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Speech Writing

• Updated on  
• Jan 16, 2024

The power of good, inspiring, motivating, and thought-provoking speeches can never be overlooked. If we retrospect, a good speech has not only won people’s hearts but also has been a verbal tool to conquer nations. For centuries, many leaders have used this instrument to charm audiences with their powerful speeches. Apart from vocalizing your speech perfectly, the words you choose in a speech carry immense weight, and practising speech writing begins with our school life. Speech writing is an important part of the English syllabus for Class 12th, Class 11th, and Class 8th to 10th. This blog brings you the Speech Writing format, samples, examples, tips, and tricks!

This Blog Includes:

What is speech writing, speech in english language writing, how do you begin an english-language speech, introduction, how to write a speech, speech writing samples, example of a great speech, english speech topics, practice time.

Must Read: Story Writing Format for Class 9 & 10

Speech writing is the art of using proper grammar and expression to convey a thought or message to a reader. Speech writing isn’t all that distinct from other types of narrative writing. However, students should be aware of certain distinct punctuation and writing style techniques. While writing the ideal speech might be challenging, sticking to the appropriate speech writing structure will ensure that you never fall short.

“There are three things to aim at in public speaking: first, to get into your subject, then to get your subject into yourself, and lastly, to get your subject into the heart of your audience.”- Alexander Gregg

The English language includes eight parts of speech i.e. nouns , pronouns , verbs , adjectives 410 , adverbs , prepositions, conjunctions, and interjections.

• Noun- A noun is a word that describes anything, such as an animal, a person, a place, or an emotion. Nouns are the building blocks for most sentences.
• Pronoun – Pronouns are words that can be used in place of nouns. They are used so that we don’t have to repeat words. This makes our writing and speaking much more natural.
• Verb – A verb is a term that implies activity or ‘doing.’ These are very vital for your children’s grammar studies, as a sentence cannot be complete without a verb.
• Adjective – An adjective is a term that describes something. An adjective is frequently used before a noun to add extra information or description.
• Prepositions- A preposition is a term that expresses the location or timing of something in relation to something else.
• Conjunction- Because every language has its own set of conjunctions, English conjunctions differ from those found in other languages. They’re typically used as a connecting word between two statements, concepts, or ideas.
• Interjections- Interjections are words that are used to describe a strong emotion or a sudden feeling.

Relevant Read: Speech on the Importance of English

The way you start your English speech can set the tone for the remainder of it. This semester, there are a variety of options for you to begin presentations in your classes. For example, try some of these engaging speech in English language starters.

• Rhetorical questions : A rhetorical question is a figure of speech that uses a question to convey a point rather than asking for a response. The answer to a rhetorical question may be clear, yet the questioner asks it to emphasize the point. Rhetorical questions may be a good method for students to start their English speeches. This method of introducing your material might be appealing to the viewers and encourage them to consider how they personally relate to your issue.
• Statistics: When making an instructive or persuasive speech in an English class, statistics can help to strengthen the speaker’s authority and understanding of the subject. To get your point over quickly and create an emotional response, try using an unexpected statistic or fact that will resonate with the audience.
• Set up an imaginary scene: Create an imaginary situation in your audience’s thoughts if you want to persuade them to agree with you with your speech. This method of starting your speech assists each member of the audience in visualizing a fantastic scenario that you wish to see come true.

Relevant Read: Reported Speech Rules With Exercises

Format of Speech Writing

Here is the format of Speech Writing:

• Introduction : Greet the audience, tell them about yourself and further introduce the topic.
• Body : Present the topic in an elaborate way, explaining its key features, pros and cons, if any and the like.
• Conclusion : Summary of your speech, wrap up the topic and leave your audience with a compelling reminder to think about!

Let’s further understand each element of the format of Speech Writing in further detail:

After the greetings, the Introduction has to be attention-getting. Quickly get people’s attention. The goal of a speech is to engage the audience and persuade them to think or act in your favour. The introduction must effectively include: 

• A brief preview of your topic. 
• Define the outlines of your speech. (For example, I’ll be talking about…First..Second…Third)
• Begin with a story, quote, fact, joke, or observation in the room. It shouldn’t be longer than 3-4 lines. (For Example: “Mahatma Gandhi said once…”, or “This topic reminds me of an incident/story…”)

This part is also important because that’s when your audience decides if the speech is worth their time. Keep your introduction factual, interesting, and convincing.

It is the most important part of any speech. You should provide a number of reasons and arguments to convince the audience to agree with you.

Handling objections is an important aspect of speech composition. There is no time for questions or concerns since a speech is a monologue. Any concerns that may occur during the speech will be addressed by a powerful speech. As a result, you’ll be able to respond to questions as they come in from the crowd. To make speech simpler you can prepare a flow chart of the details in a systematic way.

For example: If your speech is about waste management; distribute information and arrange it according to subparagraphs for your reference. It could include:

• What is Waste Management?
• Major techniques used to manage waste
• Advantages of Waste Management  
• Importance of Waste Management 

The conclusion should be something that the audience takes with them. It could be a reminder, a collective call to action, a summary of your speech, or a story. For example: “It is upon us to choose the fate of our home, the earth by choosing to begin waste management at our personal spaces.”

After concluding, add a few lines of gratitude to the audience for their time.

For example: “Thank you for being a wonderful audience and lending me your time. Hope this speech gave you something to take away.”

Practice Your Speech Writing with these English Speech topics for students !

A good speech is well-timed, informative, and thought-provoking. Here are the tips for writing a good school speech:

Speech Sandwich of Public Speaking

The introduction and conclusion must be crisp. People psychologically follow the primacy effect (tendency to remember the first part of the list/speech) and recency effect (tendency to recall the last part of the list/speech). 

Use Concrete Facts

Make sure you thoroughly research your topic. Including facts appeals to the audience and makes your speech stronger. How much waste is managed? Give names of organisations and provide numerical data in one line.

Use Rhetorical Strategies and Humour

Include one or two open-ended or thought-provoking questions.  For Example: “Would we want our future generation to face trouble due to global warming?” Also, make good use of humour and convenient jokes that engages your audience and keeps them listening.

Check Out: Message Writing

Know your Audience and Plan Accordingly

This is essential before writing your speech. To whom is it directed? The categorised audience on the basis of –

• Knowledge of the Topic (familiar or unfamiliar)

Use the information to formulate the speech accordingly, use information that they will understand, and a sentence that they can retain.

Timing Yourself is Important

An important aspect of your speech is to time yourself.  Don’t write a speech that exceeds your word limit. Here’s how can decide the right timing for your speech writing:

• A one-minute speech roughly requires around 130-150 words
• A two-minute speech requires roughly around 250-300 words

Recommended Read: Letter Writing

Speech Writing Examples

Here are some examples to help you understand how to write a good speech. Read these to prepare for your next speech:

Write a speech to be delivered in the school assembly as Rahul/ Rubaina of Delhi Public School emphasises the importance of cleanliness, implying that the level of cleanliness represents the character of its residents. (150-200 words)

“Cleanliness is next to godliness,” said the great John Wesley. Hello, respected principal, instructors, and good friends. Today, I, Rahul/Rubaina, stand in front of you all to emphasise the significance of cleanliness.

Cleanliness is the condition or attribute of being or remaining clean. Everyone must learn about cleaning, hygiene, sanitation, and the different diseases that are produced by unsanitary circumstances. It is essential for physical well-being and the maintenance of a healthy atmosphere at home and at school. A filthy atmosphere invites a large number of mosquitos to grow and spread dangerous diseases. On the other side, poor personal cleanliness causes a variety of skin disorders as well as lowered immunity.

Habits formed at a young age become ingrained in one’s personality. Even if we teach our children to wash their hands before and after meals, brush their teeth and bathe on a regular basis, we are unconcerned about keeping public places clean. On October 2, 2014, the Indian Prime Minister began the “Swachh Bharat” programme to offer sanitation amenities to every family, including toilets, solid and liquid waste disposal systems, village cleanliness, and safe and appropriate drinking water supplies. Teachers and children in schools are actively participating in the ‘Clean India Campaign’ with zeal and excitement.

Good health ensures a healthy mind, which leads to better overall productivity, higher living standards, and economic development. It will improve India’s international standing. As a result, a clean environment is a green environment with fewer illnesses. Thus, cleanliness is defined as a symbol of mental purity.

Thank you very much.

Relevant Read: Speech on Corruption

You are Sahil/Sanya, the school’s Head Girl/Head Boy. You are greatly troubled by the increasing instances of aggressive behaviour among your students. You decide to speak about it during the morning assembly. Create a speech about “School Discipline.” (150 – 200 words)

INDISCIPLINE IN SCHOOLS,

It has been reported that the frequency of fights and incidences of bullying in our school has increased dramatically in the previous several months. Good morning to everyone present. Today, I, Sahil/Sanya, your head boy/girl, am here to shed light on the serious topic of “Increased Indiscipline in Schools.”

It has come to light that instructor disobedience, bullying, confrontations with students, truancy, and insults are becoming more widespread. Furthermore, there have been reports of parents noticing a shift in their children’s attitudes. As a result, many children are suffering emotionally, psychologically, and physically. The impact of this mindset on children at a young age is devastating and irreversible.

Not to mention the harm done to the school’s property. Theft of chalk, scribbling on desks, walls and lavatory doors, destruction of CCTV cameras and so forth. We are merely depriving ourselves of the comforts granted to us by doing so.

Following numerous meetings, it was determined that the main reasons for the problem were a lack of sufficient guidance, excessive use of social media, and peer pressure. The council is working to make things better. Everyone is required to take life skills classes. Counselling, motivating, and instilling friendly ideals will be part of the curriculum. Seminars for parents and students will be held on a regular basis.

A counsellor is being made available to help you all discuss your sentiments, grudges, and personal problems. We are doing everything we can and expect you to do the same.

So, let us work together to create an environment in which we encourage, motivate, assist, and be nice to one another because we are good and civilised humans capable of a great deal of love.

Relevant Read: How to Write a Speech on Discipline?

The current increase in incidences of violent student misbehaviour is cause for alarm for everyone. Students who learn how to manage their anger can help to alleviate the situation. Write a 150-200-word speech about the topic to be delivered at the school’s morning assembly. (10)

HOW TO CONTROL ANGER

Honourable Principal, Respected Teachers, and Dear Friends, I’d like to share a few “Ways to Manage Anger” with you today.

The growing intolerance among the younger generation, which is resulting in violence against teachers, is cause for severe concern. The guru-shishya parampara is losing its lustre. Aggressive behaviour in students can be provoked by a variety of factors, including self-defence, stressful circumstance, over-stimulation, or a lack of adult supervision.

It has become imperative to address the situation. Life skills workshops will be included in the curriculum. Teachers should be trained to deal with such stubborn and confrontational behaviours. Meditation and deep breathing are very beneficial and should be practised every morning. Students should be taught to count to ten before reacting angrily. Sessions on anger control and its importance must also be held.

Remember that Anger is one letter away from danger. It becomes much more crucial to be able to control one’s rage. It’s never too late to start, as a wise man once said.

“Every minute you stay angry, you lose sixty seconds of peace of mind.”

Relevant Read: English Speech Topics for Students

Martin Luther King Jr’s ‘I Have A Dream’ is one of his most famous speeches. Its impact has lasted through generations. The speech is written by utilising the techniques above. Here are some examples:

“still sadly crippled by the manacles of segregation and the chains of discrimination” – emotive Language

“In a sense, we’ve come to our nation’s capital to cash a check” – personalising the speech

“to stand up for freedom together” – a call to action.

Importantly, this is an example of how the listener comes first while drafting a speech. The language chosen appeals to a specific sort of audience and was widely utilised in 1963 when the speech was delivered.

• The Best Day of My Life
• Social Media: Bane or Boon?
• Pros and Cons of Online Learning
• Benefits of Yoga
• If I had a Superpower
• I wish I were ______
• Environment Conservation
• Women Should Rule the World!
• The Best Lesson I Have Learned
• Paperbacks vs E-books
• How to Tackle a Bad Habit?
• My Favorite Pastime/Hobby
• Understanding Feminism
• Fear of Missing Out (FOMO): Is it real or not?
• Importance of Reading
• Importance of Books in Our Life
• My Favorite Fictional Character
• Introverts vs Extroverts
• Lessons to Learn from Sports
• Beauty is in the eye of the beholder

Also Read: How to Ace IELTS Writing Section?

Ans. Speech writing is the process of communicating a notion or message to a reader by employing proper punctuation and expression. Speech writing is similar to other types of narrative writing. However, students should be aware of some different punctuation and writing structure techniques.

Ans. Before beginning with the speech, choose an important topic. Create an outline; rehearse your speech, and adjust the outline based on comments from the rehearsal. This five-step strategy for speech planning serves as the foundation for both lessons and learning activities.

Ans. Writing down a speech is vital since it helps you better comprehend the issue, organises your thoughts, prevents errors in your speech, allows you to get more comfortable with it, and improves its overall quality.

Speech writing and public speaking are effective and influential. Hope this blog helped you know the various tips for writing the speech people would want to hear. If you need help in making the right career choices at any phase of your academic and professional journey, our Leverage Edu experts are here to guide you. Sign up for a free session now!

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How to write a good speech in 7 steps

By:  Susan Dugdale  

- an easily followed format for writing a great speech

Did you know writing a speech doesn't have be an anxious, nail biting experience?

Unsure? Don't be.

You may have lived with the idea you were never good with words for a long time. Or perhaps giving speeches at school brought you out in cold sweats.

However learning how to write a speech is relatively straight forward when you learn to write out loud.

And that's the journey I am offering to take you on: step by step.

To learn quickly, go slow

Take all the time you need. This speech format has 7 steps, each building on the next.

Walk, rather than run, your way through all of them. Don't be tempted to rush. Familiarize yourself with the ideas. Try them out.

I know there are well-advertised short cuts and promises of 'write a speech in 5 minutes'. However in reality they only truly work for somebody who already has the basic foundations of speech writing in place.

The foundation of good speech writing 

These steps are the backbone of sound speech preparation. Learn and follow them well at the outset and yes, given more experience and practice you could probably flick something together quickly. Like any skill, the more it's used, the easier it gets.

In the meantime...

Step 1: Begin with a speech overview or outline

Are you in a hurry? Without time to read a whole page? Grab ... The Quick How to Write a Speech Checklist And come back to get the details later.

• WHO you are writing your speech for (your target audience)
• WHY you are preparing this speech. What's the main purpose of your speech? Is it to inform or tell your audience about something? To teach them a new skill or demonstrate something? To persuade or to entertain? (See 4 types of speeches: informative, demonstrative, persuasive and special occasion or entertaining for more.) What do you want them to think, feel or do as a result of listening the speech?
• WHAT your speech is going to be about (its topic) - You'll want to have thought through your main points and have ranked them in order of importance. And have sorted the supporting research you need to make those points effectively.
• HOW much time you have for your speech eg. 3 minutes, 5 minutes... The amount of time you've been allocated dictates how much content you need. If you're unsure check this page: how many words per minute in a speech: a quick reference guide . You'll find estimates of the number of words required for 1 - 10 minute speeches by slow, medium and fast talkers.

Use an outline

The best way to make sure you deliver a perfect speech is to start by carefully completing a speech outline covering the essentials: WHO, WHY, WHAT and HOW.

Beginning to write without thinking your speech through is a bit like heading off on a journey not knowing why you're traveling or where you're going to end up. You can find yourself lost in a deep, dark, murky muddle of ideas very quickly!

Pulling together a speech overview or outline is a much safer option. It's the map you'll follow to get where you want to go.

Get a blank speech outline template to complete

Click the link to find out a whole lot more about preparing a speech outline . ☺ You'll also find a free printable blank speech outline template.  I recommend using it!

Understanding speech construction

Before you begin to write, using your completed outline as a guide, let's briefly look at what you're aiming to prepare.

• an opening or introduction
• the body where the bulk of the information is given
• and an ending (or summary).

Imagine your speech as a sandwich

If you think of a speech as a sandwich you'll get the idea.

The opening and ending are the slices of bread holding the filling (the major points or the body of your speech) together.

You can build yourself a simple sandwich with one filling (one big idea) or you could go gourmet and add up to three or, even five. The choice is yours.

But whatever you choose to serve, as a good cook, you need to consider who is going to eat it! And that's your audience.

So let's find out who they are before we do anything else. 

Step 2: Know who you are talking to

Understanding your audience.

Did you know a  good speech is never written from the speaker's point of view?  ( If you need to know more about why check out this page on  building rapport .)

Begin with the most important idea/point on your outline.

Consider HOW you can explain (show, tell) that to your audience in the most effective way for them to easily understand it.   

Writing from the audience's point of view

To help you write from an audience point of view, it's a good idea to identify either a real person or the type of person who is most likely to be listening to you.

Make sure you select someone who represents the "majority" of the people who will be in your audience. That is they are neither struggling to comprehend you at the bottom of your scale or light-years ahead at the top.

Now imagine they are sitting next to you eagerly waiting to hear what you're going to say. Give them a name, for example, Joe, to help make them real.

Ask yourself

• How do I need to tailor my information to meet Joe's needs? For example, do you tell personal stories to illustrate your main points? Absolutely! Yes. This is a very powerful technique. (Click storytelling in speeches to find out more.)
• What type or level of language is right for Joe as well as my topic? For example if I use jargon (activity, industry or profession specific vocabulary) will it be understood?

Step 3: Writing as you speak

Writing oral language.

Write down what you want to say about your first main point as if you were talking directly to Joe.

If it helps, say it all out loud before you write it down and/or record it.

Use the information below as a guide

(Click to download The Characteristics of Spoken Language  as a pdf.) 

You do not have to write absolutely everything you're going to say down * but you do need to write down, or outline, the sequence of ideas to ensure they are logical and easily followed.

Remember too, to explain or illustrate your point with examples from your research. 

( * Tip: If this is your first speech the safety net of having everything written down could be just what you need. It's easier to recover from a patch of jitters when you have a word by word manuscript than if you have either none, or a bare outline. Your call!)

Step 4: Checking tone and language

The focus of this step is re-working what you've done in Step 2 and 3.

You identified who you were talking to (Step 2) and in Step 3, wrote up your first main point.  Is it right? Have you made yourself clear?  Check it.

How well you complete this step depends on how well you understand the needs of the people who are going to listen to your speech.

Please do not assume because you know what you're talking about the person (Joe) you've chosen to represent your audience will too. Joe is not a mind-reader!

How to check what you've prepared

• Check the "tone" of your language . Is it right for the occasion, subject matter and your audience?
• Check the length of your sentences. You need short sentences. If they're too long or complicated you risk losing your listeners.

Check for jargon too. These are industry, activity or group exclusive words.

For instance take the phrase: authentic learning . This comes from teaching and refers to connecting lessons to the daily life of students. Authentic learning is learning that is relevant and meaningful for students. If you're not a teacher you may not understand the phrase.

The use of any vocabulary requiring insider knowledge needs to be thought through from the audience perspective. Jargon can close people out.

• Read what you've written out loud. If it flows naturally, in a logical manner, continue the process with your next main idea. If it doesn't, rework.

We use whole sentences and part ones, and we mix them up with asides or appeals e.g. "Did you get that? Of course you did. Right...Let's move it along. I was saying ..."

Click for more about the differences between spoken and written language .

And now repeat the process

Repeat this process for the remainder of your main ideas.

Because you've done the first one carefully, the rest should follow fairly easily.

Step 5: Use transitions

Providing links or transitions between main ideas.

Between each of your main ideas you need to provide a bridge or pathway for your audience. The clearer the pathway or bridge, the easier it is for them to make the transition from one idea to the next.

If your speech contains more than three main ideas and each is building on the last, then consider using a "catch-up" or summary as part of your transitions.

Is your speech being evaluated? Find out exactly what aspects you're being assessed on using this standard speech evaluation form

Link/transition examples

A link can be as simple as:

"We've explored one scenario for the ending of Block Buster 111, but let's consider another. This time..."

What follows this transition is the introduction of Main Idea Two.

Here's a summarizing link/transition example:

"We've ended Blockbuster 111 four ways so far. In the first, everybody died. In the second, everybody died BUT their ghosts remained to haunt the area. In the third, one villain died. His partner reformed and after a fight-out with the hero, they both strode off into the sunset, friends forever. In the fourth, the hero dies in a major battle but is reborn sometime in the future.

And now what about one more? What if nobody died? The fifth possibility..."

Go back through your main ideas checking the links. Remember Joe as you go. Try each transition or link out loud and really listen to yourself. Is it obvious? Easily followed?

Keep them if they are clear and concise.

For more about transitions (with examples) see Andrew Dlugan's excellent article, Speech Transitions: Magical words and Phrases .

Step 6: The end of your speech

The ideal ending is highly memorable . You want it to live on in the minds of your listeners long after your speech is finished. Often it combines a call to action with a summary of major points.

Example speech endings

Example 1: The desired outcome of a speech persuading people to vote for you in an upcoming election is that they get out there on voting day and do so. You can help that outcome along by calling them to register their support by signing a prepared pledge statement as they leave.

"We're agreed we want change. You can help us give it to you by signing this pledge statement as you leave. Be part of the change you want to see!

Example 2: The desired outcome is increased sales figures. The call to action is made urgent with the introduction of time specific incentives.

"You have three weeks from the time you leave this hall to make that dream family holiday in New Zealand yours. Can you do it? Will you do it? The kids will love it. Your wife will love it. Do it now!"

How to figure out the right call to action

A clue for working out what the most appropriate call to action might be, is to go back to your original purpose for giving the speech.

• Was it to motivate or inspire?
• Was it to persuade to a particular point of view?
• Was it to share specialist information?
• Was it to celebrate a person, a place, time or event?

Ask yourself what you want people to do as a result of having listened to your speech.

For more about ending speeches

Visit this page for more about how to end a speech effectively . You'll find two additional types of speech endings with examples.

Write and test

Write your ending and test it out loud. Try it out on a friend, or two. Is it good? Does it work?

Step 7: The introduction

Once you've got the filling (main ideas) the linking and the ending in place, it's time to focus on the introduction.

The introduction comes last as it's the most important part of your speech. This is the bit that either has people sitting up alert or slumped and waiting for you to end. It's the tone setter!

What makes a great speech opening?

Ideally you want an opening that makes listening to you the only thing the 'Joes' in the audience want to do.

You want them to forget they're hungry or that their chair is hard or that their bills need paying.

The way to do that is to capture their interest straight away. You do this with a "hook".

Hooks to catch your audience's attention

Hooks come in as many forms as there are speeches and audiences. Your task is work out what specific hook is needed to catch your audience.

Go back to the purpose. Why are you giving this speech?

Once you have your answer, consider your call to action. What do you want the audience to do, and, or take away, as a result of listening to you?

Next think about the imaginary or real person you wrote for when you were focusing on your main ideas.

Choosing the best hook

• Is it humor?
• Would shock tactics work?
• Is it a rhetorical question?
• Is it formality or informality?
• Is it an outline or overview of what you're going to cover, including the call to action?
• Or is it a mix of all these elements?

A hook example

Here's an example from a fictional political speech. The speaker is lobbying for votes. His audience are predominately workers whose future's are not secure.

"How's your imagination this morning? Good? (Pause for response from audience) Great, I'm glad. Because we're going to put it to work starting right now.

I want you to see your future. What does it look like? Are you happy? Is everything as you want it to be? No? Let's change that. We could do it. And we could do it today.

At the end of this speech you're going to be given the opportunity to change your world, for a better one ...

No, I'm not a magician. Or a simpleton with big ideas and precious little commonsense. I'm an ordinary man, just like you. And I have a plan to share!"

And then our speaker is off into his main points supported by examples. The end, which he has already foreshadowed in his opening, is the call to vote for him.

Prepare several hooks

Experiment with several openings until you've found the one that serves your audience, your subject matter and your purpose best.

For many more examples of speech openings go to: how to write a speech introduction . You'll find 12 of the very best ways to start a speech.

That completes the initial seven steps towards writing your speech. If you've followed them all the way through, congratulations, you now have the text of your speech!

Although you might have the words, you're still a couple of steps away from being ready to deliver them. Both of them are essential if you want the very best outcome possible. They are below. Please take them.

Step 8: Checking content and timing

This step pulls everything together.

Check once, check twice, check three times & then once more!

Go through your speech really carefully.

On the first read through check you've got your main points in their correct order with supporting material, plus an effective introduction and ending.

On the second read through check the linking passages or transitions making sure they are clear and easily followed.

On the third reading check your sentence structure, language use and tone.

Double, triple check the timing

Now go though once more.

This time read it aloud slowly and time yourself.

If it's too long for the time allowance you've been given make the necessary cuts.

Start by looking at your examples rather than the main ideas themselves. If you've used several examples to illustrate one principal idea, cut the least important out.

Also look to see if you've repeated yourself unnecessarily or, gone off track. If it's not relevant, cut it.

Repeat the process, condensing until your speech fits the required length, preferably coming in just under your time limit.

You can also find out how approximately long it will take you to say the words you have by using this very handy words to minutes converter . It's an excellent tool, one I frequently use. While it can't give you a precise time, it does provide a reasonable estimate.

Step 9: Rehearsing your speech

And NOW you are finished with writing the speech, and are ready for REHEARSAL .

Please don't be tempted to skip this step. It is not an extra thrown in for good measure. It's essential.

The "not-so-secret" secret of successful speeches combines good writing with practice, practice and then, practicing some more.

Go to how to practice public speaking and you'll find rehearsal techniques and suggestions to boost your speech delivery from ordinary to extraordinary.

The Quick How to Write a Speech Checklist

Before you begin writing you need:.

• Your speech OUTLINE with your main ideas ranked in the order you're going to present them. (If you haven't done one complete this 4 step sample speech outline . It will make the writing process much easier.)
• Your RESEARCH
• You also need to know WHO you're speaking to, the PURPOSE of the speech and HOW long you're speaking for

The basic format

• the body where you present your main ideas

Split your time allowance so that you spend approximately 70% on the body and 15% each on the introduction and ending.

How to write the speech

• Write your main ideas out incorporating your examples and research
• Link them together making sure each flows in a smooth, logical progression
• Write your ending, summarizing your main ideas briefly and end with a call for action
• Write your introduction considering the 'hook' you're going to use to get your audience listening
• An often quoted saying to explain the process is: Tell them what you're going to tell them (Introduction) Tell them (Body of your speech - the main ideas plus examples) Tell them what you told them (The ending)

TEST before presenting. Read aloud several times to check the flow of material, the suitability of language and the timing.

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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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• Speech Topics For Kids
• How To Write A Speech

How to Write a Speech: A Guide to Enhance Your Writing Skills

Speech is a medium to convey a message to the world. It is a way of expressing your views on a topic or a way to showcase your strong opposition to a particular idea. To deliver an effective speech, you need a strong and commanding voice, but more important than that is what you say. Spending time in preparing a speech is as vital as presenting it well to your audience.

Read the article to learn what all you need to include in a speech and how to structure it.

Table of Contents

• Self-Introduction

The Opening Statement

Structuring the speech, choice of words, authenticity, writing in 1st person, tips to write a speech, frequently asked questions on speech, how to write a speech.

Writing a speech on any particular topic requires a lot of research. It also has to be structured well in order to properly get the message across to the target audience. If you have ever listened to famous orators, you would have noticed the kind of details they include when speaking about a particular topic, how they present it and how their speeches motivate and instill courage in people to work towards an individual or shared goal. Learning how to write such effective speeches can be done with a little guidance. So, here are a few points you can keep in mind when writing a speech on your own. Go through each of them carefully and follow them meticulously.

Self Introduction

When you are writing or delivering a speech, the very first thing you need to do is introduce yourself. When you are delivering a speech for a particular occasion, there might be a master of ceremony who might introduce you and invite you to share your thoughts. Whatever be the case, always remember to say one or two sentences about who you are and what you intend to do.

Introductions can change according to the nature of your target audience. It can be either formal or informal based on the audience you are addressing. Here are a few examples.

Addressing Friends/Classmates/Peers

• Hello everyone! I am ________. I am here to share my views on _________.
• Good morning friends. I, _________, am here to talk to you about _________.

Addressing Teachers/Higher Authorities

• Good morning/afternoon/evening. Before I start, I would like to thank _______ for giving me an opportunity to share my thoughts about ________ here today.
• A good day to all. I, __________, on behalf of _________, am standing here today to voice out my thoughts on _________.

It is said that the first seven seconds is all that a human brain requires to decide whether or not to focus on something. So, it is evident that a catchy opening statement is the factor that will impact your audience. Writing a speech does require a lot of research, and structuring it in an interesting, informative and coherent manner is something that should be done with utmost care.

When given a topic to speak on, the first thing you can do is brainstorm ideas and pen down all that comes to your mind. This will help you understand what aspect of the topic you want to focus on. With that in mind, you can start drafting your speech.

An opening statement can be anything that is relevant to the topic. Use words smartly to create an impression and grab the attention of your audience. A few ideas on framing opening statements are given below. Take a look.

• Asking an Engaging Question

Starting your speech by asking the audience a question can get their attention. It creates an interest and curiosity in the audience and makes them think about the question. This way, you would have already got their minds ready to listen and think.

• Fact or a Surprising Statement

Surprising the audience with an interesting fact or a statement can draw the attention of the audience. It can even be a joke; just make sure it is relevant. A good laugh would wake up their minds and they would want to listen to what you are going to say next.

• Adding a Quote

After you have found your topic to work on, look for a quote that best suits your topic. The quote can be one said by some famous personality or even from stories, movies or series. As long as it suits your topic and is appropriate to the target audience, use them confidently.  Again, finding a quote that is well-known or has scope for deep thought will be your success factor.

To structure your speech easily, it is advisable to break it into three parts or three sections – an introduction, body and conclusion.

• Introduction: Introduce the topic and your views on the topic briefly.
• Body: Give a detailed explanation of your topic. Your focus should be to inform and educate your audience on the said topic.
• Conclusion:  Voice out your thoughts/suggestions. Your intention here should be to make them think/act.

While delivering or writing a speech, it is essential to keep an eye on the language you are using. Choose the right kind of words. The person has the liberty to express their views in support or against the topic; just be sure to provide enough evidence to prove the discussed points. See to it that you use short and precise sentences. Your choice of words and what you emphasise on will decide the effect of the speech on the audience.

When writing a speech, make sure to,

• Avoid long, confusing sentences.
• Check the spelling, sentence structure and grammar.
• Not use contradictory words or statements that might cause any sort of issues.

Anything authentic will appeal to the audience, so including anecdotes, personal experiences and thoughts will help you build a good rapport with your audience. The only thing you need to take care is to not let yourself be carried away in the moment. Speak only what is necessary.

Using the 1st person point of view in a speech is believed to be more effective than a third person point of view. Just be careful not to make it too subjective and sway away from the topic.

• Understand the purpose of your speech: Before writing the speech, you must understand the topic and the purpose behind it. Reason out and evaluate if the speech has to be inspiring, entertaining or purely informative.
• Identify your audience: When writing or delivering a speech, your audience play the major role. Unless you know who your target audience is, you will not be able to draft a good and appropriate speech.
• Decide the length of the speech: Whatever be the topic, make sure you keep it short and to the point. Making a speech longer than it needs to be will only make it monotonous and boring.
• Revising and practicing the speech: After writing, it is essential to revise and recheck as there might be minor errors which you might have missed. Edit and revise until you are sure you have it right. Practise as much as required so you do not stammer in front of your audience.
• Mention your takeaways at the end of the speech: Takeaways are the points which have been majorly emphasised on and can bring a change. Be sure to always have a thought or idea that your audience can reflect upon at the end of your speech.

How to write a speech?

Writing a speech is basically about collecting, summarising and structuring your points on a given topic. Do a proper research, prepare multiple drafts, edit and revise until you are sure of the content.

Why is it important to introduce ourselves?

It is essential to introduce yourself while writing a speech, so that your audience or the readers know who the speaker is and understand where you come from. This will, in turn, help them connect with you and your thoughts.

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Speechwriting 101: Writing an Effective Speech

Whether you are a communications pro or a human resources executive, the time will come when you will need to write a speech for yourself or someone else.  when that time comes, your career may depend on your success..

J. Lyman MacInnis, a corporate coach,  Toronto Star  columnist, accounting executive and author of  “ The Elements of Great Public Speaking ,”  has seen careers stalled – even damaged – by a failure to communicate messages effectively before groups of people. On the flip side, solid speechwriting skills can help launch and sustain a successful career.  What you need are forethought and methodical preparation.

Know Your Audience

Learn as much as possible about the audience and the event.  This will help you target the insights, experience or knowledge you have that this group wants or needs:

• Why has the audience been brought together?
• What do the members of the audience have in common?
• How big an audience will it be?
• What do they know, and what do they need to know?
• Do they expect discussion about a specific subject and, if so, what?
• What is the audience’s attitude and knowledge about the subject of your talk?
• What is their attitude toward you as the speaker?
• Why are they interested in your topic?

Choose Your Core Message

If the core message is on target, you can do other things wrong. But if the message is wrong, it doesn’t matter what you put around it.  To write the most effective speech, you should have significant knowledge about your topic, sincerely care about it and be eager to talk about it.  Focus on a message that is relevant to the target audience, and remember: an audience wants opinion. If you offer too little substance, your audience will label you a lightweight.  If you offer too many ideas, you make it difficult for them to know what’s important to you.

Research and Organize

Research until you drop.  This is where you pick up the information, connect the ideas and arrive at the insights that make your talk fresh.  You’ll have an easier time if you gather far more information than you need.  Arrange your research and notes into general categories and leave space between them. Then go back and rearrange. Fit related pieces together like a puzzle.

Develop Structure to Deliver Your Message

First, consider whether your goal is to inform, persuade, motivate or entertain.  Then outline your speech and fill in the details:

• Introduction – The early minutes of a talk are important to establish your credibility and likeability.  Personal anecdotes often work well to get things started.  This is also where you’ll outline your main points.
• Body – Get to the issues you’re there to address, limiting them to five points at most.  Then bolster those few points with illustrations, evidence and anecdotes.  Be passionate: your conviction can be as persuasive as the appeal of your ideas.
• Conclusion – Wrap up with feeling as well as fact. End with something upbeat that will inspire your listeners.

You want to leave the audience exhilarated, not drained. In our fast-paced age, 20-25 minutes is about as long as anyone will listen attentively to a speech. As you write and edit your speech, the general rule is to allow about 90 seconds for every double-spaced page of copy.

Spice it Up

Once you have the basic structure of your speech, it’s time to add variety and interest.  Giving an audience exactly what it expects is like passing out sleeping pills. Remember that a speech is more like conversation than formal writing.  Its phrasing is loose – but without the extremes of slang, the incomplete thoughts, the interruptions that flavor everyday speech.

• Give it rhythm. A good speech has pacing.
• Vary the sentence structure. Use short sentences. Use occasional long ones to keep the audience alert. Fragments are fine if used sparingly and for emphasis.
• Use the active voice and avoid passive sentences. Active forms of speech make your sentences more powerful.
• Repeat key words and points. Besides helping your audience remember something, repetition builds greater awareness of central points or the main theme.
• Ask rhetorical questions in a way that attracts your listeners’ attention.
• Personal experiences and anecdotes help bolster your points and help you connect with the audience.
• Use quotes. Good quotes work on several levels, forcing the audience to think. Make sure quotes are clearly attributed and said by someone your audience will probably recognize.

Be sure to use all of these devices sparingly in your speeches. If overused, the speech becomes exaggerated. Used with care, they will work well to move the speech along and help you deliver your message in an interesting, compelling way.

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Module 6: Organizing and Outlining Your Speech

Chronological, step-by-step, and spatial organization, learning objectives.

Explain the chronological, step-by-step, and spatial patterns for speeches and identify which topics work best for these types.

We can think of speeches organized chronologically, step by step, or spatially as following a “natural” or self-evident structure. When you’re talking about a process, for instance, walking the audience through the process step by step seems like a logical or natural choice.

Remember, though, that even if your speech is structured in a “natural” sequence, you still need an introduction that helps the listener understand why they’re listening to this story. Imagine that a friend is going to tell you a story about something that happened to them that day. First, let’s imagine that they start the story with “Something really funny happened to me . . . .” What are you listening for in the story? Now imagine if they started the story with “I’m really upset because of something that happened today.” Or “I really need your advice. Here’s what happened . . . .” With each of these different beginnings, we listen in a different way. In the first case, we’re primed to laugh; in the second, we get ready to offer comfort and sympathy; in the third, we’re prepared to problem solve. The same is true of the beginning of your speech: by setting the stage with the introduction or the “hook,” you’re letting the listener know what they’re listening for and how they should listen.

Chronological

A persuasive speech about Climate Change might describe the predicted effects of global warming in chronological order.

A chronologically organized speech pattern organizes its main points following a sequence of events or occurrences according to the time they took place. This structure works particularly well for informative and introductory speeches. For example, an introductory speech about the life events that lead you to attend your college could be organized chronologically starting with the first meeting with your guidance counselor, which lead to filling out an application a few weeks later to then drafting an essay, going on a campus tour a few months after that, having an interview with the department, and then finally getting the acceptance letter. Another example of a chronological speech topic would be a speech about a historical event, such as the Triangle Shirtwaist Factory Fire, the Boxer Rebellion, or the Arab Spring, which covers the events that occurred in the order in which they happened.

The advantages of a chronological speech pattern are that it is very easy to follow and it creates a clean, clear order. The timeline does the organizational work for the speaker and makes it easy to use. The cons are that there may be many events that occurred, such as in a speech topic about women getting the right to vote, which may not fit into the speech delivery time limit. So, consider the time allotted in addition to whether the time sequence of events is the most effective way to present the material before selecting this pattern.

Step-by-Step

An informative speech about Salsa dancing might give step-by-step instructions.

This pattern presents the steps involved in doing something and is useful for “how-to” or demonstration speeches where you are teaching or showing how to do a task. It follows the order of a process. For example, the steps involved in baking a cake, a speech demonstrating the dance steps required to do the Macarena, or how to create a PowerPoint presentation would use a step-by-step structure.

The advantage of this organizational pattern is that it breaks the task into small pieces for the audience. It allows them to see the process of doing something so that they may be able to do it themselves. The disadvantage of this pattern is that it can be tedious or repetitious if listeners are already very familiar with some of the steps in the process. With this organizational pattern, it’s particularly important to know how much prior knowledge of the process your audience already has.

An informative speech about the International Space Station might use a spatial organization pattern, giving the listeners a tour of each part of the station as though they were moving through it.

A spatial pattern organizes each main point in a directional structure, connecting each main point to a whole. This structure is used for informative speeches where the topic is organized by location, geography, or moving through a space (“spatial” is the adjective form of “space”). For example, a speech about the parts of a resume might move in order from the top section to the bottom section. A speech about the regional cuisine of Germany might move from the Northwest region in a clockwise direction around the country. A speech about a building might start at the front doors and end on the roof. A speech about the pathway of Hurricane Sandy would include the geography showing the path moving from south to north east.

The spatial pattern is particularly useful if you want your listeners to be able to visualize an entire place or a complex object, since it moves between the part and the whole in a visual way. If you want your audience to visualize the Statue of Liberty, for instance, you might describe it spatially from top to bottom, rather than telling the story of its construction (chronological) or talking about the various things it has come to symbolize (topical).

To Watch: Beth Harris and Steven Zucker, “Diego Rivera, Man Controller of the Universe”

Spatial organizational patterns are often used to describe artworks and architecture. In this short video, art historians Dr. Beth Harris and Dr. Steven Zucker discuss Diego Rivera’s 1934 fresco mural  Man, Controller of the Universe  in the Palacio de Bellas Artes, Mexico City. The first part of the video is organized topically and chronologically, covering some of the major themes of the mural and the circumstances surrounding its creation. At around 3:25 in the video, Zucker says, “Let’s take a closer look at [the mural]”, and the two art historians discuss each part of the mural in sequence starting with the figure in the center. The spatial organization of their description is based on the visual structure of the painting; since the painting is largely symmetrical, Harris and Zucker describe the center, then the upper left and upper right, then the middle left and middle right, then the bottom left and bottom right.

You can view the transcript for “Diego Rivera, Man Controller of the Universe” here (opens in new window) .

What to watch for:

Note how Harris and Zucker end their tour of the artwork with broader thoughts about what we can learn from it: “We’re still very much at these crossroads. Technology is ever more important in our lives. What will technology bring us? A more egalitarian society, a world where everyone can be educated? Or will it bring greater inequality? These are still things debated today. We are still grappling with the increasing power of the tools that we have built, the power that technology has given us, and the choices that we make in terms of how we wield that power.” Whatever organizational pattern you use, it’s always crucial to bring the discussion around to something the audience can take away—a new insight, a new perspective, or a new way of framing a problem.

• ISS blueprint. Authored by : Daniel Molybdenum/NASA/Roscosmos, with the help of John Chryslar and others. Located at : https://en.wikipedia.org/wiki/International_Space_Station#/media/File:ISS_blueprint.png . License : CC0: No Rights Reserved
• Salsa steps. Authored by : Florian Hoffmann. Located at : https://en.wikipedia.org/wiki/Salsa_(dance)#/media/File:Salsa_Basic_Steps,_LA-style.png . License : CC BY: Attribution
• Acqua alta in Piazza San Marco. Authored by : Wolfgang Moroder. Located at : https://en.wikipedia.org/wiki/Climate_change#/media/File:Acqua_alta_in_Piazza_San_Marco-original.jpg . License : CC BY-SA: Attribution-ShareAlike
• Diego Rivera, Man Controller of the Universe. Authored by : Smarthistory. Located at : https://youtu.be/1mzQDfK3A5Q . License : Other . License Terms : Standard YouTube License
• Chronological, Step by Step, and Spatial Organization. Authored by : Susan Bagley-Koyle with Lumen Learning. License : CC BY: Attribution
• Chronological, Step by Step, and Spatial Organization. Authored by : Misti Wills with Lumen Learning. License : CC BY: Attribution

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Chapter Nine – Organizing the Body of your Speech

Creating the Body of a Speech

In a series of important and ground-breaking studies conducted during the 1950s and 1960s, researchers started investigating how a speech’s organization was related to audience perceptions of those speeches. The first study, conducted by Raymond Smith in 1951, randomly organized the parts of a speech to see how audiences would react. Not surprisingly, when speeches were randomly organized, the audience perceived the speech more negatively than when audiences were presented with a speech with clear, intentional organization. Smith also found that audiences who listened to unorganized speeches were less interested in those speeches than audiences who listened to organized speeches (Smith, 1951). Thompson furthered this investigation and found that unorganized speeches were also harder for audiences to recall after the speech. Basically, people remember information from speeches that are clearly organized—and forget information from speeches that are poorly organized (Thompson, 1960). A third study by Baker found that when audiences were presented with a disorganized speaker, they were less likely to be persuaded, and saw the disorganized speaker as lacking credibility (Baker, 1965).

These three very important studies make the importance of organization very clear. When speakers are not organized they are not perceived as credible and their audiences view the speeches negatively, are less likely to be persuaded, and don’t remember specific information from the speeches after the fact.

We start this chapter discussing these studies because we want you to understand the importance of speech organization on real audiences. If you are not organized, your speech will never have its intended effect. In this chapter, we are going to discuss the basics of organizing the body of your speech.

Determining Your Main Ideas

Matt Wynn –  Lightbulb!  – CC BY 2.0.

When creating a speech, it’s important to remember that speeches have three clear parts: an introduction, a body, and a conclusion. The introduction establishes the topic and whets your audience’s appetite, and the conclusion wraps everything up at the end of your speech. The real “meat” of your speech happens in the body. In this section, we’re going to discuss how to think strategically about the body of your speech.

We like the word  strategic  because it refers to determining what is important or essential to the overall plan or purpose of your speech. Too often, new speakers just throw information together and stand up and start speaking. When that happens, audience members are left confused and the reason for the speech may get lost. To avoid being seen as disorganized, we want you to start thinking critically about the organization of your speech. In this section, we will discuss how to take your speech from a specific purpose to creating the main points of your speech.

What Is Your Specific Purpose?

Before we discuss how to determine the main points of your speech, we want to revisit your speech’s specific purpose. Recall that a speech can have one of three general purposes: to inform, to persuade, or to entertain. The general purpose refers to the broad goal for creating and delivering the speech. The specific purpose, on the other hand, starts with one of those broad goals (inform, persuade, or entertain) and then further informs the listener about the  who ,  what ,  when ,  where ,  why , and  how  of the speech.

The specific purpose is stated as a sentence incorporating the general purpose, the specific audience for the speech, and a prepositional phrase that summarizes the topic. Suppose you are going to give a speech about using open-source software. Here are three examples (each with a different general purpose and a different audience):

In each of these three examples, you’ll notice that the general topic is the same—open-source software—but the specific purpose is different because the speech has a different general purpose and a different audience. Before you can think strategically about organizing the body of your speech, you need to know what your specific purpose is. If you have not yet written a specific purpose for your current speech, please go ahead and write one now.

From Specific Purpose to Main Points

Once you’ve written down your specific purpose, you can now start thinking about the best way to turn that specific purpose into a series of main points. Main points are the key ideas you present to enable your speech to accomplish its specific purpose. In this section, we’re going to discuss how to determine your main points and how to organize those main points into a coherent, strategic speech.

Narrowing Down Your Main Points

When you write your specific purpose and review the research you have done on your topic, you will probably find yourself thinking of quite a few points that you’d like to make in your speech. Whether that’s the case or not, we recommend taking a few minutes to brainstorm and develop a list of points. What information does your audience need to know to understand your topic? What information does your speech need to convey to accomplish its specific purpose? Consider the following example:

Now that you have brainstormed and developed a list of possible points, how do you go about narrowing them down to just two or three main ones? Remember, your main points are the key ideas that help build your speech. When you look over the preceding list, you can then start to see that many of the points are related to one another. Your goal in narrowing down your main points is to identify which individual, potentially minor points can be combined to make main points. This process is called chunking because it involves taking smaller chunks of information and putting them together with like chunks to create more fully developed chunks of information. Before reading our chunking of the preceding list, see if you can determine three large chunks out of the list (note that not all chunks are equal).

While there is no magic number for how many main points a speech should have, speech experts generally agree that the fewer the number of main points the better. First and foremost, experts on the subject of memory have consistently shown that people don’t tend to remember very much after they listen to a message or leave a conversation (Bostrom & Waldhart, 1988). While many different factors can affect a listener’s ability to retain information after a speech, how the speech is organized is an important part of that process (Dunham, 1964; Smith, 1951; Thompson, 1960). For the speeches you will be delivering in a typical public speaking class, you will usually have just two or three main points. If your speech is less than three minutes long, then two main points will probably work best. If your speech is between three and ten minutes in length, then it makes more sense to use three main points.

You may be wondering why we are recommending only two or three main points. The reason comes straight out of the research on listening. According to LeFrancois, people are more likely to remember information that is meaningful, useful, and of interest to them; different or unique; organized; visual; and simple (LeFrancois, 1999). Two or three main points are much easier for listeners to remember than ten or even five. In addition, if you have two or three main points, you’ll be able to develop each one with examples, statistics, or other forms of support. Including support for each point will make your speech more interesting and more memorable for your audience.

You may notice that in the preceding list, the number of subpoints under each of the three main points is a little disjointed or the topics don’t go together clearly. That’s all right. Remember that these are just general ideas at this point. It’s also important to remember that there is often more than one way to organize a speech. Some of these points could be left out and others developed more fully, depending on the purpose and audience. We’ll develop the preceding main points more fully in a moment.

Helpful Hints for Preparing Your Main Points

Now that we’ve discussed how to take a specific purpose and turn it into a series of main points, here are some helpful hints for creating your main points.

Uniting Your Main Points

Once you’ve generated a possible list of main points, you want to ask yourself this question: “When you look at your main points, do they fit together?” For example, if you look at the three preceding main points (school districts use software in their operations; what is open-source software; name some specific open-source software packages that may be appropriate for these school administrators to consider), ask yourself, “Do these main points help my audience understand my specific purpose?”

Suppose you added a fourth main point about open-source software for musicians—would this fourth main point go with the other three? Probably not. While you may have a strong passion for open-source music software, that main point is extraneous information for the speech you are giving. It does not help accomplish your specific purpose, so you’d need to toss it out.

Keeping Your Main Points Separate

The next question to ask yourself about your main points is whether they overlap too much. While some overlap may happen naturally because of the singular nature of a specific topic, the information covered within each main point should be clearly distinct from the other main points. Imagine you’re giving a speech with the specific purpose “to inform my audience about the health reasons for eating apples and oranges.” You could then have three main points: that eating fruits is healthy, that eating apples is healthy, and that eating oranges is healthy. While the two points related to apples and oranges are clearly distinct, both of those main points would probably overlap too much with the first point “that eating fruits is healthy,” so you would probably decide to eliminate the first point and focus on the second and third. On the other hand, you could keep the first point and then develop two new points giving additional support to why people should eat fruit.

Balancing Main Points

One of the biggest mistakes some speakers make is to spend most of their time talking about one of their main points, completely neglecting their other main points. To avoid this mistake, organize your speech so as to spend roughly the same amount of time on each main point. If you find that one of your main points is simply too large, you may need to divide that main point into two main points and consolidate your other main points into a single main point.

Let’s see if our preceding example is balanced (school districts use software in their operations; what is open-source software; name some specific open-source software packages that may be appropriate for these school administrators to consider). What do you think? Obviously, the answer depends on how much time a speaker will have to talk about each of these main points. If you have an hour to talk, then you may find that these three main points are balanced. However, you may also find them wildly unbalanced if you only have five minutes to speak because five minutes is not enough time to even explain what open-source software is. If that’s the case, then you probably need to rethink your specific purpose to ensure that you can cover the material in the allotted time.

Creating Parallel Structure for Main Points

Another major question to ask yourself about your main points is whether or not they have a parallel structure. By parallel structure, we mean that you should structure your main points so that they all sound similar. When all your main points sound similar, it’s simply easier for your audiences to remember your main points and retain them for later. Let’s look at our sample (school districts use software in their operations; what is open-source software; name some specific open-source software packages that may be appropriate for these school administrators to consider). Notice that the first and third main points are statements, but the second one is a question. Basically, we have an example here of main points that are not parallel in structure. You could fix this in one of two ways. You could make them all questions: what are some common school district software programs; what is open-source software; and what are some specific open-source software packages that may be appropriate for these school administrators to consider. Or you could turn them all into statements: school districts use software in their operations; define and describe open-source software; name some specific open-source software packages that may be appropriate for these school administrators to consider. Either of these changes will make the grammatical structure of the main points parallel.

Maintaining Logical Flow of Main Points

The last question you want to ask yourself about your main points is whether the main points make sense in the order you’ve placed them. The next section goes into more detail of common organizational patterns for speeches, but for now we want you to just think logically about the flow of your main points. When you look at your main points, can you see them as progressive, or does it make sense to talk about one first, another one second, and the final one last? If you look at your order, and it doesn’t make sense to you, you probably need to think about the flow of your main points. Often, this process is an art and not a science. But let’s look at a couple of examples.

When you look at these two examples, what are your immediate impressions of the two examples? In the first example, does it make sense to talk about history, and then the problems, and finally how to eliminate school dress codes? Would it make sense to put history as your last main point? Probably not. In this case, the main points are in a logical sequential order. What about the second example? Does it make sense to talk about your solution, then your problem, and then define the solution? Not really! What order do you think these main points should be placed in for a logical flow? Maybe you should explain the problem (lack of rider laws), then define your solution (what is rider law legislation), and then argue for your solution (why states should have rider laws). Notice that in this example you don’t even need to know what “rider laws” are to see that the flow didn’t make sense.

Using Common Organizing Patterns

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 organizational patterns to help you create a logically organized speech. The first organizational pattern we’ll discuss is topical.

By far the most common pattern for organizing a speech is by categories or topics . The topical organizational pattern is a way to help the speaker arrange the message in a consistent fashion. The goal of a topical organization 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 their 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 audience members; and finally, the speaker ends by discussing some negative aspects of Internet dating. Again, notice that the information is chunked into three 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 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 organizational pattern arranges 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 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 organizational 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 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 p roblem-cause-solution 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.

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 and problem-cause-solution, are well suited for persuasive speaking. Your challenge is to choose the best pattern for the particular speech you are giving.

You should 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.

Keeping Your Speech Moving

Chris Marquardt –  REWIND  – CC BY-SA 2.0.

Have you ever been listening to a speech or a lecture and found yourself thinking, “I am so lost!” or “Where the heck is this speaker going?” Chances are one of the reasons you weren’t sure what the speaker was talking about was that the speaker didn’t effectively keep the speech moving. When we are reading and encounter something we don’t understand, we have the ability to reread the paragraph and try to make sense of what we’re trying to read. Unfortunately, we are not that lucky when it comes to listening to a speaker. We cannot pick up our universal remote and rewind the person. For this reason, speakers need to really think about how they keep a speech moving so that audience members are easily able to keep up with the speech. In this section, we’re going to look at four specific techniques speakers can use that make following a speech much easier for an audience: transitions, internal previews, internal summaries, and signposts.

Transitions between Main Points

A transition is a phrase or sentence that indicates that a speaker is moving from one main point to another main point in a speech. Basically, a transition is a sentence where the speaker summarizes what was said in one point and previews what is going to be discussed in the next point. Let’s look at some examples:

• Now that we’ve seen the problems caused by lack of adolescent curfew laws, let’s examine how curfew laws could benefit our community.
• Thus far we’ve examined the history and prevalence of alcohol abuse among Native Americans, but it is the impact that this abuse has on the health of Native Americans that is of the greatest concern.
• Now that we’ve thoroughly examined how these two medications are similar to one another, we can consider the many clear differences between the two medications.
• Although he was one of the most prolific writers in Great Britain prior to World War II, Winston Churchill continued to publish during the war years as well.

You’ll notice that in each of these transition examples, the beginning phrase of the sentence indicates the conclusion of a period of time (now that, thus far). The table below contains a variety of transition words that will be useful when keeping your speech moving.

Table 9.1  Transition Words

Beyond transitions, there are several other techniques that you can use to clarify your speech organization for your audience. The next sections address several of these techniques, including internal previews, internal summaries, and signposts.

Internal Previews

An internal preview is a phrase or sentence that gives an audience an idea of what is to come within a section of a speech. An internal preview works similarly to the preview that a speaker gives at the end of a speech introduction, quickly outlining what they will talk about (i.e., the speech’s three main body points). In an internal preview, speakers highlight what they are going to discuss within a specific main point during a speech.

Ausubel was the first person to examine the effect that internal previews had on retention of oral information (Ausubel, 1968). Essentially, when speakers clearly inform an audience what they will talk about in a clear and organized manner, the audience listens for those main points, which leads to higher retention of the speaker’s message. Let’s look at a sample internal preview:

To help us further understand why recycling is important, we will first explain the positive benefits of recycling and then explore how recycling can help our communi ty.

When an audience hears that you will be exploring two different ideas within this main point, they are ready to listen for those main points as you talk about them. In essence, you’re helping your audience keep up with your speech.

Rather than being given alone, internal previews often come after a speaker has transitioned to that main topic area. Using the previous internal preview, let’s see it along with the transition to that main point.

Now that we’ve explored the effect that a lack of consistent recycling has on our community, let’s explore the importance of recycling for our community ( transition ). To help us further understand why recycling is important, we will first explain the positive benefits of recycling and then explore how recycling can help our community ( internal preview ).

While internal previews are definitely helpful, you do not need to include one for every main point of your speech. In fact, we recommend that you use internal previews sparingly to highlight only main points containing relatively complex information.

Internal Summaries

Whereas an internal preview helps an audience know what you are going to talk about within a main point at the beginning, an internal summary is delivered to remind an audience of what they just heard within the speech. In general, internal summaries are best used when the information within a specific main point of a speech was complicated. To write your own internal summaries, look at the summarizing transition words in Table 9.1. Let’s look at an example.

To sum up, school bullying is a definite problem. Bullying in schools has been shown to be detrimental to the victim’s grades, the victim’s scores on standardized tests, and the victim’s future educational outlook.

In this example, the speaker was probably talking about the impact that bullying has on an individual victim educationally. Of course, an internal summary can also be a great way to lead into a transition to the next point of a speech.

In this section, we have explored how bullying in schools has been shown to be detrimental to the victim’s grades, the victim’s scores on standardized tests, and the victim’s future educational outlook ( internal summary ). Therefore, schools need to implement campus-wide, comprehensive antibullying programs ( transition ).

While not sounding like the more traditional transition, this internal summary helps readers summarize the content of that main point. The sentence that follows then leads to the next major part of the speech, which is going to discuss the importance of antibullying programs.

Have you ever been on a road trip and watched the green rectangular mile signs pass you by? Fifty miles to go. Twenty-five miles to go. One mile to go. Signposts within a speech function the same way. Speakers use signposts to guide their audience through the content of a speech. If you look at Table 9.1 and look at the “common sequence patterns,” you’ll see a series of possible signpost options. In essence, we use these short phrases at the beginning of a piece of information to help our audience members keep up with what we’re discussing. For example, if you were giving a speech whose main point was about the three functions of credibility, you could use internal signposts like this:

• The first function of credibility is competence.
• The second function of credibility is trustworthiness.
• The final function of credibility is caring/goodwill.

Signposts are simply meant to help your audience keep up with your speech, so the more simplistic your signposts are, the easier it is for your audience to follow.

In addition to helping audience members keep up with a speech, signposts can also be used to highlight specific information the speaker thinks is important. Where the other signposts were designed to show the way (like highway markers), signposts that call attention to specific pieces of information are more like billboards. Words and phrases that are useful for highlighting information can be found in Table 9.1 under the category “emphasis.” All these words are designed to help you call attention to what you are saying so that the audience will also recognize the importance of the information.

Note from the author, Gruber: As we have previously stated, organization is integral to your audience understanding your message, and thus, being influenced by it. A clear organizational pattern with connectives, such as transitions and summaries, creates a clear and memorable message.

Finally, we sometimes get funny looks when we suggest you write the body of your speech  before  your Introduction & Conclusion. The natural thought may be “The introduction comes first, so I should write  it first.” However, consider the objectives of the Introduction, as described in the next chapter, and you’ll understand why you should always write the body first and then  the introduction and conclusion.

• Baker, E. E. (1965). The immediate effects of perceived speaker disorganization on speaker credibility and audience attitude change in persuasive speaking. Western Speech, 29 , 148–161.
• Smith, R. G. (1951). An experimental study of the effects of speech organization upon attitudes of college students. Speech Monographs, 18 , 292–301.
• Thompson, E. C. (1960). An experimental investigation of the relative effectiveness of organizational structure in oral communication.  Southern Speech Journal, 26 , 59–69.
• Bostrom, R. N., & Waldhart, E. S. (1988). Memory models and the measurement of listening.  Communication Education, 37 , 1–13.
• Dunham, J. R. (1964).  Voice contrast and repetition in speech retention  (Doctoral dissertation). Retrieved from:  http://etd.lib.ttu.edu/theses .
• LeFrancois, G. R. (1999).  Psychology for teaching (10th ed.). Belmont, CA: Wadsworth.
• Smith, R. G. (1951). An experimental study of the effects of speech organization upon attitudes of college students.  Speech Monographs, 18 , 292–301.
• Ausubel, D. P. (1968).  Educational psychology . New York, NY: Holt, Rinehart, & Winston.
• https://www.pexels.com/photo/photo-of-woman-lying-on-bed-while-using-laptop-4066041/
• https://www.pexels.com/photo/photo-of-led-signage-on-the-wall-942317/

Sections of this chapter were adapted from Stand up, Speak Out: The practice and ethics of public speaking. Stand up, Speak out  by University of Minnesota is licensed under a  Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License , except where otherwise noted.

Principles of Public Speaking Copyright © 2022 by Katie Gruber is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License , except where otherwise noted.

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How to Write an Effective Speech Outline: A Step-by-Step Guide

• The Speaker Lab
• March 8, 2024

Table of Contents

Mastering the art of speaking starts with crafting a stellar speech outline. A well-structured outline not only clarifies your message but also keeps your audience locked in.

In this article, you’ll learn how to mold outlines for various speech types, weaving in research that resonates and transitions that keep listeners on track. We’ll also show you ways to spotlight crucial points and manage the clock so every second counts. When it’s time for final prep, we’ve got smart tips for fine-tuning your work before stepping into the spotlight.

Understanding the Structure of a Speech Outline

An effective speech outline is like a map for your journey as a speaker, guiding you from start to finish. Think of it as the blueprint that gives shape to your message and ensures you hit all the right notes along the way.

Tailoring Your Outline for Different Speech Types

Different speeches have different goals: some aim to persuade, others inform or celebrate. Each type demands its own structure in an outline. For instance, a persuasive speech might highlight compelling evidence while an informative one focuses on clear explanations. Crafting your outline with precision means adapting it to fit these distinct objectives.

Incorporating Research and Supporting Data

Your credibility hinges on solid research and data that back up your claims. When writing your outline, mark the places where you’ll incorporate certain pieces of research or data. Every stat you choose should serve a purpose in supporting your narrative arc. And remember to balance others’ research with your own unique insights. After all, you want your work to stand out, not sound like someone else’s.

The Role of Transitions in Speech Flow

Slick transitions are what turn choppy ideas into smooth storytelling—think about how bridges connect disparate land masses seamlessly. They’re not just filler; they carry listeners from one thought to another while maintaining momentum.

Incorporate transitions that feel natural yet keep people hooked. To keep things smooth, outline these transitions ahead of time so nothing feels left up to chance during delivery.

Techniques for Emphasizing Key Points in Your Outline

To make certain points pop off the page—and stage—you’ll need strategies beyond bolding text or speaking louder. Use repetition wisely or pause strategically after delivering something significant. Rather than go impromptu, plan out what points you want to emphasize before you hit the stage.

Timing Your Speech Through Your Outline

A watchful eye on timing ensures you don’t overstay—or undercut—your moment under the spotlight. The rhythm set by pacing can be pre-determined through practice runs timed against sections marked clearly in outlines. Practice will help ensure that your grand finale isn’t cut short by surprise.

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Depending on the type of speech you’re giving, your speech outline will vary. The key ingredients—introduction, body, and conclusion—are always there, but nuances like tone or message will change with each speaking occasion.

Persuasive Speeches: Convincing With Clarity

When outlining a persuasive speech, arrange your arguments from strong to strongest. The primacy effect works wonders here, so make sure to start off with a strong point. And just when they think they’ve heard it all, hit them with an emotional story that clinches the deal.

You might start by sharing startling statistics about plastic pollution before pivoting to how individuals can make a difference. Back this up with data on successful recycling programs which demonstrate tangible impact, a technique that turns facts into fuel for action.

Informative Speeches: Educating Without Overwhelming

An informative speech shouldn’t feel like drinking from a fire hose of facts and figures. Instead, lay out clear subtopics in your outline and tie them together with succinct explanations—not unlike stepping stones across a stream of knowledge.

If you’re talking about breakthroughs in renewable energy technology, use bullet points to highlight different innovations then expand upon their potential implications one at a time so the audience can follow along without getting lost in technical jargon or complexity.

Ceremonial Speeches: Creating Moments That Matter

In a ceremonial speech you want to capture emotion. Accordingly, your outline should feature personal anecdotes and quotes that resonate on an emotional level. However, make sure to maintain brevity because sometimes less really is more when celebrating milestones or honoring achievements.

Instead of just going through a hero’s whole life story, share the powerful tales of how they stepped up in tough times. This approach hits home for listeners, letting them feel the impact these heroes have had on their communities and sparking an emotional bond.

Incorporating Research in Your Speech Outline

When you’re crafting a speech, the backbone of your credibility lies in solid research and data. But remember, it’s not just about piling on the facts. It’s how you weave them into your narrative that makes listeners sit up and take notice.

Selecting Credible Sources

Finding trustworthy sources is like going on a treasure hunt where not all that glitters is gold. To strike real gold, aim for academic journals or publications known for their rigorous standards. Google Scholar or industry-specific databases are great places to start your search. Be picky. Your audience can tell when you’ve done your homework versus when you’ve settled for less-than-stellar intel.

You want to arm yourself with evidence so compelling that even skeptics start nodding along. A well-chosen statistic from a reputable study does more than decorate your point—it gives it an ironclad suit of armor.

Organizing Information Effectively

Your outline isn’t just a roadmap; think of it as scaffolding that holds up your argument piece by piece. Start strong with an eye-opening factoid to hook your audience right off the bat because first impressions matter—even in speeches.

To keep things digestible, group related ideas together under clear subheadings within your outline. Stick to presenting data that backs up each key idea without wandering down tangential paths. That way, everyone stays on track.

Making Data Relatable

Sure, numbers don’t lie but they can be hard to connect to. If you plan on using stats in your speech, make them meaningful by connecting them to relatable scenarios or outcomes people care about deeply. For instance, if you’re talking health statistics, relate them back to someone’s loved ones or local hospitals. By making the personal connection for your audience, you’ll get their attention.

The trick is using these nuggets strategically throughout your talk, not dumping them all at once but rather placing each one carefully where its impact will be greatest.

Imagine your speech as a road trip. Without smooth roads and clear signs, the journey gets bumpy, and passengers might miss the scenery along the way. That’s where transitions come in. They’re like your speech’s traffic signals guiding listeners from one point to another.

Crafting Seamless Bridges Between Ideas

Transitions are more than just linguistic filler. They’re strategic connectors that carry an audience smoothly through your narrative. Start by using phrases like “on top of this” or “let’s consider,” which help you pivot naturally between points without losing momentum.

To weave these seamlessly into your outline, map out each major turn beforehand to ensure no idea is left stranded on a tangent.

Making Use of Transitional Phrases Wisely

Be cautious: overusing transitional phrases can clutter up your speech faster than rush hour traffic. Striking a balance is key—think about how often you’d want to see signposts on a highway. Enough to keep you confident but not so many that it feels overwhelming.

Pick pivotal moments for transitions when shifting gears from one major topic to another or introducing contrasting information. A little direction at critical junctures keeps everyone onboard and attentive.

Leveraging Pauses as Transition Tools

Sometimes silence speaks louder than words, and pauses are powerful tools for transitioning thoughts. A well-timed pause lets ideas resonate and gives audiences time to digest complex information before moving forward again.

This approach also allows speakers some breathing room themselves—the chance to regroup mentally before diving into their next point with renewed vigor.

Connecting Emotional Threads Throughout Your Speech

Last but not least, don’t forget emotional continuity, that intangible thread pulling heartstrings from start-to-finish. Even if topics shift drastically, maintaining an underlying emotional connection ensures everything flows together cohesively within the larger tapestry of your message.

Techniques for Emphasizing Key Points in Your Speech Outline

When you’re crafting your speech outline, shine a spotlight on what matters most so that your audience doesn’t miss your key points.

Bold and Italicize for Impact

You wouldn’t whisper your punchline in a crowded room. Similarly, why let your main ideas get lost in a sea of text? Use bold or italics to give those lines extra weight. This visual cue signals importance, so when you glance at your notes during delivery, you’ll know to emphasize those main ideas.

Analogies That Stick

A good analogy is like super glue—it makes anything stick. Weave them into your outline and watch as complex concepts become crystal clear. But remember: choose analogies that resonate with your target audience’s experiences or interests. The closer home it hits, the longer it lingers.

The Power of Repetition

If something’s important say it again. And maybe even once more after that—with flair. Repetition can feel redundant on paper, but audiences often need to hear critical messages several times before they take root.

Keep these strategies in mind when you’re ready to dive into your outline. You’ll transform those core ideas into memorable insights before you know it.

Picture this: you’re delivering a speech, and just as you’re about to reach the end, your time’s up. Ouch! Let’s make sure that never happens. Crafting an outline is not only about what to say but also how long to say it.

Finding Balance in Section Lengths

An outline isn’t just bullet points; it’s a roadmap for pacing. When outlining your speech, make sure to decide how much time you’d like to give each of your main points. You might even consider setting specific timers during rehearsals to get a real feel for each part’s duration. Generally speaking, you should allot a fairly equal amount of time for each to keep things balanced.

The Magic of Mini Milestones

To stay on track, a savvy speaker will mark time stamps or “mini milestones” on their outline. These time stamps give the speaker an idea of where should be in their speech by the time, say, 15 minutes has passed. If by checkpoint three you should be 15 minutes deep and instead you’re hitting 20 minutes, it’s time to pick up the pace or trim some fat from earlier sections. This approach helps you stay on track without having to glance at the clock after every sentence.

Utilizing Visual Aids and Multimedia in Your Outline

Pictures speak louder than words, especially when you’re on stage. Think about it: How many times have you sat through a presentation that felt like an eternity of endless bullet points? Now imagine if instead, there was a vibrant image or a short video clip to break up the monotony—it’s game-changing. That’s why integrating visual aids and multimedia into your speech outline isn’t just smart. It’s crucial for keeping your audience locked in.

Choosing Effective Visuals

Selecting the right visuals is not about flooding your slides with random images but finding those that truly amplify your message. Say you’re talking about climate change. In this case, a graph showing rising global temperatures can hit hard and illustrate your chosen statistic clearly. Remember, simplicity reigns supreme; one powerful image will always trump a cluttered collage.

Multimedia Magic

Videos are another ace up your sleeve. They can deliver testimonials more powerfully than quotes or transport viewers to places mere descriptions cannot reach. But be warned—timing is everything. Keep clips short and sweet because no one came to watch a movie—they came to hear you . You might highlight innovations using short video snippets, ensuring these moments serve as compelling punctuations rather than pauses in your narrative.

The Power of Sound

We often forget audio when we think multimedia, yet sound can evoke emotions and set tones subtly yet effectively. Think striking chords for dramatic effect or nature sounds for storytelling depth during environmental talks.

Audiences crave experiences they’ll remember long after they leave their seats. With well-chosen visuals and gripping multimedia elements woven thoughtfully into every section of your speech outline, you’ll give them exactly that.

Rehearsing with Your Speech Outline

When you’re gearing up to take the stage, your speech outline is a great tool to practice with. With a little preparation, you’ll give a performance that feels both natural and engaging.

Familiarizing Yourself with Content

To start off strong, get cozy with your outline’s content. Read through your outline aloud multiple times until the flow of words feels smooth. This will help make sure that when showtime comes around, you can deliver those lines without tripping over tough transitions or complex concepts.

Beyond mere memorization, understanding the heart behind each point allows you to speak from a place of confidence. You know this stuff—you wrote it. Now let’s bring that knowledge front and center in an authentic way.

Mimicking Presentation Conditions

Rehearsing under conditions similar to those expected during the actual presentation pays off big time. Are you going to stand or roam about? Will there be a podium? Think about these details and simulate them during rehearsal because comfort breeds confidence—and we’re all about boosting confidence.

If technology plays its part in your talk, don’t leave them out of rehearsals either. The last thing anyone needs is tech trouble during their talk.

Perfecting Pace Through Practice

Pacing matters big time when speaking. Use timed rehearsals to nail down timing. Adjust speed as needed but remember: clarity trumps velocity every single time.

You want people hanging onto every word, which is hard to do if you’re talking so fast they can barely make out what you’re saying. During rehearsals, find balance between pacing and comprehension; they should go hand-in-hand.

Finalizing Your Speech Outline for Presentation

You’ve poured hours into crafting your speech, shaping each word and idea with precision. Now, it’s time to tighten the nuts and bolts. Finalizing your outline isn’t just about dotting the i’s and crossing the t’s. It’s about making sure your message sticks like a perfectly thrown dart.

Reviewing Your Content for Clarity

Your first task is to strip away any fluff that might cloud your core message. Read through every point in your outline with a critical eye. Think of yourself as an editor on a mission to cut out anything that doesn’t serve a purpose. Ask yourself if you can explain each concept clearly without needing extra words or complex jargon. If not, simplify.

Strengthening Your Argument

The meat of any good presentation lies in its argument, the why behind what you’re saying. Strengthen yours by ensuring every claim has iron-clad backing—a stat here, an expert quote there. Let this be more than just facts tossed at an audience; weave them into stories they’ll remember long after they leave their seats.

Crafting Memorable Takeaways

Audiences may forget details but never how you made them feel—or think. Embed memorable takeaways throughout your outline so when folks step out into fresh air post-talk, they carry bits of wisdom with them.

This could mean distilling complex ideas down to pithy phrases or ending sections with punchy lines that resonate. It’s these golden nuggets people will mine for later reflection.

FAQs on Speech Outlines

How do you write a speech outline.

To craft an outline, jot down your main ideas, arrange them logically, and add supporting points beneath each.

What are the 3 main parts of a speech outline?

An effective speech has three core parts: an engaging introduction, a content-rich body, and a memorable conclusion.

What are the three features of a good speech outline?

A strong outline is clear, concise, and structured in logical sequence to maximize impact on listeners.

What is a working outline for a speech?

A working outline serves as your blueprint while preparing. It’s detailed but flexible enough to adjust as needed.

Crafting a speech outline is like drawing your map before the journey. It starts with structure and flows into customization for different types of talks. Remember, research and evidence are your compass—they guide you to credibility. Transitions act as bridges, connecting one idea to another smoothly. Key points? They’re landmarks so make them shine.

When delivering your speech, keep an eye on the clock and pace yourself so that every word counts.

Multimedia turns a good talk into a great show. Rehearsing polishes that gem of a presentation until it sparkles.

Last up: fine-tuning your speech outline means you step out confident, ready to deliver something memorable because this isn’t just any roadmap—it’s yours.

• Last Updated: March 5, 2024

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• Speech Crafting →

Topical Speech Patterns: Uncovering Their Power and How to Use Them Effectively

We’ve all been there. You’re in a meeting or speaking in front of a large group and you can feel the eyes on you. You know that the topic is important, your audience is listening intently, and then for a moment, your mind goes blank and your words fail you. Panic begins to take over, so you start speaking and your words come out jumbled and unfocused. The key to avoiding this situation is to unlock your topical speech patterns so you can speak with clarity and confidence . In this blog post, we’re going to look at how to develop a strong and fluid speech and identify general tips and tricks you can use to start speaking more confidently. First, we’ll look at how to find the right topics and determine which ones resonate the most with your audience. Then we’ll look at how to use logical arguments and related ideas to ensure a cohesive and fluid speech. Finally, we’ll discuss some helpful tools and techniques you can use to practice and hone your speech. By the end of this blog post, you should have a better understanding of how to unlock your topical speech patterns and become a better and more confident public speaker . Let’s get started!

Quick Insight

A topical speech pattern is a type of organizational structure used when preparing a speech . It involves arranging the ideas around a central topic or main point, which helps the speaker logically develop their points and keep the audience engaged.

Understanding Topical Speech Patterns

Understanding topical speech patterns helps to create clarity and confidence when speaking. A topical speech pattern is the way content is organized within a speech or presentation. In order to effectively communicate a message, understanding and incorporating effective topical patterns can be extremely beneficial. When structuring the content of a speech, it should follow a logical flow that will keep the audience engaged and attentive. This allows listeners to understand the message they are hearing, while also making it easier for the speaker to maintain clear thoughts. One of the most widely accepted topical speech patterns is called “ Abecedarian .” This topic structure begins by introducing a main idea or topic followed by sub-ideas or topics in alphabetical order. Additionally, this method can be used for large and small presentations and allows for easy navigation through a variety of topics. Another popular approach to organizing information into a topical pattern is called “ Chronological ”. This speaks for itself as it simply follows from one point in time to another—effectively allowing an audience to keep track of what has happened over time with respect to the particular topic. As its name implies, it has the power to fill up gaps in knowledge, especially when taking more complex considerations into account such as when discussing current events or historical landmarks. Overall, understanding how to organize topics into structured verbal forms while taking into consideration the context of certain conversations is key when speaking. It not only ensures the clarity and effectiveness of one’s words but allows them to develop confidence in their ability express themselves. Having now discussed different methods of understanding topical speech patterns, our next section describes how one can go about organizing ideas for a successful speech.

Most Important Summary Points

Topical speech patterns can help create clarity and confidence when speaking. Abecedarian is a popular pattern that involves introducing a main topic followed by sub-topics in alphabetical order. Chronological is another approach where topics are organized from one point in time to another. Organizing ideas into structured verbal forms and considering the context are key for successful speeches.

Organizing Ideas for a Speech

When preparing a speech, one of the most important steps is organizing the ideas in a logical way that conveys your point clearly and effectively. To do this you must familiarize yourself with the content of your speech, identify key points, develop supporting evidence , and choose an appropriate structure. Familiarizing Yourself with Content One of the first steps in organizing a speech is to become intimately familiar with the content. It starts with research and synthesis of the materials. As you are researching and reading, organize material into categories either through mental or physical notes. Break down complex topics or arguments so that it easier for your audience to comprehend them. Identifying Key Points Once you have done research and become well-acquainted with the content, move onto identifying key points that make up your argument. It is important to limit these key points to three to five points so they are easy to remember and follow. Prioritize these points according to strength; this allows you to focus resources where their effect will be greatest and ensure cohesiveness throughout your speech. Developing Supporting Evidence Developing supporting evidence builds credibility and enforces your argument’s relevance and power. Various pieces of evidence can be used such as quotes from authoritative sources, related statistics and facts, anecdotes, multimedia visuals and more. Utilize these pieces of evidence to explain, elaborate on and illustrate your argument’s importance without drastically changing the flow of an argument. Choosing an Appropriate Structure The structure or outline of a speech is paramount for effectively communicating one’s point(s). Choosing an appropriate structure ensures that each notion flows smoothly from one point to the next, outlines how all points contribute to an overall statement or argument, reinforces repetition for main points, clarifies any assumptions made mid-speech, adheres to a timeline, and so much more. Popular structures for speeches include chronological order, order of importance or spatial/geographical pecking order . Deciding which organization style works best depends on varying factors such as technicality of topic being discussed, time allotted for presentation, method(s) used for presentation (visuals), language proficiency among audience members as well as cultural considerations unique to each situation among many other factors. Cautious curation of these elements results in clear communication no matter the environment one finds oneself in when presenting said ideas; this subsequently provides ample opportunity for compelling presentations with vivid imagery and narrative drive whose impact resonates with both intellects and emotions alike. Now that we’ve discussed how to organize ideas within our speech let’s move onto identifying the main points – the backbone on which our argument stands firm – in the next section.

Identifying the Main Points

When preparing a speech , it is essential to identify the main points that should be comprised within the speech. The main points should be clear and concise, yet comprehensive enough to provide thorough information. A speech can typically include an introduction , body and conclusion. When identifying the main points for the introduction, think of what would be most pertinent for the audience to consider. Keep in mind what matters most to the specific audience being addressed. Be sure to include facts or relevant experiences that may attribute to the topic at hand. This will stimulate engagement from attendees and identify why the topic is important. For the body of a speech, each point should align with one another and emphasize on a unique portion of what’s being discussed. It’s important to remember to back up points with credible data and other testimonials. Providing evidence not only makes a speech more trustworthy, but allows it to be easily understood by all listeners. Additionally, leave room for any sort of discussion or questions that people may have during this portion of your presentation. Lastly, when summarizing conclusions with key takeaways, consider ways in which everyone who listened can translate what’s been shared into actionable advice or tasks. By including simple yet impactful tips or steps throughout your speech you can leave people with a lasting impression on your topic and further emphasize its significance. Overall, establishing those main points is a crucial aspect when creating an effective and successful topical speech that people witness and understand. Once you’ve identified the main points of your presentation, it’s time to connect ideas using appropriate transition phrases.

Connecting Ideas with Appropriate Transition Phrases

Transition phrases help to facilitate the flow of speech and provide listeners with a greater understanding of the speaker’s ideas. When crafting an effective speech, speakers should be mindful of their use of connecting words and phrases in order to maintain clarity and cohesion. Utilizing transition phrases can help to link the concepts discussed throughout a speech and form an organized, logical argument. Furthermore, choosing appropriate transition words allows the speaker to tailor their material to the size and complexity of the intended audience. Using appropriate connecting words is essential for providing clear and concise communication. Appropriate transition words indicate to the audience that the speaker understands how one topic relates to another. Additionally, certain types of transitions can add emphasis or emotion to a sentiment being expressed by the speaker; for example, phrases such as “in addition” or “moreover” follow up a statement whereas “for instance” provides further explanation and clarity. Whether directing debate between two sides or simply giving an individual presentation, using appropriate transition phrases is critical for speaking with clarity and confidence. Connecting with leading language helps put the listener at ease and confirms that speaker is both knowledgeable and prepared. This can assist with gaining respect from an audience, who will note an individual’s ability to eloquently string together ideas from thought-to-thought within a discussion or presentation. Finally, it important for speakers to be conscious of how they select their transitioning words within a longer timeframe as some phrases may become repetitive. Therefore, selecting different options when transitioning topics while addressing a longer timeframe can hold people’s attention more easily than returning to similar loanwords again and again throughout longer speeches or presentations. Moving onto the next section, this article will discuss adapting one’s speech for a longer timeframe.

Adapting Your Speech for a Longer Timeframe

Delivering a speech or presentation can be daunting, especially if it is going to last more than a few minutes . When speaking in front of an audience for an extended period of time, it is important to keep them engaged and make sure the energy level stays high. Here are some strategies that can help you a speaker successfully adapt their speech to a longer timeframe. First, long speeches can seem overwhelming, so consider breaking your presentation into multiple sections. This will allow you to focus on one topic at a time and make the overall structure easier for the audience to understand. Additionally, adding videos, photos, diagrams, or other visuals can enhance understanding without requiring too much additional effort from the speaker. Second, don’t forget to stay active throughout the entire presentation. Move around the stage or use gestures and facial expressions to emphasize key points. Ask questions of the audience and incorporate interactive activities when appropriate. Doing so will help keep everyone engaged and increase participation in the discussion. Third, vary your tone and delivery style as you talk about different topics. Use rich language to describe stories or anecdotes that illustrate your point. Show enthusiasm when sharing ideas or discussing statistics that may otherwise appear boring or mundane. By following these tips, speakers can ensure that their longer speeches remain engaging and interesting throughout every stage of their presentation. Finally, don’t forget to plan time for breaks between sections or even short pauses in mid-sentence to change topics or provide perspective changes. This will give both the speaker and audience a chance to rest and refocus before moving onto the next subject matter. With these strategies in hand, presenters can boost both their confidence and capabilities when giving longer speeches with more clarity and poise. Now that we have talked about adapting your speech for a longer timeframe let’s move on to the importance of keeping audiences engaged throughout these extended presentations – which will be discussed in the next section.

Keeping Audiences Engaged

When delivering a topical speech, it is important to keep your audience engaged . Engagement is key to ensure that the audience stays attentive and interested in the topic being discussed. To do this effectively, speakers can choose to engage their audience through various activities and techniques. One way to keep an audience engaged is to break up longer presentations with interactive activities. This can be done by involving the audience in a discussion, inviting them to participate in quizzes or games, or incorporating brief group exercises into your presentation. Incorporating interactive activities not only gives the audience something engaging to do, but it also helps break up the monotony of a long speech, allowing the speaker to reset their thoughts and continue on with a refreshed approach. Another way to keep an audience engaged is to use stories or anecdotes rather than simply presenting facts and figures. Storytelling allows speakers to gain their audience’s attention and provide another layer of depth and emotion to the topic being presented. Therefore, it can be especially useful when trying to convey certain emotions or feelings that are difficult for others to connect with. Finally, using multimedia elements such as videos and music can also be effective in keeping an audience engaged. These multimedia tools provide additional visuals for audiences to follow along with as well as providing a break from more traditional presentations styles. By incorporating one or more of these activities into a speech, speakers can keep their audiences engaged while ensuring they stay focused on the topic at hand. From here, they can then move onto the next section which will focus on “Sticking to Your Argument”

Sticking to Your Argument

When constructing an argument, it is important to stay focused on the point of the argument and avoid getting sidetracked. During a topical speech , speakers should strive to make logical and consistent arguments by staying on topic, avoiding conjecture or opinion. It is important to remember that while some debate or discussion can enhance a speech, making personal attacks or presenting information without a clear purpose can weaken a speaker’s argument. For those looking to debate or counter an opposing point of view, it is essential to acknowledge that there may be two sides to every argument. When presenting both sides of the story, speakers should acknowledge any points of agreement within each side but remain balanced in their presentation, so that they don’t inadvertently alienate members of either viewpoint. Ultimately, the goal should be to clearly lay out both sides of the argument objectively and logically and then defend the speaker’s point of view. In order for a speaker’s audience to follow their argument, it is crucial for them to stay on target throughout their presentation. To ensure that this remains the case, many speakers find it beneficial to form an outline with specific talking points in mind prior to delivering their speech. By having a plan in place before commencing the dialogue and periodically reminding themselves about their main arguments as they go along, speakers will better able able to maintain focus and clarity throughout their address. By utilizing these strategies for sticking to an argument throughout their presentation, topical speakers can feel more confident presenting their ideas with conviction and clarity. Now let’s take a look at tips for focusing on the topic at hand during a topical speech.

Tips for Focusing on the Topic

When it comes to speaking, it’s important to focus on the topic at hand. Focusing on the topic allows the speaker to stay on track, be concise and organized, and ensure that the presentation stays engaging and informative. There are several tips for focusing on topics during a speech or presentation. First, it is important to create an outline or roadmap of what will be discussed so as not to ramble off onto too many tangents. If there is a time limit for the presentation then, this is also important for ensuring that enough material is covered within the allotted timeframe. Second, it is essential to practice ahead of time. By practicing out loud, with others, and in front of a mirror if necessary, the speaker can become more comfortable speaking on the topic before presenting to an audience. Through preparation and repetition, the presenter can stay focused and organized. Third, when speaking in front of a large crowd it can be helpful to imagine having a conversation with one person instead of addressing a room full of people. This encourages eye contact , direct delivery, and being able to rely on natural pauses throughout the discussion instead of feeling pressured to fill silence in an uncomfortable way. Lastly, make sure to end with a strong conclusion that ties back into the main points from the beginning of the presentation or speech. This allows for closure on the topic but also ensures that all presented material was concisely covered. By following these tips for focusing on topics during speeches or presentations, speakers can keep their audiences engaged and well informed. For each section or paragraph it’s also useful for speakers to ask themselves if what they’re saying is in line with the overall message being addressed and if it’s absolutely necessary for clarification on what was presented prior. Ultimately this helps keep speakers grounded while they explore their subject matter without getting off track too often while still providing valuable information and entertainment value. To conclude this section, it’s essential that speakers focus on staying organized and knowledgeable no matter their skill level when presenting any material publicly — whether it’s a formal assembly or an informal meeting with peers. With clarity and confidence these tricks help maintain topically sound speeches that leave audiences satisfied with what was communicated. With effective topical speeches delivered effectively comes successful conclusions – which leads us into our next section: “Conclusion”.

Public speaking can be a nerve wracking endeavor, but it doesn’t have to be. Following the strategies outlined in this article can help unlock your topical speech patterns and enable you to better articulate your point of view . Clarity and confidence are key components of great public speaking, and understanding how to achieve them is essential. By focusing on the language you use, using storytelling techniques, having a clear structure, keeping your purpose at the forefront of your mind, and effectively dealing with objections, you’ll be well on your way to becoming an incredibly powerful speaker. Haivng clarity and confidence when it comes to public speaking can open up endless opportunities for you. You may find new job or educational opportunities coming your way as a result of gains in oratory ability . On the whole, it’s clear that putting effort into honing one’s public speaking abilities can have lasting positive effects. However, there is still benefit to be had from being more spontaneous when giving speeches—this can lead to more emotionally engaging talks from listeners’ perspectives. Additionally, depending on what type of presentation you’re doing, it may make sense to play off audience reactions in real-time and tailor your talk accordingly—something that a scripted speech likely won’t allow for. Ultimately, the best course of action will depend upon the nature of the event you’re presenting at and who your target audience is. In conclusion, no matter how nervous or uncomfortable with public speaking one might feel initially, honing their skillset in this area will bring far-reaching positive benefits if done consistently over time. With dedicated practice and by utilizing all the methods mentioned in this article, anyone can become an effective topical speaker capable of captivating their audience through both clarity and confidence in their delivery.

Common Questions and Answers

How is a topical speech pattern strategically employed in public speaking.

A topical speech pattern is a way of organizing information and ideas around a particular topic or idea. It is commonly used in public speaking to establish a clear structure and logic for a presentation. By setting up this structure, the speaker can better communicate their message to the audience, as well as emphasize key points. For example, one could use a topical speech pattern to discuss the various causes and effects of climate change, starting with broad causes and gradually moving towards more specific effects. This organized flow helps listeners understand the information presented and make informed decisions. Additionally, a topical speech pattern can be strategically employed in public speaking to appeal to certain audiences or support certain argumentative points; by choosing relevant topics and framing them within an organized structure, speakers can more easily make an impactful impression on their audience.

What techniques can be incorporated into a topical speech pattern?

Techniques that can be incorporated into a topical speech pattern include being well-prepared, knowing your audience , using strong body language, avoiding large volumes of text, and providing clear examples to support points. Being prepared is a key factor in delivering any speech. Before writing the speech, you should research the topic thoroughly so that your speeches have the potential to sound informed and professional. Knowing your audience is also important for delivering a successful presentation. Understanding who you are speaking to helps tailor the message to their interests and experiences and allows for more meaningful dialogue between the speaker and the audience. Using strong body language such as eye contact, appropriate gestures, posture, and facial expressions can also be beneficial for engaging with an audience. These tools help bring the speech alive and create an atmosphere of attentiveness from the audience. It is essential to avoid overwhelming your audience with too much text when giving a speech . Keep it succinct by focusing on key points and using visuals to support complex ideas, rather than relying too heavily on words. Finally, providing clear examples is an effective technique to guarantee the audience understands your point better. Providing examples gives them a better perspective of what your intended message is while helping you stay on track during the presentation.

Are there any specific examples of a topical speech pattern used in a successful speech?

Yes, there are several examples of topical speech patterns that have been used in successful speeches over the years. For example, former United States President John F. Kennedy’s iconic inaugural address focused on committing to public service and was an excellent example of how to effectively use a topical pattern. Kennedy began his speech by discussing the state of the world at the time and then proceeded to outline his personal commitment to “pay any price, bear any burden, meet any hardship, support any friend, oppose any foe” for the greater good of mankind. Opening with such a powerful statement set the tone for the rest of his speech which highlighted many different topical issues he wanted to discuss. Another exemplary example of a topical speech pattern is civil rights leader Martin Luther King’s famous ‘I Have A Dream’ speech. In this instance King started by reflecting on the country’s history and how far they had come while still acknowledging how much further they needed to go. He went on to introduce his vision for an equal future which was supported through poignant examples addressing various current issues including racism and segregation. This persuasive example of using a topical pattern inspired listeners across the world and greatly contributed towards social change during one of America’s most consequential moments. These two examples demonstrate how employing a topical approach in public speaking can be effective at conveying powerful ideas and inspiring others. The messages in both speeches still resonate today and remind us just how important it is to learn how to successfully use this method when crafting a meaningful presentation or dialogue.

Sentence Patterns

What this handout is about.

This handout gives an overview of English sentence patterns. It will help you identify subjects, verbs, and clause connectors so you can analyze your writing style and improve it by using a variety of sentence patterns. Click here for a one page summary of the English sentence patterns discussed on this handout.

Subjects, Verbs, and Clauses

In its simplest form, an English sentence has two parts: a subject and a verb that express a complete thought when they are together.

• The subject shows who or what is doing the action. It is always some form of noun or pronoun.
• The verb shows the action or the state of being. It can be an action verb, like “run,” or a state verb, like “seem.”

Examples of simple two word sentences include:

Marvin slept.

Isotopes react.

Real sentences are rarely so short. We usually want to convey much more information, so we modify the main subject and verb with other words and phrases, as in the sentences below:

Unfortunately, Marvin slept fitfully.

Dogs bark louder after midnight.

Heavy isotopes react more slowly than light isotopes of the same element.

Despite the extra information, each of these sentences has one subject and one verb, so it’s still just one clause. What’s a clause?

A clause is the combination of a subject and a verb. When you have a subject and verb, you have a clause. Pretty easy, isn’t it? We’re going to concentrate on clauses in this handout, with emphasis on these two in particular:

• Independent clause: a subject and verb that make a complete thought. Independent clauses are called independent because they can stand on their own and make sense.
• Dependent clause: a subject and verb that don’t make a complete thought. Dependent clauses always need to be attached to an independent clause (they’re too weak to stand alone).

We’ll talk more about dependent clauses later on, but also see our handout on fragments for a more detailed description of these types of clauses.

Something tricky

Before we move on to the sentence types, you should know a little trick of subjects and verbs: they can double up in the same clause. These are called “compound” subjects or verbs because there are two or more of them in the same clause.

Compound subject (two subjects related to the same verb):

Javier and his colleagues collaborated on the research article.

Compound verb (two verbs related to the same subject):

Javier conducted the experiment and documented the results.

Compound subject with compound verb:

Javier, his colleagues, and their advisor drafted and revised the article several times.

Notice that they don’t overlap. You can tell that it’s only one clause because all of the subjects in one clause come before all of the verbs in the same clause.

Four Basic Patterns

Every sentence pattern below describes a different way to combine clauses. When you are drafting your own papers or when you’re revising them for sentence variety, try to determine how many of these patterns you use. If you favor one particular pattern, your writing might be kind of boring if every sentence has exactly the same pattern. If you find this is true, try to revise a few sentences using a different pattern.

NOTE: Because nouns can fill so many positions in a sentence, it’s easier to analyze sentence patterns if you find the verbs and find the connectors. The most common connectors are listed below with the sentence patterns that use them.

In the descriptions below, S=Subject and V=Verb, and options for arranging the clauses in each sentence pattern given in parentheses. Connecting words and the associated punctuation are highlighted in brown. Notice how the punctuation changes with each arrangement.

Pattern 1: Simple Sentence

One independent clause (SV.)

Mr. Potato Head eats monkeys.

Try this: Look for sentences in your own text that have only one clause. Mark them with a certain color so they stand out.

Pattern 2: Compound Sentence

Two or more independent clauses. They can be arranged in these ways: (SV, and SV.) or (SV; however, SV.) Connectors with a comma, the FANBOYS: for, and, nor, but, or, yet, so (See our handout on commas for more info.) Connectors with a semicolon and comma: however, moreover, nevertheless, nonetheless, therefore

Example compound sentences:

Mr. Potato Head eats them for breakfast every day, but I don’t see the attraction.

Eating them makes him happy; however, he can’t persuade me.

• Scan your own text to find the compound connectors listed above. Circle them.
• Find the verb and the subject of the clauses on both sides of the connectors.
• Highlight your compound sentences with a color that’s different from the one you used to mark your simple sentences.

Pattern 3: Complex Sentence

One independent clause PLUS one or more dependent clauses. They can be arranged in these ways: (SV because SV.) or (Because SV, SV.) or (S, because SV, V.)

Connectors are always at the beginning of the dependent clause. They show how the dependent clause is related to the independent clause. This list shows different types of relationships along with the connectors that indicate those relationships:

• Cause/Effect: because, since, so that
• Comparison/Contrast: although, even though, though, whereas, while
• Place/Manner: where, wherever, how, however
• Possibility/Conditions: if, whether, unless
• Relation: that, which, who, whom
• Time: after, as, before, since, when, whenever, while, until

Examples of complex sentences:

He recommends them highly because they taste like chicken when they are hot.

Although chicken always appeals to me, I still feel skeptical about monkey.

Mrs. Potato Head, because she loves us so much, has offered to make her special monkey souffle for us.

She can cook it however she wants.

Although I am curious, I am still skeptical.

• Scan your own text to find the complex connectors listed above. Circle them.
• Find the verb and the subject of the clauses that goes with each connector, remembering that the dependent clause might be in between the subject and verb of the independent clause, as shown in the arrangement options above.
• Highlight your complex sentences with a color that’s different from the one you used to mark your simple sentences.

Pattern 4: Compound-Complex Sentence

Two or more independent clauses PLUS one or more dependent clauses. They can be arranged in these ways: (SV, and SV because SV.) or (Because SV, SV, but SV.)

Connectors: Connectors listed under Patterns 2 & 3 are used here. Find the connectors, then find the verbs and subjects that are part of each clause.

Mr. Potato Head said that he would share the secret recipe; however, if he does, Mrs. Potato Head will feed him to the piranhas, so we are both safer and happier if I don’t eat monkeys or steal recipes.

Try this: Use a fourth color to highlight the compound-complex sentences in your text (the ones with at least two independent and at least one dependent clauses).

Look at the balance of the four different colors. Do you see one color standing out? Do you notice one missing entirely? If so, examine your text carefully while you ask these questions:

• Could you separate some of the more complex sentences?
• Could you combine some of the shorter sentences?
• Can you use different arrangement options for each of the sentence patterns?
• Can you use different connectors if you change the order of the clauses?

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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17 Organizational Patterns

Learning Objectives

• Decide on an effective organizational pattern.

Now that we have gotten this far, we need to consider how we will organize our material. There are several ways you can organize your speech content to ensure your information is easy for your audience to follow. The following video explains different organizing patterns. Note that some of the organizing patterns are better for information speech and some are better for persuasive speeches.

Organizational Patterns

After deciding which main points and sub-points you must include, you can get to work writing up the speech. Before you do so, however, it is helpful to consider how you will organize the ideas. There are many ways you can organize speeches, and these approaches will be different depending on whether you are preparing an informative or persuasive speech. These are referred to as organizational patterns for arranging your main points in a speech. The chronological, topical, spatial, or causal patterns may be better suited to informative speeches, whereas the Problem-Solution, Monroe’s Motivated Sequence (Monroe, 1949) would work best for persuasive speeches.

Chronological Pattern

When you speak about events that are linked together by time, it is sensible to engage the chronological organization pattern. In a chronological speech, the main points are delivered according to when they happened and could be traced on a calendar or clock. Some professors use the term temporal to reflect any speech pattern dealing with taking the audience through time. Arranging main points in chronological order can be helpful when describing historical events to an audience as well as when the order of events is necessary to understand what you wish to convey. Informative speeches about a series of events most commonly engage the chronological style, as do many process speeches (e.g., how to bake a cake or build an airplane). Another time when the chronological style makes sense is when you tell the story of someone’s life or career. For instance, a speech about Oprah Winfrey might be arranged chronologically. In this case, the main points are arranged by following Winfrey’s life from birth to the present time. Life events (e.g., early life, her early career, her life after ending the Oprah Winfrey Show) are connected together according to when they happened and highlight the progression of Winfrey’s career. Organizing the speech in this way illustrates the interconnectedness of life events. Below you will find a way in which you can organize your main points chronologically:

Topic : Oprah Winfrey (Chronological Pattern)

Thesis : Oprah’s career can be understood by four key, interconnected life stages.

Preview : First, let’s look at Oprah’s early life. Then, we will look at her early career, followed by her years during the Oprah Winfrey show. Finally, we will explore what she is doing now.

I.       Oprah’s childhood was spent in rural Mississippi, where she endured sexual abuse from family members II.     Oprah’s early career was characterized by stints on local radio and television networks in Nashville and Chicago. III.    Oprah’s tenure as host of the Oprah Winfrey Show began in 1986 and lasted until 2011, a period of time marked by much success. IV.     Oprah’s most recent media venture is OWN: The Oprah Winfrey Network, which plays host to a variety of television shows including  Oprah’s Next Chapter .

Topical Pattern

When the main points of your speech center on ideas that are more distinct from one another, a topical organization pattern may be used. In a topical speech, main points are developed according to the different aspects, subtopics, or topics within an overall topic. Although they are all part of the overall topic, the order in which they are presented really doesn’t matter. For example, you are currently attending college. Within your college, there are various student services that are important for you to use while you are here. You may use the library, The Learning Center (TLC), Student Development office, ASG Computer Lab, and Financial Aid. To organize this speech topically, it doesn’t matter which area you speak about first, but here is how you could organize it.

Topic : Student Services at College of the Canyons

Thesis and Preview : College of the Canyons has five important student services, which include the library, TLC, Student Development Office, ASG Computer Lab, and Financial Aid.

I.       The library can be accessed five days a week and online and has a multitude of books, periodicals, and other resources to use. II.      The TLC has subject tutors, computers, and study rooms available to use six days a week. III.     The Student Development Office is a place that assists students with their ID cards, but also provides students with discount tickets and other student related       needs. IV.      The ASG computer lab is open for students to use for several hours a day, as well as to print up to 15 pages a day for free. V.       Financial Aid is one of the busiest offices on campus, offering students a multitude of methods by which they can supplement their personal finances paying             for both tuition and books.

Spatial Pattern

Another way to organize the points of a speech is through a spatial speech, which arranges the main points according to their physical and geographic relationships. The spatial style is an especially useful organization pattern when the main point’s importance is derived from its location or directional focus. Things can be described from top to bottom, inside to outside, left to right, north to south, and so on. Importantly, speakers using a spatial style should offer commentary about the placement of the main points as they move through the speech, alerting audience members to the location changes. For instance, a speech about The University of Georgia might be arranged spatially; in this example, the spatial organization frames the discussion in terms of the campus layout. The spatial style is fitting since the differences in architecture and uses of space are related to particular geographic areas, making the location a central organizing factor. As such, the spatial style highlights these location differences.

Topic : University of Georgia (Spatial Pattern)

Thesis : The University of Georgia is arranged into four distinct sections, which are characterized by architectural and disciplinary differences.

I.      In North Campus, one will find the University’s oldest building,     a sprawling treelined quad, and the famous Arches, all of which are nestled against Athens’ downtown district. II.     In West Campus, dozens of dormitories provide housing for the University’s large     undergraduate population and students can regularly be found lounging outside     or at one of the dining halls. III.    In East Campus, students delight in newly constructed, modern buildings and     enjoy the benefits of the University’s health center, recreational facilities, and     science research buildings. IV.     In South Campus, pharmacy, veterinary, and biomedical science students traverse     newly constructed parts of campus featuring well-kept landscaping and modern     architecture.

Causal Pattern

A causal speech informs audience members about causes and effects that have already happened with respect to some condition, event, etc. One approach can be to share what caused something to happen, and what the effects were. Or, the reverse approach can be taken where a speaker can begin by sharing the effects of something that occurred, and then share what caused it. For example, in 1994, there was a 6.7 magnitude earthquake that occurred in the San Fernando Valley in Northridge, California. Let’s look at how we can arrange this speech first by using a cause-effect pattern:

Topic : Northridge Earthquake

Thesis : The Northridge earthquake was a devastating event that was caused by an unknown fault and resulted in the loss of life and billions of dollars of damage.

I. The Northridge earthquake was caused by a fault that was previously unknown and located nine miles beneath Northridge. II. The Northridge earthquake resulted in the loss of 57 lives and over 40 billion dollars of damage in Northridge and surrounding communities.

Depending on your topic, you may decide it is more impactful to start with the effects, and work back to the causes (effect-cause pattern). Let’s take the same example and flip it around:

Thesis : The Northridge earthquake was a devastating event that was that resulted in the loss of life and billions of dollars in damage, and was caused by an unknown fault below Northridge.

I.      The Northridge earthquake resulted in the loss of 57 lives and over 40 billion dollars of damage in Northridge and surrounding communities. II.    The Northridge earthquake was caused by a fault that was previously unknown and located nine miles beneath Northridge.

Why might you decide to use an effect-cause approach rather than a cause-effect approach? In this particular example, the effects of the earthquake were truly horrible. If you heard all of that information first, you would be much more curious to hear about what caused such devastation. Sometimes natural disasters are not that exciting, even when they are horrible. Why? Unless they affect us directly, we may not have the same attachment to the topic. This is one example where an effect-cause approach may be very impactful.

Organizational patterns help you to organize your thoughts and speech content so that you are able to develop your ideas in a way that makes sense to the audience. Having a solid idea of which organization pattern is best for your speech will make your speech writing process so much easier!

Key Takeaways

• Speech organizational patterns help us to arrange our speech content in a way that will communicate our ideas clearly to our audience.
• Different organizational patterns are better for different types of speeches and topics.
• Some organizational patterns are better for informative speeches: Chronological, spatial, topical, and narrative.
• Although cause-effect and problem-solution can be used for an informative speech, use these patterns with caution as they are better used for persuasive speeches.

Introduction to Speech Communication by Individual authors retain copyright of their work licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License , except where otherwise noted.

Public Speaking Copyright © by Dr. Layne Goodman; Amber Green, M.A.; and Various is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License , except where otherwise noted.

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Realistic dialogue: Creating characters’ speech patterns

Realistic dialogue moves stories along. When you give each character an interesting voice and persona, it’s a joy to read their conversations. Varied, entertaining speech takes readers into the heart of your characters. Here are six ways to make characters’ speech colorful and interesting

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Realistic dialogue moves stories along. When you give each character an interesting voice and persona, it’s a joy to read their conversations. Varied, entertaining speech takes readers into the heart of your characters.

Remember, too, that dialogue is crafted speech, and doesn’t have to be exact ‘real speech’. Common speech patterns can be boring to read, and are usually full of phrases like ‘you know’ and umms and ahhs and so on. 

Here are six ways to make characters’ speech colorful and interesting.

1. Make characters’ voices reflect their place and time

Great dialogue illustrates its speakers. Who is this person? Why do they speak this way? What odd curse words or phrases do they use that are particular to their era or home town? Dialogue executed well develops characters, adding rich texture to the personalities filling your story. One way to make dialogue effective is to have it reflect your characters’ place and time.

In Shakespeare’s plays, we gain a strong sense of an older time through characters’ use of archaic language. For example, characters say ‘thy’ and ‘thou’ in place of ‘your’ and ‘you’.

Era-appropriate character speech helps to establish setting and context. If your character lives in the 21st Century but speaks as though they’re living in 1700, this will confuse readers. The reverse is also true. If a 19th century teenager speaks as though it is the 21st century, this can jolt your reader right out of the story.

So how do you make characters’ speech show where they are in place and time?

• Use occasional language appropriate to the time period in dialogue. In the 60s, for example, common slang terms in parts of the US included ‘old lady’ and ‘old man’ for a person’s significant other.
• Make sure characters don’t use language more modern than their time period – if you’re unsure when a word was coined, Google its etymology
• Use regional accent details

The third suggestion should be used in moderation. Trying to recreate how different groups speak in dialogue using written accents can create stereotypes or be difficult to read. Perhaps you want to portray a character whose native language isn’t English? Again, be mindful when doing so. Character speech should be clear and easy to read. This is particularly the case when there are sensitive issues of culture or race involved. Read this post for tips on creating regional speech patterns without using stereotypes as a crutch.

2. Show characters’ unique personalities in their speech

What do we mean when we talk about a character’s ‘voice’? ‘Voice’ in characterization refers to two things:

• The actual way a person’s voice sounds to the ear (details such as pitch, volume, placement (is it nasal or throaty?) and tone of voice.
• The personality that comes across in how a character expresses themselves. Do they seem blunt and bolshie? Or is their voice gentle, kind and reserved? Do they use concise language? Do they use consistently negative language? 

Pause for a second and think of people you know well. Write down an adjective (describing word) that sums up their voice for you. What creates this effect? Are they loud? Soft-spoken? Confident? Self-doubting? Comical?

Include brief descriptions of voice when you are writing character sketches for your outline. You can create full, detailed character outlines using Now Novel’s dashboard process . Decide:

• What a character’s general personality will be: Are they sanguine/happy-go-lucky, melancholic, plodding and pragmatic, irritable and aggressive?
• How these personality details could show in your character’s voice – an irritable character could curse a lot, while a melancholic character may enjoy grumbling. Also think of ways characters can be against type. A deeply melancholic character could put on a bright, sunny voice to avoid dragging others down, for example.
• Think of other elements of speech, such as whether a character is a greater talker or listener.

Remember to use gestures or beats too to make characters’ speech have even more personality . These can reinforce or contradict what a character says. They also help you to be more nuanced about what a character feels while they are talking. Does the character speak with dramatic, outsized gestures? Might your character have memorable recurring gestures such as running a hand through her hair or taking off his glasses and polishing them? Believable dialogue involves the character as a fully embodied person, not just a talking head.

Find more of our articles on describing characters via our character writing hub .

3. Show background in how characters talk

Think about each character’s background and how that may affect the character’s speech. How educated is the character, and does that show in the character’s speech? Where is the character from? What is the character’s social class?

Perhaps your character grew up poor in an uneducated family and has returned home. How does the character feel about coming home and her family and old neighbours? Maybe she has picked up words and phrases in the big city that people poke fun at her for using. Details such as these in characters’ speech bring them to life, and add vivid colour to character portraits. For the same example, the character could resent or feel embarrassed of where she comes from. In that case, she might deliberately speak in a mannered way that sets her apart from her family back home.

How we speak isn’t entirely arbitrary . We might talk a certain way because we’ve embraced a subculture and particular identity, for example. Think about how ‘bros’ perform their masculinity to each other. They might speak quite differently when conversing with a grandparent versus a friend. Maybe their language is more ‘proper’ and less slang-filled when speaking to an elder. Or maybe they make no effort to modulate their speech at all. Even this can suggest your character’s personality – how much their speech changes depending on who they’re with.

A last word about punctuating dialogue in fiction. The US convention is to use double speech marks, while the UK convention is to use single speech marks. Some writers dispense with that entirely, and have speech rendered as part of the narrative flow.

Paying attention to details such as these will help you write realistic dialogue and bring your characters’ voices to life.

4. Use the ‘shibboleth’ to create realistic dialogue between outsiders and others

Sometimes how a person speaks can be particularly revealing if they are trying to assimilate into an unfamiliar group. The ‘ shibboleth ‘ is a word that distinguishes one in-group from another. That group might be as small as a clique or as large as an entire nationality.

In the past, shibboleths have been used to identify spies or enemy combatants. But a Shibboleth can also trip your character up in a social sense. The wrong pronunciation or choice of vocabulary might reveal that person as someone who is ‘different’. A foreign exchange student for example may stumble over strange idioms the locals use that don’t make immediate sense. For example, an English character studying in Germany might be confused why everyone’s talking about sausages and pony farms .

5. Show how characters’ speech changes according to their situation

A character’s speech should change according to the situation they’re in.

If we spoke with one limited range of vocabulary and intonation all the time, we’d be boring speakers. Consider what speech might reveal about your character under duress. Perhaps a character who seems mild-mannered might suddenly burst into a flurry of obscenities?

Subtle differences in speech depending on what’s happening can show details such as how your characters handle stress and tension .

6. Remember differences between everyday speech and written dialogue

Although we talk of ‘realistic dialogue’, much fictional dialogue is far from how people actually  speak. Yet it creates the effect  of realistic speech. Here are important differences to remember when creating characters’ voices and the unique things they say:

• Good dialogue rarely represents ordinary speech accurately. It generally leaves out the ‘Hi, who’s speaking?’ as well as other commonplace stock phrases and words. Read our tips for creating natural-sounding dialogue.
• In day to day speech, we obviously don’t have ‘he said’ and ‘she said’ punctuating our conversations. Try to keep dialogue tags to a minimum . Remove them where it’s clear from context who has just spoken. And use actions and gestures leading into or following from dialogue to show who the speaker is
• A few writers can get away with writing in dialect, but again, here is where it is better to create the impression of the way a character speaks. A little goes a long way. Don’t make every single phrase a culturally-specific idiom or exclamation
• Similarly, avoid overuse of punctuation marks like exclamation marks and ellipses. These are dramatic effects and the words characters use and their ideas should do most of the expressive ‘heavy lifting’

Read our detailed dialogue writing guide for more on creating conversation that advances your story.

Need to develop further aspects of your characters? Get  How to Write Real Characters – our eBook guide to developing believable characters, including practical exercises and prompts.

Related Posts:

• Context and subtext in dialogue: Creating layered speech
• Realistic dialogue: 5 missteps to avoid
• Beyond stereotypes: portraying realistic LGBTIQ+ characters
• Tags character speech , writing dialogue

Jordan is a writer, editor, community manager and product developer. He received his BA Honours in English Literature and his undergraduate in English Literature and Music from the University of Cape Town.

9 replies on “Realistic dialogue: Creating characters’ speech patterns”

[…] Talking about your character: Speech […]

Love the website! Great information! Lots of detail and unique areas of focus.

One correction: “Introverts, on the other hand, are usually soft-spoken.”

This would be truer of “shy” people, not introverts. Please redefine your understanding of the difference between “introvert” and “shy” so as not to perpetuate this misconception.

“Introverted people are commonly thought to be shy, but introverts’ low motivation to socialize is not the same as the inhibited behavior, tension, and awkwardness that characterize shyness. Introverts who are not shy can behave extrovertively when they choose; whereas shy people, both introverts and extroverts, can’t turn their tension and awkwardness off and on.” —Sophia Dembling (The Introvert’s Corner)

Thank you! KT

Hi KT – thanks, glad you like the site. Good point about the distinction between introversion and extroversion.

I try to throw in key slang words if a character is from a certain country or region. I also attempt to keep them to a minimum in order to not overdo it. I do struggle with minimizing dialogue tags some of the time though. I understand it helps to read it out loud.

Thank you for sharing that, Jeremiah. It really does help to read dialogue aloud. It sounds as though you have a good process.

I was wondering if you happened to know how to write the speech of young children, a friend and I are trying to write a book but are worried that they may sound too advanced for their age. This article was really helpful, so thank you for writing it.

It’s a pleasure, Cristian, thank you for your question.

For writing the speech of young children, I have some suggestions: – Simplify vocabulary and abstraction. A 5-year-old will typically have a much smaller vocabulary than, for example, an 18-year-old. So avoid overly formal and/or complex phrasing and sentence structure unless the child character is meant to sound precocious/advanced for their age. – Think of the ways children are playing with and ‘trying out’ language. For example, when my nephew learned the word ‘marvelous’, everything was suddenly marvelous, including things that definitely are not marvelous. Children mix up words, too (as a kid, I am told I loved a book on optical illusions and would talk about ‘trickmatography’ meaning ‘trick photography’). Kids might invent words based on misreadings/mishearings. – Watch clips of kids’ shows such as Sesame Street on YouTube and listen for the complexity of language/phrase. Where is it pitched? There are online editing tools such as the Hemingway editor that can estimate the reading age/age norms of a piece of writing approximately, too.

I hope this helps!

Thank you so much!

Thanks so much for this piece. It’s a great and energizing lecture.

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English Speech Patterns Required for Everyday Speech

English everyday speech patterns include frequently used phrases. Also, learning these patterns will speed up your speaking process. They are also quite effective for communicating more practically in the English language. First of all, let’s tell you about the benefits of learning English speech patterns.

Daily speech patterns help you to communicate quickly and practically when meeting people, shopping, ordering food and traveling. Even if your knowledge of English is at a basic level, you can easily communicate by learning these patterns.

You can also make minor changes to these sentence structures. Thus, you can produce many different sentences. In this way, you will learn the general sentence structure of English. Also, English speech patterns are very advantageous in that they are easy to remember. You can write down certain English speech patterns that you have difficulty in remembering on your phone and keep them with you. In this way, if you can’t remember the phrases during the English dialogue, you can quickly browse through your notes and continue speaking.

English Speech Patterns

Greeting patterns.

First, let’s explain the greeting patterns.

What are the ‘How Are You?’ Question Patterns?

• How are you (doing)?
• How is it going?
• Are you doing okay?
• How are you feeling?

Answers to the Question ‘How are you?’

• I could be better.
• I am all right.
• So so- not so great.
• I feel well.

English Patterns Used When Meeting Someone

You can use these English speech patterns for meeting someone:

• Let me introduce myself to you.
• This is my friend, Michael.
• Diana, this is the woman I was telling about you.
• Henry, this is Mary.

‘Nice to Meet You’ Patterns

• (Glad, Nice, Good) to meet you.
• (It is a pleasure to meet you.)
• (How nice to meet you.)

Patterns for Making Friends with Someone

• Do you want to join us?
• Mind if I join you?
• Would you like to dance?

English Patterns Used in Food and Beverage Service Places

You can use the following English speech patterns for taking orders:

• May I take your order, please?
• Here or take away?/ For here or to go?
• Would you like to see the menu?
• Do you want to learn our speacials for today?

You can use the following English patterns when ordering:

• We are ready to order.
• We need more time to decide.
• Is there anything you can suggest?
• Do I pay you or the cashier?
• Can you get  a glass of water?
• What are your specialities?
• Keep the change.
• Can you seperate the bill, please?
• I couldn’t finish this. Could you wrap it, please?

English Speech Patterns Related to Airplane, Train, Bus Travel

• How can I go to the downtown?
• Can I reserve a seat in advance?
• Do we stop for the meals?
• What is the fare?
• Do I have to change the planes?
• Will there be a layover?
• Is it a direct flight?
• What is the departure time?
• What is the arrival time?

English Speech Patterns about Shopping

• What is your size?
• That is your colour.
• Do you have something specific in mind?
• May I help you?
• That looks nice (or great on you).
• Are you being helped?
• How would you want to pay?

English Diary Patterns used for Hotel Accommodation

• Can I book a room?
• I have a reservation.
• I need (a single/double bed) in the room.
• Are pets allowed?

Pronunciation of English Speech Patterns

Let’s talk about how these patterns are read. You can read words very well. But accents and meanings in English speech patterns can vary. All you have to do is watch videos, listen to people, talk, and make mistakes. As a result, you begin to pronounce these sentences in the most correct way.

In order to be able to say that I know English, it is not enough to be able to read that language from written sources and understand what you read. It is very important for us as social beings to speak the language. In other words, it is necessary to talk to each other for many situations such as meeting, greeting, asking for addresses. You can socialize with English conversation dialogues that contain basic information. You can even travel in a country you don’t know at all without needing anyone.

So, are the English speech patterns enough to meet all your needs? Of course, English patterns are not enough to enjoy more when you go on holiday to a foreign country. Also, when you meet strangers for work, you will need much more than the sentences in this dialogue to impress them. In the scope of the subject, English speech patterns we can say that:  If you want to speak English fluently without any difficulty, you can learn English easily with English course.

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More From Forbes

5 chatgpt prompts to improve your public speaking (wow your audience).

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5 ChatGPT prompts to be a better public speaker (wow your audience)

If you find yourself on a stage or in the spotlight, you had better take it seriously. People are watching, so don’t let them down. Open with confidence, deliver with passion, and close with a bang. There is no other way. But if you’re not sure how to begin preparing, this might seem like a mammoth task. Luckily, there’s time to learn.

These five public speaking experts have you covered, along with a little help from ChatGPT. Copy, paste and edit the square brackets in ChatGPT, and keep the same chat window open so the context carries through.

Wow your audience with your words: ChatGPT prompts for public speaking

Get ideas for keynotes.

Keynote speaker, leadership performance coach, and host of the Compete Every Day podcast Jake Thompson uses ChatGPT to get ideas for keynotes, “as a baseline to start and then adjust the copy and tune.” He said it’s helpful if you’re “stuck generating a strong starting point.” Don’t let the blank page intimidate you. Give ChatGPT information about your audience and their goals, to get brand new ideas you can roll with in minutes. Prompt like a winner from the very start, following Thompson’s lead.

“You are an expert marketing copywriter. Create a list of five ideas for keynote speech titles for my talk for [describe your audience, e.g. new managers and leaders], aspiring to be [describe their goal, e.g. high performance in their role].”

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Once you have options for ideas, choose your favorite and request a framework with examples tailored to your field of expertise.

“The talk will discuss the importance of [outline the key learning objectives, e.g. self-leadership, building rapport with team members, investing in your professional network]. Create a structure for the talk. Include titles and subtitles that incorporate examples and metaphors from [your signature topic, e.g. sports, business] to [outcome you want to achieve, e.g. inspire, motivate] the audience.”

Resonate with your audience

Keynote speaker, corporate facilitator and founder of Breakthrough Play , Gary Ware, has worked with some household name brands, including HP HP , Intuit Intuit and GoFundMe, to improve the public speaking skills of their outward-facing team members. Ware is all about the audience. Use these prompts to make a speech you have already written super relevant to the people in the room. Don’t miss the mark by taking them in turn.

“The audience of my next talk consists of [describe your audience including their profession, typical age, and any other characteristics] and the theme of the [event, e.g. conference] is [describe the theme, e.g. marketing]. Based on this information, outline the key interests or concerns my speech should address to be most relevant to them.”

When you have your answer, incorporate the learning into your speech, then check it aligns.

“Based on your recommendations given, review my attached talk to ensure my message is aligned with this audience’s expectations and needs. [Paste speech]”

Balance warmth and competence

Vanessa Van Edwards is founder of The Science of People and bestselling author of books Captivate, unpacking the science behind succeeding with people, and Cues, mastering the secret language of charismatic communication . She delivers 50 keynote speeches every year and knows how to make a great impression that lasts long after her talk is over.

“The best presenters have the perfect blend of warmth and competence,” Van Edwards explained. “But most of us have an imbalance between the two.” To redress the balance, Van Edwards pastes her script into ChatGPT and asks for recommendations. Here’s a prompt you can try for yourself.

“Review the script for an upcoming keynote I’m delivering. Identify three sections that lack warmth, and suggest the most appropriate way to improve that (for example, with a story, joke, case study, example or warm words) being specific about what to add or remove. Then, identify three sections with the potential to signal more competence, and suggest what to add (for example data, facts, analytics or competent words), being specific. [Paste script]”

Breathe more often

Founder of Best Speech Mike Pacchione, a keynote coach who has worked with renowned speakers such as James Clear , Donald Miller, Amy Porterfield and Olympic gold medalist Scott Hamilton, wants you to focus on breathing. Sounds simple? There’s much more to it. “Speakers can speak with more power when they breathe frequently,” he explained. “But they write notes in paragraphs and long sentences. That leads to being out of breath by the time you hit a full stop.”

Pacchionne recommends that speakers write their scripts as if they're song lyrics. In other words, format your keynote wording in such a way where you are reminded to take a breath. An ideal task for ChatGPT.

"Rewrite the following text with the exact same words, but add a line break every 7-10 words. The end product should resemble song lyrics instead of written paragraphs. [Paste your script]"

When you have your reworked speech, Pacchionne recommends you “go back and make sure the breathing breaks are in natural spots,” adding that “a speaker would be far better served with that format versus paragraphs.”

Make a backup plan

Entrepreneur, bestselling author, podcast host and keynote speaker Liz Bohannon is hired to give keynotes of different lengths, usually between 30 and 60 minutes. But the story is sometimes different on the day. “Often the event is running late, so I have less time than I'd planned for.” Bohannon uses ChatGPT to make a robust backup plan, so she’s prepared for any eventuality before she arrives.

"This speech is [duration]. I need to shorten it by [number] minutes but maintain [topic of speech, lesson or takeaway] as the main point. Make suggestions as to which parts I can cut while maintaining the powerful message: [Paste script]"

Stand out on stage: ChatGPT prompts to show up and wow

Give your audience everything they want and more when you prepare well using ChatGPT. Get ideas for talks with suitable examples, resonate with your audience whatever the event, and balance warmth and competence for charismatic delivery. Don’t forget to breathe by seeing your paragraphs as lyrics, and make a backup plan to fit in with questionable organizer timings.

Show up, stand tall, and say your words with pride. Secure raving fans and repeat bookings. The mic is yours, don’t let us down.

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• Open access
• Published: 07 May 2024

Contextual and combinatorial structure in sperm whale vocalisations

• Pratyusha Sharma   ORCID: orcid.org/0000-0001-9053-4943 1 , 2 ,
• Shane Gero   ORCID: orcid.org/0000-0001-6854-044X 2 , 3 , 4 ,
• Roger Payne 2 ,
• David F. Gruber   ORCID: orcid.org/0000-0001-9041-2911 2 , 5 ,
• Daniela Rus   ORCID: orcid.org/0000-0001-5473-3566 1 , 2   na1 ,
• Antonio Torralba 1 , 2   na1 &
• Jacob Andreas   ORCID: orcid.org/0000-0002-3141-5845 1 , 2   na1  

Nature Communications volume  15 , Article number:  3617 ( 2024 ) Cite this article

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• Animal behaviour
• Marine biology
• Marine mammals

Sperm whales ( Physeter macrocephalus ) are highly social mammals that communicate using sequences of clicks called codas. While a subset of codas have been shown to encode information about caller identity, almost everything else about the sperm whale communication system, including its structure and information-carrying capacity, remains unknown. We show that codas exhibit contextual and combinatorial structure. First, we report previously undescribed features of codas that are sensitive to the conversational context in which they occur, and systematically controlled and imitated across whales. We call these rubato and ornamentation. Second, we show that codas form a combinatorial coding system in which rubato and ornamentation combine with two context-independent features we call rhythm and tempo to produce a large inventory of distinguishable codas. Sperm whale vocalisations are more expressive and structured than previously believed, and built from a repertoire comprising nearly an order of magnitude more distinguishable codas. These results show context-sensitive and combinatorial vocalisation can appear in organisms with divergent evolutionary lineage and vocal apparatus.

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Introduction.

The social complexity hypothesis 1 , 2 posits that animals in complex societies—featuring coordination, distributed decision-making, social recognition, and social learning of cultural strategies 3 , 4 , 5 , 6 —require complex communication systems to mediate these behaviours and interactions 1 , 7 . In humans, communication plays a particularly large role in complex social behaviours like strategising and teaching 8 , 9 , 10 . These behaviours require the ability to generate and understand a vast space of possible messages. For example, the sentence ‘Let’s meet next to the statue of Claude Shannon on the fifth floor at 3 pm’ picks out a specific action at a specific place and time from an enormous space of possible activities. This ability to generate complex messages, in turn, is supported by the fact that all known human languages exhibit contextual and combinatorial structure. (Throughout this paper, we use ‘context’ to denote conversational context—e.g., neighbouring codas—rather than behavioural context—e.g., diving—as is standard in the study of natural and formal languages. 11 ) To enable efficient communication, the meaning of most human utterances is underspecified and derived in part from the conversation that precedes them 12 . To enable many distinct meanings to be communicated, humans access a large inventory of basic sounds (phonemes) by combining phonetic features like place of articulation, manner of articulation, then sequence phonemes to produce an unbounded set of distinct utterances 13 , 14 , 15 , 16 , 17 . Contextuality and combinatoriality, especially below the sequence level, have few analogues in communication systems outside of human language 18 , 19 , 20 , 21 , 22 . Understanding when and how aspects of human-like communication arise in nature offers one path toward understanding the basis of intelligence in other life forms.

Cetaceans are an important group for the study of evolution and development of sophisticated communication systems 23 . Among cetaceans, long-term observational studies of sperm whales (Physeter macrocephalus) have described both a culturally defined, multi-level, matrilineal society 24 and a socially transmitted communication system 25 , 26 , 27 . Sperm whales are known for complex social and foraging behaviour, as well as group decision-making 28 . They communicate using codes 29 : stereotyped sequences of 3–40 broadband clicks (see glossary in Table  1 for definitions). Codas are exchanged between whales when socialising or between long, deep, foraging dives 24 . To date, scientists have described the sperm whale communication system in terms of a finite repertoire of coda types, each defined by a characteristic sequence of inter-click intervals (ICIs) as seen in Fig.  1 A. Coda-type repertoires can be defined manually or using automated clustering procedures, and have been used to delineate cultural boundaries among socially segregated but sympatric ‘clans’ of whales 25 whose members differ in their behaviour 26 , 30 , 31 . Past research has identified around 150 discrete coda types globally, with 21 in the Caribbean. But there is an apparent contradiction between the social and behavioural complexity evinced by sperm whales and the comparative simplicity of a communication system with a fixed set of messages. This contradiction naturally raises the question of whether any additional, previously undescribed structure is present in sperm whale vocalisations.

Sperm whales communicate by producing sequences of clicks. A Shows a two-minute exchange between two whales (with clicks visualized in blue and orange respectively) from the Dominica Sperm Whale Dataset. B Projects these clicks over a time–time plot, in which the horizontal axis plots the time in the exchange at which a click occurs, and the vertical axis represents the time of the click from the first click in the coda. The vertical axis serves as a microscope over the horizontal axis, revealing the internal structure of each coda. C Shows a time–time visualisation for the entire two-minute exchange (with lines connecting matching clicks between adjacent codas), revealing complex, context-dependent variation in coda structure.

We first demonstrate that some coda structure is contextual: When analysing codas exchanged between whales, we observe fine-grained modulation of inter-click intervals relative to preceding codas, as well as modification of standard coda types via the addition of an extra click. We term these contextual features rubato and ornamentation. Next, we show that the coda repertoire has combinatorial structure: in addition to rubato and ornamentation, codas’ rhythms and tempos can independently be discretised into a small number of categories or types. We show that all four features are sensed and acted upon by participants in the vocal exchanges, and thus constitute deliberate components of the whale communication system rather than unconscious variation. Rhythm, tempo, rubato and ornamentation can be freely combined, together enabling whales to systematically synthesize an enormous repertoire of distinguishable codas. In a dataset of 8719 codas from the sperm whales of the Eastern Caribbean clan, this ‘sperm whale phonetic alphabet’ makes it possible to systematically explain observed variability in coda structure. While the communicative function of many codas remains an open question, our results show that the sperm whale communication system is, in principle, capable of representing a large space of possible meanings, using similar mechanisms to those employed by human sound production and representation systems (e.g., speech, text, Morse code, and musical notation).

Results and discussion

The dataset.

For this study, we used the annotated coda dataset from The Dominica Sperm Whale Project (DSWP), the current largest sperm whale data repository. The recordings of the Eastern Caribbean 1 (EC-1) clan were used in the analysis, comprising 8719 codas making up 21 previously defined coda types. This dataset contains manually annotated coda clicks and extracted inter-click intervals in data recorded from various platforms and various recording systems between 2005 and 2018, including animal-worn, acoustic, biologging tags (DTags) deployed between 2014 and 2018. The EC-1 clan comprises 400 individuals. 42 tags were deployed on 25 different individuals in 11 different social units. Three of these are less-studied units, for which precise size estimates are not available. We conservatively estimate that at least 60 distinct whales are recorded in the DSWP dataset.

Exchange plots: visualizing multi-whale calls

Codas, considered to be the basic units of sperm whale communication, consist of click groups generally less than two seconds in duration. Previous work has defined coda types and characterised coda repertoires by examining single codas outside the context in which they were produced. However, codas are not produced in isolation, but in interactive exchanges between two or more chorusing whales. Individual whales within a chorus tend to produce sequences of codas with a periodicity of approximately 4 seconds (see Supplementary Discussion Section  1) . Across a chorus, interacting whales produce codas both alternately (i.e., turn-taking) or near-simultaneously (i.e., overlapping). Therefore, sperm whale vocalisations demonstrate complexity on two different timescales: a fine-grained time scale that determines the makeup of each individual coda, and a longer time scale that determines the overall structure of the interactive exchange across codas within a chorus.

We depict these vocalisations using a new visualisation we call an exchange plot (Fig.  1 B, C). Both axes of this plot measure time: the horizontal axis shows the time elapsed since the beginning of a conversation, and the vertical axis shows the time since the onset of each coda. Exchange plots reveal the structure of codas in their interactive context, making it possible to observe both fine-grained differences between adjacent codas made by interacting whales, and long-range trends over the course of an exchange.

Contextuality

Visualising whale vocalisations with an exchange plot, as in Fig.  1 B, C, makes it apparent that characterising sperm whale interactions as sequences of fixed coda types overlooks a great deal of information. First, coda duration varies smoothly over the course of an exchange; variation in the duration of a whale’s codas is systematically imitated by interlocutors, even when coda-internal click spacing differs (Fig.  1 C). Second, some ‘extra’ clicks in Fig.  1 C appear at the end of codas that otherwise match their neighbours. We hypothesised that these smooth variations and extra clicks constitute perceptible and controllable features of codas independent of their discrete type, pointing toward a more complex sperm whale communication system with a greater information-carrying capacity than previously reported.

Rubato: codas exhibit fine-grained duration variation in addition to discrete tempo

A coda’s duration is the sum of its inter-click intervals. While durations tend to cluster around a finite set of values (Fig.  2 A), there remains substantial continuous variation within these clusters. Past work has described these differences as unexplained ‘within-type variation’ of categorical coda types 25 , 32 . However, the structured nature of this variation—which, as shown in Fig.  1 C, is temporally correlated and imitated across whales—has never been previously documented. We demonstrate that variation in coda duration is not random: individual whales modulate coda durations smoothly over the course of multi-coda exchanges without necessarily imitating click counts or inter-click interval spacing. An example is depicted in Fig.  1 C: one whale produces a sequence of codas smoothly varying in duration, while its interlocutor closely matches these changes in overall coda duration but not the number of clicks (this refines the finding in ref. 33 that overlapping codas were more likely to be of the same coda type than expected by chance: sometimes codas share a duration but not a discrete type). By analogy to the corresponding musical phenomenon, we call this behaviour rubato.

Sperm whale codas were previously hypothesized to comprise 21 independent coda types. We show that this coda repertoire is built from two context-independent features (rhythm and tempo) and two context-sensitive features (rubato and ornamentation). A Tempo: (Left) The overall duration of a coda is the sum of its inter-click intervals. (Centre) Coda durations are distributed around a finite set of modes, which we call (tempo types). (Right) Snippets from exchange plots showing codas of different tempo types. B Rhythm: (Left) Normalising the vector of ICIs by the total duration returns a duration-independent coda representation, which we call rhythm. (Centre) Codas cluster around 18 rhythm types. (Right) Examples of normalised codas showing different rhythm types. C Rubato: (Left) Sperm whales slowly modulate coda duration across consecutive codas, a phenomenon we call rubato. (Centre) Rubato is gradual: adjacent codas have durations more similar to each other than codas of the same type from elsewhere in an exchange. (Right) Whale choruses with imitation of rubato represented in exchange plots. D Ornamentation: (Left) Some codas feature `extra clicks' (ornaments) not present in neighbouring codas that otherwise share the same ICIs. (Centre) A density plot showing the distribution of the ratio between final ICIs in ornamented codas versus unornamented codas. Ornamented codas have a significantly different ICI distribution compared to regular codas. (Right) Examples of ornaments in the DSWP dataset. E Thirty minutes of multi-whale choruses: Exchanges feature imitation of coda duration across whales, gradually accumulated changes in call structure, and rich contextual variability.

To show that rubato is not random variation, we first evaluated whether changes in duration are smooth by measuring whether codas are more similar to their neighbours than other codas of the same type. To do so, we computed the tempo drift between two codas from the same speaker, defined as the difference in coda durations (Fig.  2 C). We computed the average absolute drift between (1) adjacent coda pairs and (2) random coda pairs of the same discrete coda type (according to its rhythm and tempo; see Section 5 for a discussion of rhythm and tempo and Supplementary Discussion Section  4 for additional details). We found that drift was significantly smaller between adjacent codas (0.05s on average) than would be expected under a null hypothesis that drift depends only on a coda’s discrete type (which would give a drift of 0.08s on average; test: permutation test (one-sided), p  = 0.0001, n  = 2593; see Supplementary Discussion Section  4.1 for details). Thus, within-type variation is context-dependent.

Second, we evaluated whether sequences of codas reflect longer-term trends. To do so, we collected coda triples of the same discrete coda type and measured the correlation between tempo drift across adjacent pairs. We found a significant positive correlation, compared to a null hypothesis that drift between adjacent pairs is uncorrelated (test: Spearman’s rank-order correlation (two-sided), r (2586) = 0.57, p  < 0.0001, 95% CI = [0.54, 0.60], n  = 2588). Thus, rubato is sustained across sequences of multiple codas.

Finally, we evaluated whether rubato is perceived and controlled by measuring whales’ ability to match their interlocutors’ coda durations when chorusing. We measured the average absolute difference in duration between (1) pairs of overlapping codas from different whales, and (2) pairs of non-overlapping codas of the same discrete coda type. Durations are significantly more closely matched for overlapping codas (0.099s on average) than would be expected under a null hypothesis that chorusing whales match only discrete coda type (which would give a drift of 0.129s on average) (test: permutation test (one-sided), p  = 0.0001, n  = 908; see Supplementary Discussion Section  4) .

Ornamentation: some clicks do not belong to standard tempo types

Figure  2 D depicts an exchange consisting of one six-click coda, followed by a long sequence of five-click codas. The first five clicks of the initial 6-click coda closely match those of neighbouring codas: if the sixth click were removed, we would identify the first coda as having nearly the same inter-click intervals as its neighbours (and assign it to the same discrete coda type). While not previously described, ‘extra clicks’ of this kind occur in (4%) of the codas in the exchanges of Eastern Caribbean whales. Additional examples appear in Fig.  2 D and Supplementary Discussion Section  5 . We hypothesised that ‘extra’ clicks play a different role from the other clicks in the codas in which they appear: they do not determine discrete coda type. Instead, like rubato, they constitute an independent feature of the sperm whale vocalisation system. We call these extra clicks ornaments.

We define an ornament as the final click in a coda containing one more click than the nearest preceding or following coda within a window of ten seconds, with this interval being based on the average response time (Supplementary Discussion Section  1) . To show that these ornaments play a distinct role from other clicks, we first computed the mean squared distance between each standardised, ornamented coda and the cluster centre of its assigned rhythm type. We then removed ornaments and computed mean squared distance between the standardised coda and the centres of rhythm clusters for adjacent codas produced by the same whale. The second quantity (0.0034 s 2 , reflecting a hypothesis that ornamented codas match their neighbours) is significantly smaller than the first (0.0053 s 2 , reflecting a null hypothesis that ornamented codas resemble other codas of the same type) (test: permutation test (one-sided), p  = 0.002, n  = 178). In other words, ornamented codas are less like other codas with a matching number of clicks, and more like neighbouring non-ornamented codas, if ornaments are modelled as a separate factor. To further verify that ornaments are distinct from other clicks, we compared ICIs (inter-click intervals) in ornamented vs. non-ornamented codas with the same number of clicks. We specifically compared the difference between the final two ICIs, normalised by the penultimate ICI, to reduce variance arising from rubato. This measurement exhibits a significant difference in distribution in ornamented vs non-ornamented codas test: Kolmogorov–Smirnov test (two-sample), D (150, 3688) = 0.51, p  < 0.0001, 95% CI = [0.42, 0.62], n  = (150, 3688), Fig.  2 D.

Finally, ornaments are not distributed randomly but appear in distinctive positions in longer exchanges. Within a single whale’s call sequences (defined as a sequence of codas separated by no more than eight seconds), a significantly greater proportion of ornamented codas appear at the beginning of call sequences than unornamented codas (test: Fisher’s exact test (two-sided), odds ratio: 2.00, p  = 0.0006). A significantly greater fraction of ornamented codas also appear at the end of call sequences compared to unornamented codas (test: Fisher’s exact test (two-sided), odds ratio: 1.71, p  = 0.008). Moreover, ornaments are predictive of changes in multi-whale interactions. We define a ‘change in chorusing behaviour’ as one of three events: a following whale begins chorusing with a leading whale, pauses chorusing, or ceases vocalizing for the remainder of the exchange. Compared to unornamented codas, ornamented codas from the leading whale are disproportionately succeeded by a change in chorusing behaviour from the following whale (test: Fisher’s exact test (two-sided), odds ratio: 1.56, p  = 0.009). Thus ornamentation, like rubato, appears to be perceived in multi-whale interactions.

Combinatoriality

The existence of ornamentation and rubato features demonstrates that codas can carry more information, and have more complex internal structure than their discrete type alone would indicate. Instead, they result from a combinatorial coding system in which discrete type, ornamentation and rubato combine to realise individual codas. Based on these findings, we hypothesized that categorical coda types might themselves arise from a combinatorial process, with a simpler set of features explaining the prototypical ICI vector for each coda type.

During rubato, consecutive calls from a single-whale gradually vary coda duration while preserving the relative relationship of ICIs (Supplementary Discussion Section  2) , suggesting that whales are capable of maintaining this relationship independent of its duration. Moreover, existing studies have noted that codas may also be discretely clustered according to standardised ICI 25 , 32 , 34 , a process that assigns codas with very different durations to the same cluster. Finally, some instances of chorusing involve whales producing codas with different ICIs (or different numbers of clicks) but matched durations. Together, these observations suggest that past inventories of discrete coda types (e.g., ref. 35 ) might specifically be interpretable in terms of two features: a normalised ICI category (which we term a coda’s rhythm) and a discrete duration category (independent of rubato, and which we term tempo). To validate this hypothesis, we measured (1) whether coda rhythms and tempos cluster around a discrete set of values, and (2) whether rhythm and tempo features are independently combinable (both with each other and with ornamentation and rubato features).

As shown in Fig.  2 A, codas with the same duration may have different internal click spacing (and even different numbers of clicks) but still span the same amount of time from the first click to the last click. Performing kernel density estimation (KDE) on scalar coda durations from the DSWP dataset reveals five distinct modes in the distribution of durations (Fig.  2 A), indicating that the number of realised coda durations is much smaller than the total number of identified coda types (Supplementary Discussion Section  3) .

Across codas, the relative relationships between ICIs are often repeated even independent of tempo. For example, in Fig.  2 A, note the existence of two five-click codas, one long and one short, but both characterised by the uniform spacing of the constituent ICIs. Past work has shown that these rhythms are reused; our analysis uses the 18 rhythm clusters proposed by ref. 35 (detailed breakdowns are given in Fig.  2 B and in Supplementary Discussion Section  2) .

Finally, to evaluate the combinability of these features, we computed the frequency with which each rhythm and tempo feature co-occurred in the DWSP dataset, as well as the frequency with which each combination appeared with ornamentation or rubato. Results are shown in Fig.  3 . Each rhythm type appears with at least one tempo types and each tempo type appears with at least three rhythm types. Moreover, (22%) of these combinations can appear with or without rubato and ornamentation.

Analogous to visualizations of the human phonetic repertoire, we propose a phonetic alphabet for sperm whales. Tempo types are plotted on the vertical axis, rhythm types are plotted on the horizontal axis, and the colour of each cell represents the number of occurrences of that rhythm/tempo combination in the DSWP dataset. Pie charts in each cell provide further information about the prevalence of rubato and ornamentation within each feature combination: the left pie shows the ratio of the number of codas that appear with rubato to those without, while the right pie shows the fraction of all ornaments that appear with that feature combination. While not all feature combinations are realised (as observed in human languages), sperm whale codas have a rich combinatorial structure with both discrete and continuous parameters and at least 143 combinations frequently realised (Supplementary Discussion Section  6) .

Like the International Phonetic Alphabet for human languages, this ‘Sperm Whale Phonetic Alphabet’ (Fig.  3 ) shows how a small set of axes of variation (place of articulation, manner of articulation, and voicedness in humans; rhythm, tempo, ornamentation, and rubato in sperm whales) give rise to the diverse set of observed phonemes (in humans) or codas (in sperm whales). As in human languages, not all theoretically realisable feature combinations are attested in the DSWP dataset, and some combinations are more frequent than others. As in human languages, most coda variation is discrete: though ICIs can vary continuously in principle, only specific patterns (associated with specific rhythms and tempos) are realised in practice. Supplementary Discussion Section  2 shows the full set of codas in the dataset, organised by rhythm, tempo, and the presence of rubato and ornamentation for each combination of rhythm and tempo. Notably, these factors of sub-coda variation exist alongside another combinatorial process—the sequential ordering of codas shown in Fig.  1 E—in which codas of different types are combined in sequence to give rise to an even larger family of distinct vocalisations, reminiscent of the bi-level combinatorial structure of speech production in humans (see Supplementary Discussion Section  7 ).

Figure  3 also demonstrates that these vocalisations have a significantly greater information capacity than was previously known. Prior work identified 21 discrete coda types, and the system could be understood to have an information rate of at most 5 bits/coda. However, our analysis suggests that with 18 rhythms, 5 tempos, optional ornamentation, and three variations (increasing, decreasing or constant duration) in rubato, the information rate could be up to twice as large (details in Supplementary Discussion Section  6 ). The role of rubato within this coding system remains an important open question: it might be discrete (with some simpler inventory of contours explaining the patterns in Figs.  1 C and  2 C, as in the songs of birds 36 , 37 , 38 , 39 , 40 , 41 , and humpback whales (Megaptera novaeangliae) 42 , 43 ). Or it might convey continuous-valued information, analogous to the orientation and duration features of the waggle dance in bees (Apis sp.) 44 .

Limitations

Our study investigates the basic structural elements, and not the semantics, of the sperm whale communication system. As in several foundational papers on call structure in animal communication systems 42 , 45 , 46 , it provides no characterisation of call semantics and features no playback experiments. We believe our work provides a foundation for future research on the semantics of whale calls. However, this future research additionally requires interactive playback experiments with whales in the wild to ground hypotheses about the semantics and functional role of sperm whale vocalizations. In the absence of playback experiments establishing a causal relationship between the features and the meaning they communicate is challenging. It is necessary to have a deep understanding of the structure of the communication system enabling the creation of specific and unconfounded test stimuli prior to undertaking whale-in-the-loop experiments with potentially long-term effects on the population 47 , 48 , which in this case is extremely vulnerable 49 .

Concluding remarks

Our results demonstrate that sperm whale vocalisations form a complex combinatorial communication system: the seemingly arbitrary inventory of coda types can be explained by combinations of rhythm, tempo, rubato, and ornamentation features. Sizable combinatorial vocalisation systems are exceedingly rare in nature; however, their use by sperm whales shows that they are not uniquely human, and can arise from dramatically different physiological, ecological, and social pressures.

These findings also offer steps towards understanding how sperm whales transmit meaning. In some organisms with combinatorial codes, such as honey bees (Apis sp.) , the constituent features of the code transparently encode semantics (e.g., direction and distance to food sources). Further research on sperm whale vocalisations may investigate if rhythm, tempo, ornamentation, and rubato function similarly, directly encoding whales’ communicative intents. Alternatively, one of the key differentiators between human communication and all known animal communication systems is duality of patterning: a base set of individually meaningless elements that are sequenced to generate a very large space of meanings. The existence of a combinatorial coding system-at either the level of sounds, sound sequences, or both-is a prerequisite for duality of patterning. Our findings open up the possibility that sperm whale communication might provide our first example of that phenomenon in another species.

Data collection and coda annotation

Data from The Dominica Sperm Whale Project were collected under scientific research permits from the Fisheries Division of the Government of Dominica. The field protocols for approaching, photographing, tagging, and recording sperm whales were approved by either the University Committee on Laboratory Animals of Dalhousie University, Canada; the Animal Welfare and Ethics Committee of the University of St Andrews, Scotland; or Aarhus University, Denmark; and sometimes several or all of these across years.

Social units of female and immature sperm whales were located and followed in an area that covered approximately 2000 squared kilometres along the entire western coast of the Island of Dominica (N15.30 W61.40) between 2005 and 2018.

Codas were recorded using one of several recording setups: In 2005, we used a Fostex VF-160 multitrack recorder (44.1 kHz sampling rate) and a custom-built towed hydrophone (Benthos AQ-4 elements, frequency response: 0.1–30 kHz) with a filter box with high-pass filters up to 1 kHz resulting in a recording chain with a flat frequency response across a minimum of 2–20 kHz. No recordings were made during the short 2006 season. In the 2007, 2009, 2011, 2016, and 2017 seasons, we used a Zoom H4 portable field recorder (48 kHz sampling rate) and a Cetacean Research Technology C55 hydrophone (frequency response: 0.02–44 kHz) and no filters. During the 2008, 2010, 2012, 2015, and 2018 seasons, we used a custom-built towed hydrophone (Benthos AQ-4 elements, frequency response: 0.1–30 kHz) with a filter box with high-pass filters up to 1 kHz resulting in a recording chain with a flat frequency response across a minimum of 2–20 kHz. This was connected to a computer-based recording system as a part of the International Fund for Animal Welfare’s (IFAW) LOGGER software package (48 kHz sampling rate) or PAMGUARD (minimum 48 kHz sampling rate) 50 .

In addition, recordings were also made through the deployment of animal-borne sound and movement tags (DTag generation 3, Johnson and Tyack 2003). Tagging was undertaken between 2014 and 2018 on an 11-meter rigid-hulled inflatable boat (RHIB). Tags were deployed from a 9-meter, hand-held, carbon fiber pole, and were attached to the whales using four suction cups. DTags record two-channel audio at 120 kHz with a 16-bit resolution, providing a flat (±2 dB) frequency response between 0.4 and 45 kHz. Pressure and acceleration were sampled at a rate of 500 Hz with a 16-bit resolution, and were decimated to 25 Hz for analysis. DTag analysis was conducted using custom scripts in Matlab 2015b (The Mathworks, Inc., MA, USA). The variation in the frequency responses and sampling rates of the recording systems used did not affect our ability to record clean signals for both the coda and echolocation clicks produced by sperm whales, and as a result, the temporal patterning of clicks used in this analysis.

Whales, including the tagged whales, were identified through photographs of the trailing edge of their tails 51 . Identifications were used to ensure that only recordings from one of the two sympatric clans (EC-1, the Eastern Caribbean Clan) were included in the analysis to control for any differences in repertoires between vocal clans 27 .

To define the temporal structure of the codas recorded, absolute inter-click intervals were measured as in ref. 49 , using either custom-written Matlab tools and Rainbow Click Software (all years before 2014) or CodaSorter a custom-written tool (K. Beedholm, Marine Bioacoustics Lab, Aarhus University) in LabView (National Instruments, TX, USA). CodaSorter allows users to playback audio at various speeds and manually mark detected clicks as belonging to a specific coda. Estimates for each click for the angle of arrival, channel delay, centroid frequency, and inter-pulse interval (IPI, the time between the onset of the first pulse and the onset of the next pulse in the multi-pulse structure of sperm whales clicks 52 ) allowed for determining if the codas were produced by tagged whales or non-focal animals; and to ensure that, on days in which multiple tags were deployed, codas recorded by different tags were not double-counted. Photo-identification supported this process by identifying which whales were present and associated with the tagged whales at each surfacing.

There are two components to the dataset: Dataset 1, a large set of all 8719 codas that are annotated with information on their inter-click intervals; and Dataset 2, a smaller set of 3948 codas, which were recorded from animal-borne DTags, which remain in temporal order and are additionally annotated with information of the absolute time in the day of the first click of each of the codas and their associated speaker identities across the bouts. Experiments that do not require contextual information (those discussing the context-independent features of rhythm and tempo) use Dataset 1, whereas those requiring information about the relative ordering of the codas and their speaker IDs (those discussing the context-sensitive features of rubato and ornamentation), use Dataset 2. In both cases, rare, long codas were excluded from analysis (greater than 10 clicks, less than 5% of all codas recorded).

Additional discussion of statistical tests

Comparisons of coda durations (either with adjacent codas, when studying rubato, or with overlapping codas, when studying all features in the context of chorusing behaviour) use permutation tests to avoid making distributional assumptions about durations of codas and their absolute differences, some of which have non-normal distributions. All permutation tests are computed over 10,000 random resamplings of the data without replacement. Evaluation of Rubato additionally uses Spearman rank-correlation tests to measure longer-range trends across coda triplets (again based on initial observations that these trends appeared to be non-linear). Comparisons of coda-internal structure (e.g., durations of penultimate ICIs in ornamented codas) use Kolmogorov–Smirnov tests, as we are interested only in distributional differences rather than orderings of mean durations. Finally, measurements of changes in vocalization behaviour following Rubato use Fisher’s exact test to compare proportions of these changes in different vocal contexts.

Reporting summary

Further information on research design is available in the  Nature Portfolio Reporting Summary linked to this article.

Data availability

All data generated and in this study has been deposited on GitHub at https://github.com/pratyushasharma/sw-combinatoriality/tree/main/data 53 .

Code availability

Custom scripts used for this study are available at https://github.com/pratyushasharma/sw-combinatoriality 53 .

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Acknowledgements

This analysis was funded by Project CETI via grants from Dalio Philanthropies and Ocean X; Sea Grape Foundation; Virgin Unite, Rosamund Zander/Hansjorg Wyss, Chris Anderson/Jacqueline Novogratz through The Audacious Project: a collaborative funding initiative housed at TED to P.S., S.G., R.P., D.F.G., D.R., A.T. and J.A. Further funding was provided by the J.H. and E.V. Wade Fund at MIT. Fieldwork for The Dominica Sperm Whale Project was supported by through a FNU fellowship for the Danish Council for Independent Research supplemented by a Sapere Aude Research Talent Award (1325-00047A), a Carlsberg Foundation expedition grant (CF14-0789), two Explorer Grants from the National Geographic Society (WW-218R-17 and NGS-64863R-19), a grant from Focused on Nature, and supplementary grants from the Arizona Center for Nature Conservation, Quarters For Conservation, the Dansk Akustisks Selskab, Oticon Foundation, and the Dansk Tennis Fond all to S.G. Further funding was provided by a Discovery and Equipment grants from the Natural Sciences and Engineering Research Council of Canada (NSERC) to Hal Whitehead of Dalhousie University and a FNU large frame grant and a Villum Foundation Grant (13273) to Peter Madsen of Aarhus University. We thank the Chief Fisheries Officers and the Dominica Fisheries Division officers for research permits and their collaboration in data collection; all the crews of R/V Balaena and The DSWP team for data collection, curation, and annotation; as well as Dive Dominica, Al Dive, and W.E.T. Dominica for logistical support while in Dominica. A big thank you to Alex Boersma for providing us with sperm whale caricatures used in Fig.  1 and to Roger Levy and the CETI team for helpful discussions and valuable feedback on the paper.

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These authors contributed equally: Daniela Rus, Antonio Torralba, Jacob Andreas.

Authors and Affiliations

Computer Science and Artificial Intelligence Laboratory, Massachusetts Institute of Technology, Cambridge, MA, USA

Pratyusha Sharma, Daniela Rus, Antonio Torralba & Jacob Andreas

Project CETI, New York, NY, USA

Pratyusha Sharma, Shane Gero, Roger Payne, David F. Gruber, Daniela Rus, Antonio Torralba & Jacob Andreas

Department of Biology, Carleton University, 1125 Colonel By Drive, Ottawa, ON, K1S 5B6, Canada

The Dominica Sperm Whale Project, Roseau, Dominica

Baruch College and The Graduate Center, City University of New York, New York, NY, USA

David F. Gruber

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Contributions

P.S., J.A., A.T., D.R., S.G., R.P. conceptualized the study, P.S., J.A., A.T. developed the methods, S.G. and The DSWP team collected the data, S.G. and The DSWP team annotated the original dataset, P.S., S.G. and The DSWP team curated the data, P.S. conducted the analyses and authored the code provided, P.S., J.A., A.T., S.G. verified the analytical results, S.G., D.F.G., D.R., A.T., J.A. funded the study, P.S. wrote the manuscript, all authors contributed review and editing to the manuscript and gave final approval for publication.

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Correspondence to Daniela Rus , Antonio Torralba or Jacob Andreas .

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Sharma, P., Gero, S., Payne, R. et al. Contextual and combinatorial structure in sperm whale vocalisations. Nat Commun 15 , 3617 (2024). https://doi.org/10.1038/s41467-024-47221-8

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DOI : https://doi.org/10.1038/s41467-024-47221-8

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