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 t w e L f t h e d I t I o N

the ARt of PUBLIC SPeAKING

stephen e. Lucas

m
Determining the General Purpose 82
Determining the Specific Purpose 82
Tips for Formulating the Specific Purpose Statement 84
Questions to Ask About Your Specific Purpose 86
Is the Purpose Relevant to My Audience? 87
Phrasing the Central Idea 89
What Is the Central Idea? 89
Guidelines for the Central Idea 90

Chapter 6 Analyzing the Audience 96

Audience-Centeredness 98
Your Classmates as an Audience 99
The Psychology of Audiences 100
Demographic Audience Analysis 101
Age 102
Gender 102
Religion 103
Sexual Orientation 103
Racial, Ethnic, and Cultural Background 104
Group Membership 105
Situational Audience Analysis 106
Size 106
Physical Setting 106
Disposition Toward the Topic 107
Disposition Toward the Speaker 108
Disposition Toward the Occasion 109
Getting Information About the Audience 110
Adapting to the Audience 113
Audience Adaptation Before the Speech 113
Audience Adaptation During the Speech 114

Chapter 7 Gathering Materials 118

Using Your Own Knowledge and Experience 120
Doing Library Research 120
Librarians 120
The Catalogue 121
Reference Works 121
Newspaper and Periodical Databases 122
Academic Databases 123
Searching the Internet 124
Search Engines 124
Specialized Research Resources 125
Evaluating Internet Documents 127

CONTENTS vii
 Interviewing 129
Before the Interview 130
During the Interview 131
After the Interview 132
Tips for Doing Research 133
Start Early 133
Make a Preliminary Bibliography 133
Take Notes Efficiently 134
Think About Your Materials as You Research 136

Chapter 8 Supporting Your Ideas 140

Examples 142
Brief Examples 143
Extended Examples 143
Hypothetical Examples 144
Tips for Using Examples 144
Statistics 147
Understanding Statistics 148
Tips for Using Statistics 151
Testimony 155
Expert Testimony 155
Peer Testimony 155
Quoting Versus Paraphrasing 156
Tips for Using Testimony 156
Citing Sources Orally 159

PART THREE SPEECH PREPARATION: ORGANIZING AND

OUTLINING

Chapter 9 Organizing the Body

of the Speech 164
Organization Is Important 166
Main Points 166
Number of Main Points 168
Strategic Order of Main Points 169
Tips for Preparing Main Points 174
Supporting Materials 175
Connectives 178
Transitions 178
Internal Previews 178
Internal Summaries 179
Signposts 179

viii CONTENTS
Chapter 10 Beginning and Ending
the Speech 184
The Introduction 186
Get Attention and Interest 186
Reveal the Topic 192
Establish Credibility and Goodwill 192
Preview the Body of the Speech 194
Sample Introduction with Commentary 195
Tips for the Introduction 196
The Conclusion 196
Signal the End of the Speech 196
Reinforce the Central Idea 198
Sample Conclusion with Commentary 201
Tips for the Conclusion 202

Chapter 11 Outlining the Speech 204

The Preparation Outline 206
Guidelines for the Preparation Outline 206
Sample Preparation Outline with Commentary 210
The Speaking Outline 213
Guidelines for the Speaking Outline 214
Sample Speaking Outline with Commentary 216

PART FOUR PRESENTING THE SPEECH

Chapter 12 Using Language 220

Meanings of Words 222
Using Language Accurately 223
Using Language Clearly 224
Use Familiar Words 224
Choose Concrete Words 225
Eliminate Clutter 226
Using Language Vividly 227
Imagery 228
Rhythm 230
Using Language Appropriately 232
Appropriateness to the Occasion 233
Appropriateness to the Audience 233
Appropriateness to the Topic 233
Appropriateness to the Speaker 234
A Note on Inclusive Language 234

CONTENTS ix
 Chapter 13 Delivery 238
What Is Good Delivery? 240
Methods of Delivery 240
Reading from a Manuscript 241
Reciting from Memory 241
Speaking Impromptu 241
Speaking Extemporaneously 242
The Speaker’s Voice 243
Volume 244
Pitch 244
Rate 244
Pauses 245
Vocal Variety 245
Pronunciation 246
Articulation 246
Dialect 247
The Speaker’s Body 248
Personal Appearance 248
Movement 249
Gestures 250
Eye Contact 250
Practicing Delivery 251
Answering Audience Questions 252
Preparing for the Question-and-Answer Session 252
Managing the Question-and-Answer Session 253
Presenting Your Speech Online 255
Understand the Special Nature of the Online Environment 256
Know Your Technology 256
Control the Visual Environment 257
Adapt Your Nonverbal Communication 258
Adjust Your Pacing for the Online Environment 259
Manage Q&A for the Online Environment 259
Rehearse for the Online Environment 259
Have a Backup Plan 260

Chapter 14 Using Visual Aids 264

Kinds of Visual Aids 266
Objects and Models 266
Photographs and Drawings 266
Graphs 267
Charts 269
Video 270
The Speaker 270
Presentation Technology 271
Pluses and Minuses of Presentation Technology 271
Planning to Use Presentation Technology 272

x CONTENTS
Guidelines for Preparing Visual Aids 273
Prepare Visual Aids Well in Advance 273
Keep Visual Aids Simple 273
Make Sure Visual Aids Are Large Enough 273
Use a Limited Amount of Text 273
Use Fonts Effectively 274
Use Color Effectively 275
Use Images Strategically 275
Guidelines for Presenting Visual Aids 276
Display Visual Aids Where Listeners Can See Them 276
Avoid Passing Visual Aids Among the Audience 277
Display Visual Aids Only While Discussing Them 277
Explain Visual Aids Clearly and Concisely 278
Talk to Your Audience, Not to Your Visual Aid 278
Practice with Your Visual Aids 279
Check the Room and Equipment 280

PART FIVE VARIETIES OF PUBLIC SPEAKING

Chapter 15 Speaking to Inform 282

Types of Informative Speeches: Analysis and Organization 284
Speeches About Objects 284
Speeches About Processes 286
Speeches About Events 288
Speeches About Concepts 290
Guidelines for Informative Speaking 292
Don’t Overestimate What the Audience Knows 292
Relate the Subject Directly to the Audience 293
Don’t Be Too Technical 295
Avoid Abstractions 296
Personalize Your Ideas 297
Be Creative 299
Sample Speech with Commentary 299

Chapter 16 Speaking to Persuade 304

The Importance of Persuasion 306
Ethics and Persuasion 306
The Psychology of Persuasion 307
The Challenge of Persuasive Speaking 307
How Listeners Process Persuasive Messages 308
The Target Audience 310
Persuasive Speeches on Questions of Fact 311
What Are Questions of Fact? 311
Analyzing Questions of Fact 311
Organizing Speeches on Questions of Fact 312

CONTENTS xi
 Persuasive Speeches on Questions of Value 313
What Are Questions of Value? 313
Analyzing Questions of Value 313
Organizing Speeches on Questions of Value 314
Persuasive Speeches on Questions of Policy 315
What Are Questions of Policy? 315
Types of Speeches on Questions of Policy 315
Analyzing Questions of Policy 317
Organizing Speeches on Questions of Policy 319
Problem-Cause-Solution Order 320
Sample Speech with Commentary 324

Chapter 17 Methods of Persuasion 330

Building Credibility 332
Factors of Credibility 332
Types of Credibility 333
Enhancing Your Credibility 334
Using Evidence 336
How Evidence Works: A Case Study 337
Tips for Using Evidence 338
Reasoning 340
Reasoning from Specific Instances 341
Reasoning from Principle 342
Causal Reasoning 343
Analogical Reasoning 343
Fallacies 344
Appealing to Emotions 348
What Are Emotional Appeals? 349
Generating Emotional Appeal 350
Ethics and Emotional Appeal 351
Sample Speech with Commentary 352

Chapter 18 Speaking on Special

Occasions 358
Speeches of Introduction 360
Speeches of Presentation 362
Speeches of Acceptance 364
Commemorative Speeches 364

xii CONTENTS
Chapter 19 Speaking in Small Groups 370
What Is a Small Group? 372
Leadership in Small Groups 373
Kinds of Leadership 373
Functions of Leadership 374
Responsibilities in a Small Group 375
Commit Yourself to the Goals of Your Group 375
Fulfill Individual Assignments 376
Avoid Interpersonal Conflicts 377
Encourage Full Participation 377
Keep the Discussion on Track 378
The Reflective-Thinking Method 379
Define the Problem 379
Analyze the Problem 380
Establish Criteria for Solutions 381
Generate Potential Solutions 382
Select the Best Solution 383
Presenting the Recommendations of the Group 384
Oral Report 384
Symposium 385
Panel Discussion 385

Appendix Speeches for Analysis

and Discussion A1
Medical Robots: From Science Fiction to Science Fact A2
Ramadan A4
The Danger of Cell Phones A5
Phony Pharmaceuticals A7
The Wonderful World of Dr. Seuss A9
Elie Wiesel A11
Notes N1
Photo Credits C1
Index I1

CONTENTS xiii
 SPEECHES

Tap, Tap, Tap (Sample Speech with Commentary) 72

Third-Culture Kid (Sample Speech with Commentary) 73
Surrounded by Stuff (Sample Introduction with Commentary) 195
Surrounded by Stuff (Sample Conclusion with Commentary) 201
Beneficial Bacteria (Sample Preparation Outline with Commentary) 211
Beneficial Bacteria (Sample Speaking Outline with Commentary) 216
Lady Liberty (Sample Speech with Commentary) 300
Changing Lives Through the Literacy Network (Sample Speech with
Commentary) 324
The Living-Wage Solution (Sample Speech with Commentary) 352
Presenting the National Teacher of the Year Award Barack Obama 363
Accepting the National Teacher of the Year Award
Rebecca Mieliwocki 364
Make a Wish 367
Medical Robots: From Science Fiction to Science Fact A2
Ramadan A4
The Danger of Cell Phones A5
Phony Pharmaceuticals A7
The Wonderful World of Dr. Seuss A9
Elie Wiesel A11

SPEECHES BY GENRE

INTRODUCTORY SPEECHES
Tap, Tap, Tap 72
Third-Culture Kid 73

INFORMATIVE SPEECHES
Surrounded by Stuff (Sample Introduction with Commentary) 195
Surrounded by Stuff (Sample Conclusion with Commentary) 201
Beneficial Bacteria (Sample Preparation Outline with Commentary) 211
Beneficial Bacteria (Sample Speaking Outline with Commentary) 216
Lady Liberty (Sample Speech with Commentary) 300
Medical Robots: From Science Fiction to Science Fact A2
Ramadan A4

xiv CONTENTS
PERSUASIVE SPEECHES
Changing Lives Through the Literacy Network 324
The Living-Wage Solution 352
The Danger of Cell Phones A5
Phony Pharmaceuticals A7

SPEECHES OF PRESENTATION
Presenting the National Teacher of the Year Award Barack Obama 363

SPEECHES OF ACCEPTANCE
Accepting the National Teacher of the Year Award Rebecca Mieliwocki 364

COMMEMORATIVE SPEECHES
Make a Wish 367
The Wonderful World of Dr. Seuss A9
Elie Wiesel A11

CONTENTS xv
 A Note from the Author

W
hen I wrote the first edition of The Art of Public Speaking, I could not
have imagined the extraordinary response the book would receive. I am
deeply appreciative of the students and teachers who have made it the
leading work on its subject at colleges and universities across the United States
and around the world.
In preparing this edition, I have retained what readers have identified as the
main strengths of the book. The Art of Public Speaking is informed by classical
and contemporary theories of rhetoric, but it does not present theory for its own
sake. Keeping a steady eye on the practical skills of public speaking, it offers full
coverage of all major aspects of speech preparation and presentation.
It also follows David Hume’s advice that one “who would teach eloquence
must do it chiefly by examples.” Whenever possible, I have tried to show the
principles of public speaking in action in addition to describing them. Thus you
will find in the book a large number of narratives, speech excerpts, and full sam-
ple speeches that illustrate the principles of effective public speaking.
Because the immediate task facing students is to present speeches in the
classroom, I rely heavily on examples that relate directly to students’ classroom
needs and experiences. The speech classroom, however, is a training ground
where students develop skills that will serve them throughout life. Therefore, I also
include a large number of illustrations drawn from the kinds of speaking experi-
ences students will face after they graduate from college.
Because speeches are performative acts, students need to be able to view
speakers in action as well as read their words on the printed page. The Art of
Public Speaking has an extensive video program that is available both on DVD
and on Connect, McGraw-Hill’s innovative online learning platform. The video pro-
gram includes 36 full student speeches, plus more than 60 speech excerpts. Ten
of the full speeches and 15 of the excerpts are new to this edition.
Connect also provides a wide range of teaching and learning resources in
addition to the speech videos. These resources include SmartBook Achieve,
hands-on study tools, critical-thinking exercises, speech analysis questions, work-
sheets, assessment forms, and more. Taken together, The Art of Public Speaking
and the digital resources available on Connect provide an interactive public speak-
ing program that meets the needs of students and teachers alike.
The Art of Public Speaking has changed over the years in response to changes
in technology, student demographics, and instructional needs. But it has never
lost sight of the fact that the most important part of speaking is thinking. The
ability to think critically is vital to a world in which personality and image too often
substitute for thought and substance. While helping students become capable,
responsible speakers, The Art of Public Speaking also seeks to help them become
capable, responsible thinkers.

xvi
 Instructor’s Guide to McGraw-Hill
Connect
When you assign Connect you can be confident—and have data to demonstrate—
that your students, however diverse, are acquiring the skills, principles, and
critical processes that constitute effective communication. This leaves you to focus
on your highest course expectations.
TAILORED TO YOU. Connect offers on-demand, single sign-on access to learners—wherever
they are and whenever they have time. With a single, one-time registration,
learners receive access to McGraw-Hill’s trusted content. Learners also have
access to a two-week courtesy access period during registration.
EASY TO USE. Connect seamlessly supports all major learning management systems
with content, assignments, performance data, and LearnSmart, the leading
adaptive learning system. With these tools you can quickly make assignments,
produce reports, focus discussions, intervene on problem topics, and help at-risk
learners—as you need to and when you need to.

SmartBook Achieve
SmartBook Achieve is the first and only adaptive reading and study experience
designed to change the way students read and master key course concepts. As a
student engages with SmartBook Achieve, the program creates a personalized
learning path by highlighting the most impactful concepts the student needs to
learn at that moment in time. The learning path continuously adapts by deliver-
ing just-in-time learning resources—videos, animations, and other interactivities—
catered to each student’s needs. These rich, dynamic resources help students learn
the material, retain more knowledge, and get better grades.

SmartBook Achieve
highlights the key
concepts of every
chapter, offering stu-
dents a high-impact
learning experience.
Here, highlighted
text and an illustra-
tion together explain
the physical aspects
of sound.

xvii
 Insight Analytics
Mobile-ready Connect Insight provides at-a-glance analysis on five key insights,
available at a moment’s notice from your tablet device. The first and only ana-
lytics tool of its kind, Insight will tell you, in real time, how individual students
or sections are doing (or how well your assignments have been received) so you
can take action early and keep struggling students from falling behind.

Connect Insight
shows instructors
how many students
have completed an
assignment, how
long they spent on
the task, and how
they scored.

With Connect
Insight, instructors
can see, at a glance,
individual student
performance: analytics
showing student
investment in
assignments, and
success at completing
them, help instructors
identify, and aid,
those who are at risk.

xviii
 Connect LearnSmart Reports
LearnSmart Instructor Reports allow instructors to quickly monitor student activity,
making it easy to identify which students are struggling and to provide immediate
help to ensure those students stay enrolled in the course and improve their perfor-
mance. The Instructor Reports also highlight the concepts and learning objectives
that the class as a whole is having difficulty grasping. This essential information lets
you know exactly which areas to target for review during your limited class time.
Some key LearnSmart reports include:
Progress Overview report—View student progress for all LearnSmart mod-
ules, including how long students have spent working in the module, which
modules they have used outside of any that were assigned, and individual stu-
dent progress through LearnSmart.
Missed Questions report—Identify specific LearnSmart probes, organized by
chapter, that are problematic for students.
Most Challenging Learning Objectives report—Identify the specific topic
areas that are challenging for your students; these reports are organized by chapter
and include specific page references. Use this information to tailor your lecture time
and assignments to cover areas that require additional remediation and practice.
Metacognitive Skills report—View statistics showing how knowledgeable
your students are about their own comprehension and learning.

Speech Capture
Designed for use in face-to-face, real-time classrooms, as well as online courses,
Speech Capture allows you to evaluate your students’ speeches using fully cus-
tomizable rubrics. You can also create and manage peer review assignments and
upload videos on behalf of students for optimal flexibility.
Students can access rubrics and leave comments when
preparing self-reviews and peer reviews. They can eas-
ily upload a video of their speech from their hard drive
or use Connect’s built-in video recorder. Students can
even attach and upload additional files or documents,
such as a works-cited page or a PowerPoint presentation.

PEER REVIEW
Peer review assignments are easier than ever. Create and
manage peer review assignments and customize privacy
settings.

SPEECH ASSESSMENT
Connect Speech Capture lets you customize the assign-
ments, including self-reviews and peer reviews.
Connect saves your frequently used comments, simpli-
fying your efforts to provide feedback.

xix
 Support to Ensure Success

Digital Success Academy—

The Digital Success Acad-
emy on Connect offers a
wealth of training and
course creation guidance
for instructors and students
alike. Instructor support
is presented in easy-to-
navigate, easy-to-complete
sections. It includes the
popular Connect video
shorts, step-by-step Click
through Guides, and First
Day of Class materials
that explain how to use
both the Connect platform
and its course-specific tools
and features. http://create.mcgraw-hill.com/wordpress-mu/success-academy
Digital Success Team—The Digital Success Team is a group of specialists
dedicated to working online with instructors—one-on-one—to demonstrate
how the Connect platform works and to help incorporate Connect into a cus-
tomer’s specific course design and syllabus. Contact your digital learning con-
sultant to learn more.
Digital Learning Consultants—Digital Learning Consultants are local
resources who work closely with your McGraw-Hill learning technology con-
sultants. They can provide face-to-face faculty support and training. http://
catalogs.mhhe.com/mhhe/findRep.do
Digital Faculty Consultants—Digital Faculty Consultants are experienced
instructors who use Connect in their classroom. These instructors are avail-
able to offer suggestions, advice, and training about how best to use Connect
in your class. To request a Digital Faculty Consultant to speak with, please
e-mail your McGraw-Hill learning technology consultant. http://connect.
customer.mcgraw-hill.com/dfc/
National Training Webinars—McGraw-Hill offers an ongoing series of
webinars for instructors to learn and master the Connect platform as well
as its course-specific tools and features. We hope you will refer to our online
schedule of national training webinars and sign up to learn more about
Connect! http://webinars.mhhe.com/

CONTACT OUR CUSTOMER SUPPORT TEAM

McGraw-Hill is dedicated to supporting instructors and students. To contact
our customer support team, please call us at 800-331-5094 or visit us online at
http://mpss.mhhe.com/contact.php

xx
New to the Twelfth Edition of
The Art of Public Speaking
A personalized and adaptive learning experience with Smartbook
Achieve. As a student engages with SmartBook Achieve, the program cre-
ates a personalized learning path by highlighting the most impactful con-
cepts a student needs to learn at that moment in time. The learning path
continuously adapts by delivering just-in-time learning resources—videos,
animations, and other interactivities—catered to each student’s needs. These
rich, dynamic resources help students learn the material, retain more knowl-
edge, and get better grades.

Student performance analytics with Connect Insight. Mobile ready

for students, Insight will also be available for students. Students will be able
to track their performance throughout the course.
New and expanded coverage of presenting online. Chapter 13, on
speech delivery, explores the appropriate technology and specialized skills
needed to present professional, compelling speeches in a digital environ-
ment. The chapter has been updated with an extensive discussion of the
special nature of the online milieu. Professor Lucas explains the impor-
tance of mastering today’s technology and controlling the visual environ-
ment, and offers tips on lighting, camera technique, appropriate onscreen
atmosphere, and personal appearance. The discussion also explores how
speakers can adapt their nonverbal communication, adjust their pacing,
and manage Q&A when speaking online.
Fresh real-world examples. Every chapter of The Art of Public Speaking
opens with an engaging and relevant model, and dozens of additional exam-
ples appear throughout the chapters, each demonstrating the importance—
and art—of public speaking in school, business, and social settings.

xxi
 New checklist. Chapter 13 includes an important,
Luc23917_ch13_238-263.indd Page 260 25/08/14 8:58 AM user-f467
8-point checklist to help
/201/MH02266/Luc23917_disk1of1/0073523917/Luc23917_pagefiles

students successfully prepare and deliver an online speech.

checklist
Presenting an Online Speech

YES NO

1. Have I considered the special nature of the online speech environment?

2. Do I understand the capabilities and limitations of my presentation software?
3. Do I control the visual environment of my presentation so it will work to my
advantage?
4. Have I adapted my nonverbal communication so it will be effective when
viewed online?
5. Will the pacing of my speech keep the audience focused on my message?
6. Have I considered how best to handle questions and answers?
7. Have I taken all the steps necessary to rehearse my speech for online
presentation?
8. Do I have a backup plan in case I run into technical problems?

New compelling student speeches. Ten full speeches, plus 15 excerpts

and six “needs improvement” versions, are new to this edition, augmenting
the robust Lucas video program, which now includes 36 full student speeches
and more than 60 speech excerpts. Whether a full speech or an excerpt,
each video illustrates specific skills and concepts from the text and models
the unique features of a variety of speech genres.
Updated MLA and APA citation models. Chapter 7, on gathering mate-
rials, presents all-new sample bibliography entries, reflecting the latest MLA
and APA citation formats to help students correctly cite academic, digital,
and other sources.
Expanded coverage of outlining and revised model outlines.
Chapter 11, on outlining the speech, features updated models that illustrate
the features of a good speech outline. The chapter also features additional
discussion of the principles of outlining to help students better understand
how to arrange their thoughts clearly and effectively.
Updated discussion of presentation technology. Guidance on the use
of visual aids and presentation technology is enhanced to explore best prac-
tices when using PowerPoint, Keynote, Prezi, Google Docs, Zoho Show, and
other tools that aid the public speaking experience.

xxii NEW TO THE TWELFTH EDITION

Resources for Instructors
Instructors’ Guide to Connect. An overview of Connect and information
to get you started can be found on pages xvii–xx.
Annotated Instructor’s Edition. The Annotated Instructor’s Edition pro-
vides a wealth of teaching aids for each chapter in the book. It is also
cross-referenced with Connect, the Instructor’s Manual, the Instructor’s Resource
CD, and other supplements that accompany The Art of Public Speaking.
Resources within Connect:
Connect Insight. This powerful analytics tool displays a range of visual
data—framed by an intuitive question—to provide instructors at-a-glance
information regarding how their classes are doing.
Connect Reports. Assignments and activities on Connect allow instruc-
tors and departments to gauge students’ grasp of public speaking skills
with exercises and assessment built around learning outcomes. Detailed
reports support formative assessment and improve efficacy at the student,
section, and program levels.
Instructors’ Manual. This comprehensive guide to teaching from The
Art of Public Speaking contains suggested course outlines and speaking
assignments; chapter outlines; supplementary exercises and classroom
activities; and teaching tips for all exercises and activities.
Test Bank. The Lucas Test Bank furnishes 2,782 examination questions
based on The Art of Public Speaking; more than 300 of the questions are
new or revised for this edition.
PowerPoint Slides with Video Clips. The PowerPoint presentations
for The Art of Public Speaking provide chapter highlights that help instruc-
tors create focused yet individualized lesson plans.
Teaching Public Speaking Online. Fully revised for the twelfth edi-
tion, the Teaching Public Speaking Online manual includes new and revised
chapter exercises and discusses performance analytics and approaches to
the flipped classroom.
Instructor’s Online Resource Center. Augment the planning and teach-
ing experience with the help of a full suite of Lucas instructional tools,
including speech transcripts, professional resources, speech evaluation forms,
and speech-preparation worksheets.
Instructor’s Resources CD. Captured on a single disc for maximum con-
venience, access the Instructor’s Manual, Test Bank, PowerPoint Slides,
Teaching Public Speaking Online manual, Selections from the Communication
Teacher, and the Handbook for Teachers of Non-Native Speakers of English.

NEW TO THE TWELFTH EDITION xxiii

 Acknowledgments
“’Tis the good reader,” said Ralph Waldo Emerson, “that makes the good
book.” I have been fortunate to have very good readers indeed, and I would
like to thank the reviewers and other contributors whose names appear on
pages xxv–xxvii for their expertise and recommendations.
In addition, I would like to express my gratitude to the students at the
University of Wisconsin whose speeches provided the material for many of the
examples in the book—especially to Shannon Huberty, Rebecca Miller, Heidi
Voelker, and Su Hyun (Sarah) Yim. I am grateful as well to the teaching staff
of Communication Arts 100 at Wisconsin and to Sarah Jedd, assistant course
director, for her splendid work in that capacity and for her insights about the
book and its pedagogy.
Thanks go as well to Margaret Procario for her work on the Instructor’s
Manual and the Test Bank; to Jennifer Cochrane for her many contributions,
including her supplement on using The Art of Public Speaking in an online course;
and to Jeff Przybylo and Tim Pierce for their activities on behalf of the book’s
digital program. Above all, I am indebted to Paul Stob, who has worked with
me on four editions, including this one. In addition to taking on primary respon-
sibility for the Instructor’s Manual, he has collaborated on multiple aspects of the
book and the entire Art of Public Speaking program. To say that he has been
indispensable is an understatement.
I also owe much to the Art of Public Speaking team at McGraw-Hill. Susan
Gouijnstook provided superb overall direction; I have been fortunate to have
top-notch editors over the years, but Susan takes a back seat to none of them.
Program manager Jennifer Gehl kept everything on track notwithstanding an
exacting schedule and the inevitable obstacles that arise in any large and com-
plex publishing project. After a hiatus of several years, Keith McPherson returned
to McGraw-Hill and proved once again why he is a superior designer. Jennifer
Blankenship was unflagging in finding the best photographs to give visual res-
onance to the principles discussed in the book.
Many other people at McGraw-Hill made their mark on this edition. Michael
O’Loughlin dealt with a host of matters, large and small. Laura Kennedy over-
saw the marketing effort. Shawntel Schmitt coordinated the image licensing.
Meghan Campbell and Janet Byrne Smith spearheaded the book’s innovative
digital program. They were assisted by John Francis, Irina Blokh-Reznik, Jonathan
Genkin, Srinivas Nathani, Navaneetha Krishan, Srini Mogalipuvuu, Sarah
Hegarty, Andrea Pasquarelli, and Adina Lonn. Finally, but certainly not least,
Kurt Strand, Michael Ryan, Kim David, David Patterson, and Lisa Pinto lent
executive direction to the entire project.
As always, my biggest debt is to my wife, Patty, whose love and support
have sustained me through the years.

Stephen E. Lucas
Madison, Wisconsin

xxiv
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 6 beams, 3 × 7 in. 15 ft. long.
6 posts, 4 × 7 in. 20 ft. long.
2 ties, 4 × 6 in. 30 ft. long.
2 ties, 4 × 6 in. 22 ft. long.
2 plates, 4 × 6 in. 30 ft. long.
2 plates, 4 × 6 in. 22 ft. long.
8 pieces, 3 × 7 in. 16 ft. long.
400 wall strips, 2 × 4 in. 13 ft. long, at 11c. each. 44.00
200 novelty siding boards, 9½ in., at 30c. each. 60.00
160 lbs. tarred paper, at 5c. per lb. 8.00
128 tongued and grooved flooring, 9½ in., at 35c.
each. 44.80
110 hemlock boards, at 18c. each. 19.80
9½ squares of tin roofing, at $7 per square. 66.50
120 ft. cornice, at 30c. per ft. 36.00
111 ft. gutter and leader, at 10c. per ft. 11.10
1 bay-window, with blinds, complete. 60.00
Materials in stoop, lobby, balcony, hood, and
corner-boards. 78.00
8 windows, with blinds, complete, at $16 each. 128.00
4 cellar windows, complete, at $4 each. 16.00
24 doors, complete, at $8 each. 192.00
2 stairs, complete. 60.00
2 marble mantels and 4 pine mantels. 75.00
Base-boards and shelving. 25.00
Nails, sink, and pump. 34.00
Cartage, average one mile. 30.00
Carpenter’s labor (not included above). 200.00
Painting, two coats. 80.00
Extra for girder supports, grading, etc. 62.85
Total cost of materials and construction. $1,700.00
Fig. 50.—elevation of front.
Fig. 51.—plan of cellar.
Fig. 52.—plan of first floor.
Fig. 53.—plan of second floor.
 DESIGN XIII.
FRENCH-ROOFED COTTAGE, COSTING $2,000.

These plans were designed for a genteel cottage adapted to

thickly-settled localities, where the increased value of lands make it
necessary to reduce the area, and build upwards. Several houses
constructed from these plans in this vicinity are admired for their
convenient accommodation and cheerfulness.... Exterior, (fig. 54.)
—The Foundation extends four feet above ground, giving a desirable
altitude to the whole building. The front is enlivened by the numerous
window and door openings, the several projections of piazza,
dormers, and cornices, and the variety of the materials used. The
dressing of the several parts are of simple designs. The projections
of cornices, etc., should always be self-sustaining, yet while this is
true, there is sure to be a fancied necessity for some apparent
support obvious from the outside. Such supports require special
treatment, with a view to their proper form and proportion, and
should be sparingly applied, giving to each one its distinct place and
purpose. Brackets of neat pattern are often crowded so closely
together as to cheapen and destroy their beauty, and overload the
cornice, thus reversing their legitimate purpose as supports....
Cellar, (fig. 55.)—Hight of ceiling 7 feet; it extends under the main
house only. Its hight above the ground gives an opportunity for good-
sized window openings. If desired at any time, an airy and light work-
room or laundry can be made by dividing and flooring a part of this
story at little cost.... First Story, (fig. 56).—Hight of ceiling 10 feet.
It has a hall running through the whole length of the main house, with
entrances from both front and rear. The parlor, dining-room, and
kitchen, are all good-sized apartments, and pleasantly arranged.
Double folding doors are provided for the front entrances and from
the hall to the parlor, and sliding doors between the parlor and
dining-room. A bay-window adds materially to the size and
pleasantness of the dining or living-room. Each room has an open
fire-place; the kitchen has a pump and sink, with the usual supply
and waste pipe connections. The rear stoop is roofed, and has a
portable enclosure of light ceiling boards, to be used in severe
weather.... Second Story, (fig. 57.)—Hight of ceiling 8½ feet. The
divisions of this story are simple—giving a hall, two large chambers,
with passage between, two hall rooms, and two closets....
Construction.—The estimate given provides for foundation of
broken stone, laid and neatly pointed with good mortar; the stone
exposed to sight on the outside to be “semi-dressed.” Blue-stone, or
other suitable stone obtained most readily, are used for the sills of
cellar windows, for the steps, and wall coping of the cellar entrance.
The principal timber is of seasoned spruce or pine, thoroughly
framed, raised, and secured. The “framing-in” of braces is too
frequently omitted—cutting them “barefoot,” and spiking, being
substituted. The latter does very well where the frame is strongly
sheathed over, and the outer siding applied afterwards. The
sheathing aids largely in stiffening the frame, but should not be relied
on to the exclusion of the necessary braces to square up the frame,
and prevent the swaying which often happens unobserved, to be
discovered when too late to remedy it. Laxity in the matter of bracing
has led to frequent errors as to their proper place in the frame. When
framed in they are invariably placed in the upper angles under the
ties and plates, adjoining the posts, and when barefoot they should
be put in the same angles; never, as is frequently done for
convenience, in the lower angles, nor on the sills. A moment’s
reflection will convince any one that if the right angles along the
principal frame are rigidly maintained, displacements will never
occur, except, as rarely happens, the whole is bodily raised from the
foundation by a hurricane. The most reliable angles are those
formed by the tie and post connections, because at these points the
posts are tenoned and mortised together, and secured with hard
wood pins. Those least reliable are at the foot of the posts, adjoining
the sills, where their connections are secured only by the weight of
the upper frame. Braces placed in the latter angles serve only as
fulcrums to endanger the frames when tested by ordinary winds; but
if the former or upper angles are made positive, by having
substantial braces in them, the severest gales may be defied. The
siding is of narrow, clear pine clapboards, laid on “thicknessed”
sheathing. The Mansard part of the main roof is covered by 8 × 16-
inch slate—the piazza, bay-window, kitchen, stoop, cornices,
window, and deck roof with IC. charcoal tin—all laid on hemlock
boards. Tarred felting is spread under all siding and slate. The first
and second stories are fully completed inside; the attic is floored, but
otherwise unfinished, but may be divided at any time into rooms as
shown for the second story (fig. 57). The interior plastering is three-
coat work, on seasoned lath. All sash are four lights, and hung to
balance-weights. Blinds are properly hung (outside) to each window.
All wood, tin, and brick-work, usually painted, has two coats of best
lead and oil-paint, with stainers to suit the owner’s taste. The choice
of colors for the exterior is frequently canvassed during the
construction of these buildings; often some person of taste (?)
decides by “warming”—adding red and yellow, until, by the
preponderance of these stainers, the most sombre and dismal colors
are produced. The most appropriate and pleasing shade for the body
of this class of house is a light gray; for the trimmings, dark gray; for
the sash, burnt sienna; for the blinds, chocolate. The tin roofing
should match the slate in color. Red colors should be sparingly used,
or omitted altogether.
Estimate of materials required, and total cost:

50 yards excavation, at 25c. per yard. $12.50

975 ft. of stone foundation, at 8c. per ft. 78.00
45 ft. blue-stone sills, steps, and coping, at 30c. per
ft. 13.50
4,000 bricks, furnished and laid, at $12 per M. 48.00
480 yards plastering, at 30c. per yard. 144.00
Cornices and centers, stucco. 30.00
4,000 ft. of timber, at $15 per M. 60.00
2 sills, 4 × 8 in. 29 ft. long.
2 sills, 4 × 8 in. 21 ft. long.
1 sill, 4 × 8 in. 16 ft. long.
2 sills, 4 × 8 in. 13 ft. long.
1 girt, 4 × 8 in. 29 ft. long.
 6 posts, 4 × 7 in. 22 ft. long.
6 ties, 4 × 6 in. 29 ft. long.
6 ties, 4 × 6 in. 21 ft. long.
2 plates, 4 × 6 in. 13 ft. long.
1 plate, 4 × 6 in. 16 ft. long.
2 posts, 4 × 6 in. 13 ft. long.
30 beams, 3 × 8 in. 21 ft. long.
15 beams, 3 × 7 in. 21 ft. long.
7 beams, 3 × 8 in. 16 ft. long.
2 decks, 3 × 8 in. 18 ft. long.
2 decks, 3 × 8 in. 26 ft. long.
1 cross-tie, 3 × 8 in. 18 ft. long.
4 hips, 3 × 7 in. 14 ft. long.
2 piazzas, 3 × 7 in. 19 ft. long.
2 piazzas, 3 × 7 in. 18 ft. long.
325 wall-strips, at 12c. each, $39; 75 joists, at 16c.
each, $12. 51.00
210 hemlock boards, at 12c. each, $25.20; cornice
materials, $60. 85.20
215 sheathing, at 16c. each, $34.40; 560 pine siding,
at 12c. each, $67.20. 101.60
8 squares slate, at $8.50 per square. 68.00
13 squares tin, at $7.50 per square. 97.50
65 ft. leaders, at 10c. per ft., $6.50; 260 flooring, at
18c. each, $46.80. 53.30
Piazza and stoop, complete, $80 and $28. 108.00
4 cellar windows, complete, at $4 each. 16.00
5 plain windows, complete, at $12 each. 60.00
6 plain windows, complete, at $10 each, $60; 1 bay
window, $60. 120.00
5 dormer windows, complete, at $16 each. 80.00
13 doors, complete, at $10 each. 130.00
1 area door, $5; stairs, $90; closets, pump, and
sink, $50. 145.00
Mantle, $52; tarred felting, $10. 62.00
Carpenter’s labor, not included above. 135.00
Carting, average 1 mile, $30; painting, $130;
incidentals, $141.40. 301.40
Total cost, complete. $2,000.00

Fig. 54.—elevation of front of house.

Fig. 55.—plan of cellar.
Fig. 56.—plan of first floor.
Fig. 57.—plan of second floor.
 DESIGN XIV.
A FRENCH-ROOFED COTTAGE COSTING $2,000.

These plans were designed for a cottage recently built by Mr. W.

W. Billings, in New London, Conn. These sketches embrace also the
outlines of the grounds immediately surrounding. The site faces a
street having steep grades, conforming to the general declivity upon
which a large part of the city is built. The grounds are raised above
the sidewalk, and leveled in front, and are faced with stone-work
from 2½ feet high at left, to 6 feet high at the right. The rear grounds
are 6 feet higher than those in front. The step A, at the entrance (see
fig. 59), is 8 inches above the sidewalk. B is the bottom of the cellar,
2 feet 2 inches higher than A, and is solid rock. The walk leading
from A to the rear ascends 1¼ inch to the foot; the banks at either
side are terraced, and have stone steps inserted in them leading to
the flagging at the foot of the porch steps, and also to the area, or
cellar entrance.... Elevation, (fig. 58.)—The French roof style is well
adapted to this situation on account of its rounded and solid
appearance. The irregularities of outline secure agreeable features
of variety and picturesqueness. The Foundation shows 4 feet above
ground in front, and 1 foot in the rear. The Porch is in an angle, and
the second story extending over it is carried up vertically past the
slated part of the main roof, forming a tower-like corner. This corner
is largely supported by a single column, and to make it as light as
possible, slating of this portion is omitted.—(As usually laid, slate
weighs 500 lbs.; tin, 50 lbs. per square.).... Cellar, (fig. 59.)—Hight
is 6½ feet. Four windows are placed where they give light to every
part. An outside door opens to the area, the latter being covered by
the front porch. The front portion of this cellar can easily be finished
off for a work-room or summer kitchen.... First Story, (fig. 60.)—
Hight of ceiling 10 feet. The arrangements are convenient,
comprising a hall, parlor, dining-room, and kitchen. The main
entrance leads from the right of the porch, and the hall runs parallel
with the front. Many persons prefer the entrance arranged in this
way, as the contents of the hall are not exposed to the street
whenever the doors are opened or left ajar. A partition crosses the
hall under the platform, adjoining the cylinder, forming a rear
passage leading from the kitchen to the cellar stairs. The Parlor has
a large bay-window in front, with a marble mantle directly opposite.
The Dining-Room and Kitchen each have windows giving views in
three directions. The small wing at the rear contains a good-sized
pantry, closet, and the rear entrance or lobby.... Second Story, (fig.
61.)—Hight of ceiling 9 feet. The divisions include a hall, three large
chambers, a bedroom, and three closets. All parts are well lighted.
Ventilating Registers are placed in the center of each chamber
ceiling. The space above this ceiling under the tin roof is ventilated
through 8-inch pipes inserted in opposite sides of the roof. These
pipes have funnel-shaped covers, elevated two inches above the
upper end of the pipes.... Construction.—The Foundation Walls
are of semi-dressed stone. The Chimneys are of hard brick, the
cellar portions are constructed with a hollow space or ash-pit,
arranged to receive the ashes from the fires of the first story. The
siding is beveled clap-boards, laid on sheathing felt. The mansard
parts of the main roof are covered with 8 × 16-inch Keystone slate
laid on felt. All other roofs are of IC. charcoal tin, all laid on seasoned
boards. The two full stories are hard finished upon two coats of
brown mortar. All parts usually painted have two coats of paint, of
material and shades to suit the owner. For suggestions on selecting
colors or shades see Design XIII.—Estimate cost of materials and
labor:

46 yards excavation, at 20c. per yard. $9.20

1,300 ft. stone foundation, at 15c. per ft. 195.00
40 ft. blue-stone, at 25c. per ft. 10.00
5,000 bricks in chimney, at $12 per M. 60.00
700 yards plastering, at 30c. per yard. 210.00
3,650 ft. timber, at $15 per M. 54.75
100 joists, at 14c., $14; 400 wall-strips, at 11c., $44. 58.00
1,660 ft. siding, at 2¾c. per ft. 45.65
 Cornice materials, $70; felt, $10. 80.00
220 rough boards, at 15c. each. 33.00
9 squares slate, at $9 per square. 81.00
13 squares tin, at $7.50. 97.50
194 spruce flooring, at 20c. each. 38.80
14 pine flooring, at 25c. each. 3.50
4 cellar windows, complete, at $3 each. 12.00
8 plain windows, complete, at $12 each. 96.00
1 bay window, complete. 50.00
7 dormer windows, at $14. 98.00
Porch, finished, $22; mantles, $50. 72.00
Stairs, $65; nails, sink, and ventilator, $32. 97.00
Closet, finished, $13; painting, $150. 163.00
18 doors, complete, at $9 each. 162.00
Carting, $25; labor, not included above, $225. 250.00
Incidentals. 23.60
Total cost, complete. $2,000.00
Fig. 58.—elevation of front of house.
Fig. 59.—plan of cellar and grounds.
Fig. 60.—plan of first floor.
Fig. 61.—plan of second floor.