Effective Speech Writing Guidelines

Congratulations! If you've made it to this video, it means that you survived the preceding steps and you are finally at the doorstep of writing your speech. For the past couple of weeks, we have been divided as a class as you all have been segmented into your various speech events trying to develop your own individual topics, develop your own constructive outlines, but here on the Writing the Speech step, we all finally get to come back together, at least across the original speech events, because you will see that this step, Writing the Speech, ends up having more similarities among the three original events than it does have differences. So let's jump on it. Length and formatting. Your speech time overall, you have a 10-minute speech limit with a 30-second grace period. So that means that typically at a tournament, but also within this class, you are allowed to speak for 10 minutes. And if you go over 10 minutes, you can go maximum up to 30 seconds, but anything past that. and you will lose serious points. Or in a tournament, you will lose rank, right? You will be ranked lower than what the judges thought you actually were. What does that translate to? That's about 4.5 pages or about 1,150 to 1,400 words, okay? That's about the limit that you want. And let me be crystal clear here. If you are under four pages in the draft that you're going to submit, so if you are just in the three-page range, or if you go on to a sixth page, and none of this of course is including the work cited you will have five points deducted from your rough draft assignment you will have five points deducted if you fail to follow this basic limit you should be either with four full pages or you should have uh or or uh make sure you do not go onto that sixth page all right so that four over to that fifth page that's exactly where you want to be formatting here Times New Roman, 12-point font, double-spaced, no extra spaces between paragraphs. You got to go into the spacing options to fix that. If you notice, right, oh, everything's double-spaced in the paragraph. But wait a second. There's an extra space after the paragraph. That means you need to double-click that whole paragraph, go into spacing options, and then remove that extra space. All right? It will get you. Best way to do it, so what I'm asking you to do here is follow the MLA formatting guidelines. Again. formatting very very important life skill one of the most important life skills you'll probably get out of this class actually that's a lie all the public speaking and critical thinking skills that you'll develop in this class probably more important uh lifelong skills but formatting still really really important here's my recommendation all right i'm about to show it to you you're gonna open a new microsoft word file click on templates and then there's an mla style paper template right there for you which will do this all for you so don't make mistakes why reinvent the wheel don't do it don't make the mistakes that previous freshmen have made that will lead to a serious deduction of points just follow the path of logic and truth and reason please i'm begging you you will lose one point per formatting error so if i notice for instance that you didn't put your uh didn't put your speech in times new roman font that's one point deducted if you have 10 point font uh that's another point deducted if it is single spaced that's another point deducted so on and so forth all right if you have spacing issues that's another point deducted let's take a look at what this looks like so we're actually going to look at this work site a little bit later don't freak out about that right now so if we are here hopefully you can see uh this little bit that says new from template all right new from template huh let's click on that by the way if you open up microsoft word and click new document normally you'll have a template option towards the top and boom you'll normally see something like this now okay we're scanning we're scanning we're scanning and boom you see this mla style paper and hey if you're not seeing it here for you just type up mla on the good old-fashioned search bar up here and it will show up but let's just click on that and oh look at that it is beautiful and you click on it and oh it is ready for you to type it doesn't have the extra spaces between paragraphs Notice here, it doesn't have a bolded underlined title. That's not what it's supposed to be. It's not what it's supposed to be. You can click up here and put your name. So I could put Langerman and it has the page number already for you. So you don't even have to learn how to insert it. It's so beautiful. By the way, guys, normally on like an English paper, you would have to put all this stuff. You can just delete that for our purposes. Okay, I know who you are. You're not submitting this physically. Ultimately, that type of title, it's okay not to have that. But But you do need to have your title up here. Okay. So you'd have really cool speech. And then boom, I can just start typing. Hello, everyone. I am about to tell you a really cool speech. And that could be the opening line of my speech text. And I can delete all this other stuff, all right, because it's just not important. They have like diagrams in case you wanted to do that. And look, it even starts off the works cited page for you. Notice again, guys, not a big space between works cited and down here. Sometimes I see students like to do like a triple space between none. It's not bolded and underlined. Nope, that is not correct MLA formatting. Again, if you're confused on MLA formatting, you all have an MLA handbook that you received as freshmen at Bellarmine. And second, go to Purdue OWL. Purdue OWL. Just type that in, Purdue OWL on Google. Click on that, and that is a great resource which will answer any MLA question that you have. Let's return to this, okay? So this... This slide is really about just not making silly mistakes. Don't do it. It pains me in my heart of hearts. Oh, one thing that goes without saying, one-inch margins. I sometimes see students try to mess with the margins. Sorry, that is implied in MLA formatting, but I did not type it up here. So make sure you have one-inch margins. Do not mess with, don't try to create overly narrow margins or overly wide margins to try to flub it. I will know. All right, introduction. Introduction, really important paragraph we haven't discussed at all. I'm going to go through the parts right now. So to start off, you'll see every intro from every speech event basically follows the same formula. The opening is what people call the attention-getting device or the AGD. So if you hear people say AGD, now you know the lingo, attention-getting device. The AGD is all about hooking your audience with a captivating and humorous device that captures their attention. You need a hook them so that they want to keep listening to your speech. Imagine how captivating some of the successful speeches that you've seen are. Like J.J. Kapoor just singing and dancing and then cracking all those jokes in the intro. You can't help but want to keep listening to him. And so it's a great way to sell your personality and get the audience interested in what you have to say. You can imagine how much less effective J.J.'s speech would have been if he just opened up and said, we are all a storytelling species. And the dangers of our storytelling preclentions arise when we end up reducing the complexities of people. We'd all be like, oh, this sounds kind of serious and technical. I'm probably going to tune out and go back to my cell phone. So types of attention-getting devices. You could have a personal anecdote, so like a story from your childhood or just from your life. You could bring in something from literature. You could bring in mythology, like Greek mythology, for instance. You could bring in just... a story of some kind that you heard. Typically, the more personal, the better. You could have pop culture. That can work. You could have history. You could have songs, movies, quotations. There's so many different things you can do. The important thing is basically you have to be creative and you have to be funny, okay? The more personal that you can make it, the better. That doesn't mean you need a personal anecdote, but if you're talking about something in pop culture, like JJ did with Bollywood, well... The way he made it personal was talking about his love of Bollywood. So that's typically my advice. And also, it needs to have a logical link to the topic. You can't just stand up and crack stand-up comedy jokes for three minutes and then be like, okay, time to talk about something serious. Your intro needs to have a logical link to your topic. And so you need to think on the level of ideas. What is the core idea of your topic and what is an example of something from the list I just provided that embodies that idea and could allow a humorous or creative or engaging way to deal to embody that idea before you get to a more serious topic. So this is what we like to call the vehicle or a controlling metaphor, right? Whatever your attention getting device appears to be about, whatever that recurring central image is. You can use that throughout your speech to help drive the core idea of the speech forward. So for J.J., he continually brought up Bollywood as a metaphor for our love of storytelling. In one of Baudry's speeches, she uses Greek mythology, and specifically the golden apple story from one of the Greek myths, and she brings that in, weaves it throughout the speech as a way to provide a recurring central image. that provides figurative meaning and rhetorical unity throughout the speech. So you'll see speakers do this a lot where they have a controlling metaphor or a controlling vehicle based on their attention-getting device that they use throughout. They'll bring it in their roadmap, they'll bring it up in transitions, and they'll end their speech with it after their solution or after their mindset shift suggestion as a way to give the speech unity. Typically, the attention-getting device, it's about 10 sentences. So it's a pretty lengthy little bit. It's okay if it's a little longer or a little bit shorter. Certainly, it can't be too long, right? Because then that will cut into, that will trade off with establishing the core argument of your piece. But typically, about 8 to 12 sentences is the lower and upper range. So let's jump in. Next is the link to the topic. And this is a really important sentence that I see students mess up all the time. You need to provide a robust, after you do this humorous attention-getting device, you need to provide a robust and non-abrupt transition from your attention-getting device to your topic. So what does an abrupt transition mean? So let's say JJ talked about Bollywood. And then actually let me change this to an original advocacy. Let's say you're going to critique pharmaceutical companies for their nefarious practices and how they have gotten America addicted to opioids. All right. Now, let's say you thought through the topic and you're like, OK, what's the core problem here? And you're like, ah, it's about greed. These pharmaceutical companies are so greedy that they've overlooked the health of well of well of average normal citizens. OK, so now you think, all right, what should my attention getting device be? Well, let me think of a story about greed. And so you're like, oh, I remember one time when I was a little kid. you know, my brother and I were playing Monopoly and he was really greedy and he started cheating and stealing money and all these things. So I'll bring in this humorous story of my brother and I playing Monopoly. So you end up telling this funny story about your brother playing Monopoly. You and him, he stole this money and ended up with some humorous scenario, funny punchline, bada bing, bada boom. And then you just in the next line said, just like my brother, pharmaceutical companies in America are too greedy. Everyone in the audience would suffer from whiplash right there. We'd be like, whoa, why did we just go from talking about your brother to talking about pharmaceutical companies? So here's what you need to do instead. First, you need to move from the concrete example of the attention-getting device to a more abstract idea. Second, you need to provide a sentence that makes it clear that you're about to apply that abstract idea to your topic. So notice it's kind of, it's at least a sentence where you are setting up a transition before you actually start talking about your topic. Instead of just saying. Similar to my brother, pharmaceutical companies also embody greed. Instead, you'd say, I learned an important lesson that day. Some people are greedy. However, that idea of greed doesn't just apply to my brother. Unfortunately, it's one actor or unfortunately, there's a more nefarious villain at play in our society that has been embodying this idea of greed for too long. a villain that is now costing society billions of dollars and hundreds of thousands of lives. I'm talking about pharmaceutical companies. So do you see how that built up the transition a little bit more as opposed to just having an abrupt transition? This is what I like to call the mystery intro, where you have a few sentences that build the mystery of what your topic is, but kind of hinting at like, well, this idea that I just established in the attention-getting device, it applies to something else too. Let me give you a couple of clues before I reveal. what the answer is. All right. And so here, here's the example I basically just said, right? But my brother isn't the only one who has been cheating to get ahead. In fact, there's a culprit who's been manipulating and cheating the American people now for decades, lining their own pocketbooks at the expense of our health and our society's well-being. Pharmaceutical companies. It works. It works. It's a tried and true formula. So make use of it. And then you got a three, reveal the topic. So obviously when I say pharmaceutical companies in the last example, that's the revealing of the topic, right? So link to the topic, really, really important. Don't underplay it. Don't have an abrupt transition. If you have an abrupt transition, that is how you lose points on the intro here. Typically, right, this is two to three sentences. Next is the thesis, okay? So this is where you explain the core thesis of your speech. And this is a little bit different based on the speech event. So let me go through them one by one. First, for original oratory, this one's the longest because if you've noticed, OOers, when you're watching those varsity speeches, they always explain the full mindset right there and they introduce the expert to make the mindset credible. So there's just a lot more heavy lifting that OOers have to do to explain that. Again, go back. to the developing a topic video and look at all of the examples I included. I copy and pasted them word for word from national finalist speeches of what the thesis looks like or what the topic explanation or mindset explanation looks like. That is just this part of your speech right there, right? So really important. OA, it's shorter, one to three sentences. State the topic and hint at its negative effects. Don't explain it robustly right here. You will do that in your next paragraph where you establish the context and start to explain the topic itself. But instead, right, if we were to go back to the past example where I mentioned pharmaceutical companies, I would say. I would say my next line would be something along the lines of, today, let's look at how pharmaceutical companies have taken over our society and are leading to hundreds of thousands of deaths every year. Just something, one sentence kind of like that, and then I'll get to the roadmap. Expos, again, pretty short as well. And in Expos, you typically just state the topic and your overall thesis about what it represents. And so this is, remember, ask those questions, why does it matter? And remember, the formula that works best is that you think X about the topic, but actually Y, right? We all think planes are just a way to get around, but actually they represent the fundamental human duality of our capacity for destruction, as well as our capacity to do or achieve the unimaginable. Great, great kind of thesis explanation there. And then you have your roadmap. where you divide your speech into three parts. It doesn't matter whether you're doing an impromptu, whether you're doing an extemp, whether you're doing an OO, OA, or X-Pause. It's always three parts. Tell your audience what you are going to cover in broad strokes and the order that you're going to cover it in, all right? It doesn't matter if you have more than three body paragraphs. You are just going to loosely divide your speech into the three parts that make the most sense, okay? So give broad, sweeping, three-part explanation. Pro tip is to draw on the imagery of the attention-getting device, and this is typically one to two sentences. Let's take a look at some. It's easier to show you rather than try to tell you. So, rather than me reading these lengthy introductions, it'll just work a lot better if you pause the video right here, read it, and then we're going to go through it. This only works, though, if you pause it and read it. If you just let this video play by, you're going to learn nothing. Yes, I'm talking to you. individual who's sitting there looking at your computer screen saying, oh my god, Mr. Langerman, please be quiet. I don't want this to listen to this video. Yes, you. Stop looking down at your phone. Stop looking at another tab on the computer. Time to look at the screen, pause it, and read this robustly. Pause now. All right. Hopefully you enjoyed this introduction. It's an expose in case you were wondering on tiers. So let's just go through step by step. You can see here. This is the attention-getting device. Funny stuff about Hindi soap operas, kind of in the same vein as the J.J. Kapoor intro. Then he transitions here to talking about emotions. And so notice how important this is, right? He sets it up in this first sentence where he says, the reason these soap operas have such a hook is because they play with my emotions. So he's starting to prime the pump with the idea that he's going to get to. And then he says, a sad breakup, death of a loved character, use of Sam Smith's song, or even a happy ending, all of one common thing. They can trigger. tears. So do you see that? He doesn't just say, the reason I'm discussing soap operas is because my topic today is tears. That would be too abrupt and it wouldn't feel natural. But instead, he builds to it. Very good. Then he provides this nice sentence that captures the thesis. They convey a silent language in our inherent right. Beautiful. And then he jumps into the roadmap. Let's go to the next one. Again, only works if you pause this. We now have an original advocacy. And guys, even if you're sitting there saying, but I don't do OA, trust me, seeing more examples of the intro, really, really important to be able to robustly understand what you need to do here. So pause the video, read this now. All right. Hopefully you enjoyed that introduction. Let's hop on in. Pretty easy. Again, opens up with a hide and seek story. And this is an example that I think works really well. So it opens up, this is just a personal anecdote. It's funny. It's self-deprecating. It subverts expectations because getting a B isn't that bad, but the idea that his world's going to end is obviously something that's quite relatable. Then he has a great transition. Notice this idea of hide and seek operates as a great vehicle or controlling metaphor throughout this speech to help us understand this kind of complex idea of anonymous shell corporations, which is the entire idea of companies being able to totally legally hide their money offshore. But anyways, look at this transition. He says, Through my many years of experience in hide-and-seek, I've realized the secret to success is finding the best hiding place. But some people have found the perfect spot which allows them to hide and never be found, but it's not in a house or a backyard. The most important hiding spot is Securities Act Rule 405. So notice, the abrupt transition, the one that you would lose points on is if he just said, while I loved to play hide-and-go-seek as a kid, unfortunately, many companies like to do so as well. If he just did that, it wouldn't be effective. This intro only works because he takes a couple of sentences to set it up. Then he gives us just a very quick explanation or previewing of the topic. Think of an original advocacy, especially as the topic statement as a sort of trailer for what's to come. All right. And he just says anonymous shell corporation. And then he gives us a sentence. It's a completely legal way for drug traffickers, terrorists and cyber criminals to hide their crimes. Huh? I'm intrigued. I want to learn more. Right. I saw the trailer. I saw there's a big battle. Well, all right, I'll go pay some money and watch this movie to see that giant battle with traffickers, terrorists and cyber criminals by the end of the speech. And then he gives us a roadmap. Wonderful. And notice here how he incorporates the language of hide and go seek into into his roadmap itself. OK, slightly longer one. This is an original advocacy. I think it actually worked quite well. And you have to imagine if you've ever seen the price of right prices, right. Or just any game show. This speaker uses the game show host voice and really hammed up this intro to make it successful. So pause the video here. Take a look. Okay. Hopefully you pause the video. Pretty good. Pretty good stuff. So he opens up with the price is right. All right. And so he talks about how much he loves the price is right. Drawing on pop culture. Drawing on TV. Has some good self-deprecating jokes in there. Ha ha ha. Okay. Moves on. This could probably be shortened up a little bit, by the way, but it's okay. So he goes from the price is right and his love of it to then he sets up the transition. However, there's someone who loves to play the price is right even more. And they don't place prices on chili sauce or toilet paper. They play with our life-saving medications. It's drug companies. So again, notice that there's a couple sentences to set it up. And then he sets up. the topic explanation, right? In their game, drug prices are never high enough, people never win, and the price is never right. Great rhetoric there that's really drawing on the figurative imagery of the attention-getting device. They stifle competition, jack up prices of essential drugs at the expense of our lives, all by taking advantage of the broken drug patent system. Very good. And then he provides a roadmap. So my only critique of this one, probably a little bit long, my recommendation to the speaker was to shorten that. uh to shorten this intro but still i think it provides a good example the types of ways that you want to be thinking let's go now to an original oratory speech to pause the video this avi galati speech on growth even if you've seen this speech before i think it's really good to read it and to see how it's done so pause the video here read it all right let us keep going again opens up with a pretty humorous intro about how Latin sucks because it's a dead language and how him taking it in high school sucked because he didn't get to do these fun things. So pretty funny, very humorous. Next, he has a good transition, right? Where again, notice he builds it up. Latin hasn't added a word. It isn't growing. And we don't like that. If something, if anything isn't growing that we can easily measure, even if it's a foundational Western communication, we think it's irrelevant in need of an upgrade or just plain dead. And today this mentality is very much alive. So notice the art of an introduction is being able to abstract the core idea, distill the essence of what your speech is, and to show that you can creatively apply it to other concrete situations or other concrete aspects of our world through a clever attention-getting device. And so then he provides us here the explanation of his topic. Notice here every national finalist original orator will provide a citation in their introduction. X-Baws and OA, you don't do this. In fact, you shouldn't do that. You should save it for your speech itself in almost every case. But OO, it is required that you provide a citation. If you just explain your mindset without any citation in OO, you will lose points. Moreover, if you have too long of an explanation, it's just one of those OO mindsets that takes like 15 sentences to explain, and it seems like it's morphing and shifting. You will lose points. All right. Keep it short. Keep it snappy. But make sure it has experts backing it up. And then finally, he has his roadmap. Okay. One more. This is from Badri's OO. Pause it. Take a look. All right. Hopefully by this point, you're thinking, Mr. Langerman, please stop. I get it. I get it. The formula is so clear. I see the matrix. If that's what you're thinking, good, good. If you have just been skipping over these, not reading these, bad. You are setting yourself up for failure, gentlemen. I don't want to see that. So let's take a look here. You can see it opens up with a humorous, attention-gaining device about Greek mythology, Athena, the golden apple, Paris, all that stuff. Excellent. All right. Then a great transition. Yes, they were all women, but given what each represented, it was not a fair comparison. While this may seem like ancient history, our modern-day history to compare apples to oranges has taken on a life of its own. And that's my concern. So notice here, it's really clever what Badri is doing. She brings in a story from mythology about a golden apple, all right? But then uses that apple image to then draw on another idiom or common saying that we have in our society, which is comparing apples and oranges, which is meant to mean a false comparison, which is what her speech is going to be about. So the story works on multiple levels because it already has the apple as a central image. but then she draws on this figurative imagery of the metaphor apples to oranges as a controlling vehicle for her entire speech. Really good stuff. Helps us to understand it. And that's what good intros do is they provide us a nice metaphor so that we can ground our understanding of an otherwise abstract topic. Next, notice the site. She backs it up with experts. She has two sites here. Notice how much more credible this is than just a 14-year-old pontificating for 10 sentences about some abstract nebulous mindset. This feels very credible and concrete and tangible because she backs it up with actual experts. And then all of a sudden, or not all of a sudden, but finally there is the roadmap. All right, so excellent stuff. Hopefully you have a robust sense of introductions. Next, let's get to external transitions. So this is the connective tissue between body paragraphs. How do you get from... your introduction to your first body paragraph, how do you get from body paragraph one to body paragraph two, so on and so forth. You need a transition that brings the audience from the previous paragraph to a new paragraph. Establish a logical connection between them. Notice that OO, we've given you an explicit logical connection through the prong structure, right? Whereas OO or OA, it's typically about, let me explain the context. Now let me explain. how this is causing issues. And finally, let me show you the ultimate impacts or problems that these impacts are causing. X-Baws, obviously, the structure is a little bit less apparent. And this is one of the hard parts of X-Baws and why external transitions are so important. X-Bawsers, yes, I'm talking to you. Anybody who does X-Baws, please go study Ronan McReynolds'intelligence speech. I'm not saying this as a like, maybe it'd be nice to get to at some point. I'm saying if you want to understand this and not lose points and have an X-Boz that makes logical sense from getting to one paragraph to the other, you're going to go study the way that Ronan McReynolds does external transitions in his state championship speech on intelligence. It's a great speech and he does a great job of bringing you from paragraph A to paragraph B to paragraph C. It's the heart of an X-Boz because if you don't do external transitions correctly in an X-Boz. the speech will just feel like a jumbled bunch of facts that make no logical sense whereas the other speeches oh and oa even if you don't execute super well in the external transitions the audience will still be able to follow you in an x-box if you don't do this right it all falls apart let's keep going though external transitions great opportunity for humor you can make it a few sentences for a longer setup and punchline and i'm going to show you some examples in just a moment Pro tip is to utilize the attention-getting device again and controlling metaphor to give your speech a sense of rhetorical cohesion. Again, think of how JJ brought Bollywood back up at the beginning of his body paragraphs. He would tie it back to Bollywood, make some jokes about Bollywood, then get back into the content of his speech. After the transition, you need to provide a topic sentence that succinctly states the main argument or the main area of discussion of that body paragraph. You know, I think it's more important in an original oratory, you certainly need the main argument, which is your second prong in that body paragraph. In an X-Buzz, for instance, you might not need to say an argument, but you might say, and next, let us look at the implications that this topic has on our brain or on our biochemistry. And that at least states the main area of discussion for that body paragraph. Let's look at some examples. So JJ Kapoor's OO, look, this is a external transition from one body paragraph to the next. He says, stories are great. They entertain us, help us to transmit culture and values from one generation to the next. And they gave the world, if you remember, he did a little dance here, Saturday Night Fever. But our love of narrative causes our perspective to go awry when we insist on viewing complex real world information through the narrative lens. So notice he has a couple of sentences that kind of set up a transition, but then he gives us that topic sentence that says the main argument of the body paragraph in the last sentence there. Next, look at this one. This is his Bollywood transition. Again, this is an external transition going. This is the beginning of a new paragraph. So he's transitioning from the previous paragraph to a new one. He brings Bollywood back up. He says, Bollywood films all follow the familiar narratives. Villain seems poised for victory for the first four hours of the movie, but inevitably protagonist rises up, wins a girl in a climactic dance sequence. And if you remember, he was being really goofy to get laughs. The happy ending is key to our narrative. No matter how bad things get, our sense that a happy ending is just around the corner gives us a reason to keep fighting. But there are problems with this way of thinking. So good. He kind of states the key idea right there, but has a humorous way to get there. And then he has one more. Notice he brings up Bollywood again. There's another external transition to his third body paragraph. He says, now in my household, Bollywood is a big deal. Then he popped into like an Indian accent, probably his parent figure. We are lifetime members of Indian Netflix. I'm not going to try to do an Indian accent. Clearly, that'd be pretty problematic. But we have learned, sometimes painfully, that the narratives we live by aren't always benign. So notice that transition right there. So it doesn't have to be anything super crazy, guys. You can keep it pretty simple, but having some sort of transition, really, really nice. And notice here that JJ wouldn't start, In my previous paragraph, I made this argument, and now I will be transitioning to this other argument. He would do it in a more casual way where he would have a couple of sentences to bring the speech back down to a more lighthearted level before transitioning to the more serious content. Let's look at some other examples. I'm not going to read these out loud, but just pause them and read them. So read Harris Hosseini's OO transition. Okay, hopefully you pause the video, watch that. Again, really funny. And it actually works exceedingly well because it allows him to establish a really good Current event that embodies the mindset. Now, this current event isn't like ruining lives. It's not one of the primary problems he's going to be talking about. It's clearly more humorous than it is serious, but it still allows him to get a good segue or transition into the core idea of that body paragraph, right? The transition here is right at the beginning where he says, Pepsi is not the only one guilty of oversimplifying race in America. And then he provides this humorous example before finally giving us the topic sentence of the paragraph. Alright, next, pause the video and read Avi Galati's OO transition. Pause it now. Alright, hopefully you paused that. Again, opens up with some jokes. If you really want to know something that's dead, don't look at Latin, look in one direction. Where did they go? And then he states the topic sentence. Ha ha ha, funny. I'm just trying to give you all different ideas of how you can do this. Here's Badri's OO transition. Again, pause it, take a look. Okay, pretty straightforward. Again, humor and then topic sentence. And here's Nunziati's original advocacy on tap water. Again, pause it and hopefully you read it. Hopefully that makes sense, everybody. Again, exposers really recommend you don't just look. I didn't want to just pull a single transition. I think it's really important to read Ronan's speech as a whole. and really study how is he getting from one body paragraph to another and why does he sequence it in the way that he does if you do not do external transitions correctly in an x-paws the speech feels incoherent if you do it correctly though it feels like i'm getting a complete meal here's the metaphor i'd get if you don't do it correctly exposures it feels like you're just dumping groceries all over a counter and then you're saying look i have all the ingredients for a beautiful meal here but me i have to sit there and look at it and say Well, maybe if I combine this and this and this and cooked it in the oven for a little while, maybe this could make a good meal, but it certainly doesn't look like an appetizing meal right there. Whereas if you do the external transitions correctly, in addition to everything else we've talked about in the preceding steps, then it will feel like a nice complete entree where it comes out and I got my meat on one side of the plate. I got my potatoes on another side of the plate. I got the vegetables on the other and I got a nice little salad bowl on the side. That's what I'm looking for, guys. And if you do the external transitions correctly, that's what we'll get. Next, internal transitions. Fascinating. Internal transitions, same idea, but just within body paragraphs. Now, this is harder because there's not as clear of a formula because when you need to use internal transitions is highly dependent on what you end up writing within your body paragraphs. Key idea, though, is to think critically about it. Internal transitions really help your audience to understand the relationship. between various points that you make within a body paragraph. They are necessary. Don't think of them as just like a nice little garnish on top of the main entree that is the content or argument of your speech. If transitions are done correctly, they actually end up being a really important part of the argument as a whole because if they're done incorrectly, your argument will feel incoherent. It will feel illogical in terms of the sequencing. Transitions help us to go from point A to point B to point C, which is... what argumentation is all about, logical connections between different premises. So without transitions, your paragraphs will feel choppy, abrupt, and potentially lacking in cohesion. So let's keep going. Let's keep going. Let's look at some examples. What I recommend you do here is pause this video. and write these down maybe you don't need to write down everyone maybe that's excessive but this shows you different types of relationships let me explain it a little bit before i think you should pause so notice right at the top with similarity if you are drawing a similarity between various things within a body paragraph you're saying the pepsi commercial isn't the only one to do this in addition in chicago then you use a similarity right if you are creating an exception or a contrast Then you would say, but in spite, on the one hand, however, nevertheless, nonetheless, in contrast, yet, all those imply whatever I just said, I'm about to give an exception or a contrast to it. So this would be good where you'd be like, our brain is hardwired to tell stories, and this is a beautiful thing. However, it goes too far when we end up oversimplifying the complex reality of people around us. Do you see that exception? That's really good in various points of a speech. Sequence order. This is mainly in your roadmap, but still it can happen. If you're explaining a process, for instance, if you're an exposer and you're explaining, hey, how does digestion work? You might need to say first, second, third. But that can happen in other speech events as well. Time. That one should be pretty straightforward. Example. Example, don't rely on that too much. If you're just saying... In addition and for example as your main transition phrases, it's probably pretty weak. Ideally, you can have a little bit more nuance. I like emphasis though. I like emphasis. In fact, in fact is a great transition phrase right there. So on and so forth. Cause and effect is really important when you're establishing a logical flow. That can be really good in OO and OA when you're trying to explain how something is causing or leading to some negative effect of something else. So on and so forth. Read through these, pause the video, make sure you have them. Hopefully, this just jogs the brain of various types of transition phrases you can have. So pause now, write these all down. Okay, your hands probably getting a little bit tired right now. Maybe now is the point to take a little break, drink some water, do some jumping jacks, go eat a couple of snacks, come back, sit down, get ready for part two. Using evidence. Tips. Here are my tips about using evidence within your speech. When to verbally, I'm going to do this a little bit dialogically, ask some questions, and then I answer it. So when do you verbally introduce author publication qualifications? I know I haven't been incredibly clear about it thus far in the speech writing process, so I want to make it crystal clear now. Well, you want to verbally introduce the author, say, next, according to Samantha Jones of the New York Times. blankety blankety blankety blank when do you want to verbally do that as opposed to just have it hidden in a site it's when you want your claim to have credibility so that could be a lot of the time right it's important for claims about root causes or claims that are debatable or claims that require substantive studies to back them up so if you're just quickly establishing a fact about something like abraham lincoln was born in 1815 i don't actually know when he was born check me on that when he was born in whatever year I don't need to say like, and according to Georgetown University historian, Professor Tombasa Jones, George Washington, or Abraham Lincoln was born in 1815. I don't need that, right? For that kind of one, you can just sneak it into the citation. If you're establishing a non-controversial fact, then you can just have the site in parentheses and not waste time giving an author. So expos, any of those kind of weird little facts. Again, you can just kind of put that in the citation. I don't need an author qualification. But X-Buzz, if you were talking about a psychological phenomenon, like in the speech on simplicity, when the speaker talks about the complexity bias, it would be nice to bring in an author there. Like, according to psychologists, Dr. Sandy Longbottom, she ends up arguing that we are hardwired to have a complexity bias. And that allows you to have some credibility to what you're saying. Obviously, OOOA, there are a lot more points where you need credibility. So when to introduce a quote, though, and when to just paraphrase it? Let's say you've decided, all right, I'm going to introduce an author and publication, but do I actually quote that whole little chunk, or do I just paraphrase and put it in my own words? Well, here's my thoughts. Quotes increase the credibility because they show the audience the exact words of a qualified expert. You want to use that when you want to increase the authoritativeness of your claim. Or if you have something that the audience is probably going to be skeptical about, you want to show us evidence. So original orators, this can be particularly important when you are asserting that your mindset is the root cause of some problem. I all too often just see OORs assert the link to their mindset or see OARs assert the link to their mindset. And that ends up being really ineffective. uh from an audience's perspective it just doesn't feel persuasive because it doesn't actually feel like you have evidence backing you up so you need to ask what is the weakest link of my argument what are people going to be most skeptical about if i am saying for instance that this mindset causes or best explains why people commit hate crimes that's a pretty big claim you need to have good evidence to back you up and so that might be a place where you actually want a quotation Paraphrasing is better when you just want to quickly introduce information that is unlikely to be questioned. Unlikely to be questioned. If you have something that's not seriously debatable or not seriously questionable, then you can probably just paraphrase it. Make sure that you're not typing it up word for word though, otherwise you'll get into plagiarism territory. You want to put it entirely in your own words, but make sure that you are not distorting the argument or changing the argument. If you end up distorting or changing the argument substantially, that's a serious problem as well. Let's look at some examples. Oh, wait, no. Let me explain the lead-in, and then we'll look at some examples. So a lead-in. If you are going to provide a quotation, or even if you're going to paraphrase it, you still have to provide a lead-in. So what does that mean? You need to, at the very least, state the author slash publication and qualifications if needed. If you're just saying, you know, according to psychologist Samantha Jones, you don't need to give me her qualifications. You said that she was a psychologist, right? Whereas, you know, at some times you might want to say, and according to doctor, according to Dr. Billy Bob John, who was the director of the Center for Disease Control. That can be really, really good, right? If you show me, wow, that was the director of the CDC. Now I'm intrigued. Provide context if necessary to understand the quote or evidence. So you can't just go like, you know, explain one idea in a sentence and say next, according to Dr. Blankety Blank. and then just insert a quote without me having any lead in or understanding the context at all of what the quote is even talking about, what was going on in the study, what was happening. You'll see some examples in just a moment. And ideally, you can preview the claim of the quote so I know what the or how the evidence relates to your broader argument and thus what I should be listening for. So if I'm trying to prove to you that pizza is the best food ever because it has delicious taste, I could say, according to the New York Times, Americans overwhelmingly agree that pizza is the best food ever because according to their survey, they found that, quote, 75% of respondents had pizza labeled as their best food ever, end quote. That's pretty good. And then you need to include an MLA internal citation, all right? And that's for our purposes. Obviously, the audience won't see it, but it's important to make sure that you are not plagiarizing. Properly citing your evidence is an important component of not plagiarizing. Let's look at examples. So I'm going to go through a paraphrasing example, a long evidence example, and then a short evidence example. Let's say I'm trying to talk about the positive effects of chocolate. I could say, in fact, chocolate is such a powerful effect on our brain that Dr. Thomas Johnson of Stanford University found in a study that participants who eat chocolate every day were 10 times more likely to be happy than people who never ate chocolate. So notice I didn't quote it directly, but this is something that, you know. Pretty straightforward. I think a paraphrasing here works pretty well because it establishes the core fact. And it does so in a pretty efficient way. Still have the citation. Still give Dr. Thomas Johnson a shout out. So it sounds credible. Feels good. Here's a longer quote. In fact, chocolate is such a powerful effect on our brains that Dr. Thomas Johnson Stanford University found in a study that participants who eat chocolate every day were substantially happier. As Dr. Johnson explains, the results were astounding. The chocolate eating participants displayed a tenfold increase in happiness than other people. Eating chocolate every day probably won't please your dentist, but it should get you plus points with your therapist. So look at that. Notice here that what is drawing this speaker to this longer quote is the kind of humorous rhetoric. And that's not something that you could capture through paraphrasing. So that's another reason why you might be drawn to a quote is if the rhetoric is really powerful and you want to bring in that rhetoric directly. But notice that it does sound very persuasive when you quote the person directly. Obviously, the tradeoff here, notice, is a lot longer than the one before. If you tried to do this for every single point you made in your speech, your speech would be too long. And if you remember back to slide number two of this PowerPoint, you would lose points if it gets too long. Next, let's look at just excerpting a little bit of a quote. Pro move. In fact, chocolate is such a powerful effect on our brain that Dr. Thomas Johnson of Stanford University found in a study that participants who eat chocolate every day, quote, displayed a tenfold increase in happiness than people who never ate chocolate. By the way, you don't need to say quote or end quote when you're actually speaking. I'm just doing that to help you. So what's going on here? You can see here this is something that you can do that's quite effective is integrating little quotes into your speech. O-O-ers love to do this. If you remember from J.J. Kapoor's speech, he did this. insolvency section. He listed a famous writer and he said, this is what famous writer coins, the danger of the single story. And so he gives that as a quote. It's clear to everybody that that is a short quote, but it's not like he's quoting a whole chunk like in this second example here. That can be quite effective. My advice for you, go study the speech events or the finalist speeches in your speech event and see when they use a quote and don't use a quote. See how they integrate evidence. And that will be a good guide for you about when you should, when you shouldn't. Logical organization. Make sure the structure and organization of your speech is logical. Hey, that was pretty straightforward, right? Some questions ask, is the organization the best way to help an audience understand your topic? Think about it. The big danger of writing a speech is you become an expert in a topic and you forget what it's like to know nothing about your topic. And so you lose the ability to empathize with your audience, who's probably sitting there being like, wait, what? A lot of the time. So you need to think through logically. All right, what does the audience need to understand and in what order? What is the best way to organize the speech so that my audience can comprehend it? Next, does the sequencing of your speech put your ideas in the order that you would explain your topic to a friend? That's just another way of asking the first question. Imagine sitting your friend down and trying to explain to your friend your topic. Does your organization make sense? And by the way, this is both on the level of the paragraphs and their ordering as well as internally within your paragraphs. Are there places where the transition feels too abrupt? Are there places where the transition feels too abrupt? If so, you need to flesh that out a little bit more. Another big tip, don't be attached or don't be too attached to the outline structure. Change the order of your speech if it helps your audience better understand it. I would say that's especially true of X-Paws and OA. OA, there's more of an established structure, right? You go from the intro to prong number one to prong number two to the dramatic implications paragraph and finally to the solution mindset paragraph. That is kind of non-negotiable. But how you internally organize things, certainly more negotiable. But OA and X-Paws, there's a little bit more wiggle room there. And so you need to ask yourself what makes the most logical sense. Conclusion paragraph. Well, actually, most of the time it's just kind of... tacked on to your last solution paragraph for 000a, X-Boz is usually a quick paragraph at the end. So it's the end of this, end the speech on a message of hope and transformation. And that's actually true of all the speech events. Typically, right, even an X-Boz ends with some dramatic implications, but then inspires us to want to change the way we relate to the topic so that we don't fall into the trap of those dramatic implications. But 0800, obviously you want to end with like, hey, I just presented a lot of problems, but I presented a solution and we can imagine a better world, right? We can imagine a world that doesn't reproduce these problems. That's the kind of vibe you want. You don't want to end on a doom and gloom. You want to end on a message of hope. So connect it back to the open attention getting device or vehicle. That's a great pro move there. Again, it feels like you are closing the knot or tying the knot on an overall speech, which is a really fulfilling. feeling for an audience when it circles back around to the opening attention-getting device. End with a rhetorically powerful and witty line. You want to do the mic drop at the end of your speech, and it usually will have a link to the title of your speech as well, which needs to be creative. I'll get to that in a couple of slides. It's shorter than the intro, though. It's not super fleshed out. It's three to six sentences that establish rhetorically what I just listed here. Let's look at some examples. Um, this is from Ronan's intelligence speech, which exposes you're going to study closely. If you don't, you will regret it. I promise you. Gooby, why wouldn't you listen to me? Why wouldn't you implement this thing that I'm talking about? Watch his speech. Stop making these life, uh, mistakes. Study it. Study it. Graph it out. Organize it. Diagram it. Outline it. Make sure you understand it. You will repeat it, uh, from the moment that you wake up to the moment you go to sleep until you finish your speech. all jokes aside let's pause this video right here and read it pause the video read it Okay, hopefully you all enjoyed that. You can see here it ends on a nice little optimistic note. And notice this isn't just useful for expositors. This is useful for everybody, right? It provides us that nice little inspiring message of how we can change the way we think about intelligence. And then it ties it back around. His opening attention-getting device was about a test, and he reproduced a standardized test, and it was pretty humorous and funny. But then he ties it right back to that rhetoric that he opened up the speech with about the real test just beginning. Next. This is from the speech on tears. He ties it back around to the soap opera. Again, pause this video. See how this connects to that opening attention-getting device about soap operas. You guys already read the intro earlier in this PowerPoint. So pause the video now, read it. Okay, quite effective, right? He summarizes the main point of this speech, which is about how tears are such an important form of communication. He summarizes, all the different aspects of what we covered and then he ends on this witty rhetorically powerful line about making our life more like a soap opera and shedding a tear which related to the title of his speech here's another example this is an original advocacy and this original advocacy was about ending corn subsidies so pause the video read this okay hopefully you did you can see here right works quite well. And that final line, ensuring that corn subsidies are off the menu once and for all. Nice, rhetorically powerful line. Let's look at another. This is from, what is this from? Oh, this is from an original advocacy on water, on clean tap water. Again, pause it, read it. Okay. We're back. If you've read this speech, it opens up with, is the glass half full or half empty? And he makes a lot of jokes about that. He ties it back around to that. Our nation's glass of water will once again be half full. Clever ties back to the original attention-getting device. And then he says, bottoms up. And it ends on this message of hope. Good stuff. Let's look at this one. This was Badri's speech, I believe. Oh, no, no, no. This is J.J. Kapoor's speech on storytelling. Let's pause it, take a look. Yep, excellent. He ties it back to Bollywood and he ties it back to dancing, which is how he opened up his speech. So again, it works quite effectively, gives us that sense of inspiration and hope. Feels incredible. And finally, this is Badri's speech, the one we looked at before, which had the Greeks and apples and oranges. So notice how effective this one is, right? She explains that apples to oranges comparison here fleshes out that opening attention getting device in a new way at the end here. That's really awesome. Definitely pro-matrix level moves here to actually reveal something new about the attention getting device that brings us in a new direction at the end that links to the overall inspirational message of hope that you want to convey. Really good stuff. Some other tips before we end this quite lengthy video. First, add humor. Now, there will be a subsequent video on humor, not yet, but soon. And so the more you can make your audience laugh, the more engaged they will be. In general, notice that the speeches that you really like, the speeches like J.J. Kapoor, Avi Galati, have a lot of humor in them and it ends up working. If you're too serious, it's not going to be fun to listen to. So add as many jokes as possible. Next, the more concrete, the better. Always ground your speech in concrete, tangible, specific examples that your audience could imagine. Just know that abstraction is the enemy. If you're just talking abstractly about ideas or psychological processes or some sort of abstract problem that's plaguing society or some topic for X-Buzz, but you're not grounding it in specific examples or you're not explaining it concretely, then you will likely lose your audience. And I promise you, all of you who have had teachers that slip into the abstract too often, know this feeling when you get bored and start tuning out. Don't be too attached to anything you did in a previous draft. This is a big, big, big, big, big mistake I see novice speakers do where they just get too attached. They're like, but hey, I had this in speech step writing process three or speech writing process three, step three. I had it in step three and then I had it in step four and now I really don't want to get rid of it. I'm attached to it. It's my baby. I've been nurturing it. I've been feeding it and I don't want to get rid of it. Now get rid of it, guys. Trust me. Most of the stuff you found in those early steps, probably not great. Probably need to be deleted. Probably need to be revised. Again, the art of great speech writing is not finding exactly what you were going to say or what your speech was going to be in week two and just sticking to it. It's the art of having humility, of understanding that writing a great speech is about constantly revising and crafting and tweaking every little part of your speech until it gets closer to being incredible. All right. And that doesn't happen overnight. That's an ongoing process. The lazier you are with revising your speech, the lazier you are with really assessing, is this a strong example or do I need to delete it and find a better one? The lazier you are with just saying, well, you know, I found some evidence that said this. as opposed to saying, hey, I want to find the best evidence possible that supports this claim, the weaker your speech will be. All right. So don't be lazy. Continue to work hard. Continue to research. Your speech needs a title. I already hinted at this. It needs to be creative and it needs to connect to the vehicle of the speech. OK, or it doesn't need to, but it often connects to the vehicle of the speech. So let's look at some examples here. Kapoor's speech was called Let's Dance. Baudry's speech was Our Quest for the Golden Apple. Hosseini's speech was simply put. Saoji's X-Boz speech was just another soap opera. So notice how all these relate to the attention-getting device. McRonald's X-Boz, X-Bozers, you're going to study this, is called The Intelligence You Can't See. Bao's original advocacy is Bite Down. That's a speech on opioids, but his opening attention-getting device was all about him having a food problem where he would eat too much sugar and food all the time, and then he transitioned that to opioid addiction. Whoa, kind of rough. Okay, let's get to works cited. Final bit here, final bit. You need an MLA works cited page. I know this is the least fun part of any speech writing or any big research assignment. Leave plenty of time to get this done, especially if you aren't familiar with how to do an MLA works cited page because it's kind of a pain, but it's important you do it right. Like many things in life that I've been preaching throughout this class, doing formatting correctly, really important life skill. What are some resources you can use? Well. there linked in this video and down below you're going to smash that like and subscribe button and then you're going to click on the youtube instructional video for how to do uh for how to write a mla we're excited oh my god the link got messed up here i will edit that don't worry it's right in the link below or in the yeah yeah in the description below this video and then you will click on purdue owl okay purdue owl provides all of the rules that you would need to possibly do it study these closely if you have questions google it also use your mla handbook that you received which goes over this ad nauseum all right no we're excited if you end up without a we're excited if i look at your rough draft and you do not have a work cited five points deducted do not pass go do not collect 200 we're excited formatting errors one point deducted for each distinct error up to four points deducted so at least let you save a point if you at least didn't attempt on a work cited, but totally messed up every part of it, you'll at least get one little point, but you'll still get four points deducted. No work cited, five points deducted. Don't do it. Let's just take a look real quick. Oh, remember back in this part of the video when I was writing a really cool speech? Those were good times, guys. Let's get to this. This is what a work cited should look like. Notice here, it's not bolded. underlined with extra spaces. This is not different font sizes. It's not like the work sided font is like 20 point font or 18 point font and bolded. I'm saying this now I'm communicating words to you. And yet I know some of you will mess this up and you will not just keep this 12 point font times new Roman, no bolding, no underlining, no italics. All right. And then we get here. Notice it's actually very logical. It's an alphabetical order. So imagine if in an internal citation. where you should have the author's last name, it would be in parentheses. Let's go down here, nap. In parentheses, it's a nap. Or in parentheses, it's a Jones. And so let's say I'm looking at that Jones internal citation. I'm like, hmm, I wonder where this student got this source. I can then go to your works cited page. It would be in nice alphabetical order, which would make it very easy to find Jones. And then I would see Jones, and then I could look at this longer entry. So notice how that makes sense. Notice how the second line, if it spills onto a a second or third line, you have to indent those second and third lines. The video I've linked explains exactly how to do that. So you want to make sure to do that correctly. And again, that makes sense, right? Imagine This is a good example over here. So Edmund Jeffcott, what a name, is the translator of this Walter Benjamin, or actually it's pronounced Benhamin if you're a cool kid who knows that this is a German author and that's how they pronounce Benhamin in German. But anyways, this is a translator. But imagine, imagine if this was not properly indented, then it would look like Edmund was just another author and there was a missing internal citation somewhere. that's why it's really important to indent that second line so i know what the each distinct entry looks like um notice here follows all the right formatting everything everywhere else uh and so that's important that's important to follow here so this is what your work site cited should look like if you see that your indentation looks really different like the first part of the entry like where it says benjamin right here was indented and then the second line isn't indented that is wrong you'll lose points if you find that there is a ton of extra space between each of your entries you will lose points if you find that there you know is just something that looks radically different than this you will probably lose points because it means that you probably did something incorrectly so be sure to play pay close attention to this guys be sure to leave plenty of time for your work cited you no longer need to have the hyperlinked internal sources in fact if you do the hyperlinking you will lose points so please don't do that okay you no longer need to hyperlink internally your sources. No longer need internal citations that are hyperlinks. That was just a shorthand so that you didn't have to do this for every single step of the speech writing process. That was out of mercy, but please don't make me deduct points because you have hyperlinks all over your speech for this draft. Hopefully that makes sense, guys. I know that was a lot of information. If you have questions, let me know, but hopefully you're excited about writing this speech. I'm really excited to see what you all put together. If you have any questions, let me know. please come to student coaching. Always a really, really helpful tool. Other than that, stay safe.

So let's jump on it. Length and formatting. Your speech time overall, you have a 10-minute speech limit with a 30-second grace period.

So that means that typically at a tournament, but also within this class, you are allowed to speak for 10 minutes. And if you go over 10 minutes, you can go maximum up to 30 seconds, but anything past that. and you will lose serious points.

Or in a tournament, you will lose rank, right? You will be ranked lower than what the judges thought you actually were. What does that translate to? That's about 4.5 pages or about 1,150 to 1,400 words, okay?

That's about the limit that you want. And let me be crystal clear here. If you are under four pages in the draft that you're going to submit, so if you are just in the three-page range, or if you go on to a sixth page, and none of this of course is including the work cited you will have five points deducted from your rough draft assignment you will have five points deducted if you fail to follow this basic limit you should be either with four full pages or you should have uh or or uh make sure you do not go onto that sixth page all right so that four over to that fifth page that's exactly where you want to be formatting here Times New Roman, 12-point font, double-spaced, no extra spaces between paragraphs. You got to go into the spacing options to fix that. If you notice, right, oh, everything's double-spaced in the paragraph.

But wait a second. There's an extra space after the paragraph. That means you need to double-click that whole paragraph, go into spacing options, and then remove that extra space.

All right? It will get you. Best way to do it, so what I'm asking you to do here is follow the MLA formatting guidelines.

Again. formatting very very important life skill one of the most important life skills you'll probably get out of this class actually that's a lie all the public speaking and critical thinking skills that you'll develop in this class probably more important uh lifelong skills but formatting still really really important here's my recommendation all right i'm about to show it to you you're gonna open a new microsoft word file click on templates and then there's an mla style paper template right there for you which will do this all for you so don't make mistakes why reinvent the wheel don't do it don't make the mistakes that previous freshmen have made that will lead to a serious deduction of points just follow the path of logic and truth and reason please i'm begging you you will lose one point per formatting error so if i notice for instance that you didn't put your uh didn't put your speech in times new roman font that's one point deducted if you have 10 point font uh that's another point deducted if it is single spaced that's another point deducted so on and so forth all right if you have spacing issues that's another point deducted let's take a look at what this looks like so we're actually going to look at this work site a little bit later don't freak out about that right now so if we are here hopefully you can see uh this little bit that says new from template all right new from template huh let's click on that by the way if you open up microsoft word and click new document normally you'll have a template option towards the top and boom you'll normally see something like this now okay we're scanning we're scanning we're scanning and boom you see this mla style paper and hey if you're not seeing it here for you just type up mla on the good old-fashioned search bar up here and it will show up but let's just click on that and oh look at that it is beautiful and you click on it and oh it is ready for you to type it doesn't have the extra spaces between paragraphs Notice here, it doesn't have a bolded underlined title. That's not what it's supposed to be.

It's not what it's supposed to be. You can click up here and put your name. So I could put Langerman and it has the page number already for you.

So you don't even have to learn how to insert it. It's so beautiful. By the way, guys, normally on like an English paper, you would have to put all this stuff. You can just delete that for our purposes.

Okay, I know who you are. You're not submitting this physically. Ultimately, that type of title, it's okay not to have that.

But But you do need to have your title up here. Okay. So you'd have really cool speech.

And then boom, I can just start typing. Hello, everyone. I am about to tell you a really cool speech.

And that could be the opening line of my speech text. And I can delete all this other stuff, all right, because it's just not important. They have like diagrams in case you wanted to do that. And look, it even starts off the works cited page for you.

Notice again, guys, not a big space between works cited and down here. Sometimes I see students like to do like a triple space between none. It's not bolded and underlined.

Nope, that is not correct MLA formatting. Again, if you're confused on MLA formatting, you all have an MLA handbook that you received as freshmen at Bellarmine. And second, go to Purdue OWL. Purdue OWL.

Just type that in, Purdue OWL on Google. Click on that, and that is a great resource which will answer any MLA question that you have. Let's return to this, okay? So this...

This slide is really about just not making silly mistakes. Don't do it. It pains me in my heart of hearts. Oh, one thing that goes without saying, one-inch margins. I sometimes see students try to mess with the margins.

Sorry, that is implied in MLA formatting, but I did not type it up here. So make sure you have one-inch margins. Do not mess with, don't try to create overly narrow margins or overly wide margins to try to flub it. I will know.

All right, introduction. Introduction, really important paragraph we haven't discussed at all. I'm going to go through the parts right now. So to start off, you'll see every intro from every speech event basically follows the same formula. The opening is what people call the attention-getting device or the AGD.

So if you hear people say AGD, now you know the lingo, attention-getting device. The AGD is all about hooking your audience with a captivating and humorous device that captures their attention. You need a hook them so that they want to keep listening to your speech.

Imagine how captivating some of the successful speeches that you've seen are. Like J.J. Kapoor just singing and dancing and then cracking all those jokes in the intro. You can't help but want to keep listening to him.

And so it's a great way to sell your personality and get the audience interested in what you have to say. You can imagine how much less effective J.J.'s speech would have been if he just opened up and said, we are all a storytelling species. And the dangers of our storytelling preclentions arise when we end up reducing the complexities of people.

We'd all be like, oh, this sounds kind of serious and technical. I'm probably going to tune out and go back to my cell phone. So types of attention-getting devices.

You could have a personal anecdote, so like a story from your childhood or just from your life. You could bring in something from literature. You could bring in mythology, like Greek mythology, for instance. You could bring in just... a story of some kind that you heard.

Typically, the more personal, the better. You could have pop culture. That can work.

You could have history. You could have songs, movies, quotations. There's so many different things you can do.

The important thing is basically you have to be creative and you have to be funny, okay? The more personal that you can make it, the better. That doesn't mean you need a personal anecdote, but if you're talking about something in pop culture, like JJ did with Bollywood, well...

The way he made it personal was talking about his love of Bollywood. So that's typically my advice. And also, it needs to have a logical link to the topic.

You can't just stand up and crack stand-up comedy jokes for three minutes and then be like, okay, time to talk about something serious. Your intro needs to have a logical link to your topic. And so you need to think on the level of ideas. What is the core idea of your topic and what is an example of something from the list I just provided that embodies that idea and could allow a humorous or creative or engaging way to deal to embody that idea before you get to a more serious topic. So this is what we like to call the vehicle or a controlling metaphor, right?

Whatever your attention getting device appears to be about, whatever that recurring central image is. You can use that throughout your speech to help drive the core idea of the speech forward. So for J.J., he continually brought up Bollywood as a metaphor for our love of storytelling. In one of Baudry's speeches, she uses Greek mythology, and specifically the golden apple story from one of the Greek myths, and she brings that in, weaves it throughout the speech as a way to provide a recurring central image. that provides figurative meaning and rhetorical unity throughout the speech.

So you'll see speakers do this a lot where they have a controlling metaphor or a controlling vehicle based on their attention-getting device that they use throughout. They'll bring it in their roadmap, they'll bring it up in transitions, and they'll end their speech with it after their solution or after their mindset shift suggestion as a way to give the speech unity. Typically, the attention-getting device, it's about 10 sentences. So it's a pretty lengthy little bit. It's okay if it's a little longer or a little bit shorter.

Certainly, it can't be too long, right? Because then that will cut into, that will trade off with establishing the core argument of your piece. But typically, about 8 to 12 sentences is the lower and upper range.

So let's jump in. Next is the link to the topic. And this is a really important sentence that I see students mess up all the time. You need to provide a robust, after you do this humorous attention-getting device, you need to provide a robust and non-abrupt transition from your attention-getting device to your topic.

So what does an abrupt transition mean? So let's say JJ talked about Bollywood. And then actually let me change this to an original advocacy.

Let's say you're going to critique pharmaceutical companies for their nefarious practices and how they have gotten America addicted to opioids. All right. Now, let's say you thought through the topic and you're like, OK, what's the core problem here?

And you're like, ah, it's about greed. These pharmaceutical companies are so greedy that they've overlooked the health of well of well of average normal citizens. OK, so now you think, all right, what should my attention getting device be? Well, let me think of a story about greed.

And so you're like, oh, I remember one time when I was a little kid. you know, my brother and I were playing Monopoly and he was really greedy and he started cheating and stealing money and all these things. So I'll bring in this humorous story of my brother and I playing Monopoly. So you end up telling this funny story about your brother playing Monopoly. You and him, he stole this money and ended up with some humorous scenario, funny punchline, bada bing, bada boom.

And then you just in the next line said, just like my brother, pharmaceutical companies in America are too greedy. Everyone in the audience would suffer from whiplash right there. We'd be like, whoa, why did we just go from talking about your brother to talking about pharmaceutical companies?

So here's what you need to do instead. First, you need to move from the concrete example of the attention-getting device to a more abstract idea. Second, you need to provide a sentence that makes it clear that you're about to apply that abstract idea to your topic. So notice it's kind of, it's at least a sentence where you are setting up a transition before you actually start talking about your topic. Instead of just saying.

Similar to my brother, pharmaceutical companies also embody greed. Instead, you'd say, I learned an important lesson that day. Some people are greedy. However, that idea of greed doesn't just apply to my brother. Unfortunately, it's one actor or unfortunately, there's a more nefarious villain at play in our society that has been embodying this idea of greed for too long.

a villain that is now costing society billions of dollars and hundreds of thousands of lives. I'm talking about pharmaceutical companies. So do you see how that built up the transition a little bit more as opposed to just having an abrupt transition? This is what I like to call the mystery intro, where you have a few sentences that build the mystery of what your topic is, but kind of hinting at like, well, this idea that I just established in the attention-getting device, it applies to something else too.

Let me give you a couple of clues before I reveal. what the answer is. All right.

And so here, here's the example I basically just said, right? But my brother isn't the only one who has been cheating to get ahead. In fact, there's a culprit who's been manipulating and cheating the American people now for decades, lining their own pocketbooks at the expense of our health and our society's well-being. Pharmaceutical companies.

It works. It works. It's a tried and true formula. So make use of it. And then you got a three, reveal the topic.

So obviously when I say pharmaceutical companies in the last example, that's the revealing of the topic, right? So link to the topic, really, really important. Don't underplay it.

Don't have an abrupt transition. If you have an abrupt transition, that is how you lose points on the intro here. Typically, right, this is two to three sentences. Next is the thesis, okay? So this is where you explain the core thesis of your speech.

And this is a little bit different based on the speech event. So let me go through them one by one. First, for original oratory, this one's the longest because if you've noticed, OOers, when you're watching those varsity speeches, they always explain the full mindset right there and they introduce the expert to make the mindset credible. So there's just a lot more heavy lifting that OOers have to do to explain that.

Again, go back. to the developing a topic video and look at all of the examples I included. I copy and pasted them word for word from national finalist speeches of what the thesis looks like or what the topic explanation or mindset explanation looks like. That is just this part of your speech right there, right? So really important.

OA, it's shorter, one to three sentences. State the topic and hint at its negative effects. Don't explain it robustly right here.

You will do that in your next paragraph where you establish the context and start to explain the topic itself. But instead, right, if we were to go back to the past example where I mentioned pharmaceutical companies, I would say. I would say my next line would be something along the lines of, today, let's look at how pharmaceutical companies have taken over our society and are leading to hundreds of thousands of deaths every year. Just something, one sentence kind of like that, and then I'll get to the roadmap. Expos, again, pretty short as well.

And in Expos, you typically just state the topic and your overall thesis about what it represents. And so this is, remember, ask those questions, why does it matter? And remember, the formula that works best is that you think X about the topic, but actually Y, right? We all think planes are just a way to get around, but actually they represent the fundamental human duality of our capacity for destruction, as well as our capacity to do or achieve the unimaginable.

Great, great kind of thesis explanation there. And then you have your roadmap. where you divide your speech into three parts. It doesn't matter whether you're doing an impromptu, whether you're doing an extemp, whether you're doing an OO, OA, or X-Pause.

It's always three parts. Tell your audience what you are going to cover in broad strokes and the order that you're going to cover it in, all right? It doesn't matter if you have more than three body paragraphs. You are just going to loosely divide your speech into the three parts that make the most sense, okay?

So give broad, sweeping, three-part explanation. Pro tip is to draw on the imagery of the attention-getting device, and this is typically one to two sentences. Let's take a look at some. It's easier to show you rather than try to tell you. So, rather than me reading these lengthy introductions, it'll just work a lot better if you pause the video right here, read it, and then we're going to go through it.

This only works, though, if you pause it and read it. If you just let this video play by, you're going to learn nothing. Yes, I'm talking to you.

individual who's sitting there looking at your computer screen saying, oh my god, Mr. Langerman, please be quiet. I don't want this to listen to this video. Yes, you.

Stop looking down at your phone. Stop looking at another tab on the computer. Time to look at the screen, pause it, and read this robustly.

Pause now. All right. Hopefully you enjoyed this introduction.

It's an expose in case you were wondering on tiers. So let's just go through step by step. You can see here. This is the attention-getting device.

Funny stuff about Hindi soap operas, kind of in the same vein as the J.J. Kapoor intro. Then he transitions here to talking about emotions. And so notice how important this is, right? He sets it up in this first sentence where he says, the reason these soap operas have such a hook is because they play with my emotions.

So he's starting to prime the pump with the idea that he's going to get to. And then he says, a sad breakup, death of a loved character, use of Sam Smith's song, or even a happy ending, all of one common thing. They can trigger.

tears. So do you see that? He doesn't just say, the reason I'm discussing soap operas is because my topic today is tears.

That would be too abrupt and it wouldn't feel natural. But instead, he builds to it. Very good.

Then he provides this nice sentence that captures the thesis. They convey a silent language in our inherent right. Beautiful.

And then he jumps into the roadmap. Let's go to the next one. Again, only works if you pause this. We now have an original advocacy. And guys, even if you're sitting there saying, but I don't do OA, trust me, seeing more examples of the intro, really, really important to be able to robustly understand what you need to do here.

So pause the video, read this now. All right. Hopefully you enjoyed that introduction. Let's hop on in. Pretty easy.

Again, opens up with a hide and seek story. And this is an example that I think works really well. So it opens up, this is just a personal anecdote. It's funny.

It's self-deprecating. It subverts expectations because getting a B isn't that bad, but the idea that his world's going to end is obviously something that's quite relatable. Then he has a great transition.

Notice this idea of hide and seek operates as a great vehicle or controlling metaphor throughout this speech to help us understand this kind of complex idea of anonymous shell corporations, which is the entire idea of companies being able to totally legally hide their money offshore. But anyways, look at this transition. He says, Through my many years of experience in hide-and-seek, I've realized the secret to success is finding the best hiding place. But some people have found the perfect spot which allows them to hide and never be found, but it's not in a house or a backyard.

The most important hiding spot is Securities Act Rule 405. So notice, the abrupt transition, the one that you would lose points on is if he just said, while I loved to play hide-and-go-seek as a kid, unfortunately, many companies like to do so as well. If he just did that, it wouldn't be effective. This intro only works because he takes a couple of sentences to set it up. Then he gives us just a very quick explanation or previewing of the topic.

Think of an original advocacy, especially as the topic statement as a sort of trailer for what's to come. All right. And he just says anonymous shell corporation. And then he gives us a sentence. It's a completely legal way for drug traffickers, terrorists and cyber criminals to hide their crimes.

Huh? I'm intrigued. I want to learn more. Right. I saw the trailer.

I saw there's a big battle. Well, all right, I'll go pay some money and watch this movie to see that giant battle with traffickers, terrorists and cyber criminals by the end of the speech. And then he gives us a roadmap.

Wonderful. And notice here how he incorporates the language of hide and go seek into into his roadmap itself. OK, slightly longer one. This is an original advocacy. I think it actually worked quite well.

And you have to imagine if you've ever seen the price of right prices, right. Or just any game show. This speaker uses the game show host voice and really hammed up this intro to make it successful.

So pause the video here. Take a look. Okay.

Hopefully you pause the video. Pretty good. Pretty good stuff.

So he opens up with the price is right. All right. And so he talks about how much he loves the price is right. Drawing on pop culture. Drawing on TV.

Has some good self-deprecating jokes in there. Ha ha ha. Okay. Moves on.

This could probably be shortened up a little bit, by the way, but it's okay. So he goes from the price is right and his love of it to then he sets up the transition. However, there's someone who loves to play the price is right even more.

And they don't place prices on chili sauce or toilet paper. They play with our life-saving medications. It's drug companies. So again, notice that there's a couple sentences to set it up. And then he sets up.

the topic explanation, right? In their game, drug prices are never high enough, people never win, and the price is never right. Great rhetoric there that's really drawing on the figurative imagery of the attention-getting device.

They stifle competition, jack up prices of essential drugs at the expense of our lives, all by taking advantage of the broken drug patent system. Very good. And then he provides a roadmap.

So my only critique of this one, probably a little bit long, my recommendation to the speaker was to shorten that. uh to shorten this intro but still i think it provides a good example the types of ways that you want to be thinking let's go now to an original oratory speech to pause the video this avi galati speech on growth even if you've seen this speech before i think it's really good to read it and to see how it's done so pause the video here read it all right let us keep going again opens up with a pretty humorous intro about how Latin sucks because it's a dead language and how him taking it in high school sucked because he didn't get to do these fun things. So pretty funny, very humorous. Next, he has a good transition, right?

Where again, notice he builds it up. Latin hasn't added a word. It isn't growing.

And we don't like that. If something, if anything isn't growing that we can easily measure, even if it's a foundational Western communication, we think it's irrelevant in need of an upgrade or just plain dead. And today this mentality is very much alive. So notice the art of an introduction is being able to abstract the core idea, distill the essence of what your speech is, and to show that you can creatively apply it to other concrete situations or other concrete aspects of our world through a clever attention-getting device. And so then he provides us here the explanation of his topic.

Notice here every national finalist original orator will provide a citation in their introduction. X-Baws and OA, you don't do this. In fact, you shouldn't do that.

You should save it for your speech itself in almost every case. But OO, it is required that you provide a citation. If you just explain your mindset without any citation in OO, you will lose points. Moreover, if you have too long of an explanation, it's just one of those OO mindsets that takes like 15 sentences to explain, and it seems like it's morphing and shifting. You will lose points.

All right. Keep it short. Keep it snappy.

But make sure it has experts backing it up. And then finally, he has his roadmap. Okay. One more. This is from Badri's OO.

Pause it. Take a look. All right. Hopefully by this point, you're thinking, Mr. Langerman, please stop.

I get it. I get it. The formula is so clear. I see the matrix.

If that's what you're thinking, good, good. If you have just been skipping over these, not reading these, bad. You are setting yourself up for failure, gentlemen.

I don't want to see that. So let's take a look here. You can see it opens up with a humorous, attention-gaining device about Greek mythology, Athena, the golden apple, Paris, all that stuff.

Excellent. All right. Then a great transition.

Yes, they were all women, but given what each represented, it was not a fair comparison. While this may seem like ancient history, our modern-day history to compare apples to oranges has taken on a life of its own. And that's my concern. So notice here, it's really clever what Badri is doing. She brings in a story from mythology about a golden apple, all right?

But then uses that apple image to then draw on another idiom or common saying that we have in our society, which is comparing apples and oranges, which is meant to mean a false comparison, which is what her speech is going to be about. So the story works on multiple levels because it already has the apple as a central image. but then she draws on this figurative imagery of the metaphor apples to oranges as a controlling vehicle for her entire speech. Really good stuff.

Helps us to understand it. And that's what good intros do is they provide us a nice metaphor so that we can ground our understanding of an otherwise abstract topic. Next, notice the site. She backs it up with experts.

She has two sites here. Notice how much more credible this is than just a 14-year-old pontificating for 10 sentences about some abstract nebulous mindset. This feels very credible and concrete and tangible because she backs it up with actual experts. And then all of a sudden, or not all of a sudden, but finally there is the roadmap. All right, so excellent stuff.

Hopefully you have a robust sense of introductions. Next, let's get to external transitions. So this is the connective tissue between body paragraphs.

How do you get from... your introduction to your first body paragraph, how do you get from body paragraph one to body paragraph two, so on and so forth. You need a transition that brings the audience from the previous paragraph to a new paragraph.

Establish a logical connection between them. Notice that OO, we've given you an explicit logical connection through the prong structure, right? Whereas OO or OA, it's typically about, let me explain the context. Now let me explain. how this is causing issues.

And finally, let me show you the ultimate impacts or problems that these impacts are causing. X-Baws, obviously, the structure is a little bit less apparent. And this is one of the hard parts of X-Baws and why external transitions are so important. X-Bawsers, yes, I'm talking to you.

Anybody who does X-Baws, please go study Ronan McReynolds'intelligence speech. I'm not saying this as a like, maybe it'd be nice to get to at some point. I'm saying if you want to understand this and not lose points and have an X-Boz that makes logical sense from getting to one paragraph to the other, you're going to go study the way that Ronan McReynolds does external transitions in his state championship speech on intelligence.

It's a great speech and he does a great job of bringing you from paragraph A to paragraph B to paragraph C. It's the heart of an X-Boz because if you don't do external transitions correctly in an X-Boz. the speech will just feel like a jumbled bunch of facts that make no logical sense whereas the other speeches oh and oa even if you don't execute super well in the external transitions the audience will still be able to follow you in an x-box if you don't do this right it all falls apart let's keep going though external transitions great opportunity for humor you can make it a few sentences for a longer setup and punchline and i'm going to show you some examples in just a moment Pro tip is to utilize the attention-getting device again and controlling metaphor to give your speech a sense of rhetorical cohesion. Again, think of how JJ brought Bollywood back up at the beginning of his body paragraphs.

He would tie it back to Bollywood, make some jokes about Bollywood, then get back into the content of his speech. After the transition, you need to provide a topic sentence that succinctly states the main argument or the main area of discussion of that body paragraph. You know, I think it's more important in an original oratory, you certainly need the main argument, which is your second prong in that body paragraph.

In an X-Buzz, for instance, you might not need to say an argument, but you might say, and next, let us look at the implications that this topic has on our brain or on our biochemistry. And that at least states the main area of discussion for that body paragraph. Let's look at some examples.

So JJ Kapoor's OO, look, this is a external transition from one body paragraph to the next. He says, stories are great. They entertain us, help us to transmit culture and values from one generation to the next. And they gave the world, if you remember, he did a little dance here, Saturday Night Fever. But our love of narrative causes our perspective to go awry when we insist on viewing complex real world information through the narrative lens.

So notice he has a couple of sentences that kind of set up a transition, but then he gives us that topic sentence that says the main argument of the body paragraph in the last sentence there. Next, look at this one. This is his Bollywood transition.

Again, this is an external transition going. This is the beginning of a new paragraph. So he's transitioning from the previous paragraph to a new one. He brings Bollywood back up. He says, Bollywood films all follow the familiar narratives.

Villain seems poised for victory for the first four hours of the movie, but inevitably protagonist rises up, wins a girl in a climactic dance sequence. And if you remember, he was being really goofy to get laughs. The happy ending is key to our narrative.

No matter how bad things get, our sense that a happy ending is just around the corner gives us a reason to keep fighting. But there are problems with this way of thinking. So good. He kind of states the key idea right there, but has a humorous way to get there. And then he has one more.

Notice he brings up Bollywood again. There's another external transition to his third body paragraph. He says, now in my household, Bollywood is a big deal. Then he popped into like an Indian accent, probably his parent figure. We are lifetime members of Indian Netflix.

I'm not going to try to do an Indian accent. Clearly, that'd be pretty problematic. But we have learned, sometimes painfully, that the narratives we live by aren't always benign.

So notice that transition right there. So it doesn't have to be anything super crazy, guys. You can keep it pretty simple, but having some sort of transition, really, really nice.

And notice here that JJ wouldn't start, In my previous paragraph, I made this argument, and now I will be transitioning to this other argument. He would do it in a more casual way where he would have a couple of sentences to bring the speech back down to a more lighthearted level before transitioning to the more serious content. Let's look at some other examples. I'm not going to read these out loud, but just pause them and read them. So read Harris Hosseini's OO transition.

Okay, hopefully you pause the video, watch that. Again, really funny. And it actually works exceedingly well because it allows him to establish a really good Current event that embodies the mindset. Now, this current event isn't like ruining lives.

It's not one of the primary problems he's going to be talking about. It's clearly more humorous than it is serious, but it still allows him to get a good segue or transition into the core idea of that body paragraph, right? The transition here is right at the beginning where he says, Pepsi is not the only one guilty of oversimplifying race in America.

And then he provides this humorous example before finally giving us the topic sentence of the paragraph. Alright, next, pause the video and read Avi Galati's OO transition. Pause it now. Alright, hopefully you paused that.

Again, opens up with some jokes. If you really want to know something that's dead, don't look at Latin, look in one direction. Where did they go?

And then he states the topic sentence. Ha ha ha, funny. I'm just trying to give you all different ideas of how you can do this. Here's Badri's OO transition.

Again, pause it, take a look. Okay, pretty straightforward. Again, humor and then topic sentence.

And here's Nunziati's original advocacy on tap water. Again, pause it and hopefully you read it. Hopefully that makes sense, everybody.

Again, exposers really recommend you don't just look. I didn't want to just pull a single transition. I think it's really important to read Ronan's speech as a whole.

and really study how is he getting from one body paragraph to another and why does he sequence it in the way that he does if you do not do external transitions correctly in an x-paws the speech feels incoherent if you do it correctly though it feels like i'm getting a complete meal here's the metaphor i'd get if you don't do it correctly exposures it feels like you're just dumping groceries all over a counter and then you're saying look i have all the ingredients for a beautiful meal here but me i have to sit there and look at it and say Well, maybe if I combine this and this and this and cooked it in the oven for a little while, maybe this could make a good meal, but it certainly doesn't look like an appetizing meal right there. Whereas if you do the external transitions correctly, in addition to everything else we've talked about in the preceding steps, then it will feel like a nice complete entree where it comes out and I got my meat on one side of the plate. I got my potatoes on another side of the plate.

I got the vegetables on the other and I got a nice little salad bowl on the side. That's what I'm looking for, guys. And if you do the external transitions correctly, that's what we'll get. Next, internal transitions.

Fascinating. Internal transitions, same idea, but just within body paragraphs. Now, this is harder because there's not as clear of a formula because when you need to use internal transitions is highly dependent on what you end up writing within your body paragraphs.

Key idea, though, is to think critically about it. Internal transitions really help your audience to understand the relationship. between various points that you make within a body paragraph. They are necessary. Don't think of them as just like a nice little garnish on top of the main entree that is the content or argument of your speech.

If transitions are done correctly, they actually end up being a really important part of the argument as a whole because if they're done incorrectly, your argument will feel incoherent. It will feel illogical in terms of the sequencing. Transitions help us to go from point A to point B to point C, which is... what argumentation is all about, logical connections between different premises. So without transitions, your paragraphs will feel choppy, abrupt, and potentially lacking in cohesion.

So let's keep going. Let's keep going. Let's look at some examples.

What I recommend you do here is pause this video. and write these down maybe you don't need to write down everyone maybe that's excessive but this shows you different types of relationships let me explain it a little bit before i think you should pause so notice right at the top with similarity if you are drawing a similarity between various things within a body paragraph you're saying the pepsi commercial isn't the only one to do this in addition in chicago then you use a similarity right if you are creating an exception or a contrast Then you would say, but in spite, on the one hand, however, nevertheless, nonetheless, in contrast, yet, all those imply whatever I just said, I'm about to give an exception or a contrast to it. So this would be good where you'd be like, our brain is hardwired to tell stories, and this is a beautiful thing.

However, it goes too far when we end up oversimplifying the complex reality of people around us. Do you see that exception? That's really good in various points of a speech. Sequence order.

This is mainly in your roadmap, but still it can happen. If you're explaining a process, for instance, if you're an exposer and you're explaining, hey, how does digestion work? You might need to say first, second, third. But that can happen in other speech events as well.

Time. That one should be pretty straightforward. Example. Example, don't rely on that too much.

If you're just saying... In addition and for example as your main transition phrases, it's probably pretty weak. Ideally, you can have a little bit more nuance. I like emphasis though.

I like emphasis. In fact, in fact is a great transition phrase right there. So on and so forth. Cause and effect is really important when you're establishing a logical flow.

That can be really good in OO and OA when you're trying to explain how something is causing or leading to some negative effect of something else. So on and so forth. Read through these, pause the video, make sure you have them.

Hopefully, this just jogs the brain of various types of transition phrases you can have. So pause now, write these all down. Okay, your hands probably getting a little bit tired right now. Maybe now is the point to take a little break, drink some water, do some jumping jacks, go eat a couple of snacks, come back, sit down, get ready for part two. Using evidence.

Tips. Here are my tips about using evidence within your speech. When to verbally, I'm going to do this a little bit dialogically, ask some questions, and then I answer it.

So when do you verbally introduce author publication qualifications? I know I haven't been incredibly clear about it thus far in the speech writing process, so I want to make it crystal clear now. Well, you want to verbally introduce the author, say, next, according to Samantha Jones of the New York Times.

blankety blankety blankety blank when do you want to verbally do that as opposed to just have it hidden in a site it's when you want your claim to have credibility so that could be a lot of the time right it's important for claims about root causes or claims that are debatable or claims that require substantive studies to back them up so if you're just quickly establishing a fact about something like abraham lincoln was born in 1815 i don't actually know when he was born check me on that when he was born in whatever year I don't need to say like, and according to Georgetown University historian, Professor Tombasa Jones, George Washington, or Abraham Lincoln was born in 1815. I don't need that, right? For that kind of one, you can just sneak it into the citation. If you're establishing a non-controversial fact, then you can just have the site in parentheses and not waste time giving an author.

So expos, any of those kind of weird little facts. Again, you can just kind of put that in the citation. I don't need an author qualification.

But X-Buzz, if you were talking about a psychological phenomenon, like in the speech on simplicity, when the speaker talks about the complexity bias, it would be nice to bring in an author there. Like, according to psychologists, Dr. Sandy Longbottom, she ends up arguing that we are hardwired to have a complexity bias. And that allows you to have some credibility to what you're saying.

Obviously, OOOA, there are a lot more points where you need credibility. So when to introduce a quote, though, and when to just paraphrase it? Let's say you've decided, all right, I'm going to introduce an author and publication, but do I actually quote that whole little chunk, or do I just paraphrase and put it in my own words? Well, here's my thoughts. Quotes increase the credibility because they show the audience the exact words of a qualified expert.

You want to use that when you want to increase the authoritativeness of your claim. Or if you have something that the audience is probably going to be skeptical about, you want to show us evidence. So original orators, this can be particularly important when you are asserting that your mindset is the root cause of some problem.

I all too often just see OORs assert the link to their mindset or see OARs assert the link to their mindset. And that ends up being really ineffective. uh from an audience's perspective it just doesn't feel persuasive because it doesn't actually feel like you have evidence backing you up so you need to ask what is the weakest link of my argument what are people going to be most skeptical about if i am saying for instance that this mindset causes or best explains why people commit hate crimes that's a pretty big claim you need to have good evidence to back you up and so that might be a place where you actually want a quotation Paraphrasing is better when you just want to quickly introduce information that is unlikely to be questioned.

Unlikely to be questioned. If you have something that's not seriously debatable or not seriously questionable, then you can probably just paraphrase it. Make sure that you're not typing it up word for word though, otherwise you'll get into plagiarism territory. You want to put it entirely in your own words, but make sure that you are not distorting the argument or changing the argument. If you end up distorting or changing the argument substantially, that's a serious problem as well.

Let's look at some examples. Oh, wait, no. Let me explain the lead-in, and then we'll look at some examples.

So a lead-in. If you are going to provide a quotation, or even if you're going to paraphrase it, you still have to provide a lead-in. So what does that mean?

You need to, at the very least, state the author slash publication and qualifications if needed. If you're just saying, you know, according to psychologist Samantha Jones, you don't need to give me her qualifications. You said that she was a psychologist, right? Whereas, you know, at some times you might want to say, and according to doctor, according to Dr. Billy Bob John, who was the director of the Center for Disease Control. That can be really, really good, right?

If you show me, wow, that was the director of the CDC. Now I'm intrigued. Provide context if necessary to understand the quote or evidence.

So you can't just go like, you know, explain one idea in a sentence and say next, according to Dr. Blankety Blank. and then just insert a quote without me having any lead in or understanding the context at all of what the quote is even talking about, what was going on in the study, what was happening. You'll see some examples in just a moment. And ideally, you can preview the claim of the quote so I know what the or how the evidence relates to your broader argument and thus what I should be listening for.

So if I'm trying to prove to you that pizza is the best food ever because it has delicious taste, I could say, according to the New York Times, Americans overwhelmingly agree that pizza is the best food ever because according to their survey, they found that, quote, 75% of respondents had pizza labeled as their best food ever, end quote. That's pretty good. And then you need to include an MLA internal citation, all right? And that's for our purposes. Obviously, the audience won't see it, but it's important to make sure that you are not plagiarizing.

Properly citing your evidence is an important component of not plagiarizing. Let's look at examples. So I'm going to go through a paraphrasing example, a long evidence example, and then a short evidence example. Let's say I'm trying to talk about the positive effects of chocolate. I could say, in fact, chocolate is such a powerful effect on our brain that Dr. Thomas Johnson of Stanford University found in a study that participants who eat chocolate every day were 10 times more likely to be happy than people who never ate chocolate.

So notice I didn't quote it directly, but this is something that, you know. Pretty straightforward. I think a paraphrasing here works pretty well because it establishes the core fact.

And it does so in a pretty efficient way. Still have the citation. Still give Dr. Thomas Johnson a shout out.

So it sounds credible. Feels good. Here's a longer quote. In fact, chocolate is such a powerful effect on our brains that Dr. Thomas Johnson Stanford University found in a study that participants who eat chocolate every day were substantially happier. As Dr. Johnson explains, the results were astounding.

The chocolate eating participants displayed a tenfold increase in happiness than other people. Eating chocolate every day probably won't please your dentist, but it should get you plus points with your therapist. So look at that.

Notice here that what is drawing this speaker to this longer quote is the kind of humorous rhetoric. And that's not something that you could capture through paraphrasing. So that's another reason why you might be drawn to a quote is if the rhetoric is really powerful and you want to bring in that rhetoric directly. But notice that it does sound very persuasive when you quote the person directly. Obviously, the tradeoff here, notice, is a lot longer than the one before.

If you tried to do this for every single point you made in your speech, your speech would be too long. And if you remember back to slide number two of this PowerPoint, you would lose points if it gets too long. Next, let's look at just excerpting a little bit of a quote.

Pro move. In fact, chocolate is such a powerful effect on our brain that Dr. Thomas Johnson of Stanford University found in a study that participants who eat chocolate every day, quote, displayed a tenfold increase in happiness than people who never ate chocolate. By the way, you don't need to say quote or end quote when you're actually speaking. I'm just doing that to help you.

So what's going on here? You can see here this is something that you can do that's quite effective is integrating little quotes into your speech. O-O-ers love to do this. If you remember from J.J. Kapoor's speech, he did this.

insolvency section. He listed a famous writer and he said, this is what famous writer coins, the danger of the single story. And so he gives that as a quote.

It's clear to everybody that that is a short quote, but it's not like he's quoting a whole chunk like in this second example here. That can be quite effective. My advice for you, go study the speech events or the finalist speeches in your speech event and see when they use a quote and don't use a quote. See how they integrate evidence.

And that will be a good guide for you about when you should, when you shouldn't. Logical organization. Make sure the structure and organization of your speech is logical.

Hey, that was pretty straightforward, right? Some questions ask, is the organization the best way to help an audience understand your topic? Think about it.

The big danger of writing a speech is you become an expert in a topic and you forget what it's like to know nothing about your topic. And so you lose the ability to empathize with your audience, who's probably sitting there being like, wait, what? A lot of the time. So you need to think through logically.

All right, what does the audience need to understand and in what order? What is the best way to organize the speech so that my audience can comprehend it? Next, does the sequencing of your speech put your ideas in the order that you would explain your topic to a friend? That's just another way of asking the first question. Imagine sitting your friend down and trying to explain to your friend your topic.

Does your organization make sense? And by the way, this is both on the level of the paragraphs and their ordering as well as internally within your paragraphs. Are there places where the transition feels too abrupt? Are there places where the transition feels too abrupt? If so, you need to flesh that out a little bit more.

Another big tip, don't be attached or don't be too attached to the outline structure. Change the order of your speech if it helps your audience better understand it. I would say that's especially true of X-Paws and OA.

OA, there's more of an established structure, right? You go from the intro to prong number one to prong number two to the dramatic implications paragraph and finally to the solution mindset paragraph. That is kind of non-negotiable.

But how you internally organize things, certainly more negotiable. But OA and X-Paws, there's a little bit more wiggle room there. And so you need to ask yourself what makes the most logical sense. Conclusion paragraph.

Well, actually, most of the time it's just kind of... tacked on to your last solution paragraph for 000a, X-Boz is usually a quick paragraph at the end. So it's the end of this, end the speech on a message of hope and transformation. And that's actually true of all the speech events. Typically, right, even an X-Boz ends with some dramatic implications, but then inspires us to want to change the way we relate to the topic so that we don't fall into the trap of those dramatic implications.

But 0800, obviously you want to end with like, hey, I just presented a lot of problems, but I presented a solution and we can imagine a better world, right? We can imagine a world that doesn't reproduce these problems. That's the kind of vibe you want. You don't want to end on a doom and gloom.

You want to end on a message of hope. So connect it back to the open attention getting device or vehicle. That's a great pro move there.

Again, it feels like you are closing the knot or tying the knot on an overall speech, which is a really fulfilling. feeling for an audience when it circles back around to the opening attention-getting device. End with a rhetorically powerful and witty line.

You want to do the mic drop at the end of your speech, and it usually will have a link to the title of your speech as well, which needs to be creative. I'll get to that in a couple of slides. It's shorter than the intro, though.

It's not super fleshed out. It's three to six sentences that establish rhetorically what I just listed here. Let's look at some examples. Um, this is from Ronan's intelligence speech, which exposes you're going to study closely.

If you don't, you will regret it. I promise you. Gooby, why wouldn't you listen to me?

Why wouldn't you implement this thing that I'm talking about? Watch his speech. Stop making these life, uh, mistakes.

Study it. Study it. Graph it out.

Organize it. Diagram it. Outline it. Make sure you understand it. You will repeat it, uh, from the moment that you wake up to the moment you go to sleep until you finish your speech.

all jokes aside let's pause this video right here and read it pause the video read it Okay, hopefully you all enjoyed that. You can see here it ends on a nice little optimistic note. And notice this isn't just useful for expositors.

This is useful for everybody, right? It provides us that nice little inspiring message of how we can change the way we think about intelligence. And then it ties it back around. His opening attention-getting device was about a test, and he reproduced a standardized test, and it was pretty humorous and funny.

But then he ties it right back to that rhetoric that he opened up the speech with about the real test just beginning. Next. This is from the speech on tears.

He ties it back around to the soap opera. Again, pause this video. See how this connects to that opening attention-getting device about soap operas. You guys already read the intro earlier in this PowerPoint. So pause the video now, read it.

Okay, quite effective, right? He summarizes the main point of this speech, which is about how tears are such an important form of communication. He summarizes, all the different aspects of what we covered and then he ends on this witty rhetorically powerful line about making our life more like a soap opera and shedding a tear which related to the title of his speech here's another example this is an original advocacy and this original advocacy was about ending corn subsidies so pause the video read this okay hopefully you did you can see here right works quite well.

And that final line, ensuring that corn subsidies are off the menu once and for all. Nice, rhetorically powerful line. Let's look at another.

This is from, what is this from? Oh, this is from an original advocacy on water, on clean tap water. Again, pause it, read it. Okay.

We're back. If you've read this speech, it opens up with, is the glass half full or half empty? And he makes a lot of jokes about that. He ties it back around to that. Our nation's glass of water will once again be half full.

Clever ties back to the original attention-getting device. And then he says, bottoms up. And it ends on this message of hope.

Good stuff. Let's look at this one. This was Badri's speech, I believe. Oh, no, no, no. This is J.J.

Kapoor's speech on storytelling. Let's pause it, take a look. Yep, excellent.

He ties it back to Bollywood and he ties it back to dancing, which is how he opened up his speech. So again, it works quite effectively, gives us that sense of inspiration and hope. Feels incredible. And finally, this is Badri's speech, the one we looked at before, which had the Greeks and apples and oranges. So notice how effective this one is, right?

She explains that apples to oranges comparison here fleshes out that opening attention getting device in a new way at the end here. That's really awesome. Definitely pro-matrix level moves here to actually reveal something new about the attention getting device that brings us in a new direction at the end that links to the overall inspirational message of hope that you want to convey.

Really good stuff. Some other tips before we end this quite lengthy video. First, add humor.

Now, there will be a subsequent video on humor, not yet, but soon. And so the more you can make your audience laugh, the more engaged they will be. In general, notice that the speeches that you really like, the speeches like J.J.

Kapoor, Avi Galati, have a lot of humor in them and it ends up working. If you're too serious, it's not going to be fun to listen to. So add as many jokes as possible.

Next, the more concrete, the better. Always ground your speech in concrete, tangible, specific examples that your audience could imagine. Just know that abstraction is the enemy. If you're just talking abstractly about ideas or psychological processes or some sort of abstract problem that's plaguing society or some topic for X-Buzz, but you're not grounding it in specific examples or you're not explaining it concretely, then you will likely lose your audience.

And I promise you, all of you who have had teachers that slip into the abstract too often, know this feeling when you get bored and start tuning out. Don't be too attached to anything you did in a previous draft. This is a big, big, big, big, big mistake I see novice speakers do where they just get too attached. They're like, but hey, I had this in speech step writing process three or speech writing process three, step three.

I had it in step three and then I had it in step four and now I really don't want to get rid of it. I'm attached to it. It's my baby.

I've been nurturing it. I've been feeding it and I don't want to get rid of it. Now get rid of it, guys.

Trust me. Most of the stuff you found in those early steps, probably not great. Probably need to be deleted. Probably need to be revised.

Again, the art of great speech writing is not finding exactly what you were going to say or what your speech was going to be in week two and just sticking to it. It's the art of having humility, of understanding that writing a great speech is about constantly revising and crafting and tweaking every little part of your speech until it gets closer to being incredible. All right. And that doesn't happen overnight.

That's an ongoing process. The lazier you are with revising your speech, the lazier you are with really assessing, is this a strong example or do I need to delete it and find a better one? The lazier you are with just saying, well, you know, I found some evidence that said this.

as opposed to saying, hey, I want to find the best evidence possible that supports this claim, the weaker your speech will be. All right. So don't be lazy. Continue to work hard. Continue to research.

Your speech needs a title. I already hinted at this. It needs to be creative and it needs to connect to the vehicle of the speech.

OK, or it doesn't need to, but it often connects to the vehicle of the speech. So let's look at some examples here. Kapoor's speech was called Let's Dance. Baudry's speech was Our Quest for the Golden Apple.

Hosseini's speech was simply put. Saoji's X-Boz speech was just another soap opera. So notice how all these relate to the attention-getting device.

McRonald's X-Boz, X-Bozers, you're going to study this, is called The Intelligence You Can't See. Bao's original advocacy is Bite Down. That's a speech on opioids, but his opening attention-getting device was all about him having a food problem where he would eat too much sugar and food all the time, and then he transitioned that to opioid addiction. Whoa, kind of rough.

Okay, let's get to works cited. Final bit here, final bit. You need an MLA works cited page. I know this is the least fun part of any speech writing or any big research assignment.

Leave plenty of time to get this done, especially if you aren't familiar with how to do an MLA works cited page because it's kind of a pain, but it's important you do it right. Like many things in life that I've been preaching throughout this class, doing formatting correctly, really important life skill. What are some resources you can use? Well. there linked in this video and down below you're going to smash that like and subscribe button and then you're going to click on the youtube instructional video for how to do uh for how to write a mla we're excited oh my god the link got messed up here i will edit that don't worry it's right in the link below or in the yeah yeah in the description below this video and then you will click on purdue owl okay purdue owl provides all of the rules that you would need to possibly do it study these closely if you have questions google it also use your mla handbook that you received which goes over this ad nauseum all right no we're excited if you end up without a we're excited if i look at your rough draft and you do not have a work cited five points deducted do not pass go do not collect 200 we're excited formatting errors one point deducted for each distinct error up to four points deducted so at least let you save a point if you at least didn't attempt on a work cited, but totally messed up every part of it, you'll at least get one little point, but you'll still get four points deducted.

No work cited, five points deducted. Don't do it. Let's just take a look real quick.

Oh, remember back in this part of the video when I was writing a really cool speech? Those were good times, guys. Let's get to this. This is what a work cited should look like.

Notice here, it's not bolded. underlined with extra spaces. This is not different font sizes.

It's not like the work sided font is like 20 point font or 18 point font and bolded. I'm saying this now I'm communicating words to you. And yet I know some of you will mess this up and you will not just keep this 12 point font times new Roman, no bolding, no underlining, no italics. All right.

And then we get here. Notice it's actually very logical. It's an alphabetical order. So imagine if in an internal citation.

where you should have the author's last name, it would be in parentheses. Let's go down here, nap. In parentheses, it's a nap. Or in parentheses, it's a Jones. And so let's say I'm looking at that Jones internal citation.

I'm like, hmm, I wonder where this student got this source. I can then go to your works cited page. It would be in nice alphabetical order, which would make it very easy to find Jones. And then I would see Jones, and then I could look at this longer entry.

So notice how that makes sense. Notice how the second line, if it spills onto a a second or third line, you have to indent those second and third lines. The video I've linked explains exactly how to do that.

So you want to make sure to do that correctly. And again, that makes sense, right? Imagine This is a good example over here.

So Edmund Jeffcott, what a name, is the translator of this Walter Benjamin, or actually it's pronounced Benhamin if you're a cool kid who knows that this is a German author and that's how they pronounce Benhamin in German. But anyways, this is a translator. But imagine, imagine if this was not properly indented, then it would look like Edmund was just another author and there was a missing internal citation somewhere.

that's why it's really important to indent that second line so i know what the each distinct entry looks like um notice here follows all the right formatting everything everywhere else uh and so that's important that's important to follow here so this is what your work site cited should look like if you see that your indentation looks really different like the first part of the entry like where it says benjamin right here was indented and then the second line isn't indented that is wrong you'll lose points if you find that there is a ton of extra space between each of your entries you will lose points if you find that there you know is just something that looks radically different than this you will probably lose points because it means that you probably did something incorrectly so be sure to play pay close attention to this guys be sure to leave plenty of time for your work cited you no longer need to have the hyperlinked internal sources in fact if you do the hyperlinking you will lose points so please don't do that okay you no longer need to hyperlink internally your sources. No longer need internal citations that are hyperlinks. That was just a shorthand so that you didn't have to do this for every single step of the speech writing process. That was out of mercy, but please don't make me deduct points because you have hyperlinks all over your speech for this draft. Hopefully that makes sense, guys.

I know that was a lot of information. If you have questions, let me know, but hopefully you're excited about writing this speech. I'm really excited to see what you all put together. If you have any questions, let me know. please come to student coaching.

Always a really, really helpful tool. Other than that, stay safe.

Transcript for:Effective Speech Writing Guidelines

Transcript for:
Effective Speech Writing Guidelines