PART I

THE NATURE OF COMMUNICATION

 Communication is the blood-line of

society.
 Communication is basic to success.
 Communication is important.
COMMUNICATION DEFINED
 A process by which we assign and convey
meaning in an attempt to create shared
understanding.
 This process requires a vast repertoire of
skills:
a. intrapersonal and interpersonal processing
b. listening
c. observing
d. speaking
e. questioning
f. analyzing
g. evaluating
COMMUNICATION DEFINED
 It can be seen as processes of
information transmission governed by
three levels of semiotic rules.
1. Syntactic
2. Pragmatic
3. Semantic
 It is therefore a social interaction where
at least two interacting agents share a
common set of signs and a common set
of semiotic rules.
COMMUNICATION DEFINED
COMMUNICATION PROCESS
PART 2
EFFECTIVE LISTENING

 Expressing our wants, feelings, thoughts

and opinions clearly and effectively is
only half of the communication process
needed for interpersonal effectiveness.
 The other half is listening and
understanding.
 There is a real distinction between
merely hearing the words and really
listening to the message.
SOUND

 The impact of vibrations make on the

human ear – the reception of sound
waves (Psychologist and speech
teachers)
 Sound is characterized by three features:
pitch, loudness, and quality
 Human speech adds a fourth feature –
rate or timing.
 RECEIVING SOUNDS

Sound
(Vibration)
THREE BASIC LISTENING MODES

 Competitive or Combative Listening

—Interested in promoting own stance than
understanding someone else’s.

 Passive or Attentive Listening

—Interested in hearing and understanding others’
stance .

 Active or Reflective Listening

—Active in checking understanding before
responding with message.
SOURCES OF DIFFICULTY BY THE SPEAKER

1. Voice volume is too low to be heard.

2. Message is too complex.
3. Speaker is getting lost.
4. Body language or nonverbal elements are
contradicting or interfering with the verbal
message.
5. Paying too much attention on how the
other person is taking the message.
6. Using a very unique code or
unconventional method for delivering
message.
SOURCES OF DIFFICULTY BY THE LISTENER

1. Listener is preoccupied.
2. More interested in what he has to say that
he listens mainly to find an opening to get
the floor.
3. He is formulating and listening to his own
rebuttal than to what the speaker is saying.
4. He is listening to his own personal beliefs
about what is being said.
5. He is evaluating and making judgment
about the speaker or the message.
6. He is not asking for clarification when he
knows that he does not understand.
LISTENING TIPS
 Usually, it is important to paraphrase and
use your own words in verbalizing your
understanding of the message.
 Depending on the purpose of interaction
and your understanding of what is relevant,
you could reflect on the other person’s:
a. account of the facts
b. thoughts and beliefs
c. feelings and emotions
d. wants, needs or motivation
e. hopes and expectations
LISTENING TIPS
 Don’t respond to just the meaning of the words;
look for feelings or intent beyond the words.
 Inhibit from immediately answering questions.
 Know when to quit using active listening.
 If you are confused and know that you do not
understand , ask the speaker to say it another
way.
 When the speaker is emotionally disturbed, use
active listening as a response to him.
 Use eye contact and listening body language.
 Be emphatic and not judgmental.
 Become a more effective listener.
PART 3
L ANGUAGE
 Instrument of communication
—Oral or written
—Verbal and Non-verbal

 Organized system of signals

—Sounds
—Intonation
—Gesture
—Written symbols

 A system of symbols (lexemes) and rules

(grammar)
L ANGUAGE

 Oral Communication
—Spoken language
—Production of sound representation of language
—Voice is the primary tool
VOICE

 Voice and Speech

—Voice is the production of sound
—Speech is the combination of sounds

 Becomes symbols that represent meanings

 Has elements which reflect mood

—Quality
—Pitch
—Force
—Rate
VOICE QUALITY
Quality Description Purpose
Normal voice Speaker speaks Normal
naturally Conversation
Breathy voice Aspirate quality Whispering
Full voice Deep quality of Speaking in
voice Formal and
Orotund Dignified
Occasion
Chesty voice Deep hollow Give Horror Effect
voice
Thin voice High-pitched Extreme Fatigue
Falsetto and Excitement
VOICE LEVELS

 Pitch shows emotion

—High (e.g. angry lose control of their emotion)
—Medium (unemotional)
—Low (sadness, contempt, indifference or
disappointment )
VOICE INTENSITY

 It refers to the effect of a sound on the

ear.
—Its loudness or softness

 The force when one speaks varies in

degree and form.
—Degree refers to the amount of force applied
—High degree (e.g. shouting)
—Low degree (e.g. whispering)
RATE OF SPEECH

 It refers to the variations of speed.

—Slow speech projects calmness, acceptance, and
formality.
—Too slow depicts dullness, listlessness, apathy,
laziness, and lack of intelligence.
—Rapid speech shows animation, enthusiasm,
excitement, and informality.
—Too fast suggests nervousness, tension, and anxiety.
THE SPEECH MECHANISM
THE SPEECH MECHANISM

 Motor
THE SPEECH MECHANISM

 Vibrator
THE SPEECH MECHANISM

 Resonators
THE SPEECH MECHANISM

 Articulators
CLASSIFICATION OF PARTS OF SPEECH
MECHANISM
 Motor
— Respiratory muscles which are responsible for the regulation,
expulsion and control of air

 Vibrator
— Vocal bands or cords to produce sound waves through
vibration of the air

 Resonators
— Nose, mouth, and throat. Modulate sound waves

 Articulators
— Lips, teeth, tongue, upper gums, lower jaw, hard palate, and
ovula. Give definite shape and character of sounds as air
passes through the mouth or nose.
BREATHING AND FLEXIBILITY

 Inhale deeply but relax.

 Maintain a steady pressure of air as you
speak.
 Maintain an adequate breath reserve.
THE SPEECH SOUND
CONSONANTS
 The sounds of all languages fall into two
classes: consonants and vowels.
 Consonants are produced with some
restriction or closure in the vocal tract that
impedes the flow of air from the lungs.
 In phonetics, the terms consonant and
vowel refer to types of sounds, not to the
letters that represent them.
 We classify consonants according to where
in the vocal tract the airflow restriction
occurs, called the place of articulation.
PLACE OF ARTICULATION
PLACE OF ARTICULATION
Articulation Examples Production
Bilabials [p] [b] [m] bringing both lips
together
Labiodentals [f] [v] touching the
bottom lip to the
upper teeth
Interdentals [θ] [ð] inserting
think [θɪŋk] the tip of the
these [ðiz] tongue between
the teeth
PLACE OF ARTICULATION
Articulation Examples Production
Alveolars [t] [d] [n] [s] [z] [l] tongue raised in
[r] various ways to the
alveolar ridge
[t,d,n] the tongue tip is
raised and touches
the ridge, or slightly
in front of it
[s,z] the sides of the front
of the tongue are
raised, but the tip is
lowered
so that air escapes
over it
PLACE OF ARTICULATION
Articulation Examples Production
Alveolars [l] the tongue tip is
raised while the rest
of the tongue
remains down,
permitting air to
escape over its sides
[r] speakers either curl
the tip of the tongue
back behind the
alveolar ridge, or
bunch up the top of
the tongue behind
the ridge
PLACE OF ARTICULATION
Articulation Examples Production
Palatals [ʃ] [ʒ] [tʃ] [dʒ] [ j] the constriction
mission [mɪʃən] occurs by raising
measure [mɛʒər] the front part of
cheap [tʃip] the tongue to the
judge [dʒʌdʒ] palate
yoyo [ jojo]
Velars [k] [g] [ŋ] raising the back
kick [kɪk] of the tongue to
gig [gɪg] the soft palate or
back [bӕk] velum
bag [bӕg]
bang [bӕŋ]
PLACE OF ARTICULATION
Articulation Examples Production
Uvulars [ʀ] [q] [ɢ] raising the back
of the tongue to
the uvula, the
fleshy
protuberance that
hangs down in
the back of our
throats
The r in French is often a uvular trill symbolized by [ʀ].
The uvular sounds [q] and [ɢ] occur in Arabic.
These sounds do not ordinarily occur in English.
PLACE OF ARTICULATION
Articulation Examples Production
Glottals [h] [ʔ] The sound of [h] is from
the flow of air through
the open glottis, and
past the tongue and lips
as they prepare to
pronounce a vowel
sound, which always
follows [h].
uh-oh [ʔʌʔo] If the air is stopped
completely at the glottis
by tightly closed vocal
cords, the
sound upon release of
the cords is a glottal
stop [ʔ]
PLACE OF ARTICULATION
MANNER OF ARTICULATION

 Speech sounds also vary in the way the

airstream is affected as it flows from the
lungs up and out of the mouth and nose.
 It may be blocked or partially blocked;
the vocal cords may vibrate or not
vibrate.
 We refer to this as the manner of
articulation.
VOICED AND VOICELESS SOUNDS
 Sounds are voiceless when the vocal
cords are apart so that air flows freely
through the glottis into the oral cavity.
[p] and [s] in super [supər] are two of
the several voiceless sounds of English.

 If the vocal cords are together, the

airstream forces its way through and
causes them to vibrate. Such sounds are
voiced. [b] and [z] in buzz [bʌz] are two
of the many voiced sounds of English.
VOICED AND VOICELESS SOUNDS
Voiceless Voiced
rope [rop] robe [rob]
fate [fet] fade [fed]
rack [ræk] rag [ræg]
wreath [riθ] wreathe [rið]
VOICED AND VOICELESS SOUNDS
Voiceless Voiced
fine [faɪn] vine [vaɪn]
seal [sil] zeal [zil]
choke [tʃok] joke [dʒok]
peat [pit] beat [bit]
tote [tot] dote [dot]
kale [kel] gale [gel]
VOICED AND VOICELESS SOUNDS
Voiceless aspirated Voiceless unaspirated
pool [pʰul] spool [spul]
tale [tʰel] stale [stel]
kale [kʰel] scale [skel]
VOICED AND VOICELESS SOUNDS
NASAL AND ORAL SOUNDS
NASAL AND ORAL SOUNDS
STOPS
Stops Examples Production
bilabial stops [p], [b], [m] airstream stopped at
the mouth by the
complete closure of the
lips
alveolar stops [t], [d], [n] the airstream is stopped
by the tongue, making a
complete closure at the
alveolar ridge
velar stops [k], [g], [ŋ] with the complete
closure at the velum
palatal affricates [tʃ], [dʒ] with complete stop
closures
glottal stop [ʔ] the air is completely
stopped at the glottis
FRICATIVES

 Fricatives
 [f] [v] [θ] [ð] [s] [z] [ʃ] [ʒ] [x] [ɣ] [h]
 In the production of some continuants,
the airflow is so severely obstructed that
it causes friction, and the sounds are
therefore called fricatives.
FRICATIVES
Fricatives Examples Production
labiodental [f], [v] the friction is created at
the lips and teeth,
fricatives where a narrow passage
permits the air to
escape
interdental [θ], [ð] the friction occurs at the
opening between the
fricatives tongue and teeth
alveolar [s], [z] the friction created at
the alveolar ridge
fricatives
FRICATIVES
Fricatives Examples Production
palatal fricatives [ʃ], [ʒ] friction created as the
air passes between the
mission [mɪʃən] tongue and the part of
measure [mԑʒər] the palate behind the
alveolar ridge
In English, the voiced palatal fricative never begins words except for foreign words
such as genre.
The voiceless palatal fricative begins the words shoe [ʃu] and sure [ʃur] and ends the
words rush [rʌʃ] and push [pʊʃ].

glottal fricative [h] its relatively weak sound

comes from air passing
through the open
glottis and pharynx
AFFRICATES

 [tʃ] [dʒ]
 These sounds are produced by a stop
closure followed immediately by a gradual
release of the closure that produces an
effect characteristic of a fricative.
 The palatal sounds that begin and end the
words church and judge are voiceless and
voiced affricates, respectively.
 Affricates are not continuants because of
the initial stop closure.
GLIDES
 [j] [w]
 The sounds [ j] and [w], the initial sounds
of you [ ju] and we [wi], are produced
with little obstruction of the airstream.
 They are always followed directly by a
vowel and do not occur at the end of
words.
 After articulating [ j] or [w], the tongue
glides quickly into place for pronouncing
the next vowel, hence the term glide.
VOWELS
 Vowels are produced with little
restriction of the airflow from the lungs
out the mouth and/or the nose.
 Vowel sounds carry pitch and loudness.
 We classify vowels according to three
questions:
1. How high or low in the mouth is the
tongue?
2. How forward or backward in the mouth is
the tongue?
3. Are the lips rounded (pursed) or spread?
TONGUE POSITION
TONGUE POSITION
Types of Vowels Examples Production
high front [i] the tongue is high in
the mouth and the front
vowels he [hi] part is raised
high back vowel [u] the tongue is high in
the mouth and back
who [hu] part of the tongue is
raised
low back vowel [a] the back of the tongue
is low in the mouth
hah [ha]
[ɪ] and [ʊ] slightly lowered tongue
positions
hit [hɪt], heat [hit]
put [pʰʊt], hoot
[hut]
TONGUE POSITION
Types of Vowels Examples Production
low front vowel [æ] produced with the front
part of the tongue low
hack [hæk] in the mouth, similar to
the low vowel [a], but
with the front rather
than the back part of
the tongue lowered
front mid vowels [e] and [ɛ] raising the front of the
tongue to a position
bait [bet] midway between the
bet [bɛt] high and low vowels
back mid [o] and [ɔ] raising back of the
tongue to a position
vowels boat [bot] midway between the
bore [bɔr] high and low vowels
TONGUE POSITION
Types of Vowels Examples Production
lower mid [ʌ] the tongue is not strictly
high nor low, front nor
central vowel butt [bʌt] back
schwa vowel [ə] articulated with the
tongue in a more or less
about [əbaʊt] neutral position
sofa [sofə] between the extremes
of high/low, front/back

the schwa is used

mostly to represent
unstressed vowels
LIP ROUNDING
Types of Vowels Examples Production
rounded vowels [u] boot produced with
[ʊ] put pursed or
[o] boat rounded lips
[ɔ] bore
Unrounded [i] cheese with the lips in
vowel [a] bar, bah, aha the shape of a
smile
LIP ROUNDING
DIPHTHONGS

 A diphthong is a sequence of two vowel

sounds.
 Diphthongs are present in the phonetic
inventory of many languages, including
English.
 The vowels we have studied so far are
simple vowels, called monophthongs.
DIPHTHONGS
Diphthongs Sound Sequence Examples
[a] father
followed rapidly
[aɪ] bite [baɪt]
by the [ɪ] sound
of fit
[a] followed by
[aʊ] the [ʊ] sound of bout [baʊt]
put
[ɔ] of bore
[ɔɪ] boy [bɔɪ]
followed by [ɪ]
NASALIZATION OF VOWELS
 Vowels can be produced with a raised velum
that prevents the air from escaping through the
nose, or with a lowered velum that permits air to
pass through the nasal passage.
 Nasal vowels occur for the most part before
nasal consonants in the same syllable, and oral
vowels occur in all other places.
 The words bean, bone, bingo, boom, bam, and
bang are examples of words that contain nasalized
vowels.
 To show the nasalization of a vowel in a narrow
phonetic transcription, an extra mark called a
diacritic—the symbol ~ (tilde) placed over the
vowel, as in bean [bĩn] and bone [bõn].
TENSE AND L AX VOWELS
PHONETIC SYMBOLS AND SPELLING
CORRESPONDENCES
PHONETIC SYMBOLS AND SPELLING
CORRESPONDENCES
PHONETIC SYMBOLS AND SPELLING
CORRESPONDENCES
RULES ON WORD STRESS
 1. Two-Syllable nouns and adjectives
 In most two syllable nouns and adjectives, the first
syllable takes on the stress.
 Examples: SAM-ples CAR-ton Col-or-ful RAI-ny

 2. Two-Syllable verbs and prepositions

 In most two syllable verbs and prepositions, the
stress is on the second syllable.
 Examples: re-LAX, re-CEIVE, di-RECT, a-MONG

 Verbs and prepositions usually get stress placed on

the second syllable, but there are exceptions to this
too.
 a-SIDE
 be-TWEEN
RULES ON WORD STRESS

 3. Three-Syllable words
 For three syllable words, look at the word
ending (the suffix), using the following as your
guide.

 4. Words ending in er, or, ly

 For words ending with the suffixes er, or, or ly,
the stress is placed on the first syllable.
 Examples: DI-Rect/DI-rec-tor, OR-der/OR-der-ly,
MA-nage/MA-nag-er
RULES ON WORD STRESS

 5. Words ending in consonants and in

y
 If there is a word that ends in a consonant or
in a y, then the first syllable gets the stress.
 Examples: RA-ri-ty
 OP-ti-mal
 GRA-di-ent
 CON-tain-er
RULES ON WORD STRESS

 6. Words with various endings

 Take a good look at the list of suffixes below
(suffixes are word endings). Your stress is
going to come on the syllable right before the
suffix. This applies to words of all syllable
lengths.
 able: ADDable, ARable, DURable
 ary: PRIMary, DIary, liBRary
 cial: juDIcial, nonSOcial
 cian: muSIcian, phySIcian, cliNICian
 ery: BAkery, SCENery
 graphy: calLIgraphy, bibliOgraphy, stenOgraphy
RULES ON WORD STRESS

 ial: celesTIal, iniTIal, juDICial

 ian: coMEdian, ciVILian, techNIcian
 ible: viSIble, terRIble, reSIstible
 ic: arCHAic, plaTOnic, synTHEtic
 ical: MAgical, LOgical, CRItical
 ics: diaBEtics, paediAtrics
RULES ON WORD STRESS
 ion: classifiCAtion, repoSItion, vegeTAtion
 ity: imMUnity, GRAvity, VAnity
 ium: HElium, ALUminum, PREmium
 imum: MInimum, MAXimum, OPtimum
 logy: BIology, CARdiology, RAdiology
 tal: caPItal, biCOAstal, reCItal
RULES ON WORD STRESS

 7. Words ending in ee, ese, ique, ette

 Words that use the suffix ee, ese, eer, ique or
ette, have the primary stress actually placed on
the suffix. This applies to words of all syllable
lengths.
 Examples: ee: agrEE, jamborEE, guarantEE
 eer: sightsEER, puppetEER
 ese: SiamESE, JapanESE, cheESE
 ette: cassETTE, CorvETTE, towelETTE
 ique: unIQUE, physIQUE
RULES ON WORD STRESS

 8. Prefixes
 Usually, prefixes do not take the stress of a
word. There are a few exceptions to this rule,
however, like: un, in, pre, ex and mis, which are
all stressed in their prefix.
 Examples: ex: e-XAM-ple, ex-pla-NAtion, e-XAM-ine
 in: IN-side, IN-efficient, IN-terest
 mis: MIS-spoke, MI-stake, MIS-spelled
 pre: PRE-cede, PRE-ar-range, PRE-li-min-ary
RULES ON WORD STRESS

 9. Stress on the second from the end

syllable
 You put stress on the second syllable from the
end of the word, with words ending in ic, sion
and tion.
 Examples: i-CON-ic
 Hy-per-TEN-sion
 Nu-TRI-tion
RULES ON WORD STRESS

 10. Stress on the third from end

syllable
 You put stress on the third from end syllable
with words that end in cy, ty, phy, gy and al.
 Examples: de-mo-CRA-cy
 TREA-ty
 Ge-O-graphy
 AL-ler-gy
 NAU-ti-cal
RULES ON WORD STRESS
 C. Compound verbs
 A compound verb is when a subject has two or
more verbs. The stress is on the second or on
the last part.
 Examples: Matilda loves bread but de-TESTS butter.
 Sarah baked cookies and ATE them up.
 Dogs love to eat bones and love DRIN-king water.

 D. Noun + compound nouns

 Noun + compound Nouns are two word
compound nouns. In noun + compound
noun, the stress is on the first word.
 Examples: AIR-plane mechanic
 PRO-ject manager
 BOARD-room member
RULES ON WORD STRESS
 B. Compound adjectives
 A compound adjective is an adjective
composed of at least two words. Often,
hyphens are used in compound adjectives. In
compound adjectives, the stress is placed
within the second word.
 Examples: ten-ME-ter
 rock-SO-lid
 Fif-teen-MI-nute
RULES ON WORD STRESS

 11. Word stress for compound words

 A. Compound noun
 A compound noun is a noun made out of two
nouns in order to form one word. In a
compound noun, the first word usually takes
on the stress.
 Examples: SEA-food
 ICE-land
 TOOTH-paste
RULES ON WORD STRESS
 12. Phrasal verbs
 Phrasal verbs are words made from a verb and preposition.
 In phrasal verbs, the second word gets the stress (the
preposition).
 Examples: Black OUT
 break DOWN
 look OUT

 13. Proper nouns

 Proper nouns are specific names of people, places or things.
For example: Jeniffer, Spain, Google.
 The second word is always the one that takes the stress
 Examples: North DAKOTA
 Mr. SMITH
 Apple INCORPORATED
RULES ON WORD STRESS
 14. Reflexive pronouns
 Reflexive pronouns show that the action affects the
person who performs the action. For example: I hit
myself. The second syllable usually takes the stress.
 Examples: my-SELF
 Them-SELVES
 Our-SELVES

 15. Numbers
 If the number is a multiple of ten, the stress is
placed on the first syllable.
 Examples: TEN
 FIF-ty
 ONE-hundred
INTONATION
INTONATION

 The falling tone

INTONATION

 The low rising tone

INTONATION

 The high rising tone

INTONATION

 The fall-rise tone

PART 4
INTRODUCTION

 Humans’ ability to communicate using

formalized systems of language sets us
apart from other living creatures on the
Earth.
 The ironic feature of public speaking is
that while we recognize that it is an
important skill to have, many of us do
not like or want to give speeches.
 Anyone can learn to give effective
presentations.
BENEFITS OF PUBLIC SPEAKING

• allow you to participate

Public in democracy at its
most basic level

• is required at any
professions
Professional • enhances chance of
securing employment
and advancing in career

• fulfills essential roles in

Personal family and community
• builds self-confidence
MODELS OF COMMUNICATION
MODELS OF COMMUNICATION
THREE TYPES OF PUBLIC SPEAKING

 1. Speeches that inform

 Explain
 Report
 Describe
 Clarify
 Define
THREE TYPES OF PUBLIC SPEAKING

 2. Speeches that persuade

 Designed to convince or influence beliefs
or attitudes

 3. Speeches that entertain

 Use humor to influence an audience
 Goal: to warm audience up
SPECIAL OCCASION SPEECHES

 A special occasion speech includes one

of several kinds that celebrate an
occasion.
 More specifically, it might introduce a
speaker, entertain an audience, or inspire
people.
 Another term for special occasion
speech is ceremonial speech.
PURPOSE OF SPECIAL OCCASION SPEECHES

 Magnification
 It means giving benefit to the audience,
amplifying emotion, and exceeding
expectations.

 Identification
 It involves creating familiarity and closeness.
TYPES OF SPECIAL OCCASION SPEECHES

 Speech of Introduction
 Toast and Roast
 Speech to Present an Award
 Acceptance Speech
 Keynote Address
 Commencement Speech
 Commemorative Speeches and Tributes
 After-Dinner Speech
TYPES OF SPECIAL OCCASION SPEECHES
 Speech of Introduction
 A speech of introduction is a brief presentation
used to introduce the main speaker of an event
and to inspire the audience to listen to that
speaker.
 The introductory speech usually has three
components:
1. provide a brief backdrop or background of
the main speaker
2. introduce the speaker’s topic
3. an invitation from the audience to warmly
welcome the speaker
TYPES OF SPECIAL OCCASION SPEECHES
 Toast
 A toast is a brief tribute
to a person or event.

 Roast
 A roast is a variation of
the toast in which the
speaker pays tribute to
a person by poking fun
at her or him in a
friendly way.
TYPES OF SPECIAL OCCASION SPEECHES
 Presentational Speech
 Also called a speech to
present an award, the
presentational speech serves
to highlight the merits of the
award recipient and to point
out the purpose and
significance of the award
being given.

 Acceptance Speech
 Also called the speech to
accept an award, the
acceptance speech gives the
recipient an opportunity to
express appreciation for the
award as well as humility and
grace.
TYPES OF SPECIAL OCCASION SPEECHES

 Keynote Address
 The keynote address
represents the keynote
of a larger idea taking
place at a conference
or exposition usually
organized around a
central theme.
TYPES OF SPECIAL OCCASION SPEECHES

 Commencement
Speech
 The commencement
speech is given by a
well-known person
of local, national, or
international acclaim
to mark a university
or secondary school
graduation
ceremony.
TYPES OF SPECIAL OCCASION SPEECHES

 Commemorative or Tribute Speech

 A commemorative or tribute speech is one
that pays special accolades to an occasion,
extraordinary person, event, idea, or
monument.
 Such a speech is intended to reflect the
emotions of the audience.
TYPES OF SPECIAL OCCASION SPEECHES
 After-dinner Speech
 During the after-dinner speech, audiences
expect to be entertained by a speech that
informs them about a particular issue.
 This speech sometimes uses humor to
make a serious point.
IDENTIFYING YOUR SPEAKING STYLE

 Cool presenter
 Hot presenter
 Dull presenter
SPEAKING COMPETENCIES
 Useful Topic
 Engaging Introduction
 Clear Organization
 Well-Supported Ideas
 Closure in Conclusion
 Clear and Vivid Language
 Suitable Vocal Expression
 Corresponding Nonverbals
 Adapted to the Audience
 Adept Use of Visual Aids
 Convincing Persuasion
DELIVERING YOUR PRESENTATION

 Methods of Speech Delivery

 Effective Verbal Delivery
 Effective Nonverbal Delivery
 Final Tips for Rehearsing and Delivering
METHODS OF SPEECH DELIVERY
 Manuscript Speaking
 Rarely done well enough to be interesting
 Guidelines
1. Type your manuscript in short, easy-to-
scan phrases
2. Use appropriate nonverbal messages
3. Do not read the speech too quickly
4. Vary the rhythm, inflections, and pace of
your delivery
5. Use gestures and movement to add
nonverbal interest
METHODS OF SPEECH DELIVERY

 Memorized Speaking
 Guidelines
1. Do not deliver your memorized speech
too rapidly
2. Avoid patterns of vocal inflection that
make the presentation sound recited
3. Use gestures and movement to add
interest and emphasis to your message
METHODS OF SPEECH DELIVERY
 Impromptu Speaking
 “off the cuff”
 Guidelines
1. Consider your audience
2. Be brief
3. Organize
4. Draw upon your personal experience and
knowledge
5. Use gestures and movement that arise
naturally from what you are saying
6. Be aware of the potential impact of your
communication
METHODS OF SPEECH DELIVERY
 Extemporaneous Speaking
 Method of delivery preferred by most
audiences
 Guidelines
1. Use a full-content preparation outline
when you begin to rehearse your
presentation
2. Prepare an abbreviated delivery outline
and speaking notes
3. Do not try to memorize your message
word for word
4. As you deliver your presentation, adapt it
to your audience
METHODS OF SPEECH DELIVERY

RECAP Methods of Delivery

Manuscript Reading a speech from written text

Memorized Giving a speech word for word from memory

without using notes
Impromptu Delivering a presentation without advance
preparation

Extemporaneous Speaking from a written or memorized outline

without having memorized the exact wording of
the presentation
KNOW YOUR AUDIENCE

 Make up of Audience
 Superiors
 Peers
 Team members
 Special interest groups
 Mixed groups
TIME TO OUTLINE

 Gather materials
 Examples
 Statistics
 Testimony
PREPARING THE OUTLINE
I. Introduction
II. Body

A. Main point
B. Main point

1. Sub-point
2. Sub-point

a. Sub sub-point
b. Sub sub-point
III. Conclusion
BUILDING THE BODY
 Begin developing your speech by working
on the middle first, or the body.
 The body covers everything you want to
say during your speech.
 The body should have three to five main
points for a 20 minute to half hour
presentation.
 And if you want your audience to
remember those points, the most effective
approach is point development.
 Once your speech is over, the audience is
going to remember main points only.
MAKING AN EFFECTIVE INTRODUCTION
 Get the attention of the audience.
 You can get attention and interest by relating the
topic to the audience. People pay attention to
things that affect them directly.

 Startle the audience with an arresting or

intriguing statement.
 “Almost one year ago today, a perfect stranger
saved my best friend’s life.”

 Arouse Curiosity.
 Give an arresting synopsis of what you will explore.
Or you may question your audience. This draws
the audience in immediately.
PREPARING THE CONCLUSION

 Two Purposes
1. Let the audience know you are ending
2. Reinforce central idea
EFFECTIVE VERBAL DELIVERY

• Using words well

• Crafting memorable word structure
USING WORDS WELL
• Specific, Concrete Words
– Refers to an object or action in the most specific
way possible
• Unbiased Words
– Do not offend any sexual, racial, cultural, or
religious group
• Vivid Words
– Add color and interest to your language
• Simple Words
– Immediately understandable
• Correct Words
– Grammatical and usage errors communicate a
lack of preparation
CRAFTING MEMORABLE
WORD STRUCTURES
• Figurative
Language
– Metaphors
(implied
comparisons)
– Similes (over
comparisons)
– Personification
(attribution of
human qualities
to non-human
things or ideas)
CRAFTING MEMORABLE
WORD STRUCTURES

• Drama
– Omission (strip a phrase or sentence of
nonessential words that the audience
expects)
• Do you believe that he can cope …?
– Inversion (invert the usual subject-verb-
object sentence pattern)
• Him the crowd adores.
– Suspension (saving a key word or
phrase for the end of a sentence)
• They tried, they fought, they did their best.
CRAFTING MEMORABLE
WORD STRUCTURES
• Cadence
– Parallelism (two or more clauses have the
same grammatical pattern)
– Antithesis (the two structures contrast)
• From rags to riches, from beans to beef, from water to
wine.
– Repetition (repeat key word or phrase)
• The game was lost. The game was finished before it
began. The game was a farce of sportsmanship.
– Alliteration (repetition of an initial
consonant sound several times in a phrase,
clause, or sentence)
• They have bribed us with promise,
blackmailed us with threats, and bled us with
EFFECTIVE NONVERBAL DELIVERY

• Eye contact
• Physical delivery
– Gestures
– Movement
– Posture
• Facial expression
EFFECTIVE NONVERBAL DELIVERY

• Vocal Delivery
– Volume
– Pitch
– Rate
– Articulation
• Appearance
EFFECTIVE NONVERBAL DELIVERY
RECAP Characteristics of Nonverbal Delivery
Gestures should be relaxed, definite, varied, and appropriate.
Movement should be purposeful
Posture should feel natural and be appropriate to your topic,
audience, and occasion
Eye Contact should be established before you say anything and
sustained throughout your presentation
Facial Expression should be alert, friendly, and appropriate
Volume should be loud enough to be heard and varied
Pitch should be varied to sustain audience interest
Rate should be neither too fast or too slow
Articulation should be clear and distinct
Appearance should conform to what the audience expects
FINAL TIPS FOR DELIVERING YOUR
PRESENTATION
 Finish your full-content outline several
days before you must deliver the
presentation
 Practice, Practice, Practice
 Practice good delivery skills while
rehearsing
 If possible, practice your presentation for
someone else
 Tape record or videotape your
presentation
FINAL TIPS FOR DELIVERING YOUR
PRESENTATION
 Re-create the speaking situation in your
final rehearsals
 Get plenty of rest the night before you
speak
 Arrive early
 After you have delivered your
presentation, seek feedback from
members of your audience.