(Ebook PDF) (Ebook PDF) Practically Speaking 2nd Edition All Chapter

You might also like

Download as pdf or txt
Download as pdf or txt
You are on page 1of 42

(eBook PDF) Practically Speaking 2nd

Edition
Go to download the full and correct content document:
https://ebooksecure.com/product/ebook-pdf-practically-speaking-2nd-edition/
More products digital (pdf, epub, mobi) instant
download maybe you interests ...

(eBook PDF) Practically Speaking 3rd Edition

http://ebooksecure.com/product/ebook-pdf-practically-
speaking-3rd-edition/

(eBook PDF) The Public Speaking Playbook 2nd Edition

http://ebooksecure.com/product/ebook-pdf-the-public-speaking-
playbook-2nd-edition/

(eBook PDF) Advanced Public Speaking: A Leader's Guide


2nd Edition

http://ebooksecure.com/product/ebook-pdf-advanced-public-
speaking-a-leaders-guide-2nd-edition/

(eBook PDF) Pathways: Listening, Speaking, and Critical


Thinking 3 2nd Edition

http://ebooksecure.com/product/ebook-pdf-pathways-listening-
speaking-and-critical-thinking-3-2nd-edition/
Progress in Heterocyclic Chemistry Volume 29 1st
Edition - eBook PDF

https://ebooksecure.com/download/progress-in-heterocyclic-
chemistry-ebook-pdf/

(eBook PDF) Translational Medicine in CNS Drug


Development, Volume 29

http://ebooksecure.com/product/ebook-pdf-translational-medicine-
in-cns-drug-development-volume-29/

(eBook PDF) Communication in Everyday Life: The Basic


Course Edition With Public Speaking 2nd Edition

http://ebooksecure.com/product/ebook-pdf-communication-in-
everyday-life-the-basic-course-edition-with-public-speaking-2nd-
edition/

(eBook PDF) Principles of Public Speaking 19th Edition

http://ebooksecure.com/product/ebook-pdf-principles-of-public-
speaking-19th-edition/

(eBook PDF) Public Speaking: Strategies for Success 9th


Edition

http://ebooksecure.com/product/ebook-pdf-public-speaking-
strategies-for-success-9th-edition/
Contents
Preface xix

CHAPTER 1 Communication Competence


and Public Speaking 1
DEFINING COMMUNICATION 4
Communication as a Transactional Process: Working with
an Audience 4
Communication as Sharing Meaning: Making Sense 5
DEFINING COMMUNICATION COMPETENCE IN PUBLIC SPEAKING 7
Effectiveness: Achieving Goals 8
Degrees of Effectiveness: From Deficiency to Proficiency 8
Audience Orientation: You Are Not Talking to Yourself 8
Appropriateness: Speaking by the Rules 9
ACHIEVING COMPETENT PUBLIC SPEAKING 10
Knowledge: Learning the Rules 10
Skills: Showing Not Just Knowing 11
Sensitivity: Developing Receptive Accuracy 11
Commitment: Acquiring a Passion for Excellence 12
Ethics: Determining the Right and Wrong of Speaking 12
Ethical Standards: Judging Moral Correctness of Speech 12
Plagiarism: Never Inconsequential 15

SUMMARY 16
TED TALKS AND YOUTUBE VIDEOS 16
CHECKLIST 17

CHAPTER 2 Speech Anxiety 18

SPEECH ANXIETY AS A CHALLENGE 18


Pervasiveness of Speech Anxiety: A Common Experience 19
vii

00-Rothwell-FM.indd 7 9/30/16 4:03 PM


viii CONTENTS

Intensity of Speech Anxiety: Fate Worse Than Death? 21


[Box Feature] First Speech: Sample Narrative Speech
of Introduction on Speech Anxiety 21
SYMPTOMS: FIGHT-OR-FLIGHT RESPONSE 24
Basic Symptoms: Your Body’s Response to Threat 24
Appropriateness of Symptoms: Relevance to Public Speaking 24
CAUSES OF DYSFUNCTIONAL ANXIETY AND BASIC STRATEGIES 25
Self-Defeating Thoughts: Sabotaging Your Speech 26
Catastrophic Thinking: Fear of Failure 26
Perfectionist Thinking: No Mistakes Permitted 27
Desire for Complete Approval: Trying Not to Offend 27
The Illusion of Transparency: Being Nervous about Looking Nervous 28
Anxiety-Provoking Situations: Considering Context 28
Novelty of the Speaking Situation: Uncertainty 28
Conspicuousness: In the Spotlight 29
Types of Speeches: Varying Responses 29

SUBSTANTIAL STRATEGIES FOR MANAGING SPEECH ANXIETY 29


Prepare and Practice: Transforming Novelty into Familiarity 30
Gain Realistic Perspective: Rational Not Irrational Thinking 31
Adopt a Noncompetitive Communication Orientation: Reframing 33
Use Coping Statements: Rational Reappraisal 35
Use Positive Imaging: Visualizing Success 35
Use Relaxation Techniques: Reducing Fight-or-Flight Response 35
Try Systematic Desensitization: Incremental Relaxation 36
SUMMARY 37
TED TALKS AND YOUTUBE VIDEOS 37
CHECKLIST 38

CHAPTER 3 Audience Analysis and Topic Selection 39

TYPES OF AUDIENCES 39
Captive Audience: Disengaged Listeners 40
Committed Audience: Agreeable Listeners 40
Contrary Audience: Hostile Listeners 40
Concerned Audience: Eager Listeners 41
Casual Audience: Unexpected Listeners 41
AUDIENCE COMPOSITION 42
Age: Possible Generation Gaps 42
Gender: Go Beyond Simplistic Stereotypes 44

00-Rothwell-FM.indd 8 9/30/16 4:03 PM


CONTENTS ix

Ethnicity and Culture: Sensitivity to Diversity 46


Group Affiliations: A Window into Listeners’ Views 46
ADAPTING TO DIVERSE AUDIENCES AND SITUATIONS 47
Establish Identification: Connecting with Your Audience 47
Likeability: I Can Relate to You 47
Stylistic Similarity: Looking and Acting the Part 48
Substantive Similarity: Establishing Common Ground 49
Build Credibility: Establishing Believability 51
Adapt to the Situation: Influence of Circumstances 53
Adapt While Speaking: Exhibit Sensitivity 54
TOPIC CHOICE AND AUDIENCE ADAPTATION 54
Exploring Potential Topics: Important Choice 54
Do a Personal Inventory: You as Topic Source 55
Brainstorm: New Possibilities 55
Crowdsourcing for Topics: Group Wisdom 55
Scanning for Topics: Quick Ideas 55
Appropriateness of Topic: Blending Topic and Audience 56
Speaker Appropriateness: Suitability for You 56
Audience Appropriateness: Suitability for Your Listeners 57
Occasion Appropriateness: Suitability for the Event 58
Narrowing the Topic: Making Subjects Manageable 58
SUMMARY 59
TED TALKS AND YOUTUBE VIDEOS 59
CHECKLIST 60

CHAPTER 4 Gathering Material 61

THE INTERNET: ONLINE RESEARCH 61


Search Engines 62
Directories 63
Metasearch Engines 63
Virtual Libraries 63
Government Sites 64
Survey Sites 64
Internet Search Tips 64
Wikipedia: Credible Scholarship or Mob Rule? 65
Blogging Sites: Be Very Choosy 66
Famous Quotation Sites: The Wisdom of Others 66
Evaluating Internet Information: Basic Steps 66

00-Rothwell-FM.indd 9 9/30/16 4:03 PM


x CONTENTS

LIBRARIES: BRICKS-AND-MORTAR RESEARCH FACILITIES 69


Librarian: Expert Navigator 70
Library Catalogues: Computer Versions 70
Periodicals: Popular Information Sources 71
Newspapers: An Old Standby 71
Reference Works: Beyond Wikipedia 71
Databases: Computerized Collections of Credible
Information 72
INTERVIEWING: QUESTIONING EXPERTS 72
Interview Plan: Be Prepared 72
Interview Conduct: Act Appropriately 73
Interviewing by Email: Surprise Yourself 73
SUMMARY 74
TED TALKS AND YOUTUBE VIDEOS 74
CHECKLIST 74

CHAPTER 5 Using Supporting Materials Effectively 75

USING EXAMPLES COMPETENTLY 76


Types of Examples: Specific Illustrations 76
Hypothetical Examples: It Could Happen 76
Real Examples: It Did Happen 77
Brief Examples: Short and to the Point 78
Extended Examples: Telling a Story 78
Using Examples Effectively: Choose Carefully 79
Use Relevant Examples: Stay on Point 79
Choose Vivid Examples: Create Images 79
Use Representative Examples: Reflect What Is Accurate 79
Stack Examples: When One Is Not Enough 80

USING STATISTICS COMPETENTLY 80


Measures of Central Tendency: Determining What Is Typical 82
Mean: Your Average Statistic 82
Median: An in-the-Center Statistic 82
Mode: Most Frequent Statistic 83
How to Use Statistics Effectively: Beyond Numbing Numbers 83
Use Accurate Statistics Accurately: No Distorting 83
Make Statistics Concrete: Meaningful Numbers 83
Make Statistical Comparisons: Gaining Perspective 84
Stack Statistics: Creating Impact 85
Use Credible Sources: Build Believability 85

00-Rothwell-FM.indd 10 9/30/16 4:03 PM


CONTENTS xi

USING TESTIMONY COMPETENTLY 85


Types of Testimony: Relying on Others 85
Testimony of Experts: Relying on Those in the Know 86
Eyewitness Testimony: You Had to Be There 86
Testimony of Non-Experts: Ordinary Folks Adding Color to Events 87
How to Use Testimony Effectively 87
Quote or Paraphrase Accurately: Consider Context 87
Use Qualified Sources: Credibility Matters 88

GENERAL CONSIDERATIONS ACROSS TYPES 88


Choose Interesting Supporting Materials: Counteracting Boredom 88
Cite Sources Completely: No Vague References 89
Abbreviate Repetitive Source Citations: Reference Reminders 89
Combine Examples, Stats, and Quotes: The Power of Three 91
SUMMARY 92
TED TALKS AND YOUTUBE VIDEOS 92
CHECKLIST 93

CHAPTER 6 Attention: Getting People to Listen 94

NATURE OF ATTENTION 96
Selective Attention of Listeners: Filtering Stimuli 96
Mindful Listening: Focused Attention 98
[Box Feature] How to Be a Mindful Listener 98
SPEAKER’S ATTENTION STRATEGIES: TRIGGERING LISTENING 99
Novelty: The Allure of the New 100
Unusual Topics: Choosing Outside the Box 100
Unusual Examples: The Anti-Sedative 100
Unusual Stories: Nothing Like a Good Tale 100
Unusual Phrasing: It Is in the Wording 101
Startling Appeal: Shake Up Your Listeners 101
Startling Statements, Facts, or Statistics: The “Oh WOW” Effect 102
Inappropriate Use: Beware Bizarre Behavior 103
The Vital Appeal: Meaningfulness 104
Humorous Appeal: Keep Listeners Laughing 104
Do Not Force Humor: Not Everyone Is Funny 105
Use Only Relevant Humor: Stay Focused 106
Be Sensitive to Audience and Occasion: Humor Can Backfire 106
Consider Using Self-Deprecating Humor: “I’m Not Worthy” 107
Movement and Change: Our Evolutionary Protection 108
Intensity: Extreme Degree of a Stimulus 109

00-Rothwell-FM.indd 11 9/30/16 4:03 PM


xii CONTENTS

SUMMARY 110
TED TALKS AND YOUTUBE VIDEOS 110
CHECKLIST 111

CHAPTER 7 Introductions and Conclusions 112

OBJECTIVES FOR COMPETENT INTRODUCTIONS 113


Gain Attention: Focusing Your Listeners 113
Begin with a Clever Quotation: Let Others Grab Attention 114
Use Questions: Engage Your Listeners 114
Tell a Relevant Story: Use Narrative Power 116
Begin with a Simple Visual Aid: Show and Tell 117
Refer to Remarks of Introduction: Acknowledging Praise 117
Make a Clear Purpose Statement: Providing Intent 118
Establish Topic Significance: Making Your Listeners Care 120
Establish Your Credibility: Why Listeners Should Believe You 121
Preview the Main Points: The Coming Attractions 122
OBJECTIVES FOR COMPETENT CONCLUSIONS 124
Summarize the Main Points: Connecting the Dots 124
Refer to the Introduction: Bookending Your Speech 124
Make a Memorable Finish: Sizzle Do Not Fizzle 124
SUMMARY 126
TED TALKS AND YOUTUBE VIDEOS 127
CHECKLIST 127

CHAPTER 8 Outlining and Organizing Speeches 129

EFFECTIVE OUTLINING 130


Standard Formatting: Using Correct Symbols 131
Division: Dividing the Pie 131
Coherence: Logical Consistency and Clarity 132
Completeness: Using Full Sentences 134
Balance: No Lopsided Time Allotment 135
[Box Feature] A Student Outline: Rough Draft and Revision 136
EFFECTIVE ORGANIZATION: CREATING PATTERNS 139
Topical Pattern: By the Subjects 139
Chronological Pattern: According to Time 140
Spatial Pattern: Visualization 140
Causal Pattern: Who or What Is Responsible 141

00-Rothwell-FM.indd 12 9/30/16 4:03 PM


CONTENTS  xiii

Problem–Solution Pattern: Meeting Needs 141


Problem–Cause–Solution Pattern: Knowing Why and How 142
Comparative Advantages Pattern: Who or What Is Better 143
Monroe’s Motivated Sequence: Five-Step Pattern 143
Narrative Pattern: Telling a Story 144
CONNECTING THE DOTS: ADDITIONAL TIPS 144
Provide Definitions 145
Use Signposts 145
Make Transitions 145
Use Internal Previews 146
Give Internal Summaries 147
PREPARATION VERSUS PRESENTATION OUTLINES 147
SUMMARY 148
TED TALKS AND YOUTUBE VIDEOS 149
CHECKLIST 149

CHAPTER 9 Speaking Style: Using Language 150

ORAL VERSUS WRITTEN STYLE 151


STYLE IN THE ELECTRONIC AGE 152
STANDARDS OF COMPETENT ORAL STYLE 153
Clarity: Saying What You Mean 153
Precision: Picking the Apt Words 156
Vividness: Painting a Picture 157
Metaphor and Simile: Figures of Speech 158
Alliteration: Several of the Same Sounds 160
Repetition: Rhythmic Cadence 160
Antithesis: Using Opposites 161

SUMMARY 161
TED TALKS AND YOUTUBE VIDEOS 162
CHECKLIST 162

CHAPTER 10 Delivering Your Speech 163

METHODS OF COMPETENT DELIVERY 164


Manuscript Speaking: Looking for Precision 165
Memorized Speaking: Memory Do Not Fail Me Now 166

00-Rothwell-FM.indd 13 9/30/16 4:03 PM


xiv CONTENTS

Impromptu Speaking: Off-the-Cuff Presentations 168


Extemporaneous Speaking: The Virtues of an Outline 168
DEVELOPING COMPETENT DELIVERY 170
Eye Contact: Connecting with Your Audience 170
Voice: Developing Vocal Variety 171
Fluency: Avoiding Excessive Vocal Fillers 172
Speaking Rate: Finding the Right Pace 174
Articulation and Pronunciation: Striving for Clarity of Speech 174
Body Movements: Finding the Right Balance Nonverbally 175
Podium Usage: Avoiding the Lectern Lean 177
Microphone Usage: Amplifying Your Delivery 177
Distracting Behaviors: Avoiding Interference 178
Audience-Centered Delivery: Matching the Context 178
SUMMARY 179
TED TALKS AND YOUTUBE VIDEOS 179
CHECKLIST 180

CHAPTER 11 Visual Aids 181

BENEFITS OF VISUAL AIDS: REASONS TO USE THEM 181


TYPES OF VISUAL AIDS: MAKING APPROPRIATE CHOICES 182
Objects: Show and Tell 182
Models: Practical Representations 184
Graphs: Making Statistics Clear and Interesting 184
Maps: Making a Point Geographically 186
Tables: Factual and Statistical Comparisons 186
Photographs: Very Visual Aids 187
Drawings: Photo Substitutes 188
VISUAL AIDS MEDIA: SIMPLE TO TECHNOLOGICALLY
ADVANCED 188
Chalkboard and Whiteboard: All Dinosaurs Are Not Extinct 189
Poster Board: Simplicity Itself 189
Handouts: An Old Standby 190
Video Excerpts: DVDs, YouTube, and Visual Power 190
Projection Equipment: Blowing It Up 191
Computer-Assisted Presentations: PowerPoint 192
[Box Feature] PowerPoint: Lots of Power, Little Point? 195

00-Rothwell-FM.indd 14 9/30/16 4:03 PM


CONTENTS xv

GUIDELINES FOR COMPETENT USE: AIDS NOT DISTRACTIONS 196


Keep Aids Simple 196
Make Aids Visible 196
Make Aids Neat, Attractive, and Accurate 197
Do Not Block the Audience’s View 197
Keep Aids Close to You 198
Put the Aid Out of Sight When Not in Use 198
Practice with Aids 198
Do Not Circulate Your Aids 198
Do Not Talk in the Dark 198
Anticipate Problems 200
SUMMARY 200
TED TALKS AND YOUTUBE VIDEOS 200
CHECKLIST 201

CHAPTER 12 SSpeakers
kepticism: Becoming Critical Thinking
and Listeners 202

SKEPTICISM, TRUE BELIEF, AND CYNICISM 203


DANGERS OF TRUE BELIEF 204
THE PROCESS OF TRUE BELIEVING 206
Confirmation Bias: Searching for Support 206
Rationalization of Disconfirmation: Clinging to Falsehoods 206
Shifting the Burden of Proof: Whose Obligation Is It? 208
THE PROCESS OF SKEPTICISM: INQUIRING MINDS
WANT TO KNOW 210
Probability Model: Likely But Not Certain 210
Possibility: Could Happen, But Do Not Bet on It 210
Plausibility: Making a Logical Case 211
Probability: What Are the Odds? 212
Certainty: Without Exception 213
Skepticism and Open-Mindedness: Inquiring Minds,
Not Empty Minds 214
SUMMARY 216
TED TALKS AND YOUTUBE VIDEOS 216
CHECKLIST 217

00-Rothwell-FM.indd 15 9/30/16 4:03 PM


xvi CONTENTS

CHAPTER 13 Argument, Reasoning, and Evidence 219

AN ARGUMENT: STAKING YOUR CLAIM 220


Syllogism: Formal Logic 220
Toulmin Structure of Argument: Informal Logic 221
CRITERIA FOR REASONING AND EVIDENCE: IS IT FACT
OR FALLACY? 223
Credibility: Should We Believe You? 223
Manufactured or Questionable Statistics: Does It Make Sense? 223
Biased Source: Grinding an Ax 225
Expert Quoted Out of Field: No Generic Experts Allowed 225
Relevance: Does It Follow? 226
Ad Hominem Fallacy: Diversionary Tactic 226
Ad Populum Fallacy: Arguing from Public Opinion 227
Sufficiency: Got Enough? 228
Self-Selected Sample: Partisan Power 228
Inadequate Sample: Large Margin of Error 229
Hasty Generalization: Arguing from Example 229
Correlation Mistaken for Causation: X Does Not Necessarily
Cause Y 231
False Analogy: Mixing Apples and Oranges 232

SUMMARY 233
TED TALKS AND YOUTUBE VIDEOS 234
CHECKLIST 234

CHAPTER 14 Informative Speaking 236

DISTINGUISHING INFORMATIVE FROM PERSUASIVE SPEAKING 237


Noncontroversial Information: Staying Neutral 237
Precursor to Persuasion: No Call to Action 238
TYPES OF INFORMATIVE SPEECHES 240
Reports: Facts in Brief 240
Explanations: Deeper Understanding 240
Demonstrations: Acting Out 241
Narratives: Storytelling 241
Speeches That Compare: Balancing the Pros and Cons 243
GUIDELINES FOR COMPETENT INFORMATIVE SPEAKING 243
Be Informative: Tell Us What We Do Not Know 244

00-Rothwell-FM.indd 16 9/30/16 4:03 PM


CONTENTS xvii

Adapt to Your Audience: Topic Choice and Knowledge Base 245


Avoid Information Overload: Beware the Data Dump 245
Tell Your Story Well: Narrative Tips 246
SUMMARY 248
TED TALKS AND YOUTUBE VIDEOS 248
CHECKLIST 249

CHAPTER 15 Foundations of Persuasive Speaking 250

DEFINING PERSUASION 251


GOALS OF PERSUASION 252
Conversion: Radical Persuasion 252
Modification: Do Not Ask for the Moon 254
Maintenance: Keep ’Em Coming Back 254
ATTITUDE–BEHAVIOR CONSISTENCY 255
Direct Experience: No Secondhand Attitudes 256
Social Pressure: Getting Heat from Others 257
Effort Required: Degree of Difficulty 258
ELABORATION LIKELIHOOD MODEL 259
PROPOSITIONS: FACT, VALUE, AND POLICY CLAIMS 262
CULTURE AND PERSUASION 264
SUMMARY 265
TED TALKS AND YOUTUBE VIDEOS 265
CHECKLIST 266

CHAPTER 16 Persuasive Speaking Strategies 267

ENHANCE THE SPEAKER: IDENTIFICATION AND CREDIBILITY 268


USE LOGIC AND EVIDENCE: A PERSUASIVE FOCUS 269
Persuasive Arguments: Quality and Quantity 269
Persuasive Evidence: Statistics Versus Narratives 269
TRY EMOTIONAL APPEALS: BEYOND LOGIC 270
General Emotional Appeals: Motivating Change 270
Fear Appeals: Are You Scared Yet? 271
Anger Appeals: Moderately Upset 273
Ethics and Emotional Appeals: Is It Unethical To Be Peripheral? 275

00-Rothwell-FM.indd 17 9/30/16 4:03 PM


xviii CONTENTS

FRAMING: USING LANGUAGE TO SHAPE


ATTITUDES AND BEHAVIOR 277
INDUCE COGNITIVE DISSONANCE: CREATING TENSION 278
USE THE CONTRAST EFFECT: MINIMIZE THE MAGNITUDE 280
USE A TWO-SIDED ORGANIZATIONAL PATTERN: REFUTATION 282
SUMMARY 283
TED TALKS AND YOUTUBE VIDEOS 284
CHECKLIST 285

CHAPTER 17 Speeches for Special Occasions 286

TRIBUTE ADDRESSES 286


Toasts: Raising a Glass in Tribute 287
Roasts: Poking Fun with Admiration 287
Tribute to Colleagues: Honoring the Departing 288
Eulogies: Praising the Departed 289
INTRODUCTIONS OF FEATURED SPEAKERS 292
SPEECHES OF PRESENTATION 293
SPEECHES OF ACCEPTANCE 294
COMMENCEMENT ADDRESSES 295
AFTER-DINNER SPEECHES 297
SUMMARY 298
TED TALKS AND YOUTUBE VIDEOS 298

APPENDIX A Text of an Informative Speech: “The Annual Plague” 300

APPENDIX B Text of a Persuasive Speech: “Get Big Money


Out of College Sports” 305

Glossary 313
References 318
Credits 339
Index 340

00-Rothwell-FM.indd 18 9/30/16 4:03 PM


Preface
Lately, public speaking texts have taken two main approaches. One could be
called the all-you-can-eat buffet approach. These works are resplendent with
almost every conceivable tasty feature that only the most dedicated and moti-
vated students will ever sample. They can be wonderful books as a kind of “every-
thing you ever wanted to know about public speaking, and then some” reference
work, but public speaking novices may see them as excessive. A second is the
cookbook approach. These works offer little beyond a list of recipe steps for con-
structing and presenting a speech. Striving to cover “only the basics,” they achieve
this purpose, but few are likely to find the recipe approach interesting reading.
Each approach has its merits and supporters. The significant success of the
first edition of Practically Speaking suggests a clear desire by many to go in a dif-
ferent direction. Practically Speaking offers that different direction. It is a rela-
tively short text that is loaded with practical advice. It covers the essentials,
however, without sacrificing reader interest or scholarship. Understanding this
third approach can be ascertained by addressing key objectives for both students
and teachers.

OBJECTIVES FOR STUDENTS


Practically Speaking aims to address four key objectives for students: (1) readability,
(2) clarity, (3) applicability, and (4) affordability. Regarding the first objective—
readability—the wisdom of Samuel Johnson seems apt: “What is written without
effort is in general read without pleasure.” Maximum effort has been devoted to
writing a textbook that might ignite the interest of student readers, not induce a
coma. Textbooks are not meant to read like spy or mystery novels, but they need
not read like an instruction manual for setting up your new flat-screen TV.
Therefore, I attempted to practice what I teach about gaining and maintaining
attention by using the attention-getting strategies discussed in Chapter 6. The text
includes novel and humorous examples, stories, quotations, photos, and cartoons;
intense, dramatic, and poignant illustrations; colorful and vivid language and
metaphors; and startling statistics and historical facts sprinkled throughout every
chapter. The writing style is conversational, and the perpendicular pronoun “I” is
used when relating personal narratives. First-person singular is more engaging
than impersonal references such as “this author experienced” or “a student in

xix

00-Rothwell-FM.indd 19 9/30/16 4:03 PM


xx PREFACE

the author’s class.” In addition, second-person pronoun references to “you” are


employed frequently to address readers directly.
A second objective—clarity—is addressed in a variety of ways. The organiza-
tion of each chapter follows the rules of good organizational logic presented in
Chapter 8. Such logic can be examined by perusing the Table of Contents. In addi-
tion, headings and subheadings were carefully chosen and worded to produce max-
imum clarity as well as originality. Finally, copious illustrations and explanations
are provided to clarify all important public speaking concepts and processes.
A third objective—applicability—requires concerted effort to demonstrate
the practical utility for students of becoming competent public speakers. The first
chapter addresses in detail such applicability. The remaining chapters elaborate
on this important objective. Numerous pop-culture references and newsworthy
events are used as illustrations, further revealing the applicability of competent
public speaking for students.
A fourth objective—affordability—has become a national issue shared by
students and faculty alike. A 2012 Oxford University Press national survey of
327 professors who teach public speaking at U.S. universities and community
colleges revealed that almost 75% of respondents viewed price as an “extremely or
very important” feature of a public speaking text. All reviewers of this second
edition agreed with this view about price. Every effort has been exerted to make
Practically Speaking an attractive but affordable alternative to other much more
expensive choices. Oxford University Press is a nonprofit publishing company, so
this alone provides considerable price advantage for students surviving on tight
budgets. The lean size of Practically Speaking also helps reduce the price.

OBJECTIVES FOR TEACHERS


Practically Speaking aims to address six different objectives for teachers of public
speaking: (1) sound scholarship, (2) standard yet innovative coverage, (3) brevity,
(4) recency, (5) logical organization, and (6) useful ancillaries. The first objective—
sound scholarship—is critically important. Providing substantial theory and
research to bolster the advice offered to novice student speakers counters the oft-
heard, naive claim that public speaking is just “common sense.” Without such
theory and research, advice provided will appear as little more than the personal
opinion of the author, easily trivialized or ignored, and often at odds with the
opinions of others. It is bound to strike the more alert student readers that au-
thors who insist on inclusion of research and evidence for student speeches, but
include little research and evidence to support their advice offered in a textbook,
seem contradictory. We never want students to equate relatively short texts
such as Practically Speaking with being “lightweight” or insubstantial. The careful

00-Rothwell-FM.indd 20 9/30/16 4:03 PM


PREFACE xxi

scholarship in Practically Speaking is evident in every chapter. More than 500


references are cited, and the communication competence model, carefully devel-
oped in Chapter 1, serves as the theoretical basis for all advice offered. In addition,
Chapter 12 on skepticism is the only chapter of its kind in public speaking texts that
so thoroughly explains the theoretical underpinnings of the process of critical think-
ing for public speakers.
A second objective for public speaking teachers—standard yet innovative
coverage—is addressed in several ways. All standard topics found in any reputa-
ble public speaking text and identified in the Oxford survey previously refer-
enced are thoroughly developed in Practically Speaking. Innovative coverage
includes the opening chapter on communication competence. There is a separate
chapter on speech anxiety, offered in only a few public speaking texts. A full
­chapter on gaining and maintaining attention, not typically found in other public
speaking texts, emphasizes that speakers must do far more than merely gain the
immediate attention of their audiences. The much greater challenge is to keep
that attention throughout a lengthy speech. A full chapter on skepticism (process
of critical thinking), already mentioned, is yet another innovation of Practically
Speaking. Finally, two full chapters on persuasive speaking provide both a theo-
retical explanation for how persuasion works generally and specific strategies for
persuading public speaking audiences. Results from the Oxford survey showed
that three-quarters of respondents believed that a chapter on foundations of per-
suasion is “extremely or very important.” A chapter on persuasive speaking strat-
egies was similarly embraced by 85% of respondents.
A third objective—brevity—was identified by 72% of respondents to the
Oxford survey as variously “important” to “extremely important.” A significant
85% of respondents in the same survey also noted that “preparing students to start
speaking right away” is important. In standard, lengthy texts, students have to read
hundreds of pages before they learn the basics for a simple first or second speech.
Standard texts typically do not cover introductions and conclusions, for example,
until almost 200 pages of text have been read. Students will reach the chapter in
Practically Speaking on introductions and conclusions in half the time. Practically
Speaking gets students “up and running” quickly. Another related concern in the
Oxford survey identified by almost half the respondents was that students do not
read the text. Reading a textbook of 500 pages or more can be daunting. Practically
Speaking is about half the size of most standard-sized public speaking texts. Its
brevity is far less intimidating, and thus it is more likely to be read.
A fourth objective—recency—is always a challenge because of the lag period
between finishing a manuscript and completing the textbook production process
that typically takes months. As someone with a bachelor’s degree in American
history, I value the use of historical examples for illustrations. I also see the ap-
plicability of recent events to clarify concepts and processes in public speaking.

00-Rothwell-FM.indd 21 9/30/16 4:03 PM


xxii PREFACE

I have included both, some examples as recent as 2016, the year this edition went
into publication, and others centuries old. Great speakers and powerfully illus-
trative events do not appear in only one brief time period. We can learn from
both the old and the new. This is true for references as well. About a third are
between 2012 and 2016, while many of the rest are more “classic” citations.
A fifth objective—logical organization—produced some juggling of chap-
ters. There is no perfect organization for any public speaking text. Practically
Speaking is organized similar to most such texts. With the exception of Chapter 1
on communication competence, all chapters can be moved to a different order if
so desired.
A final objective—useful ancillaries—is addressed in several ways:
• An Instructor’s Manual and Test Bank, which I have carefully revised
myself, contains dozens of unique activities and exercises, as well as almost
150 website links to a wide variety of speeches and video resources.
• PowerPoint lecture slides have been updated.
• A Companion Website provides students with chapter summaries, prac-
tice exams, self-grading quizzes, and speech topic ideas.
• Dashboard, Oxford University Press’s learning management system, in-
cludes self-assessments, key term flashcards, learning objectives, and
speech video exercises.
• Course cartridges for a variety of Learning Management Systems, includ-
ing Blackboard Learn, Canvas, Moodle, D2L, and Angel, allow instructors
to create their own course websites integrating student and instructor
­resources available on the Ancillary Resource Center and Companion
Website. Contact your Oxford University Press representative for access or
for more information about these supplements or customized options.

NEW TO THIS EDITION


Several important changes have been made for this second edition based on very
useful reviews.
1. More than 150 new references have been added. Dozens of new studies,
surveys, and statistics on a wide variety of topics have been included
throughout the text. The scholarship has also been thoroughly updated.
2. Many new photos, cartoons, and graphics have been added. Photos espe-
cially have been carefully chosen to show more than a commonplace vari-
ety of individuals merely speaking at a podium.
3. Dozens of new examples, stories, humorous anecdotes, and pop culture ref-
erences also appear throughout the text.

00-Rothwell-FM.indd 22 9/30/16 4:03 PM


PREFACE xxiii

4. Based on extensive reviewers’ suggestions, some chapters have been moved,


and others have been slightly reorganized. This repositioning of chapters
more closely parallels several other popular public speaking texts, for ease
of transitioning to Practically Speaking. Audience analysis and topic selec-
tion have been addressed earlier as Chapter 3. Gathering material for
speeches has been moved from Chapter 8 to Chapter 4. This seemed to be
an appropriate repositioning once a topic has been selected for a speech.
Using supporting materials also has been repositioned from Chapter 11 to
Chapter 5. Reviewers encouraged the change, and I agree that addressing
supporting materials following the chapter on gathering materials pro-
vides a logical progression. Chapters 6 (attention), 7 (introductions and
conclusions), and 8 (outlining and organizing) have been moved forward
one chapter to make room for these changes. Chapters 12 (skepticism) and
13 (argument, reasoning, and evidence) also have been moved adjacent to
chapters on informative and persuasive speaking to tie them more closely
to these two types of speeches.
There is no consensus regarding the perfect chapter order. For example,
a couple of reviewers liked the delivery chapter placed early in the text, but
many others really did not, and they stated their objections bluntly. The
organization of the first edition of Practically Speaking had an internal
logic, but there are several ways to organize a public speaking text, each
with its own internal logic. For those who are disappointed with the new
organization of chapters, I again want to underline that all chapters, except
the first one, can be assigned to readers in whatever order works best for
your teaching needs.
5. A three-minute model narrative introductory speech appears in Chapter 2
to help students prepare a brief, standard first classroom presentation.
Commentary about this speech is provided so students can understand
some basic aspects of competent public speaking without having to read a
hundred pages or more before giving that first presentation.
6. Model informative and persuasive speeches (see Appendices A and B) have
been completely updated and slightly condensed.
7. In aggregate, more than 100 TED Talks and YouTube speech links have
been included at the end of chapters to provide valuable resources for stu-
dents to see high-quality, and sometimes less than commendable, speeches
for illustration and analysis.
8. On the advice of several reviewers, checklists have been included at the end
of chapters.
9. New chapter openings have been provided for Chapters 1, 6, 9, and 10. Each
opening provides a more engaging start to these chapters.

00-Rothwell-FM.indd 23 9/30/16 4:03 PM


xxiv PREFACE

ACKNOWLEDGMENTS
My sincere thanks are extended to reviewers of this text. They include:
Brent E. Adrian, Central Community College–Grand Island
Kenneth R. Albone, Rowan University
Shirley Brownfox, Laney College
Amy Bryant, Nashville State Community College
Diana M. Cooley, Lone Star College–North Harris
Laura Crosswell, Arizona State University
Adrienne Hacker Daniels, Illinois College
Keith Forrest, Atlantic Cape Community College
Tonya Forsythe, Ohio State University
Patrick Gagliano, Newberry College
Gina Giotta, California State University–Northridge
Gai Grannon, Montclair State University
Paul T.M. Hemenway, Lamar University
Lawrence A. Hosman, University of Southern Mississippi
Cynthia Irizarry, Suffolk University
Laveda I. Joseph, Columbus State University
E. Grace Lager, Eckerd College
Jessica N. Lawson, Wright State University
Leola McClure, MiraCosta College
Mumba Mumba, Illinois College
Kekeli Nuviadenu, Bethune-Cookman University
David C. Oh, Ramapo College of New Jersey
Karen Otto, Florida State College at Jacksonville
Elaine Pascale, Suffolk University
Evelyn Jean Pine, Berkeley City College
Patricia D. Richardson, Cecil College
Caryn D. Riswold, Illinois College
Betsy Rosenblum, Quinnipiac University
Kimberly Rosenfeld, Cerritos College
Theresa C. Shaton, Kutztown University of Pennsylvania
Joanna Showell, Bethune–Cookman University
Jo-Ann Sickles, Everett Community College
Cheryl Skiba-Jones, Trine University
Myron Skulas, Cincinnati State Technical and Community College
Sonja Stetzler, Queens University of Charlotte
Sharon Taxin, St. John’s University

00-Rothwell-FM.indd 24 9/30/16 4:03 PM


Another random document with
no related content on Scribd:
1123 CHAPEL STREET NEW HAVEN, CONN.

Established 1852

I. KLEINER & SON


TAILORS
1098 Chapel Street
NEW HAVEN, CONN.
Up Stairs

Just
like a new page of some mystic biography, 1923 has opened to
us.

Going
on, with the advancement and improvements of time, but ever
retaining the best from the past, we move into this new year.
Continue to be served by the

Roger Sherman Studio


Hugh M. Beirne
227 Elm Street

Men’s Furnishings
“Next to the Gym.”

Foreign Sweaters, Golf Hose, Wool Half Hose, all of exclusive


and a great many original designs.
Our motto: “You must be pleased.”

John F. Fitzgerald
Hotel Taft Bldg.
NEW HAVEN, CONN.

Motor Mart Garage


OLIVE AND WOOSTER STS.
Oils and Gasoline
Turn-auto Repair Service

Van Dyck & Co.


Incorporated
PRINTERS
121-123 Olive Street
New Haven, Conn.
“Costs less per mile of service”

The new Vesta in handsome hard rubber case, showing how


plates are separated by isolators.

Vesta
STORAGE BATTERY
VESTA BATTERY CORPORATION
CHICAGO

The Yale Literary Magazine


Solves the Christmas Present Problem. Send a year’s
subscription to your family. We will wrap it up and mail it for you.
NASH SIX FOUR-PASSENGER COUPE
Reduced Price

$1890
f.o.b. factory

NASH
It is just such remarkable features of design and appointment as
those presented in the Nash Six Coupe, that have given the Nash
line of enclosed models unprecedented leadership in the fine car
field.
Every late refinement, the most luxurious appointments, serve to
mark the Nash Coupe as an outstanding closed car value.
THE NASH MOTORS COMPANY
KENOSHA, WISCONSIN
FOURS and SIXES
Reduced Prices Range from $915 to $2190, f.o.b. Factory
NEW HAVEN 522 FIFTH AVENUE
CONNECTICUT NEW YORK CITY
Correspondence of James Fenimore-
Cooper.
Edited by his grandson, James Fenimore Cooper.
This unique and fascinating collection of letters, written 1800-
1851 by and to the first great American novelist and now
authoritatively edited by the novelist’s grandson, is printed from
originals in the possession of the Cooper family. As is well known,
Cooper, during his last illness, forbade the publication of any
biographical material about himself by his then living
descendants; and the biographical treatments, including even the
late Professor Lounsbury’s valuable work in the American Men of
Letters series, have necessarily been written without access to
any considerable body of first-hand evidence.
The publication of his intimate correspondence in the present
collection reveals an altogether more remarkable character than
has generally been conceived by even the most ardent twentieth-
century admirer of Cooper.
The letters tell of his life at Cooperstown, in Westchester
County, in New York City, and in various countries abroad. The
leading men of the time were among his correspondents—
Washington Irving, S. F. B. Morse, General Lafayette, Longfellow,
Bryant—and oftentimes their letters to Cooper are included to
make the story complete.
The two volumes constitute, not only an unique addition to
American biography, but also a profound and diverting
commentary on the social and family life of the novelist’s
generation; on the status of art, letters, and the always fascinating
business of writing, publishing, and selling books; on travel and
international relations; and on domestic politics through the
momentous decades when abolitionism was brewing in the North
and secessionism in the South. In fine, there is an overflowing
measure of all that one could look for, from the faint breath of old
church and family scandals up to the rousing melodrama of
Cooper’s long and triumphant legal campaign against
newspapers. And there is a great deal more for which one would
never think to look, grateful as one is to find it.
Regular Edition. Two volumes. Large 8vo. Over 700 pages.
With Frontispiece. $7.50 the set.
Limited Edition. 250 numbered sets on rag paper, with extra
illustrations from the collections of the Cooper family. In a suitable
binding. $30.00 the set.

YALE UNIVERSITY PRESS


*** END OF THE PROJECT GUTENBERG EBOOK THE YALE
LITERARY MAGAZINE (VOL. LXXXVIII, NO. 3, DECEMBER 1922)
***

Updated editions will replace the previous one—the old editions


will be renamed.

Creating the works from print editions not protected by U.S.


copyright law means that no one owns a United States copyright
in these works, so the Foundation (and you!) can copy and
distribute it in the United States without permission and without
paying copyright royalties. Special rules, set forth in the General
Terms of Use part of this license, apply to copying and
distributing Project Gutenberg™ electronic works to protect the
PROJECT GUTENBERG™ concept and trademark. Project
Gutenberg is a registered trademark, and may not be used if
you charge for an eBook, except by following the terms of the
trademark license, including paying royalties for use of the
Project Gutenberg trademark. If you do not charge anything for
copies of this eBook, complying with the trademark license is
very easy. You may use this eBook for nearly any purpose such
as creation of derivative works, reports, performances and
research. Project Gutenberg eBooks may be modified and
printed and given away—you may do practically ANYTHING in
the United States with eBooks not protected by U.S. copyright
law. Redistribution is subject to the trademark license, especially
commercial redistribution.

START: FULL LICENSE


THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg™ mission of promoting the


free distribution of electronic works, by using or distributing this
work (or any other work associated in any way with the phrase
“Project Gutenberg”), you agree to comply with all the terms of
the Full Project Gutenberg™ License available with this file or
online at www.gutenberg.org/license.

Section 1. General Terms of Use and


Redistributing Project Gutenberg™
electronic works
1.A. By reading or using any part of this Project Gutenberg™
electronic work, you indicate that you have read, understand,
agree to and accept all the terms of this license and intellectual
property (trademark/copyright) agreement. If you do not agree to
abide by all the terms of this agreement, you must cease using
and return or destroy all copies of Project Gutenberg™
electronic works in your possession. If you paid a fee for
obtaining a copy of or access to a Project Gutenberg™
electronic work and you do not agree to be bound by the terms
of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B. “Project Gutenberg” is a registered trademark. It may only


be used on or associated in any way with an electronic work by
people who agree to be bound by the terms of this agreement.
There are a few things that you can do with most Project
Gutenberg™ electronic works even without complying with the
full terms of this agreement. See paragraph 1.C below. There
are a lot of things you can do with Project Gutenberg™
electronic works if you follow the terms of this agreement and
help preserve free future access to Project Gutenberg™
electronic works. See paragraph 1.E below.
1.C. The Project Gutenberg Literary Archive Foundation (“the
Foundation” or PGLAF), owns a compilation copyright in the
collection of Project Gutenberg™ electronic works. Nearly all the
individual works in the collection are in the public domain in the
United States. If an individual work is unprotected by copyright
law in the United States and you are located in the United
States, we do not claim a right to prevent you from copying,
distributing, performing, displaying or creating derivative works
based on the work as long as all references to Project
Gutenberg are removed. Of course, we hope that you will
support the Project Gutenberg™ mission of promoting free
access to electronic works by freely sharing Project
Gutenberg™ works in compliance with the terms of this
agreement for keeping the Project Gutenberg™ name
associated with the work. You can easily comply with the terms
of this agreement by keeping this work in the same format with
its attached full Project Gutenberg™ License when you share it
without charge with others.

1.D. The copyright laws of the place where you are located also
govern what you can do with this work. Copyright laws in most
countries are in a constant state of change. If you are outside
the United States, check the laws of your country in addition to
the terms of this agreement before downloading, copying,
displaying, performing, distributing or creating derivative works
based on this work or any other Project Gutenberg™ work. The
Foundation makes no representations concerning the copyright
status of any work in any country other than the United States.

1.E. Unless you have removed all references to Project


Gutenberg:

1.E.1. The following sentence, with active links to, or other


immediate access to, the full Project Gutenberg™ License must
appear prominently whenever any copy of a Project
Gutenberg™ work (any work on which the phrase “Project
Gutenberg” appears, or with which the phrase “Project
Gutenberg” is associated) is accessed, displayed, performed,
viewed, copied or distributed:

This eBook is for the use of anyone anywhere in the United


States and most other parts of the world at no cost and with
almost no restrictions whatsoever. You may copy it, give it
away or re-use it under the terms of the Project Gutenberg
License included with this eBook or online at
www.gutenberg.org. If you are not located in the United
States, you will have to check the laws of the country where
you are located before using this eBook.

1.E.2. If an individual Project Gutenberg™ electronic work is


derived from texts not protected by U.S. copyright law (does not
contain a notice indicating that it is posted with permission of the
copyright holder), the work can be copied and distributed to
anyone in the United States without paying any fees or charges.
If you are redistributing or providing access to a work with the
phrase “Project Gutenberg” associated with or appearing on the
work, you must comply either with the requirements of
paragraphs 1.E.1 through 1.E.7 or obtain permission for the use
of the work and the Project Gutenberg™ trademark as set forth
in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg™ electronic work is


posted with the permission of the copyright holder, your use and
distribution must comply with both paragraphs 1.E.1 through
1.E.7 and any additional terms imposed by the copyright holder.
Additional terms will be linked to the Project Gutenberg™
License for all works posted with the permission of the copyright
holder found at the beginning of this work.

1.E.4. Do not unlink or detach or remove the full Project


Gutenberg™ License terms from this work, or any files
containing a part of this work or any other work associated with
Project Gutenberg™.
1.E.5. Do not copy, display, perform, distribute or redistribute
this electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1
with active links or immediate access to the full terms of the
Project Gutenberg™ License.

1.E.6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form,
including any word processing or hypertext form. However, if
you provide access to or distribute copies of a Project
Gutenberg™ work in a format other than “Plain Vanilla ASCII” or
other format used in the official version posted on the official
Project Gutenberg™ website (www.gutenberg.org), you must, at
no additional cost, fee or expense to the user, provide a copy, a
means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original “Plain Vanilla ASCII” or other
form. Any alternate format must include the full Project
Gutenberg™ License as specified in paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying,


performing, copying or distributing any Project Gutenberg™
works unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or


providing access to or distributing Project Gutenberg™
electronic works provided that:

• You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg™ works calculated using the
method you already use to calculate your applicable taxes. The
fee is owed to the owner of the Project Gutenberg™ trademark,
but he has agreed to donate royalties under this paragraph to
the Project Gutenberg Literary Archive Foundation. Royalty
payments must be paid within 60 days following each date on
which you prepare (or are legally required to prepare) your
periodic tax returns. Royalty payments should be clearly marked
as such and sent to the Project Gutenberg Literary Archive
Foundation at the address specified in Section 4, “Information
about donations to the Project Gutenberg Literary Archive
Foundation.”

• You provide a full refund of any money paid by a user who


notifies you in writing (or by e-mail) within 30 days of receipt that
s/he does not agree to the terms of the full Project Gutenberg™
License. You must require such a user to return or destroy all
copies of the works possessed in a physical medium and
discontinue all use of and all access to other copies of Project
Gutenberg™ works.

• You provide, in accordance with paragraph 1.F.3, a full refund of


any money paid for a work or a replacement copy, if a defect in
the electronic work is discovered and reported to you within 90
days of receipt of the work.

• You comply with all other terms of this agreement for free
distribution of Project Gutenberg™ works.

1.E.9. If you wish to charge a fee or distribute a Project


Gutenberg™ electronic work or group of works on different
terms than are set forth in this agreement, you must obtain
permission in writing from the Project Gutenberg Literary
Archive Foundation, the manager of the Project Gutenberg™
trademark. Contact the Foundation as set forth in Section 3
below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend


considerable effort to identify, do copyright research on,
transcribe and proofread works not protected by U.S. copyright
law in creating the Project Gutenberg™ collection. Despite
these efforts, Project Gutenberg™ electronic works, and the
medium on which they may be stored, may contain “Defects,”
such as, but not limited to, incomplete, inaccurate or corrupt
data, transcription errors, a copyright or other intellectual
property infringement, a defective or damaged disk or other
medium, a computer virus, or computer codes that damage or
cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES -


Except for the “Right of Replacement or Refund” described in
paragraph 1.F.3, the Project Gutenberg Literary Archive
Foundation, the owner of the Project Gutenberg™ trademark,
and any other party distributing a Project Gutenberg™ electronic
work under this agreement, disclaim all liability to you for
damages, costs and expenses, including legal fees. YOU
AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE,
STRICT LIABILITY, BREACH OF WARRANTY OR BREACH
OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH
1.F.3. YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER
THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR
ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE
OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF
THE POSSIBILITY OF SUCH DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If


you discover a defect in this electronic work within 90 days of
receiving it, you can receive a refund of the money (if any) you
paid for it by sending a written explanation to the person you
received the work from. If you received the work on a physical
medium, you must return the medium with your written
explanation. The person or entity that provided you with the
defective work may elect to provide a replacement copy in lieu
of a refund. If you received the work electronically, the person or
entity providing it to you may choose to give you a second
opportunity to receive the work electronically in lieu of a refund.
If the second copy is also defective, you may demand a refund
in writing without further opportunities to fix the problem.

1.F.4. Except for the limited right of replacement or refund set


forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’,
WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS
OR IMPLIED, INCLUDING BUT NOT LIMITED TO
WARRANTIES OF MERCHANTABILITY OR FITNESS FOR
ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain implied


warranties or the exclusion or limitation of certain types of
damages. If any disclaimer or limitation set forth in this
agreement violates the law of the state applicable to this
agreement, the agreement shall be interpreted to make the
maximum disclaimer or limitation permitted by the applicable
state law. The invalidity or unenforceability of any provision of
this agreement shall not void the remaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold the


Foundation, the trademark owner, any agent or employee of the
Foundation, anyone providing copies of Project Gutenberg™
electronic works in accordance with this agreement, and any
volunteers associated with the production, promotion and
distribution of Project Gutenberg™ electronic works, harmless
from all liability, costs and expenses, including legal fees, that
arise directly or indirectly from any of the following which you do
or cause to occur: (a) distribution of this or any Project
Gutenberg™ work, (b) alteration, modification, or additions or
deletions to any Project Gutenberg™ work, and (c) any Defect
you cause.

Section 2. Information about the Mission of


Project Gutenberg™
Project Gutenberg™ is synonymous with the free distribution of
electronic works in formats readable by the widest variety of
computers including obsolete, old, middle-aged and new
computers. It exists because of the efforts of hundreds of
volunteers and donations from people in all walks of life.

Volunteers and financial support to provide volunteers with the


assistance they need are critical to reaching Project
Gutenberg™’s goals and ensuring that the Project Gutenberg™
collection will remain freely available for generations to come. In
2001, the Project Gutenberg Literary Archive Foundation was
created to provide a secure and permanent future for Project
Gutenberg™ and future generations. To learn more about the
Project Gutenberg Literary Archive Foundation and how your
efforts and donations can help, see Sections 3 and 4 and the
Foundation information page at www.gutenberg.org.

Section 3. Information about the Project


Gutenberg Literary Archive Foundation
The Project Gutenberg Literary Archive Foundation is a non-
profit 501(c)(3) educational corporation organized under the
laws of the state of Mississippi and granted tax exempt status by
the Internal Revenue Service. The Foundation’s EIN or federal
tax identification number is 64-6221541. Contributions to the
Project Gutenberg Literary Archive Foundation are tax
deductible to the full extent permitted by U.S. federal laws and
your state’s laws.

The Foundation’s business office is located at 809 North 1500


West, Salt Lake City, UT 84116, (801) 596-1887. Email contact
links and up to date contact information can be found at the
Foundation’s website and official page at
www.gutenberg.org/contact

Section 4. Information about Donations to


the Project Gutenberg Literary Archive
Foundation
Project Gutenberg™ depends upon and cannot survive without
widespread public support and donations to carry out its mission
of increasing the number of public domain and licensed works
that can be freely distributed in machine-readable form
accessible by the widest array of equipment including outdated
equipment. Many small donations ($1 to $5,000) are particularly
important to maintaining tax exempt status with the IRS.

The Foundation is committed to complying with the laws


regulating charities and charitable donations in all 50 states of
the United States. Compliance requirements are not uniform
and it takes a considerable effort, much paperwork and many
fees to meet and keep up with these requirements. We do not
solicit donations in locations where we have not received written
confirmation of compliance. To SEND DONATIONS or
determine the status of compliance for any particular state visit
www.gutenberg.org/donate.

While we cannot and do not solicit contributions from states


where we have not met the solicitation requirements, we know
of no prohibition against accepting unsolicited donations from
donors in such states who approach us with offers to donate.

International donations are gratefully accepted, but we cannot


make any statements concerning tax treatment of donations
received from outside the United States. U.S. laws alone swamp
our small staff.

Please check the Project Gutenberg web pages for current


donation methods and addresses. Donations are accepted in a
number of other ways including checks, online payments and
credit card donations. To donate, please visit:
www.gutenberg.org/donate.

Section 5. General Information About Project


Gutenberg™ electronic works
Professor Michael S. Hart was the originator of the Project
Gutenberg™ concept of a library of electronic works that could
be freely shared with anyone. For forty years, he produced and
distributed Project Gutenberg™ eBooks with only a loose
network of volunteer support.

Project Gutenberg™ eBooks are often created from several


printed editions, all of which are confirmed as not protected by
copyright in the U.S. unless a copyright notice is included. Thus,
we do not necessarily keep eBooks in compliance with any
particular paper edition.

Most people start at our website which has the main PG search
facility: www.gutenberg.org.

This website includes information about Project Gutenberg™,


including how to make donations to the Project Gutenberg
Literary Archive Foundation, how to help produce our new
eBooks, and how to subscribe to our email newsletter to hear
about new eBooks.

You might also like