Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
1. Speech Quotations
2. Rhetorical Questions
3. Triads (the Rule of Three)
4. Anaphora
5. Epiphora
6. Chiasmus
7. Parallelism
8. Contrast
Every speech does not need quotations, but every speaker needs to know why, how, and when
to use quotations in their speeches.
In this article, we examine eight benefits of using quotations in your speech, and then discuss
twenty-one tips for superpowering your speech with effective quotes.
7. Conversely, you might choose a quotation which adds humor to your presentation, due to
the content of the quote or perhaps the person you are quoting.
8. If you are delivering with visuals, you might choose to display the quotation on a slide and
let your audience read it. This creates a natural and purposeful pause in your vocal
delivery, allowing you to check your notes, take a sip of water, and collect your thoughts.
Starting with a quote can be effective, but don’t assume just any quotation will grab your
audience’s attention. I’ve watched speakers open with a quotation that wasn’t very
powerful, and even irrelevant to their content. There are usually more powerful ways to
grab your audience’s attention.
9. Avoid closing your speech with a quote.
I have heard speeches end strong with a quotation, usually when the quote refers back to
the beginning. However, I would not advise it generally. Your final words should be your
own. Ending with a quote is often a sign that you don’t have confidence in your own words.
10. Quotations work best in the body of your speech.
The best time to introduce a quote is when you need more support for one of your
arguments. One particularly effective time is near the end of a section. Reinforcing your
arguments with a quotation brings good closure to your argument.
Draw attention to the quote through your delivery.
11. The traditional formula is okay.
Most quotations are introduced simply: Albert Einstein once said “It’s not that I’m so smart,
it’s just that I stay with problems longer.” This simple formula is clear, direct, and
acceptable.
12. Reading the quote from notes is okay.
When possible, I would advise delivering the quote from memory. But sometimes, reading
it can be better. If the quote is lengthy, for example, it’s better to read it to ensure you are
accurate. Even a short quote can be read from notes effectively. I once saw a speaker who
produced the note paper from his pocket, and was almost reverent as he read it. In this
case, it could be argued that not reading it would have been disrespectful.
13. Or, let your audience read the quote.
If you are using visuals, you might choose to display the quotation. When you do this, do
NOT read it to your audience. Let them read it. (Remember, you should never read
material to your audience when they can see the words.) This technique has an added
benefit: you can stylize the slide to add impact. For example, you might add a photo of the
speaker, or perhaps use a font which conveys mood.
14. Pause before and after.
You should pause briefly before the quote (a little suspense, and to grab attention) and
then a little longer after the quote (to allow the meaning of the quotation to be absorbed
by your audience.) Give the quotation respect, and let its impact be felt.
15. Spice up your vocal delivery.
Of course, you should be varying your voice throughout your presentation. Just like other
key statements in your speech, a quotation deserves a little extra vocal emphasis. Maybe
louder, maybe softer. Maybe happier, maybe sadder. Let the mood of the quote guide your
delivery.
16. Set the context when necessary.
Some quotations stand on their own, but other quotations won’t be effective unless you
establish the context first. A quotation which has your audience guessing is a missed
opportunity. Perhaps you need to give the historical context, or explain something about
the life of the speaker. Make sure the quotation has maximum impact.
Use trustworthy sources.
17. Quotation compilations keep quotes within arm’s reach.
Every serious speaker should own at least one quotation compilation. (Bartlett’s Familiar
Quotations is my personal favorite, ever since I first found a copy of a previous edition on
my brother’s bookshelf 30 years ago.) A well-edited compilation provides several sort
indices to help you find the perfect quote faster. An added benefit is that these types of
sources should be trustworthy.
18. Biographies of famous people in your field are also rich sources.
For example, a biography on Steve Jobs is sure to have numerous quotable lines on his
business philosophy. Like quotation compilations, biographies are generally trustworthy.
19. Online quotation search engines offer unparalleled breadth.
Quotation websites help you find quotations using a given keyword or spoken by a given
person. It’s quick and easy, but the sources cannot always be trusted. Whenever I use
these sources, I seek out a second source to verify. (Be careful, many quotation websites
might use the same flawed source…)
Be selective.
20. Don’t use a quote that everyone knows.
If your audience has heard the quote before, you will receive virtually no benefit from
repeating it.
21. Don’t overdo it.
There’s no rule about how many quotes you should use, but their effectiveness gets diluted
if you use too many. Remember that your speech should primarily be told with your words,
not someone else’s. Keep just the best quotes you found in your research, and trim the
others.
A rhetorical question is a common rhetorical device where a question is asked by a speaker, but
no answer is expected from the audience. This distinguishes it from explicit verbal audience
interaction where a speaker asks a question, and then waits for a response or calls on someone to
answer it.
You are certainly aware of this technique, but are you aware that you can use a rhetorical question
in at least nine different ways? No? Read on!
This article identifies nine ways to use rhetorical questions, and provides examples throughout.
[When your audience silently answers “Yes, I do deserve that”, the effect is that they see themselves
as more similar to you.]
Try:
“What have they ever done to help us?”
The latter version is stronger, because it triggers an emotional response by having the audience
thinking “Nothing! They’ve done nothing!”
In the above example, the rhetorical question followed a contrasting statement. But this pattern
can be reversed with the rhetorical question preceding a contrasting statement. For example:
“Why would anyone care about the polling data, when it has proven to be inaccurate in the
past? The primary reason is that polling firms have been using entirely different methods this
time…”
The rule of three is powerful speechwriting technique that you should learn, practice, and master.
Using the Rule of Three allows you to express concepts more completely, emphasize your points,
and increase the memorability of your message.
That’s the truth, the whole truth, and nothing but the truth.
What is the rule of three? What are some famous examples? How do you use it in speeches? Read
on!
Previously, we learned how the rule of three improves speeches when used at the micro-speech
level, to craft memorable triads of words, phrases, and sentences.
In this article, we will learn how the rule of three improves speeches at the macro-speech level when
applied to speech stories or to entire speech outlines.
Storytelling and the Rule of Three
Last week, my daughter and I visited our local library to fetch another bounty of children’s books.
We returned with a diverse collection that included:
the educational Sesame Subjects: My First Book About Fish,
the hilarious Caps for Sale: A Tale of a Peddler, Some Monkeys and Their Monkey Business;
and
the classic The Golden Goose from the Brothers Grimm.
The three-part story outline is a common structure in folk tales, Biblical tales, and Hollywood plots:
Three Little Pigs — The first two pigs get eaten because their houses are weak; the third
pig’s house of bricks is strong.
Goldilocks and the Three Bears — The porridge was too hot; the porridge was too cold; the
porridge was just right.
The Three Billy Goats Gruff — The first two goats sneak past the troll, while the third goat
defeats the troll.
The Good Samaritan [New Testament, Bible] — The first traveller passes. The second
traveller passes. The third (the Samaritan) helps the injured man.
Boy meets girl; boy loses girl; boy gets girl in the end.
The Three Act Structure
These fall under a general pattern known as a Three Act Structure. It is widely used in storytelling
and screenwriting because it is a proven formula. Stephen J. Cannell claims that “Every great movie,
book or play that has stood the test of time has a solid Three-Act structure.”
Syd Field (author of The Screen Writer’s Workbook and other instructive screenwriting guides)
asserts that most successful screenplays follow a structure like this:
Act I: Setup (approximately 30 minutes of a 2-hour movie)
Act II: Confrontation (approximately 60 minutes)
Act III: Resolution (approximately 30 minutes)
He further asserts that these acts are separated by two plot points: events that thrust the plot in a
new direction. For example, plot point #1 might be the pivotal moment when the reluctant hero is
convinced to join the crusade for justice (after spending most of Act One refusing to do so). Plot
point #2 might be the moment when the momentum swings from the villain to the hero, eventually
leading to a triumphant climax.
This three-part structure is so pervasive in movies, books, and other storytelling forms that
audiences feel naturally comfortable when it is used. This comfort can be leveraged by a skillful
public speaker.
Future – You paint a picture of prosperity that will be realized if the right choice is made
(perhaps you use a successful case study).
If you apply this speech outline well, your audience will more easily understand your message. On
the other hand, your audience is more likely to be confused if you jump forward and backward in
time repeatedly (talk about the decision first, then the future prosperity, then the root cause of the
past problem, then another alternative, then…)
Speech Outline #3: Complication, Resolution, Example
Another three part speech outline for persuasive speeches is the S.Co.R.E. method offered by
Andrew Abela in Advanced Presentations by Design: Creating Communication that Drives Action
(read the Six Minutes book review).
Abela recommends starting your speech (Introduction) by establishing the Situation, and then
iterating through a three-element series of Complication, Resolution, Example. In a sequence form,
your speech might look like:
Introduction – Situation
Body
o Complication, Resolution, Example
o Complication, Resolution, Example
o Complication, Resolution, Example
o …, …, …
Conclusion
The three-part Complication-Resolution-Example structure can be repeated once (e.g. a five-minute
speech) or many times (e.g. a one-hour seminar).
Speech Outline #4A: Three Main Points
“Limit yourself to your best three points. Any fewer, and your message won’t be compelling. Any
more, and your message risks becoming tedious.”
A basic three-part informative speech outline is as follows:
1. Introduction — Establish topic and core message; list supporting points
2. Body
1. Supporting Point One
2. Supporting Point Two
3. Supporting Point Three
3. Conclusion — Recap main points; summarize core message; call-to-action
In this case, the rule of three magic lies in limiting yourself to your best three points. Any fewer,
and your message won’t be compelling. Any more, and your message risks becoming tedious.
Brainstorm many, but select your best three.
The Decker Grid System (from You’ve Got to Be Believed to Be Heard – reviewed here) is built on
this foundation. Bert Decker goes on to say that, for longer speeches, each of your three supporting
points can be reinforced with (no surprise) three sub-points each.
Speech Outline #4B: Three Stories
Stories can strengthen any type of speech, but are especially powerful in motivational speeches
where making an emotional connection with your audience is required. When you tell stories,
pattern them on the three-act structure for maximum impact.
The Three Main Points speech outline can be given a storytelling slant with the following:
“When you tell stories, pattern them on the three-act structure for maximum impact.”
1. Attention grabbing opening which introduces the topic and core message
2. Tell story #1.
o Make point #1.
3. Tell story #2.
o Make point #2.
4. Tell story #3.
o Make point #3.
5. Memorable conclusion which ties together all three stories to support the core message.
Speech Outline #5: Pros, Cons, Recommendation
We’ll conclude with a common speech outline used for persuasive speeches where you are
recommending a course of action.
1. Introduction – Brief setup of problem and proposal
2. Body
1. Pros – What are the benefits of this proposal?
2. Cons – What are the drawbacks of this proposal?
3. Recommendation – Why do the pros outweigh the cons?
3. Conclusion – Restate the pros and repeat the recommendation
In the first two articles of this series, we learned how using the rule of three can improve your
speeches by [1] writing triads of words, phrases, and sentences and [2] by applying three-part
speech outlines.
In this article, you will learn how adding an unexpected twist to the third element can add power
or humor to your speech.
“We find something complete and satisfying in a group of three, like a three-legged stool that
can stand firmly on uneven ground”
-- Nick Morgan
Triads are a classical speechwriting technique, but you can squeeze even more power out of them
by carefully choosing your order and adding a twist to the third element.
In Lend Me Your Ears: All you Need to Know about Making Speeches and Presentations, Professor
Max Atkinson suggests one way to add a twist:
“If your third point is the most important of the three, making it longer is a simple way of implicitly
highlighting its greater significance compared with the first two.”
The third element in a list of three is often followed by a pause when speaking, so it will linger
longest in your audience’s memory. This creates a natural emphasis on this element, even if the
three elements are perfectly parallel.
You can take advantage of this natural emphasis by deviating from true parallelism. You could make
the third element longer, or shorter, or give it a twist in meaning. All of these will cause your
audience to think deeper.
In Writing Tools: 50 Essential Strategies for Every Writer, Roy Peter Clark advises writers to “establish
a pattern, then give it a twist”. He notes that three parallel elements create a rhythm of “boom
boom boom”, but adding a twist to the third element creates the more memorable “boom boom
bang“.
Consider the “bang” created in these examples where the third element deviates from the pattern
in length and/or meaning:
Life, liberty, and the pursuit of happiness [U.S. Declaration of Independence]
Truth, Justice, and the American Way [Superman]
Sex, Lies, and Videotape [movie title]
“we must pick ourselves up, dust ourselves off, and begin again the work of remaking
America” [Barack Obama’s Inauguration Speech]
God, grant me
Why does this work? Let’s break it down. The first two elements (“lies” and “damned lies”) set a
pattern in the mind of the audience. They expect a third element such as “white lies”, “torturous
lies”, ‘or even “deadly lies”. Humor results from the mismatch between expectation and reality.
I like this technique because it is like a magician who is able to distract us with one hand while deftly
completing the “trick” with the other. In speeches, the pattern distracts, and thus magnifies the
surprise.
“Humor results from the mismatch between expectation and reality.”
Thus, the recipe for a humorous triad in your next speech is simple.
Set a pattern with the first two elements to create audience expectations. These elements
could be words, phrases, or sentences.
Break the pattern with the third element. Maximize your audience response by making the
third element as absurd as you can while ensuring there is still a connection.
In my “Face the Wind” speech (the focus of a 10-article series on Speech Preparation), I opened with
a humorous triad.
“Eighteen months ago, my wife and I traded our condo keys for house keys. [1] Our floor space
doubled. [2] Our mortgage tripled. [3] Our income didn’t change.”
This triad works because the pattern begins with doubled and tripled. The audience expected
quadrupled or some other multiplier in the third element.
To perfect the rule of three humor technique, study stand-up comedians. Watch for it the next time
you are watching the monologue on the late-night talk shows. The first sentence introduces a new
topic. The second sentence establishes the pattern. The third sentence breaks the pattern with a
punch line.
Some time ago, I delivered a humorous (and rhyming) speech about the (fictitious) origins of
Toastmasters. In the couplet below, I suggested (with tongue firmly in cheek) possible motivations
for young men to improve their speaking skills:
“Strong speaking will earn you money, diamonds and pearls,
Dickens’ use of anaphora (combined with skillful use of contrast) helps make this passage one of the
most famous openings in all of literature. He uses anaphora three times:
10 clauses beginning with “it was the”
2 clauses beginning with “we had”
2 clauses beginning with “we were all going direct”
In all, King’s speech contains eight examples of anaphora. For more examples, see the Six
Minutes Speech Analysis of “I Have a Dream”.
Another famous anaphora passage was delivered in the midst of World War II by Winston Churchill
in the House of Commons, June 4, 1940:
“We shall go on to the end,
we shall fight in France,
we shall fight on the seas and oceans,
we shall fight with growing confidence and growing strength in the air,
we shall defend our Island, whatever the cost may be,
we shall fight on the beaches,
we shall fight on the landing grounds,
we shall fight in the fields and in the streets,
we shall fight in the hills;
we shall never surrender.”
Justin Trudeau, eulogy for his father, former Canadian Prime Minister Pierre Elliot Trudeau, 2000:
“My father’s fundamental belief never came from a textbook. It stemmed from his deep love
for and faith in all Canadians and over the past few days, with every card, every rose, every
tear, every wave and every pirouette, you returned his love.”
epiphora
climax
Rule of Three
When you combine anaphora with the rule of three, the result is strong unity between the three
statements. For example, consider these three contemporary speech examples:
Steve Jobs, Stanford Commencement Speech, June 12, 2005:
“My doctor advised me to go home and get my affairs in order, which is doctor’s code for
prepare to die.
It means to try to tell your kids everything you thought you’d have the next 10 years to tell
them in just a few months.
It means to make sure everything is buttoned up so that it will be as easy as possible for your
family.
It means to say your goodbyes.”
Barack Obama, Inaugural Address, January 20, 2009:
“For us, they packed up their few worldly possessions and travelled across oceans in search
of a new life.
For us, they toiled in sweatshops and settled the West; endured the lash of the whip and
plowed the hard earth.
For us, they fought and died, in places like Concord and Gettysburg; Normandy and Khe Sahn.
J.A. Gamache, “Being a Mr. G“, 2007:
“A sandal of hope when you reach out.
A sandal of joy when you listen to your heart.
A sandal of courage when you dare to care.”
Epiphora
The mirror of anaphora, epiphora is repetition at the end of consecutive clauses or sentences. With
anaphora and epiphora combined, you get sentences which begin and end with the same words.
This focuses the attention on the connecting words in the middle, and magnifies the similarities or
differences. For example:
Lyndon B. Johnson, March 15, 1965:
“There is no Negro problem.
There is no Southern problem.
There is no Northern problem.
There is only an American problem.”
Climax
When successive sentences increase in scope, this is known as climax. Note the amplification in the
passage below from Pope John Paul II as he transitions from individual (1 and 2) to country (3 and
4) to global community (5).
Pope John Paul II, Address to the United Nations General Assembly, October 2, 1979:
“At the close of this address, I wish to express once more before all the high representatives
of the States who are present a word of esteem and deep love for all the peoples, all the
nations of the earth, for all human communities. Each one has its own history and culture.
I hope that they will live and grow in the freedom and truth of their own history for that is
the measure of the common good of each one of them.
I hope that each person will live and grow strong with the moral force of the community that
forms its members as citizens.
I hope that the State authorities, while respecting the just rights of each citizen, will enjoy
the confidence of all for the common good.
I hope that all the nations, even the smallest, even those that do not yet enjoy full
sovereignty, and those that have been forcibly robbed of it, will meet in full equality with the
others in the United Nations Organization.
I hope that the United Nations will ever remain the supreme forum of peace and justice, the
authentic seat of freedom of peoples and individuals in their longing for a better future.”
If you could easily highlight key messages in your speech, would you do it?
If there were a simple way to be more memorable, would you do it?
If you could craft speech phrases that are more quotable, would you do it?
Epiphora is the key to spicing up your speechwriting. In this article, we define epiphora, cite several
famous examples, and help you add this rhetorical device to your speechwriting toolbox.
Epiphora (or epistrophe) is the Greek term used to describe the repetition of the same word or
phrase at the end of successive clauses or sentences. It is sometimes called epistrophe and
antistrophe; however, I prefer to call it epiphora because it emphasizes the close relationship to
anaphora (repetition at the start of successive clauses or sentences).
One of the most famous examples of epiphora is from Abraham Lincoln’s Gettysburg Address,
November 19, 1863:
“… that this nation, under God, shall have a new birth of freedom—and that government of
the people,
by the people,
for the people,
shall not perish from the earth.”
In this case, Lincoln repeats “the people” at the end of three successive clauses. This amplifies his
idea that government is not an abstract, distant thing; government is intimately interconnected with
the people.
This technique is used heavily as a rhetorical device throughout literature, the arts, and famous
speeches. Through repetition, epiphora provides emphasis of key words and phrases. With
repetition falling at the end of clauses or sentences, epiphora draws words and ideas together to
create a focal point of sound and meaning.
to go to jail together,
to stand up for freedom together,
knowing that we will be free one day.”
Lyndon B. Johnson, March 15, 1965:
“There is no Negro problem.
There is no Southern problem.
There is no Northern problem.
There is only an American problem.
And we are met here tonight as Americans-not as Democrats or Republicans-we are met here
as Americans to solve that problem.”
Justin Trudeau, eulogy for his father (Pierre Elliot Trudeau), October 3, 2000:
“But more than anything, to me, he was dad.
And what a dad. He loved us with the passion and the devotion that encompassed his life. He
taught us to believe in ourselves, to stand up for ourselves, to know ourselves and to accept
responsibility for ourselves.”
Barack Obama, speech after New Hampshire primary loss, January 8, 2008:
“For when we have faced down impossible odds, when we’ve been told we’re not ready or
that we shouldn’t try or that we can’t, generations of Americans have responded with a
simple creed that sums up the spirit of a people: Yes, we can. Yes, we can. Yes, we can.
It was a creed written into the founding documents that declared the destiny of a nation: Yes,
we can.
It was whispered by slaves and abolitionists as they blazed a trail towards freedom through
the darkest of nights: Yes, we can.
It was sung by immigrants as they struck out from distant shores and pioneers who pushed
westward against an unforgiving wilderness: Yes, we can.”
Kevin Rudd, “Indigenous Australian Stolen Generation”, February 13, 2008:
“For the pain, suffering and hurt of these stolen generations, their descendants and for their
families left behind, we say sorry.
To the mothers and the fathers, the brothers and the sisters, for the breaking up of families
and communities, we say sorry.
And for the indignity and degradation thus inflicted on a proud people and a proud culture,
we say sorry.
[…]
To the stolen generations, I say the following:
as Prime Minister of Australia, I am sorry.
On behalf of the government of Australia, I am sorry.
On behalf of the parliament of Australia, I am sorry.”
“With repetition falling at the end of clauses or sentences, epiphora draws words and ideas
together to create a focal point of sound and meaning.”
Though these translations essentially say the same thing, they have a different impact. The second
version (without epiphora) is shorter (and shorter is generally better in speeches), but the first
version (with epiphora) makes more impact. Imagine hearing this passage out loud, with vocal
emphasis on the repeated words and effective pauses.
These words were not randomly selected. In the same way, you should choose key words for your
message and build epiphora around them.
You can’t give the speech of your life until you first give life to your speeches.
One way to breathe life into your speeches is to craft memorable phrases that will linger on the lips
of your audience, and a great tool to help you achieve this goal is chiasmus.
In this article, we define what chiasmus is, study several famous (and not-so-famous) chiasmus
examples, and give some tips for crafting chiasmus into your own speeches.
In the general pattern, when your first clause contains two words A and B, then the second clause
contains the same words, but in reverse order:
“[1] … A… B…
[2] … B… A…”
Each of “A” and “B” can be either a single word, or a group of words. Graphically, it looks like this:
Chiasmus in Music
Crosby Stills, Nash & Young sang a famous song titled “Love the One You’re With”:
“And if you can’t be with the one you love, honey,
Love the one you’re with.”
Chiasmus in Literature
William Shakespeare, Richard II:
“I wasted time,
Rethorical Devices Article Series
Página 30 de 39
Chiasmus in Advertising
Band-Aid brand adhesive bandages:
“I am stuck on Band-Aid,
and Band-Aid‘s stuck on me.”
While researching this article, I came across an intriguing book titled Never Let a Fool Kiss You or a
Kiss Fool You by Mardy Grothe. With hundreds of chiasmus examples, there’s an awful lot to riff off
of. I may have to add this to my Christmas list.
Do you ever find yourself wishing that your audience understood you better? Do you have difficulty
conveying your great ideas clearly?
One of the most important writing techniques I ever learned was parallelism. Parallelism leads to
clear writing, and clear writing leads to clear speaking.
In this article, we define parallelism, study numerous examples, and discuss how you can
incorporate it into your speeches.
What is Parallelism?
Parallelism is the successive use of identical grammatical patterns of words, phrases, or sentences.
Sound boring? Wait — don’t give up yet!
Parallelism may involve repetition of some words, but more generally involves repetition of parts of
speech (e.g. nouns, verbs, adjectives). It is sometimes referred to as parallel structure or parallel
construction.
Examples of Parallelism
Consider two examples from Abraham Lincoln’s Gettysburg Address, both of which involve some
repetition of individual words. In the first, the parallel pattern is “[preposition] the people”. In the
second, the parallel pattern is “we can not [verb]”.
“… government of the people, by the people, for the people…”
“… we can not dedicate, we can not consecrate, we can not hallow this ground.”
Feel the “[verb] any [noun]” parallel pattern repeated in John F. Kennedy’s Inaugural address:
“… we will pay any price, bear any burden, meet any hardship, support any friend, and oppose
any foe in order to assure the survival and success of liberty.”
For a more contemporary example, consider Steve Jobs’ 2005 Stanford Commencement Address:
“… that my mother had never graduated from college and that my father had never
graduated from high school.”
The parallel pattern here is a little longer: “that my [noun — related to me] had never graduated
from [noun — educational level]”
Benefits of Parallelism
Frequent effective use of parallelism is essential for clear writing.
Don’t believe me? Stroll through a sample of writing in any newspaper, magazine, textbook, or novel
and you are sure to trip over numerous examples of parallelism.
Speechwriting is no exception. Every speech benefits from the use of parallel structure. These
benefits include:
Clarity – By organizing into parallel structures, you make it easier for your audience to
understand. This is especially important for speeches (compared with writing meant to be
read), as your audience doesn’t have the benefit of “re-reading” a passage over and over to
“get” the meaning.
Balance – Pairs of parallel patterns roll off the tongue, resulting in a feeling of satisfaction.
Rhythm – Three or more parallel patterns are often used to establish a powerful rhythmic
beat. (See the JFK example above.)
Comparability – The similarity or contrast between two or more elements is emphasized
when brought together with parallel structure.
Concision – Rephrasing an idea using parallelism nearly always results in a more concise
statement.
Memorability – Because parallelism boosts all of the above qualities, the result is often more
memorable and more quotable lines in your speech.
For a less grand example, study Henry Ford’s off-the-mark comments about exercise:
“Exercise is bunk. If you are healthy, you don’t need it; if you are sick, you shouldn’t take it.”
Note the use of contrasting terms (“healthy”, “sick”) in parallel structure.
Finally, consider this hypothetical example from a political debate which uses parallel structure to
magnify the contrast between opposing ideologies:
“My social policies hold families together; your policies rip families apart.”
No matter how well a speech is written, a speaker who delivers it in a flat, monotone voice will ruin
it. Don’t be that speaker!
Use pauses and vocal variety to help convey the start or end of the parallel patterns. Your audience
can’t “see” your commas (or any other punctuation) to know where the parallel structures are
divided, so you have to convey them vocally.
What quality is vital to virtually all creative art forms, including literature, music, painting, sculpture,
photography, drama, and speechwriting?
What quality both sharpens the attention of your audience and makes them understand you better?
Contrast!
In this article, we’ll define contrast, explore its benefits, and examine many strategies for using
contrast in your next presentation.
What is Contrast?
Contrast is a very broad term referring to any difference–usually a large difference–between two or
more elements. The elements being contrasted might be anything: words, phrases, concepts,
anecdotes, story characters, sounds, actions, shapes, visuals, or emotions.
There are several degrees of contrast available to you, and each can be effectively used in speeches
and presentations:
Opposite pairs of elements may be contrasted against one another, each helping to define
the other through their differences.
Two or more elements which are not commonly associated with each other may be
juxtaposed in surprising ways.
Two or more elements that belong in the same category are examined to highlight their
differences.
Contrast is Ubiquitous
Contrast is everywhere, so our brains are hard-wired to recognize it and seek it out. Don’t believe
me? Let’s consider just two examples, one contemporary and one from over 150 years ago.
For a lyrical example of contrast, consider the chorus for John Legend’s 2013 hit “All of Me”:
“Cause all of me
Loves all of you
In eight short lines, five contrasting pairs of words (me-you, curves-edges, perfect-imperfections,
end-beginning, lose-winning) create wonderful balance and evocative imagery.
Arguably the most famous use of literary contrast is found in the opening lines of A Tale of Two
Cities (1859) by Charles Dickens:
“It was the best of times,
it was the worst of times,
it was the age of wisdom,
it was the age of foolishness,
it was the epoch of belief,
it was the epoch of incredulity,
it was the season of Light,
it was the season of Darkness,
it was the spring of hope,
it was the winter of despair,
we had everything before us,
we had nothing before us,
we were all going direct to Heaven,
we were all going direct the other way —“
The second benefit of using contrast is that it adds precision to your words and ideas by placing
them next to contrasting words and ideas. This, in turn, helps your audience understand your
message.
In Writing Tools (Six Minutes review), Roy Peter Clark conveys this benefit succinctly:
“Put odd and interesting things next to each other. Help the reader learn from contrast.”
2. Contrasting Viewpoints
Within a presentation, you can study a topic from two or more contrasting viewpoints. For example,
consider three diverse speech topics–mass transit, corporate restructuring, and after-school
programs–which can be presented using a contrasting viewpoint strategy:
Consider the impact of mass transit design on local residents, commuters, and tourists.
Analyze the impact of corporate restructuring on engineering, accounting, and service
teams.
Study the impact of after-school programs on students, staff, and parents.
By contrasting several different perspectives (e.g. local residents, commuters, and tourists), the
salient qualities of each perspective are clarified and amplified.
In addition, when you devote time to contrasting perspectives, you are generally seen as being fair,
balanced, and comprehensive.
“There’s a mismatch between what science knows and what business does.”
In Speak like Churchill, Stand Like Lincoln (Six Minutes review), James C. Humes writes:
“If you want to coin your own Power Line, try pairing […] antonyms. Take one word for the
first part of the sentence and then its opposite for the second part.”
Two of the antonym pairs mentioned by Humes (end-beginning; win-lose) are employed in the John
Legend lyrics quoted earlier in this article.
4. Contrasting Visuals
Yesterday, I saw a television commercial which depicts a healthy, prosperous family having a
delightful lunch in a park. All seems normal until the parents hand their children bottles of (very)
dirty water. The commercial achieves its purpose—to highlight the lack of clean drinking water for
1.1 billion people—by using a contrasting visual scene to surprise the viewer.
You can trigger emotional and cognitive responses in your audience by employing contrasting slide
visuals in a variety of ways, including:
Juxtapose objects which don’t “belong together” into a single image, like the dirty water
bottles in the park scene described above.
Use a pair of contrasting images on the same slide.
Use a series of slide images to set a pattern, and then follow them with a highly contrasting
image to create visual tension.
5. Contrasting Voice
Monotone speaking is sure to put your audience to sleep, so effective speakers incorporate a
healthy dose of vocal variety into their delivery. In particular, contrasting vocal qualities can be used
strategically as you present:
Speak louder or quieter — Variations in volume should be used sparingly as you don’t want
to seem like you are yelling or whispering for the bulk of your presentation. However, when
used to emphasize special words or sentences, the contrast in your voice will immediately
heighten the attention of your audience.
Speaking faster or slower — As with volume, your regular speaking rate should allow your
audience to understand you comfortably. In small doses, however, altering your rate is
powerful. Slowing down signals that you are delivering a key message that you want your
audience to remember. Speeding up, on the other hand, conveys heightened emotion and
energy.
6. Contrasting Gestures
One of my personal speaking challenges is to avoid the repetitive “arm thrust” throughout my talk.
It’s not that the action is necessarily negative when used in isolation, but any gesture that is used
too much weakens its effectiveness and leads to audience boredom. Instead, using varied gestures
is more effective.
Rethorical Devices Article Series
Página 39 de 39
There are many types of contrasting gestures that complement your message effectively. For
example:
Left versus Right – You can indicate the passage of time by gesturing to the audience’s left
(past) or right (future).
Down versus Up – You can emphasize the contrast between something short (by gesturing
down) and something tall (by gesturing up).
Small versus Large – If you use smaller, constrained gestures (i.e. gestures close to the body)
for most of your presentation, you can generate huge impact by using a larger gesture (i.e.
gesture with arms extended).
7. Contrasting Movement
Just like contrasting gestures, contrasting full-body movement can be very effective in accentuating
your message and maintaining audience attention. There are infinite possibilities for full-body
movements; if you choose movements which are unique, you will achieve the desired contrast.
Note that the contrasting movement does not need to be relative to yourself. If you offer
movements which contrast other speakers at the event, the effect can be just as positive. For
example, if all other speakers at the event speak from a stationary position behind a lectern, you
have a great opportunity for contrast simply by venturing away from the lectern.
Beware of a pitfall when it comes to body movement. Avoid pacing methodically left and right, or
rocking forward and backward. Even though these are technically “contrasting movements”, the
effect you will produce is one of a swinging pendulum which will slowly soothe your audience to
sleep!
8. Contrasting Emotions
I once attended a conference with a fabulously inspiring keynote speaker. Later at the conference,
I asked the speaker what she thought was the most important quality for a keynote address. She
said that her goal is always to make the audience laugh several times, cry several times, and end
with a smile. This reinforces the importance not only of connecting emotionally with an audience,
but also offering the audience contrasting emotions.
An entire presentation which evokes the same emotion throughout — whether it be sorrow, joy,
empathy, humor, love, or anything else — can be very flat and one-dimensional, just like a
monotone voice. On the other hand, a presentation which offers an array of contrasting emotional
cues creates an exciting cadence or rhythm that draws in audience members.
Contrasting emotions can be achieved in a variety of ways mentioned earlier, including your speech
themes, words, vocal variety, gestures, and visuals.
Andrew Dlugan is the editor and founder of Six Minutes. He teaches courses, leads seminars,
coaches speakers, and strives to avoid Suicide by PowerPoint. He is an award-winning public speaker
and speech evaluator. Andrew is a father and husband who resides in British Columbia, Canada.
Twitter: @6minutes