application of writing patterns in speech writing process

The Speech Writing Process

By Philippe John Fresnillo Sipacio & Anne Balgos (Page 62)

Just like events planning, or any other activities, writing an effective speech follows certain steps or processes. The process for writing is not chronological or linear ; rather, it is recursive . That means you have the opportunity to repeat a writing procedure indefinitely, or produce multiple

drafts first before you can settle on the right one.

By Philippe John Fresnillo Sipacio & Anne Balgos

The following are the components of the speech writing process.

• Audience analysis entails looking into the profile of your target audience. This is done so you can tailor-fit your speech content and delivery to your audience. The profile includes the following information.

Q demography (age range, male-female ratio, educational background and affiliations or degree program taken, nationality, economic status, academic or corporate designations)

Q situation (time, venue, occasion, and size)

Q psychology (values, beliefs, attitudes, preferences, cultural and racial ideologies , and needs)

A sample checklist is presented below.

The purpose for writing and delivering the speech can be classified into three — to inform, to entertain, or to persuade .

• An informative speech provides the audience with a clear understanding of the concept or idea presented by the speaker.
• An entertainment speech provides the audience with amusement.
• A persuasive speech provides the audience with well-argued ideas that can influence their own beliefs and decisions.

The purpose can be general and specific. Study the examples below to see the differences. The general purpose is to inform ….

These are examples of specific purpose….

• To inform Grade 11 students about the process of conducting an
• automated student government election
• To inform Grade 11 students about the definition and relevance of

information literacy today

• To inform Grade 11 students about the importance of effective money management

The purpose can be general and specific. Study the examples below to see the differences. The general purpose is to entertain ….

• To entertain Grade 11 students with his/her funny experiences in

automated election

• To entertain Grade 11 students with interesting observations of people who lack information literacy
• To entertain Grade 11 students with the success stories of the people in the community

The purpose can be general and specific. Study the examples below to see the differences. The general purpose is to persuade ….

• To persuade the school administrators to switch from manual to
• To persuade Grade 11 students to develop information literacy skills
• To persuade the school administrators to promote financial literacy
• among students

The topic is your focal point of your speech, which can be determined once you have decided on your purpose. If you are free to decide on a topic, choose one that really interests you. There are a variety of strategies used in selecting a topic, such as using your personal experiences, discussing with your family members or friends, free writing, listing, asking questions, or semantic webbing .

Narrowing down a topic means making your main idea more specific and focused. The strategies in selecting a topic can also be used when you narrow down a topic. In the example below, “Defining and developing effective money management skills of Grade 11 students” is the specific topic out of a general one, which is “ Effective money management.”

Data gathering is the stage where you collect ideas, information, sources, and references relevant or related to your specific topic. This can be done by visiting the library, browsing the web, observing a certain phenomenon or event related to your topic, or conducting an

interview or survey. The data that you will gather will be very useful in making your speech informative, entertaining, or persuasive .

Writing patterns, in general, are structures that will help you organize the ideas related to your topic. Examples are biographical , categorical / topical , causal , chronological , comparison / contrast , problem-solution, and spatial .

The different writing patterns

An outline is a hierarchical list that shows the relationship of your ideas. Experts in public speaking state that once your outline is ready, two-thirds of your speech writing is finished. A good outline helps you see that all the ideas are in line with your main idea or message. The elements of an outline include introduction, body, and conclusion. Write your outline based on how you want your ideas to develop. Below are some of the suggested formats.

The body of the speech provides explanations, examples, or any details that can help you deliver your purpose and explain the main idea of your speech. One major consideration in developing the body of your speech is the focus or central idea. The body of your speech should only have one central idea.

The following are some strategies to highlight your main idea.

• Present real-life or practical examples
• Show statistics
• Present comparisons
• Share ideas from the experts or practitioners

The introduction is the foundation of your speech. Here, your primary goal is to get the attention of your audience and present the subject or main idea of your speech. Your first few words should do so. The following are some strategies.

• Use a real-life experience and connect that experience to your subject.
• Use practical examples and explain their connection to your subject.
• Start with a familiar or strong quote and then explain what it means.
• Use facts or statistics and highlight their importance to your subject.
• Tell a personal story to illustrate your point.

The conclusion restates the main idea of your speech. Furthermore, it provides a summary, emphasizes the message, and calls for action. While the primary goal of the introduction is to get the attention of your audience, the conclusion aims to leave the audience with a memorable statement.

The following are some strategies.

• Begin your conclusion with a restatement of your message.
• Use positive examples, encouraging words, or memorable lines from songs or stories familiar to your audience.
• Ask a question or series of questions that can make your audience reflect or ponder.

Editing/Revising your written speech involves correcting errors in mechanics, such as grammar, punctuation, capitalization, unity, coherence, and others. Andrew Dlugan (2013), an awar di ng public speaker, lists six power principles for speech editing.

• Edit for focus.

“So, what’s the point? What’s the message of the speech?”

Ensure that everything you have written, from introduction to conclusion, is related to your central message.

• Edit for clarity.

“I don’t understand the message because the examples or supporting details were confusing.”

Make all ideas in your speech clear by arranging them in logical order (e.g., main idea first then supporting details, or supporting details first then main idea).

• Edit for concision.

“The speech was all over the place; the speaker kept talking endlessly as if no one was listening to him/her.”

Keep your speech short, simple, and clear by eliminating unrelated stories and sentences and by using simple words.

• Edit for continuity.

“The speech was too difficult to follow; I was lost in the middle.”

Keep the flow of your presentation smooth by adding transition words and phrases.

• Edit for variety.

“I didn’t enjoy the speech because it was boring.”

Add spice to your speech by shifting tone and style from formal to conversational and vice-versa, moving around the stage, or adding humor.

• Edit for impact and beauty.

“There’s nothing really special about the speech.”

Make your speech memorable by using these strategies: surprise the audience, use vivid descriptive images, write well-crafted and memorable lines, and use figures of speech.

Rehearsing gives you an opportunity to identify what works and what does not work for you and for your target audience. Some strategies include reading your speech aloud, recording for your own analysis or for your peers or coaches to give feedback on your delivery. The best

thing to remember at this stage is: “Constant practice makes perfect.”

Some Guidelines in Speech Writing

1. Keep your words short and simple. Your speech is meant to be heard by your audience, not read.

2. Avoid jargon , acronyms, or technical words because they can confuse your audience.

3. Make your speech more personal. Use the personal pronoun “I,” but take care not to overuse it. When you need to emphasize collectiveness with your audience, use the personal pronoun “we.”

4. Use active verbs and contractions because they add to the personal and conversational tone of your speech.

5. Be sensitive of your audience. Be very careful with your language, jokes, and nonverbal cues.

6. Use metaphors and other figures of speech to effectively convey your point.

7. Manage your time well; make sure that the speech falls under the time limit.

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10.2 Using Common Organizing Patterns

Learning objectives.

• Differentiate among the common speech organizational patterns: categorical/topical, comparison/contrast, spatial, chronological, biographical, causal, problem-cause-solution, and psychological.
• Understand how to choose the best organizational pattern, or combination of patterns, for a specific speech.

Twentyfour Students – Organization makes you flow – CC BY-SA 2.0.

Previously in this chapter we discussed how to make your main points flow logically. This section is going to provide you with a number of organization patterns to help you create a logically organized speech. The first organization pattern we’ll discuss is categorical/topical.

Categorical/Topical

By far the most common pattern for organizing a speech is by categories or topics. The categories function as a way to help the speaker organize the message in a consistent fashion. The goal of a categorical/topical speech pattern is to create categories (or chunks) of information that go together to help support your original specific purpose. Let’s look at an example.

In this case, we have a speaker trying to persuade a group of high school juniors to apply to attend Generic University. To persuade this group, the speaker has divided the information into three basic categories: what it’s like to live in the dorms, what classes are like, and what life is like on campus. Almost anyone could take this basic speech and specifically tailor the speech to fit her or his own university or college. The main points in this example could be rearranged and the organizational pattern would still be effective because there is no inherent logic to the sequence of points. Let’s look at a second example.

In this speech, the speaker is talking about how to find others online and date them. Specifically, the speaker starts by explaining what Internet dating is; then the speaker talks about how to make Internet dating better for her or his audience members; and finally, the speaker ends by discussing some negative aspects of Internet dating. Again, notice that the information is chunked into three categories or topics and that the second and third could be reversed and still provide a logical structure for your speech

Comparison/Contrast

Another method for organizing main points is the comparison/contrast speech pattern . While this pattern clearly lends itself easily to two main points, you can also create a third point by giving basic information about what is being compared and what is being contrasted. Let’s look at two examples; the first one will be a two-point example and the second a three-point example.

If you were using the comparison/contrast pattern for persuasive purposes, in the preceding examples, you’d want to make sure that when you show how Drug X and Drug Y differ, you clearly state why Drug X is clearly the better choice for physicians to adopt. In essence, you’d want to make sure that when you compare the two drugs, you show that Drug X has all the benefits of Drug Y, but when you contrast the two drugs, you show how Drug X is superior to Drug Y in some way.

The spatial speech pattern organizes information according to how things fit together in physical space. This pattern is best used when your main points are oriented to different locations that can exist independently. The basic reason to choose this format is to show that the main points have clear locations. We’ll look at two examples here, one involving physical geography and one involving a different spatial order.

If you look at a basic map of the United States, you’ll notice that these groupings of states were created because of their geographic location to one another. In essence, the states create three spatial territories to explain.

Now let’s look at a spatial speech unrelated to geography.

In this example, we still have three basic spatial areas. If you look at a model of the urinary system, the first step is the kidney, which then takes waste through the ureters to the bladder, which then relies on the sphincter muscle to excrete waste through the urethra. All we’ve done in this example is create a spatial speech order for discussing how waste is removed from the human body through the urinary system. It is spatial because the organization pattern is determined by the physical location of each body part in relation to the others discussed.

Chronological

The chronological speech pattern places the main idea in the time order in which items appear—whether backward or forward. Here’s a simple example.

In this example, we’re looking at the writings of Winston Churchill in relation to World War II (before, during, and after). By placing his writings into these three categories, we develop a system for understanding this material based on Churchill’s own life. Note that you could also use reverse chronological order and start with Churchill’s writings after World War II, progressing backward to his earliest writings.

Biographical

As you might guess, the biographical speech pattern is generally used when a speaker wants to describe a person’s life—either a speaker’s own life, the life of someone they know personally, or the life of a famous person. By the nature of this speech organizational pattern, these speeches tend to be informative or entertaining; they are usually not persuasive. Let’s look at an example.

In this example, we see how Brian Warner, through three major periods of his life, ultimately became the musician known as Marilyn Manson.

In this example, these three stages are presented in chronological order, but the biographical pattern does not have to be chronological. For example, it could compare and contrast different periods of the subject’s life, or it could focus topically on the subject’s different accomplishments.

The causal speech pattern is used to explain cause-and-effect relationships. When you use a causal speech pattern, your speech will have two basic main points: cause and effect. In the first main point, typically you will talk about the causes of a phenomenon, and in the second main point you will then show how the causes lead to either a specific effect or a small set of effects. Let’s look at an example.

In this case, the first main point is about the history and prevalence of drinking alcohol among Native Americans (the cause). The second point then examines the effects of Native American alcohol consumption and how it differs from other population groups.

However, a causal organizational pattern can also begin with an effect and then explore one or more causes. In the following example, the effect is the number of arrests for domestic violence.

In this example, the possible causes for the difference might include stricter law enforcement, greater likelihood of neighbors reporting an incident, and police training that emphasizes arrests as opposed to other outcomes. Examining these possible causes may suggest that despite the arrest statistic, the actual number of domestic violence incidents in your city may not be greater than in other cities of similar size.

Problem-Cause-Solution

Another format for organizing distinct main points in a clear manner is the problem-cause-solution speech pattern . In this format you describe a problem, identify what you believe is causing the problem, and then recommend a solution to correct the problem.

In this speech, the speaker wants to persuade people to pass a new curfew for people under eighteen. To help persuade the civic group members, the speaker first shows that vandalism and violence are problems in the community. Once the speaker has shown the problem, the speaker then explains to the audience that the cause of this problem is youth outside after 10:00 p.m. Lastly, the speaker provides the mandatory 10:00 p.m. curfew as a solution to the vandalism and violence problem within the community. The problem-cause-solution format for speeches generally lends itself to persuasive topics because the speaker is asking an audience to believe in and adopt a specific solution.

Psychological

A further way to organize your main ideas within a speech is through a psychological speech pattern in which “a” leads to “b” and “b” leads to “c.” This speech format is designed to follow a logical argument, so this format lends itself to persuasive speeches very easily. Let’s look at an example.

In this speech, the speaker starts by discussing how humor affects the body. If a patient is exposed to humor (a), then the patient’s body actually physiologically responds in ways that help healing (b—e.g., reduces stress, decreases blood pressure, bolsters one’s immune system, etc.). Because of these benefits, nurses should engage in humor use that helps with healing (c).

Selecting an Organizational Pattern

Each of the preceding organizational patterns is potentially useful for organizing the main points of your speech. However, not all organizational patterns work for all speeches. For example, as we mentioned earlier, the biographical pattern is useful when you are telling the story of someone’s life. Some other patterns, particularly comparison/contrast, problem-cause-solution, and psychological, are well suited for persuasive speaking. Your challenge is to choose the best pattern for the particular speech you are giving.

You will want to be aware that it is also possible to combine two or more organizational patterns to meet the goals of a specific speech. For example, you might wish to discuss a problem and then compare/contrast several different possible solutions for the audience. Such a speech would thus be combining elements of the comparison/contrast and problem-cause-solution patterns. When considering which organizational pattern to use, you need to keep in mind your specific purpose as well as your audience and the actual speech material itself to decide which pattern you think will work best.

Key Takeaway

• Speakers can use a variety of different organizational patterns, including categorical/topical, comparison/contrast, spatial, chronological, biographical, causal, problem-cause-solution, and psychological. Ultimately, speakers must really think about which organizational pattern best suits a specific speech topic.
• Imagine that you are giving an informative speech about your favorite book. Which organizational pattern do you think would be most useful? Why? Would your answer be different if your speech goal were persuasive? Why or why not?
• Working on your own or with a partner, develop three main points for a speech designed to persuade college students to attend your university. Work through the preceding organizational patterns and see which ones would be possible choices for your speech. Which organizational pattern seems to be the best choice? Why?
• Use one of the common organizational patterns to create three main points for your next speech.

Stand up, Speak out Copyright © 2016 by University of Minnesota is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License , except where otherwise noted.

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The General Steps in the Speechwriting Process

• First Online: 15 March 2019

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• Jens E. Kjeldsen 7 ,
• Amos Kiewe 8 ,
• Marie Lund 9 &
• Jette Barnholdt Hansen  

Part of the book series: Rhetoric, Politics and Society ((RPS))

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In this chapter, we outline the general steps speechwriters ought to follow in the process of writing speeches for others. These guidelines are flexible and allow for comfortable adaptation given the varied implementation of speechwriting practices as well as the different approaches in the European and American systems. Our model follows the classical perspective that focuses on topic selection, the speaker-speechwriter negotiation of rhetorical constraints of context and audience as well as determining the fitting style and delivery. The chapter also develops a master rhetorical plan that can be used as a prompt or an outline for speechwriters when drafting a speech, covering the key variables of speech, situation, audience, and a suitable mode of communication.

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Department of Information Science and Media Studies, University of Bergen, Bergen, Norway

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Kjeldsen, J.E., Kiewe, A., Lund, M., Barnholdt Hansen, J. (2019). The General Steps in the Speechwriting Process. In: Speechwriting in Theory and Practice. Rhetoric, Politics and Society. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-03685-0_13

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19.5 Writing Process: Writing to Speak

Learning outcomes.

By the end of this section, you will be able to:

• Develop a writing project through multiple drafts.
• Compose texts that use rhetorical concepts appropriately in a speech.
• Apply effective shifts in voice, diction, tone, formality, design, medium, and structure.
• Demonstrate orality as an aspect of culture.
• Provide and act on productive feedback to works in progress through the collaborative and social aspects of the writing process.
• Adapt composing processes for a variety of technologies and modalities.

Now it’s time to try your hand at writing a script or speaking outline for a public audience. Decide on a topic, and take that topic through the planning, drafting, and revision processes. Remember that even the informal writing you do when planning a script or speaking outline is recursive , meaning it is not linear. You will probably go back and forth between sections and processes.

You may question of the wisdom of preparation before speaking to the public. After all, you may post regularly to social media, for example, without following the processes of drafting and revising. However, “winging it” when it comes to speech is not a wise strategy. As a genre, social media in particular lends itself to short and simple messaging. Viewers allow producers very little time and attention before clicking to view the next item. Some sources say that you have 10 seconds to get the attention of a viewer; by the one-minute mark, you may have lost up to 45 percent of your viewers. Live adult audiences will pay attention for about 20 minute increments before their minds begin to wander; for young audiences, the time is even less. Given that knowledge, you must craft your message accordingly.

Summary of Assignment: Writing to Speak, Speaking to Act

You may have heard that merely believing in a cause is not enough; you must take action to create change. As you keep the idea of social, political, or economic change in mind, your task is to develop an outline as the basis for a speech to a live audience or on a social media platform of your choice. The topic is an issue you care about. Speaking from an outline rather than from a written script helps ensure that your speech is natural and smooth. Your audience should not feel as though you are reading aloud to them. If you are free to choose your own topic, consider a cause meaningful to you, or consider using one of the following suggestions as your topic or as inspiration for it:

• Police and mental health services reform
• Standards-based reform in education
• Global human rights
• Liberty and justice for all
• Reduction of carbon emissions

Your speech may incorporate multimedia components as you see fit. You’ll also need to plan how to access the audience or platform you have in mind.

As you craft your outline, keep in mind your audience, your purpose for addressing them, and your support for that purpose by using key ideas, reasons, and evidence. When planning your script, use an organizer to collect information so that you can support your ideas credibly with a well-developed argument.

Using Your Authentic Voice

Unlike most formal academic papers, oral presentations give you an opportunity to consider how you might challenge formal writing conventions by delivering your script in your authentic voice. Oral compositions offer an opportunity to bring through conventions of your own culture, perhaps including discursive patterns of language and grammar and challenges to standard language ideologies. As always, keep your audience and purpose in mind as you make choices about your use of language.

Researching and Narrowing the Topic

After choosing the overall subject of your script, research the general topic to learn about context, background information, and related issues. Then narrow the topic and focus your research, as guided by your working thesis and purpose. You can return to Argumentative Research: Enhancing the Art of Rhetoric with Evidence , Research Process: Accessing and Recording Information , and Annotated Bibliography: Gathering, Evaluating, and Documenting Sources to review research processes, including how to allow research to shape your thesis and organization.

After choosing a topic, you will probably need to narrow it further. One way to achieve this task is by brainstorming , which involves generating possible ideas and thoughts quickly and informally. A basic, fast-paced brainstorming technique is simply to list all your possible ideas on paper and combine those that are related. Then you can eliminate some ideas to narrow the range. For example, for this assignment, you might list all of the causes toward which you feel sympathetic. Beginning with an idea that already interests you will help you remain enthusiastic about the idea and generate a positive tone that will come across to the audience and maximize the effectiveness of the presentation.

For example, if you’re interested in the environment, your brainstorm might include the following:

• Deforestation
• Plastic waste
• Rising carbon levels
• Global warming

If you think you still need new ideas at this point, spend some time researching advocacy organizations. Next, expand each idea by creating subtopics. This activity will help you eliminate topics that are difficult to elaborate on—or at least you will know that you need to conduct more research. In summary, follow this process as you choose and narrow your topic:

• Brainstorm ideas that already interest you or with which you have experience.
• Circle topics appropriate for the assignment.
• Cross out topics that you think you cannot make relevant to the audience. Remember, you are developing a presentation for a public forum.
• For remaining topics, flesh out subtopics with ideas you might cover in your script. You should have between two and five key ideas; three is fairly typical.
• Eliminate topics for which you lack sufficient material, or do the necessary research to obtain more.
• Finally, decide on a topic that you have the resources to research.

Another Lens. Because this chapter focuses on activism and you have read the Trailblazer feature about Alice Wong’s work in the disability activism space, think about content consumers (readers, listeners) who experience the world through the lens of disability. Challenge yourself to create content that meets the needs of diverse consumers. Because the assignment is an activist script outline for a presentation, it naturally lends itself to those who are abled in the areas of sight and hearing. Consider people who are visually impaired or hard of hearing. How might you adapt your script and its delivery to make it accessible to all?

One option to consider is visual representation of your presentation through an infographic that depicts the thesis, main reasoning, and evidence to reach those who cannot hear a speech. Or consider how you might adapt the delivery of a script to reach those who experience visual limitations. By making considerations for accessibility, you will strengthen your message for all who interact with it.

Quick Launch: Outlining

Before your presentation, create an outline of the main ideas you plan to discuss. An outline is a framework that helps you organize your major claims, reasoning, supporting details, and evidence. Creating an outline is also a way to create a natural flow for your ideas and provide a foundation for engaging your audience. Doing this basic organizational work at the beginning will help you present your ideas so that they will have the greatest impact on your audience.

The first step in creating your outline is to develop a purpose statement . This one-sentence statement reveals what you hope to accomplish in the presentation—that is, your objective. The purpose statement isn’t something that you will include in your actual presentation; the purpose statement is for you. It will help you keep your audience at the center of your script, create a central idea, and, most of all, give you a realistic goal. One example of a purpose statement for an informational speech might read, “By the end of this presentation, my audience will better understand the impact of plastic waste on the ocean and the world.” Or, for a persuasive speech, a purpose statement on a similar topic might read, “By the end of this presentation, my audience will feel compelled to reduce their use of disposable plastic.”

Although a speaking outline resembles an outline for an academic paper, with special considerations for the genre, it does not need to be as detailed as an outline for a research paper. Rather, a speaking outline will form the framework for speech. Feel free to write your outline as complete thoughts, sentence fragments, or even bullet points.

A presentation’s basic format is relatively similar to most other writing: an introduction, three to five major supporting points, and a conclusion. The major differences will be the genre-specific choices you make about presenting this information.

Introduction

Like most persuasive writing, your presentation needs an introduction that establishes its purpose. The introduction should engage the audience, present the topic and main ideas, and validate the speaker’s credibility. Engaging your audience is important. You can capture an audience’s attention by relating an anecdote or a quotation, posing a question, using humor, relating surprising facts or statistics, or any other method you think will do the job.

The introduction will usually lead seamlessly into a definitive statement of the main theme or claim. As you would include a thesis in the introduction of a piece of persuasive writing, your introduction here also should include a statement that previews the main idea and briefly touches on key points. Though you are outlining your presentation rather than writing a full script, it is a good idea to write your thesis so that you clearly identify your aim. When presenting, you won’t have to read your script word for word, but recording the thesis clearly will enable you to summarize the central idea of your presentation easily.

Finally, the introduction is your opportunity to establish credibility with your audience and to tell them why they should listen to what you have to say. Include a brief statement of your credentials, experience, and knowledge that demonstrates your credibility or authority on the topic.

The main section of the outline, the body is the longest part of the script and the one in which you present key points to support the main idea. Each key point should stem organically from the script’s goal and your thesis. Although standard practice is to present three key ideas, you may choose to have between two and five. Any fewer, and you won’t support your thesis sufficiently; any more, and your audience will lose track of them. Back each key idea with several points, including reasoning, evidence, and audiovisual support.

You can organize your key ideas in several ways. Determining an organizational pattern helps you narrow the central ideas generated from research and allows you to plan material for your script. Topical patterns break main ideas into smaller ideas or subcategories. After dividing the topics into subtopics, consider the most logical order of points. There is often no right answer to this order, so feel free to move your ideas around to create the greatest impact. For example, a topic discussing World War II battles might best be presented in chronological order (listed or arranged according to time sequence), but a topic broken down to address the causes of World War II (diplomatic factors, nationalism, World War I peace treaty) may not fit into an obvious pattern. In a persuasive script, problem-and-solution or cause-and-effect patterns of reasoning may be the best way to organize ideas. These and other organizational patterns are discussed in Reasoning Strategies: Improving Critical Thinking .

This portion of the script provides a summary and is your final opportunity to make an impression on your audience. Typically, in this section, you restate the thesis convincingly and, if applicable in a persuasive script, tell your audience what you believe they should do. Also, you briefly revisit each key idea in the context of how it supports your thesis. Strong conclusions are especially important in scripts.

One strategy for writing conclusions is the “mirrored” conclusion that ties back to the introduction. For example, if you use a statistic to engage your audience’s attention, you return to that statistic in the conclusion. Consider the following example.

student sample text Introduction: It takes 450 years for one plastic bottle to decompose in a landfill. Now consider the fact that, according to the U.S. government, at least 50 million plastic bottles are thrown away each day in the United States. end student sample text

student sample text Mirrored Conclusion: Each time you’re tempted to reach for a plastic bottle, contemplate the 50 million that end up in landfills each year. Consider other options that spare our environment from the centuries of decomposition that each one contributes to. end student sample text

For writers who have difficulty beginning, one idea is to reverse-engineer the structure of the script. Beginning with the conclusion will help you know where you need to end up, thus making it easier to create a roadmap for getting there. This strategy can provide consistency and add emphasis to the key ideas in the script.

Keeping in mind the basic parts of a script outline, you can now begin to craft a skeletal version your own. Use a graphic organizer like Table 19.1 to gather and organize your initial thoughts.

A sample skeletal outline might include the following information.

Drafting: Signpost Language; Tone, Repetition and Parallelism; Media and Other Visuals; and Cultural Cues

After you have analyzed your audience, selected and narrowed the topic, researched supporting ideas, and created a skeletal outline, you can begin adding flesh to the outline. Gather all supporting material for your topic, and consider the various ways to include notes about effective language and delivery.

Signpost Language

The function of signs is to direct people to the places they are going. Think of a road sign that points to an exit off the highway. Signs also can warn people of places they should not go. Similarly, in presentations, signposts are statements that help the audience know where your presentation is going. These may include

• a preview statement that offers an overview of the path and topics your script will take on;
• transition statements between the introduction and body, between key points and ideas, and between the body and the conclusion; and
• a conclusion statement that ends the script.

Table 19.3 shows examples of signpost language. Notice the boldfaced words, called transitions , which help readers and listeners navigate between ideas and concepts. Signposts should clearly connect ideas, are often parallel (repeated words or grammatical forms), and mark the most important parts of an argument or explanation.

Tone is a writer or speaker’s attitude as it is conveyed in a composition or script. A writers or speaker’s language choices as well as other elements specific to speech, such as gestures and body language, help create tone. The tone of a presentation depends largely on its purpose, audience, and message.

Consider this text from Annotated Student Sample .

student sample text Without warning, the smaller dog launched itself from its owner’s lap, snarling and snapping at the guide dog. The owner of the small dog jumped up and retrieved her animal from the Labrador’s vest and stomped back to her seat. That neither she nor the still-yapping dog had an obvious panic attack amazed me, as I questioned, to myself of course, what possible service was being provided—other than a moment of exercise. end student sample text

The author’s tone of disapproval is evident when he relates the actions of the untrained, unrestrained dog causing trouble for others. The attitude is emphasized by words with negative connotations such as snarling and stomped .

The tone you choose for your script will help you relate to your audience. It can help your audience feel connected to you and promote your credibility as well as that of the message you wish to impart.

Notice, too, the use of the first person in script writing. While you may have been taught not to use first-person pronouns in most formal or academic writing, speech is completely different. Even in formal scripts, the use of I helps connect listeners to the speaker. In general, effective speakers also use simple, declarative statements in the active voice (subject + verb + object) to emphasize their key ideas and to keep audiences focused on them. Longer, complex sentences may cause audience members to lose focus. Thoughts and sentences should flow conversationally. See Clear and Effective Sentences for more about effective sentences, including use of the active voice.

Repetition and Parallelism

Repetition and parallelism are literary devices that authors and speakers use for emphasis, persuasion, contrast, and rhythm. In repetition , a word, phrase, or sound is repeated for effect. Repetition is also employed in a variety of figurative language. The following example is an excerpt from the surrender speech of Chief Joseph (1840–1904), the Nez Percé leader who surrendered to the U.S. Army in 1877 after the U.S. government had appropriated Nez Percé land. Rather than be forced to live on reservations, Chief Joseph and his followers unsuccessfully attempted to flee to Canada, a journey of about 1,500 miles, during which they were pursued and vastly outnumbered by the U.S. Army. Notice the use of repetition to emphasize the cold and the death toll.

public domain text I am tired of fighting. Our chiefs are killed; Looking Glass is dead , Too-hul-hul-sote is dead. The old men are all dead . . . . He who led on the young men is dead . It is cold , and we have no blankets; the little children are freezing to death . My people, some of them, have run away to the hills and have no blankets, no food. No one knows where they are—perhaps freezing to death . I want to have time to look for my children. . . . Maybe I shall find them among the dead . end public domain text

Parallelism is the use of similar or equivalent constructions of phrases or clauses to emphasize an idea. Parallelism is especially helpful for organizational and structural concerns in a script or composition. Consider this excerpt from President John F. Kennedy ’s (1917–1963) inaugural address:

public domain text Let every nation know, whether it wishes us well or ill, that we shall pay any price, bear any burden, meet any hardship, support any friend, oppose any foe in order to assure the survival and the success of liberty. end public domain text

Kennedy uses parallelism for impact as well as to organize his support for the idea that the United States works collaboratively for “the success of liberty.” Parallelism and repetition can work hand in hand as organizational strategies and to emphasize ideas in your script.

Anaphora and epistrophe are two related forms of parallelism.

You can hear examples of parallelism and repetition in audio excerpts on the website American Rhetoric .

In Chapter 19, you have learned about rhetorical techniques used in speech, including parallelism, repetition, and signpost language.

Media and Other Visuals

Because speeches are auditory by nature, you can enhance their effectiveness by using media and other visual aids. These elements can add emphasis, help the audience understand a complex idea, or otherwise support your message. But be careful not to detract from your speech with the media you choose. A common error speakers make is to include too much or irrelevant media.

When considering media and visual aids, remember to keep in mind your audience, purpose, and message. Note these considerations about media and visual aids:

• Use media in a way that doesn’t clutter or overwhelm your presentation. The media you choose should enhance, not detract from, your message.
• Ensure that visuals are large enough for the audience to see. Create or obtain media that is clear, concise, and of high quality. Tiny, hard-to-read graphs or muffled audio clips will only frustrate your audience.
• Keep a consistent visual style, including font, colors, backgrounds, and so on.
• Provide space and time for your audience to listen to, read, and/or view media and other visuals in your presentation.
• Consider accessibility; think about an audience member who relies on an interpreter or who is visually impaired. How can you make your presentation accessible to that person?
• Ensure that your media engages the audience, thus making your speech delivery more dynamic.
• If using technology, make every effort to test it before your presentation.

As you finish drafting your script, consider all the potential aspects of language and organization you might use to create meaning for your audience. Remember that you will give your presentation orally. Therefore, during drafting, take a few minutes at key points—after completing a section, for example—to practice your presentation by reading it aloud. Listen to how it sounds and make adjustments as you go along, considering the oral elements of speech that lend themselves to fluency.

Peer Review: Using Symbols

After you have completed the first draft of your outline, peer review can help you refine your ideas, improve your organization, and strengthen your language. One aspect of effective peer review is marking the text for revision. You and your peers can do this kind of marking by using symbols, which allow reviewers to give feedback quickly and thoughtfully without overwhelming the writer with notes.

Figure 19.10 below provides some of the editing marks to use for proofreading and review. Peer reviewers may also write in the margin to indicate issues with organization, tone, or flow of ideas.

Revising: Interpreting and Responding to Symbols and Context Cues

After a peer has reviewed and provided feedback on your first draft, you will begin the revision process. Remember that writing is recursive, meaning it is not linear. Although revision won’t go on forever, it’s important to revise your work at each point in the writing process. In fact, even though you are officially working with the first draft, it is likely your writing has already undergone some process of revision. You will want to continue this process to strengthen your writing, respond to peer review, and ensure that your script fulfills your intent. Consider the items in the following checklist.

Checklist for Revision

• Is it organized logically?
• Is the topic immediately clear?
• □ Ensure that the script has a clear purpose.
• Does the script respond to what the audience already knows about the subject?
• Does it support new knowledge?
• Have you taken culture into consideration?
• □ Review the introduction to determine whether it hooks the audience and establishes a thesis.
• □ Review the sentences in each paragraph and the order of the paragraphs to ensure that the organization supports the thesis.
• □ Review the conclusion to ensure that it supports the thesis and provides a strong ending.
• □ Read the script again after making revisions to find ways to improve transitions and connections. Consider tone, signpost language, parallelism, and repetition.
• □ Review the draft for conventions, including grammar, spelling, and punctuation.

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The Speech Writing Process A Public Speakers Guide – Part I

Speech writing is often one of the most difficult processes involved in crafting a speech but it needn’t be. Most new speakers come to my courses, seminars and one on one training with questions relating to writing a speech. There are many questionable speech writing methods that beginning speakers employ that both complicate & impede their speaking endeavors. In this first installment of a two part series on speech writing – I will explore the techniques to avoid (See Part II – The Speech Writing Process A Public Speakers Guide ). The most commonly seen and important to avoid pitfalls of speech writing are:

Starting Without an Outline

Your speech is a journey. Your audience needs to know your key premise and understand where you intend to bring them along the path to your conclusion. This is most successfully accomplished in the writing phase with a proper outline. An outline allows you to organize your thoughts before you go any further in the writing process and keep yourself (and your audience) on the path to the desired outcome of the speech. With a well developed outline you are in good shape to further develop the content of your speech. You can guarantee that the flow of ideas will capture the audience and deliver the message you intend, leaving you to just focus on powerful, authentic delivery.

Write Out Your Speech

Writing a speech and an academic paper or article are not the same process. That is to say, writing content to be delivered for print or web isn’t the same as writing a speech. If we treat these very different tasks as equivalent we are headed for difficulty. For most beginning speakers this is where they learn to dislike the process of speaking. The mistakenly think they need to write a literary masterpiece, memorize it by rote memorization and deliver it from memory. This is entirely incorrect, inverted and inefficient method. Novice speakers then worry far to much about delivering the content they have written word for word or worse yet – reading their content. Doing so impairs your ability to deliver with vocal vigor and body language which you need to be effective as a speaker.

Fire Up PowerPoint

PowerPoint is a powerful and useful technology but it shouldn’t be the first thing you reach for when writing your speeches. If you choose to write and develop speeches in this manner they will be devoid of the natural flow that would come with a developed outline. They will seem more disjunct and less focused. The technology of PowerPoint itself isn’t the issue as much as it forces people to focus less on the content and intention of their talk and more on images, video and transitions. As with any communication, the most vital part is our message. Don’t let your message get mangled by technology. Deploy it after you have a clear outline and a coherent message.

All of these poor speech writing habits get in the way of developing and delivering your speeches effectively. They lead to a lack of passion, vocal variety, and authentic delivery that leave audiences snoozing. In our next installment (part II) , I will speak to the methods we can use to write efficiently and effectively.

About The Author

Joseph Guarino

4 thoughts on “the speech writing process a public speakers guide – part i”.

Thanks Joseph – other than an outline, I would say preparation is the MOST important aspect of any public speaking engagement. Personally, I practice my presentation mentally to exhaustion. I also practice in front of a mirror and say the words out loud, paying particular attention to my body language.

I appreciate the checklist you provide here and I like how you emphasize that people shouldn’t obsess over giving a “word for word” speech. The best speeches really are when you come across a bit more natural. Cheers!

Thanks for your comments! =) Here I’m addressing more of the beginning writing process than latter stages such as practiced delivery. Nonetheless, I have to agree that preparation is vital to success in any speaking situation. Thanks for your insights!

I would love some tips on how to start. I forever sit there with a blank page and probably waste a good couple of hours just not knowing how to start off. Your tips and recommendations are giving me some direction, so thank you. Any tips on starting the process?

Yolanda, I always recommend people start with an outline. If you are asking about the first steps before developing an outline I’d recommend you brainstorm and put everything out on paper. From there, you can edit and organize your speech. Best of luck!

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Writing Speeches

Quick links, keeping focus: the central point, main supporting points, introductions, conclusions.

Writing a speech consists of composing the central point or thesis, the main-point sentences, the introduction and conclusion, and planning effective oral style.

Since the organization of a speech is critical to the writing process, consult our organization page.

The central point is the message you attempt to communicate to your audience. Keeping focus on the central point is fundamental to speech writing.

Sometimes the central point is a thesis; sometimes the central point is a hypothesis. Sometimes, there is no stated thesis or hypothesis, but there is always a central idea and purpose that keeps you and your audience focused.

The Student Resources information on purpose is useful if you’re unsure about the central point.

For an additional resource related to writing for speeches, use The Writing Center, University of North Carolina at Chapel Hill , especially the “What’s your purpose?” section.

A thesis is a concise statement of your central point, normally included in the introduction and conclusion of a speech. However, your speech doesn’t have to be an argumentative to include a thesis statement.

A purpose statement is a clear statement about the objective you hope to accomplish. Whenever you write a speech, you have a purpose statement, although the purpose statement isn’t always explicitly stated—and it can get confused with a thesis statement. For help with the differences between a thesis and a purpose statement, we recommend “Thesis and Purpose Statements” by The Writing Center, University of Wisconsin-Madison.

If a thesis is necessary, the thesis section of the thesis section of the written rhetoric page may help as well.

There is no formula for success, but this video covers the essentials on speech thesis sentences.

The thesis is what you argue, and the main points are how you argue it. Because they’re so intertwined, you should carefully consider the main supporting points as you write your thesis. In other words, figure out what you intend to say before you try to capture it in a thesis.

Below are a few suggestions that experienced speech writers use when writing thesis statements:

• Use a declarative sentence; not a question.
• Use a complete sentence.
• General thesis : “We honor Elie Wiesel for his noble characteristics and his campaign against ethnic oppression.”
• Specific thesis : “We honor Elie Wiesel for his determination, consistency, and for his faithfulness to Yahweh throughout his life-long campaign against ethnic oppression.”
• General : Foreign policies in the Middle East.
• Focused : An analysis of the ways the United States has reacted to economic changes due to the oil industry in the Middle East.
• Example 1: If you’re speaking to elementary schoolers, it would be inappropriate to use graduate level vocabulary.
• Example 2: If you’re talking about architecture at an electrical engineering conference, use the thesis to connect the expected topic to the unexpected topic.

Here are a few high quality thesis examples (though possibly obscure topics):

• “The process the United States would go through to use a nuclear weapon can be broken down into two stages: the command from the president, and the official launch of the nuclear warhead by the crew.”
• “We honor Elie Wiesel for his determination, consistency, and for his faithfulness to Yahweh throughout his life-long campaign against ethnic oppression.”
• “Salvador Dali’s surrealist artwork can be identified through its focus on illogical scenes and exploration of the unconscious.”

For further direction, we recommend the Purdue University Online Writing Lab (OWL) as an extra resource.

The main points support your thesis. The thesis is what you argue, the main points are how you argue it. Here are a few suggestions for writing main supporting point sentences:

• If any of your main points don’t argue in favor of the thesis, either the main point or the thesis needs to be changed.
• A main point should convey the purpose and focus of its respective section.
• Use declarative statements and complete sentences to announce main supporting points.
• Limit the number of main points for the audience’s sake. If you have more than four it will be hard for the audience to remember.

To reiterate, the main points of a speech are crafted as supporting evidence for the thesis .

If your thesis is: Typical characteristics of 1960’s Latin American fiction include non-linear narratives and magical elements.

The following would be satisfactory main point sentences:

• Magical elements often appear in 1960s Latin American fiction.
• Non-linear narratives characterize magical realism in 1960s Latin American fiction.

Additional resources related to main supporting points

• University of Hawai'i Maui Community College Speech Department : general guidelines related to main points and other supporting material.
• Calvin University—What Not to Do : a document about what not to do with speech main points.
• Lumen Learning : a variety of topics relating to main points, from how many should you have to how to highlight them as main points. Start about half way down the page at the “How Many Main Points?” section. While Lumen Learning also covers different ways to organize your main points, we recommend using our organization page first.

It will help you to prepare the introduction after preparing the main points. Just consider how challenging it is to introduce a speech if you don’t know what the main ideas of your speech are.

The introduction has two main purposes: to capture the audience’s attention and to state your thesis. Introductions also preview the speech so that the audience knows where it’s headed.

There are many ways to capture the audience’s attention: quotes, statistics, examples, a short story, a fascinating topic, a gracious mention of the event that brings you together, or even a question.

Once you have the audience’s attention, state your thesis. Stating your thesis will inform the audience of the speech’s direction and will focus their attention throughout the speech.

For tips regarding introductions, we recommend the Oral Communication Center, Hamilton College . The tips are short, helpful, and if applied, will improve your introductions.

Finally, it’s also critical throughout the introduction to establish your credibility. For this reason, your introduction should be well practiced and should allow you to communicate confidence. In addition, if you have any expertise on the subject material that you believe your audience needs to know, inform them without being snooty.

Conclusions are the final remarks your audience will hear, so they’re the part that’s most likely to be remembered. So make sure you take the time to craft a clear and memorable conclusion.

In general, a conclusion should restate your central point, though in a new way. This is important because in speeches the audience can’t reread your message; they simply have to rely on memory. Restating your central point—and, depending on what your professor wants, reviewing your main supporting points--will help your message to stick.

Another way to make your speech stick is to use the conclusion to reemphasize your purpose. For example, in a persuasive speech, call people to action. In other words, be blunt about what you want them to do. If you want them to vote, tell them how they can register. If you want them to pick up painting as a hobby, then show them where they can buy painting materials.

Try to make your conclusion memorable.

By this, we mean it’s important to carefully consider your final remark to make sure it concludes on a strong note that fits your purpose. Speakers often trail off in the end, undermining their earlier work.

As a foundational resource, we recommend the Oral Communication Center, Hamilton College .

Style refers to the way words, sentences, and groups of sentences create tone and personality.

How is speech writing different than writing a paper?

Though they share many principles (ex: the preference for active voice verbs), they have different principles of style: people perceive style differently when listening than when reading.

The differences arise because the formats are different: written word and spoken word. For an analysis of the key differences between spoken and written language, we recommend the Oral Communication Center, Hamilton College .

This handout by Massachusetts Institute of Technology’s Undergraduate Research Opportunities Program contains fundamental public speaking tips. Luckily, it also contains an encompassing look at the basics of an eloquent oral style. Read the section titled “Writing for Speaking”; the list will be useful when creating sentences that sound better in oral rhetoric.

The following stylistic choices are particularly helpful with the spoken word :

• Brevity. Be as brief as possible. This article by Judith Kilborn (The Write Place, St. Cloud State University) provides a few ways to reduce wordiness.
• Prefer shorter sentences to longer ones. Long sentences are harder to follow.
• First person pronouns are widely accepted in speeches.
• Repetition helps the audience remember (ex: think of the repetition in King’s “I Have a Dream.” In a paper the audience can go back and reread; they can’t do that when listening to a speech, so repetition helps the audience connect ideas and follow the argument.
• The audience doesn’t have a dictionary with them; use words that are more tuned for the vernacular ear.
• Make sure you can pronounce every word you plan on using.
• Use transitions or “ signposts ” to announce, signal, and recap. This allows the audience to know where you’re and what to expect.
• Abstract : There are several possible outcomes that this decision can lead to.
• Concrete : Our choice to intervene in the Middle East can lead to destabilized elections, political turmoil, and religious conflict.
• Dry sentence : A family member was hit by an animal.
• Descriptive sentence : Grandma got run over by a reindeer.
• The use of contractions is generally preferred in public speaking; contractions are more conversational, which tends to be preferred in public speaking. Say these two sentences aloud and you’ll agree: “I do not think that is a good idea” or “I don’t think that’s a good idea.”
• Parallelism and alliteration create rhythm in a speech; use them wisely.
• Use inclusive language .

For further style advice, though not specifically for the spoken word, use our written style resource.

For further direction, please stop in the Rhetoric Center.

Additional resources and tips related to oral style

• Stand up, Speak out (University of Michigan Libraries) : An extensive and comprehensive resource on effective oral communication. Pay particular attention to the following sections: “Imagery,” “Rhythm,” “Parallelism,” “Alliteration,” and “Assonance.”
• Oral Communication Center, Hamilton College : A list of phrases to avoid for various reasons in oral rhetoric.
• Oral Communication Center, Hamilton College : A list of characteristics that help make every speech successful. Warning: the article uses language to make it sound like a checklist for an A on every speech; this is not the case. However, the list is helpful nonetheless.
• Oxford Dictionaries Blog, Avoid cliches : Evoking images for an audience helps them to understand and remember your speech, but using a cliché allows the audience to listen without visualizing. A creative example of effective imagery was when on the campaign trail Bill Clinton said “I will be with you until the last dog dies.”
• Contrast, figures of speech, examples, and triads : How Winston Churchill spoke.

In the speech “Bridges should be beautiful,” Ian Firth demonstrates an awareness of oral style. For starters, his sentences are short and easy to follow. His opening is the perfect example, “The world needs bridges.”

Look at the following excerpt from Firth’s speech:

“In this case, this is in Peru. This is using grass which grows locally and is woven into ropes to build these bridges. And do you know they rebuild this every year? Because of course grass is not a durable material. So this bridge is unchanged since Inca times.”

This could’ve very well been two or three sentences in a written text, but Firth uses five short sentences. This makes him easy to follow. However, it’s not perfect. The phrase “In this case, this is in Peru,” could be shortened to simply “This is in Peru.”

At the same time, he limits the speech to three main points: bridges should be functional, safe, and beautiful. This ensures the audience won’t get lost.

Firth carefully chooses his words. He uses descriptive language to paint pictures for the audience: “Or sometimes up in the mountains, people would build these suspension bridges, often across some dizzy canyon, using a vine .” He also uses alliteration in an effective manner: “Or Robert Maillart's Salginatobel Bridge in the mountains in Switzerland —absolutely sublime .”

And he is able to easily pronounce the words he uses, even foreign phrases like “Pont Du Gard.”

Since Firth is an engineer who has designed bridges for years, this speech could’ve used highly technical language, but Firth used the vernacular to adapt to his more general audience. On occasion, when technical language was inevitable, Firth swiftly defined the technical terms.

In addition, Firth uses first person pronouns (“I firmly believe”). This makes him more conversational and personable.

This next example, a Boise State University commencement address, is more of a mixed result than Firth’s speech: it embodies both good and bad oral style.

Let’s start with what Tiara Thompson does well. In the beginning, she uses descriptive language that invokes images. The following are examples: “As my fingers fly over the keys,” and “spacebar still blinking.” She also uses parallelism, as you can clearly hear around 3:25.

However, the style can be improved (amongst other aspects of speech writing).

Towards the end of the speech, she uses more abstract language and seldomly gives examples. The speech would’ve been more effective if she kept using descriptive language and if more examples were used towards the end. Her language becomes vague and abstract when she thanks the teachers for their hard work, not recognizing any one of them individually. As an alternative, consider: how much more effective would it have been if she gave an example of a teacher working hard and afterhours to help her succeed on an assignment ? After that example, she could’ve generalized it to include all the teachers at her college.

In addition, the language she uses at the end of the speech gradually becomes more and more clichéd. For example, at 5:08, she says, “make this moment last” and “we are so fortunate to be where we are.” Clichés make imagery harder, as we mentioned in the oral style section.

Though not necessarily related to oral style, this speech focuses on the speaker more than the average commencement. If she focused on something else, her audience would’ve been able to connect with her more. (What works better: a political speech with a politician rambling on about themself or one where the politician identifies with problems larger than themselves, such as a Detroit congressperson sympathizing with the victims of the Flint water crisis?)

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7.2: Why Outlining and Organizing Speeches Matter

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Learning Objectives

• Outlines help maintain the speech’s focus on the thesis by allowing the speaker to test the scope of content, assess logical relationships between ideas, and evaluate the relevance of supporting ideas.
• Outlines help organize a message that the audience can understand by visually showing the balance and proportion of a speech.
• Outlines can help you deliver clear meanings by serving as the foundation for speaking notes you will use during your presentation.

Screenshot from this youtube video. .

In order for a speech to be as effective as possible, it needs to be organized into logical patterns. Information will need to be presented in a way the audience can understand. When writing speeches, we need to take careful steps to include pertinent information our audience might not know and to explain relationships that might not be evident to them. Using a standard outline format, we can make decisions about our main points, the specific information we will use to support those points, and the language we will use. Without an outline, our message is liable to lose logical integrity. Keep in mind that logic is subjective and this is another reason it's important to recognize the logical structures a specific audience might be using.

A full-sentence outline lays a strong foundation for any message. As we have seen in other chapters of this book, writing a specific purpose in clear language serves the speech writing process well. It helps frame a clear, concrete thesis statement. It helps exclude irrelevant information. It helps focus only on information that directly bears on the thesis. It reduces the amount of research that we must do. It suggests what kind of supporting evidence is needed, so less effort is expended in trying to figure out what to do next. It helps both the speaker and the audience remember the central message of the speech.

Finally, a solid full-sentence outline helps the audience understand the message because they will be able to follow the reasoning much easier. Remember that live audiences for oral communications lack the ability to “rewind” a message, so it is critically important to help the audience follow the reasoning as it reaches their ears.

Students are often reluctant to write full-sentence outlines. It’s a task too often perceived as busywork, unnecessary, time consuming, and restricted. On one hand, we understand that reluctance. But on the other hand, we find that students who carefully write a full-sentence outline show a stronger tendency to give powerful presentations of excellent messages.

Logical Relationships to Main Points

We have many choices for topics, and therefore, there are many ways our content can be logically organized. Often the main points of a speech can be arranged into a logical pattern; let’s take a look at some such patterns.

Whatever logical pattern we use, if we examine our thesis statement and then look at the three to four main points in our outline, we should easily be able to see the logical way in which they relate.

Balance and Proportion of the Speech

Part of the value of writing a full-sentence outline is the visual space we use for each of your main points. Is each main point of approximately the same importance? Does each main point have the same number of supporting points? If we find that one of our main points has eight supporting points while the others only have three each, we have two choices: either choose the best three from the eight supporting points or strengthen the authoritative support for the other two main points.

Remember that you should use the best supporting evidence you can find even if it means investing more time in your search for knowledge.

Serves as Notes during the Speech

Although we recommend writing a full-sentence outline during the speech preparation phase, speech writers should also create a shortened outline to use as notes allowing for a strong delivery. If we were to use the full-sentence outline when delivering a speech, we would do a great deal of reading, which would limit our ability to give eye contact and use gestures, hurting our connection with the audience. For this reason, we recommend writing a short-phrase outline on 4 × 6 notecards or on a single 8.5" by 11" paper to use when delivering a speech. The good news is that the main points suggest how we should prepare notecards.

The first 4 × 6 notecard can contain key words and phrases that will help with presenting the introduction. The second card can contain the first main point, together with key words and phrases to act as a map to follow while presenting. If the first main point has an exact quotation, include that on the notecard. The third notecard should be related to the second main point, the fourth card should be about the third main point, and the final notecard should be related to the conclusion. In this way, the notecards follow the very same organizational pattern as the full-sentence outline. In the next section, we will explore more fully how to create a speaking outline.

Key Takeaways

• An outline can help the speech writer stay focused on the thesis of the presentation by testing the scope of the content, examining logical relationships between topics, and checking the relevance of supporting ideas.
• An outline can help organize a message by making sure that all of the main points are well developed.
• A full-sentence outline forms the foundation for a speaking outline, which allows the speaker to connect to with the audience and be clear in presenting the message.
• In one sentence, write a clear, compelling thesis statement about each of the following topics: the effects of schoolyard bullying, the impact of alcohol on brain development, and the impact of the most recent volcano eruption in Iceland. Fully cite the sources where you verify that your thesis statements are actually true.
• Prepare a full-sentence outline for your next speech assignment. Trade outlines with a classmate and check through the outline for logical sequence of ideas, presence of credible support, proper citation, and clear organization. Give feedback to your partner on areas where he or she has done well and where the outline might be improved.
• Transfer information from your speech outline to notecards using the guidelines described above. Practice delivering your speech for a small audience (e.g., family member, group of friends or classmates) using first the outline and then the notecards. Ask the audience for feedback comparing your delivery using the two formats.

What this handout is about

This handout will help you create an effective speech by establishing the purpose of your speech and making it easily understandable. It will also help you to analyze your audience and keep the audience interested.

What’s different about a speech?

Writing for public speaking isn’t so different from other types of writing. You want to engage your audience’s attention, convey your ideas in a logical manner and use reliable evidence to support your point. But the conditions for public speaking favor some writing qualities over others. When you write a speech, your audience is made up of listeners. They have only one chance to comprehend the information as you read it, so your speech must be well-organized and easily understood. In addition, the content of the speech and your delivery must fit the audience.

What’s your purpose?

People have gathered to hear you speak on a specific issue, and they expect to get something out of it immediately. And you, the speaker, hope to have an immediate effect on your audience. The purpose of your speech is to get the response you want. Most speeches invite audiences to react in one of three ways: feeling, thinking, or acting. For example, eulogies encourage emotional response from the audience; college lectures stimulate listeners to think about a topic from a different perspective; protest speeches in the Pit recommend actions the audience can take.

As you establish your purpose, ask yourself these questions:

• What do you want the audience to learn or do?
• If you are making an argument, why do you want them to agree with you?
• If they already agree with you, why are you giving the speech?
• How can your audience benefit from what you have to say?

Audience analysis

If your purpose is to get a certain response from your audience, you must consider who they are (or who you’re pretending they are). If you can identify ways to connect with your listeners, you can make your speech interesting and useful.

As you think of ways to appeal to your audience, ask yourself:

• What do they have in common? Age? Interests? Ethnicity? Gender?
• Do they know as much about your topic as you, or will you be introducing them to new ideas?
• Why are these people listening to you? What are they looking for?
• What level of detail will be effective for them?
• What tone will be most effective in conveying your message?
• What might offend or alienate them?

For more help, see our handout on audience .

Creating an effective introduction

Get their attention, otherwise known as “the hook”.

Think about how you can relate to these listeners and get them to relate to you or your topic. Appealing to your audience on a personal level captures their attention and concern, increasing the chances of a successful speech. Speakers often begin with anecdotes to hook their audience’s attention. Other methods include presenting shocking statistics, asking direct questions of the audience, or enlisting audience participation.

Establish context and/or motive

Explain why your topic is important. Consider your purpose and how you came to speak to this audience. You may also want to connect the material to related or larger issues as well, especially those that may be important to your audience.

Get to the point

Tell your listeners your thesis right away and explain how you will support it. Don’t spend as much time developing your introductory paragraph and leading up to the thesis statement as you would in a research paper for a course. Moving from the intro into the body of the speech quickly will help keep your audience interested. You may be tempted to create suspense by keeping the audience guessing about your thesis until the end, then springing the implications of your discussion on them. But if you do so, they will most likely become bored or confused.

For more help, see our handout on introductions .

Making your speech easy to understand

Repeat crucial points and buzzwords.

Especially in longer speeches, it’s a good idea to keep reminding your audience of the main points you’ve made. For example, you could link an earlier main point or key term as you transition into or wrap up a new point. You could also address the relationship between earlier points and new points through discussion within a body paragraph. Using buzzwords or key terms throughout your paper is also a good idea. If your thesis says you’re going to expose unethical behavior of medical insurance companies, make sure the use of “ethics” recurs instead of switching to “immoral” or simply “wrong.” Repetition of key terms makes it easier for your audience to take in and connect information.

Incorporate previews and summaries into the speech

For example:

“I’m here today to talk to you about three issues that threaten our educational system: First, … Second, … Third,”

“I’ve talked to you today about such and such.”

These kinds of verbal cues permit the people in the audience to put together the pieces of your speech without thinking too hard, so they can spend more time paying attention to its content.

Use especially strong transitions

This will help your listeners see how new information relates to what they’ve heard so far. If you set up a counterargument in one paragraph so you can demolish it in the next, begin the demolition by saying something like,

“But this argument makes no sense when you consider that . . . .”

If you’re providing additional information to support your main point, you could say,

“Another fact that supports my main point is . . . .”

Helping your audience listen

Rely on shorter, simpler sentence structures.

Don’t get too complicated when you’re asking an audience to remember everything you say. Avoid using too many subordinate clauses, and place subjects and verbs close together.

Too complicated:

The product, which was invented in 1908 by Orville Z. McGillicuddy in Des Moines, Iowa, and which was on store shelves approximately one year later, still sells well.

Easier to understand:

Orville Z. McGillicuddy invented the product in 1908 and introduced it into stores shortly afterward. Almost a century later, the product still sells well.

Limit pronoun use

Listeners may have a hard time remembering or figuring out what “it,” “they,” or “this” refers to. Be specific by using a key noun instead of unclear pronouns.

Pronoun problem:

The U.S. government has failed to protect us from the scourge of so-called reality television, which exploits sex, violence, and petty conflict, and calls it human nature. This cannot continue.

Why the last sentence is unclear: “This” what? The government’s failure? Reality TV? Human nature?

More specific:

The U.S. government has failed to protect us from the scourge of so-called reality television, which exploits sex, violence, and petty conflict, and calls it human nature. This failure cannot continue.

Keeping audience interest

Incorporate the rhetorical strategies of ethos, pathos, and logos.

When arguing a point, using ethos, pathos, and logos can help convince your audience to believe you and make your argument stronger. Ethos refers to an appeal to your audience by establishing your authenticity and trustworthiness as a speaker. If you employ pathos, you appeal to your audience’s emotions. Using logos includes the support of hard facts, statistics, and logical argumentation. The most effective speeches usually present a combination these rhetorical strategies.

Use statistics and quotations sparingly

Include only the most striking factual material to support your perspective, things that would likely stick in the listeners’ minds long after you’ve finished speaking. Otherwise, you run the risk of overwhelming your listeners with too much information.

Watch your tone

Be careful not to talk over the heads of your audience. On the other hand, don’t be condescending either. And as for grabbing their attention, yelling, cursing, using inappropriate humor, or brandishing a potentially offensive prop (say, autopsy photos) will only make the audience tune you out.

Creating an effective conclusion

Restate your main points, but don’t repeat them.

“I asked earlier why we should care about the rain forest. Now I hope it’s clear that . . .” “Remember how Mrs. Smith couldn’t afford her prescriptions? Under our plan, . . .”

Call to action

Speeches often close with an appeal to the audience to take action based on their new knowledge or understanding. If you do this, be sure the action you recommend is specific and realistic. For example, although your audience may not be able to affect foreign policy directly, they can vote or work for candidates whose foreign policy views they support. Relating the purpose of your speech to their lives not only creates a connection with your audience, but also reiterates the importance of your topic to them in particular or “the bigger picture.”

Practicing for effective presentation

Once you’ve completed a draft, read your speech to a friend or in front of a mirror. When you’ve finished reading, ask the following questions:

• Which pieces of information are clearest?
• Where did I connect with the audience?
• Where might listeners lose the thread of my argument or description?
• Where might listeners become bored?
• Where did I have trouble speaking clearly and/or emphatically?
• Did I stay within my time limit?

Other resources

• Toastmasters International is a nonprofit group that provides communication and leadership training.
• Allyn & Bacon Publishing’s Essence of Public Speaking Series is an extensive treatment of speech writing and delivery, including books on using humor, motivating your audience, word choice and presentation.

Works consulted

We consulted these works while writing this handout. This is not a comprehensive list of resources on the handout’s topic, and we encourage you to do your own research to find additional publications. Please do not use this list as a model for the format of your own reference list, as it may not match the citation style you are using. For guidance on formatting citations, please see the UNC Libraries citation tutorial . We revise these tips periodically and welcome feedback.

Boone, Louis E., David L. Kurtz, and Judy R. Block. 1997. Contemporary Business Communication . Upper Saddle River, NJ: Prentice Hall.

Ehrlich, Henry. 1994. Writing Effective Speeches . New York: Marlowe.

Lamb, Sandra E. 1998. How to Write It: A Complete Guide to Everything You’ll Ever Write . Berkeley: Ten Speed Press.

You may reproduce it for non-commercial use if you use the entire handout and attribute the source: The Writing Center, University of North Carolina at Chapel Hill

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Writing process, the writing process – research on composing.

• © 2023 by Joseph M. Moxley - University of South Florida

The writing process refers to everything you do in order to complete a writing project. Over the last six decades, researchers have studied and theorized about how writers go about their work. They've found that the writing process can be seen in three main ways: (1) a series of steps or stages ; (2) a cognitive, problem-solving activity ; and (3) a creative, intuitive, organic, dialogic process that writers manage by listening to their inner speech and following their felt sense . Learn about scholarship on the writing process so you can understand how to break through writing blocks and find fluency as a writer, researcher, and thought leader.

Synonymous Terms

Composing process.

In writing studies , the writing process may also be known as the composing process . This may be due to the dramatic influence of Janet Emig’s (1971) dissertation, The Composing Processes of Twelfth Graders . Emig’s research employed think-aloud protocols and case-study methods to explore the composing processes of high school students.

Creative Process

In creative writing and literature, the writing process may be known as the creative process .

In the arts and humanities the term creative process is reserved for artistic works, such as paintings, sculptures, performance art, films, and works of literature.

Related Concepts

Composition Studies ; Creativity; Felt Sense ; Growth Mindset ; Habits of Mind ; Intellectual Openness ; Professionalism and Work Ethic ; Resilience ; Self Regulation & Metacognition

What is the Writing Process?

Research on composing processes conducted over the past 60 years has led to three major distinct ways of defining and conceptualizing the writing process:

• prewriting , invention , research , collaboration , planning , designing , drafting , rereading , organizing , revising , editing , proofreading , and sharing or publishing
• The writing process refers to cognitive, problem-solving strategies
• The writing process refers to the act of making composing decisions based on nonrational factors such as embodied knowledge , felt sense , inner speech, and intuition.

1. The writing process refers to writing process steps

The writing process is often characterized as a series of steps or stages. During the elementary and middle-school years, teachers define the writing process simply as prewriting , drafting , revising , and editing . Later, in high-school and college, as writing assignments become more challenging, teachers introduce additional writing steps: invention , research , collaboration , designing , organizing , proofreading , and sharing or proofreading.

2. The writing process refers to Problem-Solving Strategies

As an alternative to imagining the writing process to be a series of steps or stages that writers work through in linear manner, Linda Flower and John Hayes suggested in 1977 that writing should be thought of as a “thinking problem,” a “problem-solving process,” a “cognitive problem solving process,” or a “goal-directed thinking process.”

3. The writing process refers to the act of making composing decisions based on flow, felt sense and other elements of embodied knowledge

For some writers, viewing the writing process as a series of steps or problems feels to mechanistic, impersonal and formulaic. Rather than view that the writing process to be a series of writing steps or problem solving strategies , Sondra Perl , an English professor, suggests that composing is largely a process of listening to one’s felt sense — one’s “bodily awareness of a situation or person or event:

“A felt sense doesn’t come to you in the form of thoughts or words or other separate units, but as a single (though often puzzling and very complex) bodily feeling”. (Gendlin 1981, 32-33)

What are Writing Process Steps?

In elementary and middle schools in the U.S., the writing process is often simplified and presented at four or five key steps: prewriting , writing , revising , and editing –and sometimes and publishing or sharing . As students progress through school, the writing process is presented in increasingly complex ways. By high school, teachers present “the writing process steps” as

• Proofreading
• Sharing – Publishing

Is there one perfect way to work with the writing process?

People experience and define the writing process differently, according to their historical period, literacy history, knowledge of writing tools, media , genres — and more. One of the takeaways from research on composing is that we’ve learned writers develop their own idiosyncratic approaches to getting the work done. When it comes to how we all develop, research , and communicate information , we are all special snowflakes. For example,

• Hemingway was known for standing while he wrote at first light each morning.
• Truman Capote described himself as a “completely horizontal author.” He wrote lying down, in bed or on a couch, with a cigarette and coffee handy.
• Hunter S. Thompson wrote through the nights, mixing drinking and partying with composing
• J.K. Rowling tracked the plot lines for her Harry Potter novels in a data.
• Maya Angelou would lock herself away in a hotel room from 6:30 a.m. to 2 p.m. so she has no distractions.

Furthermore, the steps of the writing process a writer engages in vary from project to project. At times  composing  may be fairly simple. Some situations  require little planning ,  research ,  revising  or  editing , such as

• a grocery list, a to-do list, a reflection on the day’s activity in a journal
• documents you routinely write, such as the professor’s letter of recommendation, a bosses’ performance appraisal, a ground-water engineer’s contamination report.

Over time, writers develop their own unique writing processes. Through trial and error, people can learn what works for them.

Composing  may be especially challenging

• when you are unfamiliar with the  topic ,  genre ,  medium ,  discourse community
• when the thesis/research question/topic  is complicated yet needs to be explained simply
• when you are endeavoring to synthesize other’s ideas and research
• when you don’t have the time you need to perfect the document.

What are the main factors that affect how writers compose documents?

Writers adjust their writing process in response to

• Writers assess the importance of the exigency, the call to write, before commiting time and resources to launching
• the writers access to information
• What they know about the canon, genre, media and rhetorical reasoning
• their writerly background
• the audience
• Writers assess the importance of the exigency, the call to write, before committing time and resources to working on the project.

Why does the writing process matter?

The writing processes that you use to compose documents play a significant role in determining whether your communications are successful. If you truncate your writing process, you are likely to run out of the time you need to write with clarity and authority .

• Studying the writing processes of successful writers can introduce you to new rhetorical moves, genres , and composing processes. Learning about the composing processes of experienced writers can help you learn how to adjust your rhetorical stance and your writing styles to best accomplish your purpose .
• By examining your writing processes and the writing processes of others, you can learn how to better manage your work and the work of other authors and teams.
• By recognizing that writing is a skill that can be developed through practice and effort, you can become more resilient and adaptable in your writing endeavors.

Do experienced writers compose in different ways than inexperienced writers?

Yes. Experienced writers engage in more substantive, robust writing processes than less experienced writers.

• Experienced writers tend to have more rhetorical knowledge and a better understanding of composing steps and strategies than inexperienced writers.
• Experienced writers tend to be more willing than inexperienced writers to make substantive changes in a draft, often making changes that involve rethinking the meaning of a text. Some professional writers may revise a document hundreds of times before pushing send or publishing it.
• Experienced writers engage in revision as an act of internal conversation, a form of inner speech that they have with themselves and an imagined other–the internalized target audience. In contrast, inexperienced writers tend to confuse editing for revision . They tend to make only a few edits to their initial drafts, focusing primarily on surface-level changes such as correcting grammar, spelling, or punctuation errors.
• Experienced writers are adept at working collaboratively, leveraging the strengths of team members and effectively coordinating efforts to produce a cohesive final product. Inexperienced writers may struggle with collaboration, communication, and division of labor within a writing team

What is Process Pedagogy?

Process pedagogy, which is also known as the process movement, emerged in the United States during the late 1960s and early 1970s. In The Making of Knowledge in Composition , Steve North (1987) links the emergence of process pedagogy to

• Sputnik and America’s concern it was falling behind Russia
• the GI Bill and the changing demographics of undergraduate students in the post-war era.

Additionally, process pedagogy emerged in response to dissatisfaction with traditional, product-oriented approaches to teaching writing. In the current-traditional paradigm of writing, the focus of the classroom was on “the composed product rather than the composing process; the analysis of discourse into words, sentences, and paragraphs; the classification of discourse into description, narration, exposition, and argument; the strong concern with usage (syntax, spelling, punctuation) and with style (economy, clarity, emphasis)” (Young, 1978, p. 25).

The process movement reflected a sea change on the part of middle schools, high schools, and universities in the U.S. Traditionally, classroom instruction focused on analysis and critique of the great works of literature: “The student is (a) exposed to the formal descriptive categories of rhetoric (modes of argument –definition, cause and effect, etc. — and modes of discourse — description, persuasion, etc.), (b) offered good examples (usually professional ones) and bad examples (usually his/her own) and (c) encouraged to absorb the features of a socially approved style, with emphasis on grammar and usage. We help our students analyze the product, but we leave the process of writing up to inspiration” (Flower and Hayes, 1977, p. 449).

In contrast to putting the focus of class time on analyzing great literary works,  the canon , process pedagogy calls for teachers to put the emphasis on the students’ writing:

• Students need help with prewriting , invention , research , collaboration , writing , designing , revising , organizing , editing , proofreading , and sharing
• Teachers do not comment on grammar and style matters in early drafts. Instead, they focus on global perspectives . They prioritize the flow of ideas and expression over correctness in grammar and mechanics.
• Students engage in prewriting and invention exercises to discover and develop new ideas
• Students repeatedly revise their works in response to self-critique , peer review , and critiques from teachers
• Teachers should provide constructive feedback throughout the writing process.

What does “teach the process and not the product mean”?

“Teach the process not the product ” is both the title of a Donald Murray (1972) article and the mantra of the writing process movement, which emerged during the 1960s.

The mantra to teach the process not the product emerged in response to the research and scholarship conducted by Donald Murray, Janet Emig, Peter Elbow, Ann Berthoff, Nancy Sommers, Sondra Perl, John Hayes and Linda Flower.

What does it mean to describe the writing process as recursive ?

The term  recursive writing process  simply means that writers jump around from one activity to another when  composing . For instance, when first drafting a document, a writer may pause to reread something she wrote. That might trigger a new idea that shoots her back to Google Scholar or some other database suitable for  strategic searching .

How do researchers study the writing process?

The writing process is a major subject of study of researchers and scholars in the fields of composition studies , communication, writing studies , and AI (artificial intelligence).

The writing process  is something of a black box: investigators can see  inputs  (e.g., time on task) or  outputs  (e.g.,  written discourse ), yet they cannot  empirically observe  the internal workings of the writer’s mind. At the end of the day investigators have to jump from what they observe to making informed guesses about what is really going on in the writer. Even if investigators ask a writer to talk out loud about what they are thinking as they compose , the investigators can only hear what the writer is saying: they cannot see the internal machinations associated with the writer’s thoughts. If a writer goes mute, freezes, and just stares blankly at the computer screen, investigators cannot really know what’s going on. They can only speculate about how the brain functions.

Research Methods

To study or theorize about the writing process, investigators may use a variety of research methods .

Doherty, M. (2016, September 4). 10 things you need to know about banyan trees. Under the Banyan. https://underthebanyan.blog/2016/09/04/10-things-you-need-to-know-about-banyan-trees/

Emig, J. (1967). On teaching composition: Some hypotheses as definitions. Research in The Teaching of English, 1(2), 127-135. Retrieved from http://files.eric.ed.gov/fulltext/ED022783.pdf

Emig, J. (1971). The composing processes of twelfth graders (Research Report No. 13). Urbana, IL: National Council of Teachers of English.

Emig, J. (1983). The web of meaning: Essays on writing, teaching, learning and thinking. Upper Montclair, NJ: Boynton/Cook Publishers, Inc.

Ghiselin, B. (Ed.). (1985). The Creative Process: Reflections on the Invention in the Arts and Sciences . University of California Press.

Hayes, J. R., & Flower, L. (1980). Identifying the Organization of Writing Processes. In L. W. Gregg, & E. R. Steinberg (Eds.), Cognitive Processes in Writing: An Interdisciplinary Approach (pp. 3-30). Hillsdale, NJ: Lawrence Erlbaum.  

Hayes, J. R. (2012). Modeling and remodeling writing. Written Communication, 29(3), 369-388. https://doi: 10.1177/0741088312451260

Hayes, J. R., & Flower, L. S. (1986). Writing research and the writer. American Psychologist, 41(10), 1106-1113. https://doi.org/10.1037/0003-066X.41.10.1106

Leijten, Van Waes, L., Schriver, K., & Hayes, J. R. (2014). Writing in the workplace: Constructing documents using multiple digital sources. Journal of Writing Research, 5(3), 285–337. https://doi.org/10.17239/jowr-2014.05.03.3

Lundstrom, K., Babcock, R. D., & McAlister, K. (2023). Collaboration in writing: Examining the role of experience in successful team writing projects. Journal of Writing Research, 15(1), 89-115. https://doi.org/10.17239/jowr-2023.15.01.05

National Research Council. (2012). Education for Life and Work: Developing Transferable Knowledge and Skills in the 21st Century . Washington, DC: The National Academies Press.https://doi.org/10.17226/13398.

North, S. M. (1987). The making of knowledge in composition: Portrait of an emerging field. Boynton/Cook Publishers.

Murray, Donald M. (1980). Writing as process: How writing finds its own meaning. In Timothy R. Donovan & Ben McClelland (Eds.), Eight approaches to teaching composition (pp. 3–20). National Council of Teachers of English.

Murray, Donald M. (1972). “Teach Writing as a Process Not Product.” The Leaflet, 11-14

Perry, S. K. (1996).  When time stops: How creative writers experience entry into the flow state  (Order No. 9805789). Available from ProQuest Dissertations & Theses A&I; ProQuest Dissertations & Theses Global. (304288035). https://www.proquest.com/dissertations-theses/when-time-stops-how-creative-writers-experience/docview/304288035/se-2

Rohman, D.G., & Wlecke, A. O. (1964). Pre-writing: The construction and application of models for concept formation in writing (Cooperative Research Project No. 2174). East Lansing, MI: Michigan State University.

Rohman, D. G., & Wlecke, A. O. (1975). Pre-writing: The construction and application of models for concept formation in writing (Cooperative Research Project No. 2174). U.S. Office of Education, Department of Health, Education, and Welfare.

Sommers, N. (1980). Revision Strategies of Student Writers and Experienced Adult Writers. College Composition and Communication, 31(4), 378-388. doi: 10.2307/356600

Vygotsky, L. (1962).  Thought and language.  (E. Hanfmann & G. Vakar, Eds.). MIT Press.  https://doi.org/10.1037/11193-000

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The Ultimate Blueprint: A Research-Driven Deep Dive into The 13 Steps of the Writing Process

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• Joseph M. Moxley

Understanding your writing process is a crucial aspect of developing as a writer. For both students and professional writers, reflection on the process of writing can lead to more effective...

Traditionally, in U.S. classrooms, the writing process is depicted as a series of linear steps (e.g., prewriting, writing, revising, and editing). However, since the 1980s the writing process has also...

In contrast to the prevailing view that the writing process refers to writing steps or problem solving strategies, a third view is that the writing process involves nonrational factors, such...

This article provides a comprehensive, research-based introduction to the major steps, or strategies, that writers work through as they endeavor to communicate with audiences. Since the 1960s, the writing process has...

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Differentiate the Stages or Processes in Speech Writing 

Back to: Pedagogy of English- Unit 5

Differentiate the Stages or Processes in Speech Writing

Speech is an oral presentation of information or delivery of messages through the use of words of spoken words delivered in front of or to an audience who have gathered in a seminar, meeting, conference, or some other event. It is a form of oral communication which is the oldest method and also the most effective method of communication. 

Differences between the stages and processes in speech writing

The main differences between the stages and processes in speech writing are as follows: 

1. Stage refers to the different phases of completing a task whereas processes refers to the different procedures or steps involved in completing a task. 

2. The stages of speech writing can be evolutionary and may take a series of steps whereas in process, the steps are more prescriptive. 

3. The stages of speech writing mainly includes introduction, body, and conclusion whereas the process of speech writing may include knowing your audience and identifying a clear message that you need to deliver to them. 

4. In stages, the speech should be structured whereas in process, the proper steps of writing a speech must be followed. 

5. The stages of speech writing also include speaking strategy, the audience journey, and editing whereas the process of speech writing includes identifying the objective, gathering information, interviewing the speaker, defining a clear message, and the like.

Components of speech writing

The components of speech writing are as follows:

Introduction

A speech should start with an introduction to the topic or the subject matter that is being presented in the speech. It should not last more than 1 to 2 minutes and it should be brief.

This section includes the main messages of the speech and should cover all the information that needs to be presented in the speech.

The conclusion should summarize the central ideas presented in the speech and give the speech a closure and a sense of completion. It should also be shorter than both the introduction and the body.

Speech is considered to be one of the most effective ways of delivering a message in any event. A speaker can present his thoughts and opinions on various matters to a large group of audience through his or her speech. Due to its efficacy, it is widely used around the world. Be it for social purposes or religious purposes, a speech can come in handy for several kinds of events