is a pyra
through direct votes on policy _
mid mside a c�cle, and on the right side is a circle with an eagle in it. The eagle has a
issues (direct democracy) _
or by electing officials who small scroll m its mouth. If you look closely, you will see the Latin phrase E pluribus
deliberate and make decisions
on their behalf (representative
unum, m:aning "From many, one." The many people who make up the United States
democracy). are all UIUted-we are all in this together.
speaking is about the unity of democracy. But how strongly you believe in your cause, your speech is what makes
your beliefs matter.
it is also about respecting the pluralism of
democracy-namely, that we need to speak
and listen in a way that preserves the impor-
tant differences that make each of us who we are.
Now you may be saying to yourself, "Wait
FAQ
What do pluralism and unity mean
a minute. I was hoping to get some communi
cation skills out of this class that I could use for pub{ic speaking?
in business, for my job." In fact, you will get
Pluralism m eans that our de 1T:1ocracy is made up of people who are
that, and more. Successful and effective per
diffe rent�they have differen�. backgroun ds, including diffe re nces of
suasion and informative speaking in politics, class, n:ice; ge n c':ler, s exuality, relrgious ori.entatfon, an d geographkal
business, and even personal life can invoke . rigiiil,s. But ptl.ir'alisrn is more than jUJst our different backgr,ounds.
Lo 1
the highest democratic values. Why? Because Th ere .is also €iifrferen�e· in 0 er-m9cracy becaus e we have differe l\lt
speakers who make good decisions consider ideas qnd be llie fs.
the effects of their words on all stakeholders, Unit� meamsthgt·these clifferemces are not disabling: We are all
or all the people who have something at stake members o{ the s•ar;n� l,il· atim,al' gubli'c.
in the decisions. Skilled speakers not only
know how to adapt to their audience of stake
holders, but they understand their audience's diversity.
unity Harmony among related
FIGURE 1.2
The speaker and the
audience both belong to
the same publics.
..,.
0
N
0,
E
�
The most critical part of speaking may well be the thought that goes into it. Why?
First of all, good delivery depends on good preparation; The preparation that you put
you put into your speech beforehand may be one of your best defenses against feeling
nervous about or even overwhelmed by public speaking.
Speaking should be communication. You should say what you think, or better yet,
you should present the best information and your most thoughtful opinions on your
subject matter. In contrast to acting, which involves saying someone else's words, pub
lic speaking is speaking your own mind. In the case of actor, it's unclear exactly who
is communicating to the audience. The writer? The actor? A combination of them? In
public speaking, it's all you. You are both writer and actor. So although the way you
give a speech may be a kind of performance, it is important to think of speaking as a
process that allows you to say what you think to someone in particular.
.. . .. . . .. . . .. . .. . . . . .. . .. . .. . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . .. . . . .. . . . .. . . . .. . . . . . . . . ...
Informing
Many tin1es as a speaker you are trying to convey information to an auilience. Some
tin1es you are in the role of an expert, sometimes a sort of teacher; in other cases you
are more like the messenger delivering the news, like a reporter. In each case you're
trying to get information across to the auilience clearly and effectively.
Some people mjstakenly assume that if you know what you're talking about, you'll
automatically be clear, but that's not necessarily true. Think back to some of your least
favorite teachers. They may have been experts, but they may not have been very good
at communicating their knowledge.
Why is that? How can expertise and good communication be two different things?
It happens because communication is not only about the knowledge in the speaker 's
head but about the auilience as well. The auilience can't understand things they don't
understand. That seems obvious, but many speakers ilisregard it. To explain or clarify
something to an auilience, you have to assume that they don't already understand it,
and then choose to explain it in terms their current knowledge.
Making Choices: Example 1 Suppose you are faced with explaining a new univer
sity regulation to a group of students on your campus. The university has decided
"any drug or alcohol-related tickets or arrests involving students will have aca
demic repercussions." Right now, you (like the hypothetical audience) are prob
ably wondering what that means-"repercussions"? As a speaker, you have some
choices.
• First, you have to decide what your role will be. Are you speaking on behalf of
the university or as just a student?
• Even though you'll cover the same information in either case, if you are speak
ing as a student, you'll highlight benefits or consequences for students, includ
ing yourself. If you speak on behalf of the school, you may feature the reasons
for the decision and what it means for the school.
• Depending on which way you go, you'll change the order of points
(probably putting the ones most important to the auilience last), and you'll
change any charts or illustrations you use, since these highlight the things that
will be most memorable for the auilience about the information.
. .... .. .. . . . .. . . .. . .... . . ... .. .. . ..... . .. .. .. . .... .... ...... .. . .. . .. .. ....... ..... ... ........
■ Persuading
Sometimes we want more than just to have the auilience understand us·' we want
them to believe or do something. By persuasion, we mean all the ways a speaker can
attempt to influence an auilience, from informing them about a topic to arguing they
should change their beliefs or inspiring them to action. All of these are "persuasive"
in the sense that they are attempts to influence the auilience. Even in an informative
speech, you adapt it to the auilience, trying to make sure they not only understand but
also care about the information.
Making Choices: Example 3 Let's say you need to give a presentation to the city
council asking for a change in the zoning laws for a skateboard park Your audience is
the city council members, who will vote on your proposal. So what are your choices?
You probably don't need to know much about the city council members personally,
because they probably don't make zoning decisions based exclusively on their being
a man or a woman or white, Asian, or Hispanic. Their decisions are more likely based
on their functions as city council members: interpreting the law and serving the public
interest. What you want to say about your topic is to a large extent detern1ined by what
you want to convince them to do, but your approach to your audience and how you
want to persuade them requires some strategic choices.
j
Speak:
• Deli ery: Whal choic will you make about the peifonnance of the speech.
How will ou act (for example. will you make an effort at eye contact , and
what choices will you make in ,·erbal cyle (tone, pitch, ratf", emphasis. clarity)
to make sure that your speech has maximum persuasive effect?
• Anxiety: What strategies and techniques will ou use for managing yom
nerves?
ltet· lsst1t,\-the blood supply-is oue that concerns us all, and so it is a public
\ ·· ue. Whul kind of public l h •1· audience of colleg e students relative to the issue of
blood donation'? Despite a]l the cliff rences between students (older, younger, urban,
rurn.l, nuu femal • ), ·iu1 she find a common characteristic that gives them a reason to
say y s to bl od dona.ti n'?
Her I where Dani ll •'s rhetorical creativity comes in. She can describe the audi
en e lo th rnselv s, Th y m·e busy college students, yes ... but they are also people
who might get l k or h\jur d aml need some blood at the hospital. "Potential blood
bank u r�" may not be how th students think about themselves, but it's a true de
s rlpti n, and it' r levant to Danielle's purpose: It transforms the audience into a
publi , with a rnutual. intere t in blood donations. Another possible public would be
"p ·opl who value publi s 1vice." Many college students either fall into this group or
wi h th y lid, and Dm1i 11 an giv th m the opportunity to perform a public service.
ani U ne ds to speak in a way that helps the audience listen and want to listen.
Thi in ·lucle th use of ton , pacing, and transitions to keep the audience involved.
anl ll also n ds to present arguments in a balanced way that takes into account the
n d , xp tations and precli positions of the audience. She also needs to present her-
·lf a a p rson who is op n to and respectf1.ll toward the opinions of the audience.She
n d to 1iv th m all the vidence that they need to mal<e an informed decision, and she
n d to provide th m with concrete steps that they can take if they choose to donate
bl d. Fimuly, Daniell should allow the audience tinle to ask questions, if this is ap
pr µriate, and to answ r the questions in a clear, engaging, and nonconfrontational way.
In order for Danielle to persuade her audience, she'll need to provide information
about blood donation and, for this specific situation, reasons why students should
donate, and then she'll have to choose the best ones. (Her choices here will both deter
mine and depend on her research, as discussed in the next section.) These reasons will
be arguments, whose conclusion is "I should donate blood." .Arguments give reasons argument A claim backed by
reasons-logic and evidence-in
and evidence, and Danielle has several choices. She can choose examples as evidence: support of a specific conclusion.
-
she is ready to choose how to organize her speech. This happens at two levels. First,
she has to decide the best order for her two or three main arguments. Perhaps civic
-
_ ...
�,,.._.ledow,t�/
+ Amerlc.,n
:!:) RedCross
-·'
'··•
loam about
Blood
Hotting•
I Blood onvo
I Voluntoer
I
For Ho1plt.llt
-
Emergency need for
blood donors now
tlcnllora .. d:Mr'lrncnfWI 10p,t:e't
......�--·
a:n::a .. CO..-, �.,!O,(DJ..,..,
,_,__
�d tb:Jdlwt� Ya1dlnlbla
Persuasive speakers know
they must rely only on
credible sources to back up RaitN:P,..,,.,.•�llll'Mf1IDDCIShotll99IEJlgiiN!y� < D 2 J 4 >
---
their words. The American
CII<.-••------..----
--·
Red Cross website, for
===-·.::::.
Al About Blood Donation
instance, is a reliable source
for information about blood I ... ,_ ..
donation.
a donation?
agift?
a contribution?
Of course, these words have similar meanings, but they have slightly different
implications. Contribution suggests a group effort, whereas donation makes the
blood sound equivalent to money (and the common metaphor for the place where the
blood is stored a blood "bank"). Gift is an emotionally and culturally charged term that
seems more personal than the others; people who have never made a donation or con
tribution in their life know all about gifts. The right word would depend on the frame
of the speech and the choices Danielle has ma.de about her arguments.
worthy excellent
valuable tionorable
neoessan
, helpful
commendabl e adJ1lirable
splendid cool
marvelous really fine
precious awesome
This may seem like too man choic.eS, but spending some time choosing die lhr':$:
or four ke y terms in the speech will help you get the parts o f your � trJ h,N!
together. In addition, it can also help you set the tone o f the speech- otice, fur �£
ample, that the choices at th e end of the list are much more inform.al and slangy tlt:z
°'
the earlier ones. In some situations, this might be appropriate; in others it m ight �
be-depending on the choice of audience and frame.
l see in Chapter 10- n�
Language choices can go well be yond vocabulary, as we'l
include uses of language such as metaphor and other tropes. An exciting or appropn..
ate metaphor, such as Martin Luth.er King's "fve been to the monntaintop ," can easilj·
pull t.ogether a whole speech and help the audience not only understand it but r�
ber it as well
Suppose that Danielle has decided that the right fra me and audience for thi,,
speech is that students sho uld see themselves as members of a larger conummity and
take some responsibility for what happens in that community. One choice that wouki
help her t.o express this idea vividly t.o the audience would be a figu re of speech th.at
makes the plastic bag of donated blood a symbol for community itself-"This is corr,..
munity in a pint-sized bag." The complexities of public health problems and the VQl
unteer blood donation system can be redu ced t.o the image of the bag itself, allowinf
students to imagine their connection t.o the larger community when they imagine thf
bag. Rather than being scary or icky, the bag of blood becomes a symbol of hoJ>!
and commitment.
If all this seems like a lot to think about in preparing a speech, keep in mind that
we'll give you techniques for breaking the process into easy, manageable steps. More
over, if Danielle does all these things, she will not only have the confidence in her
speech that she needs to counteract her anxiety, but she is also likely to give a power
ful and effective speech. Even better, Danielle's speaking abilities will improve with
every speech that she composes using this process-as will your speaking abilities.
The skills that Danielle is honing in making a speech about giving blood will help her
in the future, preparing her to make the kind of speeches that will change her personal
history for the better, and perhaps make a difference in the lives of those around her.
Teachin�
1 Malh teachet" / l Scieuoe te�
•• •• • ••• •• • •
• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • ♦ •• ••• •••• •••••••••• •• ••
What's a good speech? When the speaker is free from nervousness? When it gets big
applause at the end? Most people imagine a good speech has something to do With
gett ing what you want or transmitting information properly or getting the audience
to think as you do. Although these outcomes may happen, they don't by thems e1ves
define good communication.
"Good communication " is a bit ambiguous, because it is pulled between choices
that are practically good (they are effective in persuading your audience, getting What
you want in the short run) and choices that are good because they are responsible
(they are what you would want if you were in the audience). The best communica
tors make choices about how to write and deliver a speech that are both practically
effective and ethically responsible. Respo nsible and ethical, for this context, are inter
twined-taking responsibility for your choices is an ethical stance. Thus, your com
municative ethics are revealed in the choices that you make in crafting a persuasive
speech as well as the choices that you make in terms of your orientation to your audi
ence (the kind of relationship are you creating with them as you step up to speak).
There are many possible good relationships with an audience. They depend on the
specific case, and a good persuader can tell the difference between an appropriate and
inappropriate approach. So, good rhetoric, or good communication, is actually pretty
straightforward (though not simple in practice). It's about making choices and being will
ing to take responsibility for them. The responsible and ethical speaker chooses the ap
propriate goals for the audience and situation and the appropriate means to achieve those
goals. In this sense, the story of Danielle serves as an example of what a speaker needs
to do to give a good speech: making the best choices for the audience and the situation.
······················································································· · ·· ..
■ Taking Responsibility Means Respecting
the Audience
Rhetoric and persuasion get a bad name when they are used irresponsibly-when
the means or the goals disrespect the audience, ignore their interests ' or treat them
as less than fully rational participants in the process. There's a simple way to prevent
these abuses: Be ready to take responsibility for your choices. Imagine, at any point
in a speech, someone in the audience asking, "Why did you say that? Argue that? Use
that metaphor? Organize your speech that way?" If you can give an answer, then you're
taking responsibility. If y ou can't, then you are not living up to the requirements of
public persuasion.
Many people find ways to reject responsibility for their own talk. Here are a few:
• Well, I don't know why I said that-it seemed OK to me.
• Oh, I hoped you weren't going to notice that.
• One of my sources argued that, so why not?
• It seemed like the only way to do it.
KING
• PART ONE • FUNDAMENTALS OF GOOD SPEA
• The materiaJ just seemed lo rf:'quire this presentation style.
• Everybody does it this way.
• It's just conventional lo say that-who cares'?
• It's the tmth.
• There isn't any other way to say it.
If you're not taking responsibility, then either you don't respect your audience
or you don't care about being effective. Respecting the intelligence of the audience
and treating their potential points of disagreement respectfully is an impor tant part
of persuasion and will make your speech more successful. As we pointed out earlier,
the "public" part of public speech is connected with the best ideas of democracy, and
democracy requires respect for disagreement.
Summary
Let's put it all together: public and speaking. Public speaking is powerful because it is
communicating with other people in a way that respects their interests and also holds
open the possibility of change. Speech changes society and can change your life as
well. Public speaking addresses other people not only as individuals but also as mem
Access an interactive
bers of a public, as fellow citizens in a democracy, as people motivated by common
eBook, chapter-specific
interests. Public speaking is deliberative, which means that the goal of a public speech
interactive learning tools,
is to create knowledge, to make better and more well-informed decisions about issues
including flashcards,
of common concern. Finally, public speakers make choices and take responsibilities
quizzes, videos and
for them; they make choices about content, organization, words, delivery, and visual
more in your Speech
aids to create a compelling speech.
Communication
CourseMate for Public
QUESTIONS FOR REVIEW Speaking,accessed
through CengageBrain.com.
1. Why will it benefit you to become a better public speaker?
2. Why does public speaking matter?
3. What's the relationship between preparation and performance?
4. What are the elements in a good public speech? What does a speaker have to think
about in preparing a speech?
5. What does the idea of "public" mean in public speaking?
6. What is communication? What distinguishes public speaking from communication
more generally?
7. How is public speaking related to democracy and to civic life?
8. How do speakers take responsibility for their choices?
This is, perhaps, the proper place for the insertion of Dr. Bevell’s
letter to Miss Bowen. It contains important matter of a public nature,
which will again have to be referred to in the subsequent comments
which are to follow. Let it be carefully read:
April 12, 1859.
Miss J. P. Bowen, Ocean Springs, Miss.:
Excuse me, an entire stranger to you, for the liberty and freedom I
take in addressing you. Although, personally, we are unacquainted
yet my sympathies are with you and your unfortunate intended. I
formed his acquaintance in Augusta, Miss., while he was engaged in
writing the confessions of Copeland—the cause of his present unjust
imprisonment. Although he is in prison, and redeeming an unjust
sentence, his friends have not deserted him, as is too often the case,
but visit him regularly and inquire after his welfare with the greatest
anxiety, and endeavor to administer to his every want and comfort.
His friends, though numerous previous to his trial, have greatly
increased in number since. We have made an effort to limit his
imprisonment through the pardoning power of Governor Moore, by
an article addressed to him in the shape of a petition, with about six
hundred signatures of the most responsible citizens of Mobile; but in
this we have failed, and, to my deepest regret, he will have to serve
his time out.
We first drew up a petition to Judge McKinstry, signed by a
respectable number of the jury, but hearing of his negative
declarations on the street, we declined honoring him with the
request.
Although we have failed in these efforts, the conduct of all the
opposing clique strongly indicate to my mind that the principal
stringent ruling is to gratify, and sustain, and retain political influence.
The opposing party have by no means sustained itself to the world,
notwithstanding the obtaining of a forced verdict and fine in the pitiful
sum of fifty dollars, which the jurors are determined shall not come
out of Colonel Pitts’ pocket. The Colonel has the sympathy of the
principal citizens of Mobile; and, among that number, almost, if not
quite, the entire portion of the gentler sex; and as long as he has
those amiable creatures advocating his cause he is free from all
censure and harm. He was extremely unfortunate in not being able
to prove certain facts on his trial that have since almost revealed
themselves. I think myself they have seriously regretted the past and
present daily expositions. Colonel Pitts is as comfortably situated as
possible under the circumstances. He has the entire liberty of the
prison bounds, with no restraint whatever on his person or actions—
sharing freely the hospitality of our inestimable Sheriff and family. He
has an excellent little parlor, well fitted up for convenience and
comfort.
I was one of the unfortunate jurors who tried the case, and from
my observations prior to, and during the progress of the trial, in my
humble opinion he met with strenuous ruling and injustice. Yet he
bore all with that fortitude and patience that ever characterizes a
truly good man; and, since his confinement, appears to be
composed and resigned to his fate. This has had a tendency to
influence a favorable impression in his behalf among the citizens of
Mobile. His friends in Mississippi, who are very numerous, are very
much incensed against the Court, and manifested their indignation
by public declarations in their public newspapers. His greatest grief
and mortification are in your behalf. He suffers more on your account
than he does on his own. He has daily the fullest assurance and
confirmation of the kindest feelings of our best people. And what
more could he want? It is looked on as one of those misfortunes
incident in life that sometimes cannot be avoided honorably, and the
only chance is to brave the storm fearlessly until a more congenial
sun will burst forth to his advantage, which will be better appreciated
and enjoyed had he never been in prison. I do hope you have
firmness and decision enough to fast adhere in adversity—spurning
the advice of those who would attempt to prejudice you against him.
Sympathizing with him under the clouds of misfortune, rejoicing with
him in prosperity, and yet be happy together; and may you both live,
not to exult, but witness the repentance of your enemies, is the
desire of your well wisher.
Very respectfully, yours,
John A. Bevell.
Miss Bowen availed herself of the very earliest opportunity to
acknowledge and to reply to this valuable communication, in which
will be found some statements well worthy of record.
MISS BOWEN’S REPLY TO DR. BEVELL’S LETTER.
The following was published in the True Democrat, from the pen of
one of the ablest Judges in the eastern part of Mississippi, shortly
after the liberation of the defendant:
Mr. Editor—We heartily sympathize with J. R. S. Pitts, Sheriff of
Perry county, and are deeply mortified at the yielding course of our
Governor in rendering him up a prisoner in obedience to a requisition
from the State of Alabama. We look on this whole affair as being
preposterous in the extreme. To have the Sheriff of one of our
counties forced to vacate his office, temporarily, and to be taken like
a common felon, and carried to another State, and there be tried as
a malefactor, and for what? Why, for simply writing and publishing
the confessions of a notorious “land pirate,” one of a gang of banditti
that has till recently been a terror to the whole country for a great
many years. Such a course betrays a feebleness of nerve on the
part of his Excellency perfectly unpardonable in the Executive.
The “Wages and Copeland Clan” have become as notorious in
portions of Mississippi, Alabama, Louisiana and Texas, as was the
pirate and robber, John A. Murrell, and his clan. It is well for Mr. Pitts
that his friends volunteered to guard him and protect him until he
reached the city of Mobile in safety.
Talk about rendering him up on a requisition that claimed him as a
“fugitive from justice,” when the offence, if any, was committed in this
State, when he was a citizen of Perry county, and Sheriff of the
county at the time, and quietly at home discharging the duties of his
office. “Oh! shame, where is thy blush?”
But we rejoice to learn that his prosecutors have failed to hurt him.
They may have forced him to draw heavily on his purse to fee
lawyers, pay tavern expenses, etc., but they have not hurt his
character. He stands to-day proudly vindicated as a bold and
efficient officer before an impartial and unprejudiced public. Mr. Pitts
is too well known in Mississippi for the tongue of slander or the hand
of the bitter persecutor to injure him seriously. He is a native of
Georgia—“to the manner born.” He was reared and principally
educated in Mississippi. And right in the county where he was
principally raised, he was selected by a large majority of the citizens
of the county to serve them and the State in the high and responsible
office of Sheriff of the county; and that too when he had barely
reached his majority of years. The intelligent citizens of Perry county
elected him by their spontaneous suffrage solely on account of his
great moral worth and his superior business qualifications.
The most amusing circumstance in the whole affair is, the report
industriously circulated that Mr. Pitts did not write the book—that he
is not scholar enough to write such a book. The report refutes itself
by its own palpable absurdity. Everybody who is acquainted with Mr.
Pitts knows that he is a fair English scholar, and a very good writer.
The book is a valuable book; and it has done, and will do more to rid
the country of the clan it exposes than even the killing and hanging
has done.
Mr. Pitts may congratulate himself as having done more with his
pen as an author than he did with the rope and gallows as Sheriff.
Much more might be said in vindication of this persecuted
gentleman, but this is deemed sufficient. Mr. Pitts is a young man,
and will, if he lives many years, work out a character in high social
position, and official position, too, if he seeks it. From his beginning, I
predict for him a brilliant career in the future.
Very respectfully,
Vindex.
State of Mississippi,
Perry County. }
I, James Carpenter, Clerk of the Probate Court of said county,
certify that A. L. Fairly, whose name is signed to the above affidavit,
was at the time of signing the same, a Justice of the Peace, in and
for said county, and that full faith and credit are due all his official
acts as such.
Given under my hand and seal of said court, this sixteenth day of
April, 1859.
James Carpenter,
Clerk Probate Court, Perry Co., Miss.
State of Mississippi,
Jones County. }
I, D. M. Shows, Clerk of the Circuit and Probate Courts of said
county, do hereby certify that I believe the men whose names appear
to the foregoing annexed certificate, are men of truth and veracity.
Given under my hand and seal of office this second day of April,
1859.
D. M. Shows, Clerk of C & P. C.
Ellisville, Mississippi,
Jones County.
}
I, E. M. Devall, Sheriff of said county and State aforesaid, do
certify that I believe that the men whose names appear to the
foregoing annexed certificate are men of truth and veracity.
Given under my hand and seal this 2d day of April, 1859.
E. M. Devall, Sheriff Jones county.
After Bentonville Taylor returned from Mobile, I saw him and told
him of the rumor that was in circulation relative to his going to Mobile
as a witness against Col. J. R. S. Pitts, and he denied emphatically
to me of having any share in the transaction, and also stated that the
aforesaid rumor was false.
[Signed.] Edward W. Goff.
The next question to be dealt with is the miserable plea of insanity,
and forged names in the confessions.
First, let the report from the inquisition jury be read, which will be
found on page 113 of this work. Again, it is well known by those who
visited Copeland in person, that there was a keenness and
shrewdness about him which distinguished him from ordinary men;
and all the promptings given to feign insanity did not amount to
anything but deserving failure. And as to the gratuitous charge of
forging names, the defendant did not know anything about them
previous to being given by Copeland. He did not know that such
names were in existence before, and of course could not forge in the
absence of all knowledge appertaining; but the conduct of the
prosecution, with hundreds of living witnesses, go, as quoted from
the letter just referred to, “to nail to the cross forever the truth of
Copeland’s confessions.”
So much for the trial in Mobile in the first case, and now for the
necessary comments to further enable the reader to comprehend the
whole.
There were two other cases on the same docket of precisely a
similar nature to the first against the defendant. For two or three
years afterward he was in regular attendance, and always ready for
trial; but the prosecution would not allow either case to come on until
known that his presence was required in the army during the war;
and then it had the cases called up, and the bonds declared
forfeited. The two cases were ordered dismissed, and, some several
years afterward, the bondsmen were finally released by the
“Commissioners of Revenue” without injury.
Nothing is plainer than of the prosecution being glad of any
plausible pretext for dismissing the cases—anything in the shape of
a convenient opportunity for relief in the awkward situation in which it
stood. Why so determined and successful to bring on instanter the
first case in spite of the most powerful reasons for a temporary
continuance? And why, when this was over, was it equally
determined and successful to ward off the two remaining cases? Is it
not evident, notwithstanding all the prostituted forces at command,
that it was unwilling to make a second experiment? But how stands
the presiding Judge affected in this slimy affair? In the first case, in
defiance of the most powerful cause assigned in favor, he would not
allow one hour of continuance of the case; but from term to term,
from year to year, he allowed the prosecution all it wanted,
regardless of all the urgent efforts of the defendant for the remaining
trials to be proceeded with to save entire ruin from excessive and
repeated expenses. But when the defendant’s absence was
compelled by demands made from the War Department, then did this
Judge allow the case to be pressed forward by the prosecution, and
the bonds declared forfeited! If this junta, or combination of Judge
with the prosecution did not exist, the plainest of all circumstantial
demonstrations are not worthy of any notice whatever. But this is
only one instance out of a number, which will be given of this Judge’s
partiality—of his palpable efforts to do violence to justice.
Again, mark his conduct in endeavoring to obtain a forced and
unnatural verdict. After twenty-four hours of close confinement, the
jury returned with the report that there was no earthly chance of