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speechwriter

Definition of speechwriter

Examples of speechwriter in a sentence.

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Word History

1834, in the meaning defined above

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“Speechwriter.” Merriam-Webster.com Dictionary , Merriam-Webster, https://www.merriam-webster.com/dictionary/speechwriter. Accessed 8 Apr. 2024.

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What does a speechwriter do?

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What is a Speechwriter?

A speechwriter specializes in creating speeches for clients, usually for politicians, executives, or public figures. The primary responsibility of a speechwriter is to craft a compelling message that effectively communicates the speaker's ideas, values, and objectives to the audience. This requires not only exceptional writing skills but also the ability to understand the speaker's personality, voice, and audience's expectations, as well as the context of the speech.

Speechwriters typically work closely with their clients to understand their goals, message, and audience. They research the topic, gather data and information, and write a draft speech, which they then edit and refine until it meets the speaker's needs. This involves creating an outline, selecting the right words, tone, and structure, and ensuring the speech is well-organized and coherent. In some cases, speechwriters may also assist in rehearsing and delivering the speech, providing feedback and guidance to the speaker to ensure they deliver the message effectively.

What does a Speechwriter do?

Speechwriters are valuable assets in any organization or public figure's communication team because they possess the expertise to craft well-written, impactful speeches that can inspire, persuade, and inform the audience. They can help ensure that the message is communicated clearly and effectively, and that the tone and style of the speech match the speaker's personality and objectives.

Speechwriters also have the ability to research and understand the audience, tailoring the content to their specific needs and interests. In addition, they can help their clients save time and reduce stress by taking on the task of writing and editing the speech, allowing the speaker to focus on delivering it with confidence and passion.

Duties and Responsibilities The following are some of the key duties and responsibilities of a speech writer:

• Research: Before writing a speech, a speech writer must conduct research on the topic to ensure that they have a deep understanding of the subject matter. This may involve reading relevant articles, books, and reports, as well as conducting interviews with subject matter experts. The speech writer must also research the audience to ensure that the speech is tailored to their interests, knowledge level, and cultural background. In addition, they may research the occasion or event to ensure that the speech is appropriate for the setting and tone.
• Writing: After completing the research, the speech writer must craft the speech in a clear, concise, and engaging manner. They must use language and tone that is appropriate for the audience and occasion, and convey the message in a compelling way. The speech writer must also consider the length of the speech, as well as any visual aids or other materials that may be used during the presentation.
• Editing: Once the speech is written, the speech writer must proofread and edit it for clarity, grammar, and tone. They may also seek feedback from others, such as the speaker or a trusted colleague, to ensure that the speech is effective and persuasive.
• Collaboration: Throughout the process, the speech writer must work closely with the speaker or client to ensure that the speech aligns with their vision and goals. This may involve multiple rounds of revisions and feedback, as well as ongoing communication to ensure that the speech is on track.
• Delivery: In some cases, the speech writer may be responsible for coaching the speaker on delivery techniques. This may include providing guidance on pacing, inflection, and body language to ensure that the speech is delivered in a confident and engaging manner.
• Feedback: Finally, the speech writer may be asked to solicit feedback from the audience or client to help improve future speeches. This may involve collecting surveys, conducting interviews, or analyzing social media and other feedback channels to identify areas for improvement.

Types of Speechwriters Here are some common types of speechwriters and what they do:

• Political Speechwriters: These speechwriters work for political leaders such as presidents, governors, and senators. They are responsible for creating speeches that communicate the leader's vision, policy proposals, and political platform.
• Corporate Speechwriters: These speechwriters work for companies and executives, crafting speeches that address stakeholders, shareholders, and employees. They may write speeches for product launches, shareholder meetings, and corporate events.
• Non-profit Speechwriters: These speechwriters work for non-profit organizations and charities, creating speeches that communicate the organization's mission, goals, and accomplishments.
• Freelance Speechwriters: These speechwriters work independently and are hired by individuals, businesses, and organizations to write speeches for specific events or occasions.

What is the workplace of a Speechwriter like?

The workplace of a speechwriter can vary depending on the organization they work for and the nature of their job. Generally, a speechwriter is responsible for crafting speeches and presentations that will be delivered by high-profile individuals, such as politicians, CEOs, or public figures. This can be a challenging and high-pressure role, as the quality of their work can have a significant impact on the reputation and success of the speaker.

In some cases, speechwriters may work directly for the individual they are writing for, such as a politician or CEO. In these situations, the workplace of the speechwriter may be within the same office or building as their client. They may attend meetings, events, and speeches with their client to gather information and ensure their writing is aligned with the speaker's messaging and tone.

In other cases, speechwriters may work for an agency or consulting firm, where they may have multiple clients across various industries. These speechwriters may work remotely or in a traditional office setting, collaborating with colleagues and clients through email, phone calls, and video conferencing. They may have a more flexible schedule than those working directly for an individual, but may also have to balance multiple projects and deadlines.

Regardless of the specific workplace, speechwriters typically work closely with their clients to understand their goals, audience, and messaging. They conduct research and gather information to inform their writing, and may collaborate with other team members, such as researchers or communication specialists, to ensure their work is accurate and effective. Depending on the organization, speechwriters may also be involved in other communication and marketing initiatives, such as developing social media content or creating press releases.

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• speechwriter

a person who writes speeches for others, usually for pay.

Origin of speechwriter

Words nearby speechwriter.

• speech sound
• speech synthesis
• speech therapy
• speech-to-text
• speedboating
• speed brake

Dictionary.com Unabridged Based on the Random House Unabridged Dictionary, © Random House, Inc. 2024

How to use speechwriter in a sentence

It is hardly alone in this regard, as an analysis by the speechwriter Dana Rubin reveals.

A former speechwriter for the chairman of the Joint Chiefs of Staff, Johnson writes with lyrical clarity, delivering tales that are by turns heartwarming and heartbreaking.

Hunter-Torricke, who spent four years working on the Facebook executive communications team and served as a speechwriter for both Mark Zuckerberg and Sheryl Sandberg, also hinted at a more expansive vision for the board.

I worked for Baker as his special assistant and speechwriter when he was majority leader of the Senate, in the early 1980s.

Before he joined The Daily Beast, executive editor John Avlon was a speechwriter for New York City Mayor Rudolph Giuliani.

What greater pleasure could an emotionally-needy speechwriter know than to be pitied by the most powerful person on earth?

speechwriter Mark Katz quickly scrambled to tone down the jokes.

Thatcher had cried when the lines were originally suggested by her speechwriter Ronald Miller.

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• autobiographer
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to add harmonies to a tune

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Home / Online Bachelor’s Degree Programs / Online Bachelor’s in Liberal Studies Degree Program / Careers with a Bachelor’s Degree in Liberal Studies / How to Become a Speech Writer

How to Become a Speech Writer How to Become a Speech Writer How to Become a Speech Writer

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Tables of Contents

More Than Words: Speech Writer Job Description

Steps to become a speech writer, key speech writing tips, 4 types of speech writing, what is the typical speech writer salary, why we need speech writers.

Speeches provoke cultural change, memorialize human achievement, and shape monumental events. In the right hands, with the right voice, under the right circumstances, spoken words can inspire, motivate, persuade, or inform the world.

Before the words of a speech are spoken, they are written. Words delivered in a public setting can be powerful. However, to reach their full potential, the words must be considered, measured, and crafted to suit the message and the audience.

This is the mission of a speech writer: to help a speaker effectively deliver a message. Sometimes, the message resonates through history:

“Four score and seven years ago …”

“Ask not what your country can do for you — ask what you can do for your country …”

“I have a dream …”

“Mr. Gorbachev, tear down this wall!”

These words commemorate significant moments in American history: the Civil War, generational upheaval in the 1960s, the civil rights movement, and the end of the Cold War. The words and the associated turning points forever are linked with the famous speakers — Abraham Lincoln, John F. Kennedy, Martin Luther King Jr., and Ronald Reagan.

However, only two of them actually wrote the words they spoke: Lincoln and King. Kennedy, Reagan, and countless other historical figures breathed life into speeches written by others.

Not every speech writer has the opportunity to write for a president or a legendary civil rights leader. A wedding toast, commencement address, keynote presentation at a conference — these speeches won’t necessarily change the course of history, but they’re important to the people delivering them.

Professional speech writers work in every industry to help people in all walks of life deliver clear, concise messages that resonate with an audience. It’s a career that requires a deft touch with words; a passion for digging into the facts; and a desire to help others inform, entertain, or persuade an audience.

A speech writer’s professional focus is communication. Depending on the size and scope of the organization, a speech writer might be responsible for multiple communication-related duties.

These duties might include the following:

• Public relations
• Media relations
• Crisis management
• Internal communications
• Social media

No matter how broad the duties of a writer or communications professional, there are aspects of the job that translate across disciplines. It begins with a mastery of language and the written word.  

Writing and Editing

Strong writing and editing skills are a must for anyone who wishes to pursue a speech writing career. Fortunately, while there is an art to writing and editing, the craft can be taught and improved over time.

Grammar, spelling, and sentence structure count. To effectively deliver a message, a writer must understand the effect words have when delivered out loud in a particular sequence. In this regard, it’s as much about the writer’s “ear” as about the thought process.

While writing and editing a speech, the writer must ask whether the words will elicit the desired emotional response from the audience. Experienced writers have knowledge of the power of certain words and phrases to move listeners. Reading great speeches and other writings can help writers develop an ear for what works.

Researching Facts

Knowing how to write and edit well is only the beginning. A speech must be grounded in facts to reach its full potential.

Facts that support the message should be researched first. For example, Peter Robinson, one of Reagan’s speech writers, spent time in Berlin before he wrote Reagan’s “Tear Down This Wall” speech in 1987. During his  preliminary research , Robinson spoke with a U.S. diplomat in West Berlin, took a helicopter flight over the city, and conversed with German citizens.

Robinson devised the famous challenge — “Mr. Gorbachev, tear down this wall!” — after noticing the bleak conditions on the East Berlin side of the wall and hearing the sentiment expressed by a German dinner companion.

The work Robinson put into the research led to one of the most memorable public statements by a U.S. president in the 20th century. By 1989, the people of Berlin were free to cross the once-formidable barrier.

Robinson’s work on the speech was an excellent example of how thorough research became the foundation for a speech that marked a historical turning point.

Conducting Interviews

In addition to learning as much as possible about the topic through research, a speech writer must know how a speaker talks and what message the speaker wishes to deliver. One way to learn this is to conduct an interview.

There are two types of interview questions: fact-finding and open-ended.

Fact-finding questions are intended to learn details about the speaker’s expertise in the topic. This can include education, work experience, or research projects.

Open-ended questions are intended to provide detail, color, and anecdotes that might provide the audience with emotional access to the speaker’s point of view. This might include information about how and why the speaker became interested in the topic, or it might be a relevant story about the topic drawn from the speaker’s life.

An interview with the speaker also gives the writer insight into the speaker’s speech patterns and personality. This kind of information enables the writer to capture the rhythm of the speaker’s voice.

Writing and Editing Resources

• American Rhetoric: Top 100 Speeches
• Scribbr: List of Credible Sources for Research

Back To Top

Many speech writers begin their careers either as communications specialists (public relations, journalism, academia) or as experts in a particular industry with a flair for writing. Rarely will someone step into the job and start writing for heads of state or CEOs.

As with any career, there’s a known trajectory to follow as regards educational requirements, work experience, and soft skills needed to succeed. The important thing for an aspiring speech writer to remember is to set career goals early and take the appropriate steps along the way to achieve those goals.

Educational Requirements for Speech Writers

Speech writers may benefit from a bachelor’s degree in journalism, communications, or English, as well as a liberal studies degree with a concentration in writing or marketing. It’s important to study writing, editing, rhetoric, debate techniques, and other topics related to public speaking and speech writing.

In addition to honing the craft of writing, an aspiring speech writer might pursue a course of study related to a specific topic. This could entail earning a minor in a broad topic, such as history or political science. Another educational route might be in-depth study of a specialized topic, such as a technical field or law.

Recommended Work Experience for Speech Writers

Work experience is particularly important for an aspiring speech writer. A writer with a high level of expertise in a topic brings authority to the job.

Some of the finest speech writers in American history were lawyers: Ted Sorenson (JFK) was one. Others, such as Peggy Noonan (Reagan), were journalists or ghostwriters before they entered the inner circle of world leaders.

Professional speech writer Brent Kerrigan, writing an  essay on speech writing as a career  for the public relations firm Ragan, said that the best way to get started with speech writing work experience is to “find somebody who needs a speech written, and write it for them.”

Kerrigan went on to write that “becoming an expert in anything takes practice.” His advice is to seek out busy public officials and company leaders who regularly make speeches but lack the time to write them, and offer your services.

Nonwriting Skills to Cultivate

It’s not enough for an aspiring speech writer to perfect the craft of writing and to learn as much as possible about a relevant topic. As with all careers, finding the right job requires building a well-connected professional network.

According to the Labor Department’s Occupational Outlook Handbook  entry for writers and authors , the soft skills writers should cultivate include adaptability, creativity, determination, critical thinking, social perceptiveness, and the ability to persuade others.

Writing begins with a plan. Sometimes the plan is depicted by an outline. Sometimes it’s simply a set of notes on a piece of paper.

The beginning stages of writing a speech require a lot of thinking. It helps to have a solid foundation of knowledge about the topic and the speaker going into the process.

Here are a few tips for developing a speech that can resonate with an audience.

Determine the Message

Why is a speech necessary? What does the speaker want to say? What action is intended for audience members to take after they hear the speech?

Answering these questions in the early stages of speech writing will allow the writer to find clarity of purpose. Reagan’s “Tear Down This Wall” speech provides an excellent example of how a writer worked to develop a concise, compelling message.

According to Robinson, the speech was originally intended to commemorate the 750th anniversary of the city of Berlin. In 1987, the Cold War between the U.S. and the Soviet Union was coming to a head, but the Berlin Wall remained a symbol of oppression.

Robinson, as well as Reagan’s other advisors, chose that moment to send a message of support for the people of East Germany. It was a seminal moment in the Reagan presidency and a powerful milestone in U.S.-Soviet relations.

Understand the Audience

An important factor in determining the message is understanding the makeup of the intended audience. In most cases, the audience for a speech will consist of the people present for the event. However, all speeches have multiple audiences: those present, those who will read the text only, those who will view some or all of the speech later on video, and all future generations.

Each element of the larger “audience” should be taken into consideration when a writer sits down to determine the tone, voice, and length of a speech. Audience makeup determines not only the words that are written but also the way a speaker is intended to deliver those words.

Will the message be couched in humor? Will the tone be completely serious? How big is the in-person audience? How knowledgeable are the audience members about the topic? Are the audience members sympathetic or adversarial toward the speaker?

All of these questions and more are important to answer when creating the framework and shaping the message of a speech.

Use Research to Support the Message

Research forms the core of the speech. It’s as simple as no research, no speech.

However, supporting the message with research isn’t merely a matter of throwing together a list of related facts. The information gathered during the research process must be organized so the message can be supported logically, clearly, and convincingly.

One way to effectively use research is to create a list of questions related to the topic and use examples pulled from the research to provide the answers. The questions should be prioritized based on urgency: What does the audience most want or need to hear?

The structure of the speech will depend, in part, on how the writer and speaker decide to present the facts learned through research. A well-researched fact presented at the right time can capture attention and provide an air of authority to the speaker.

Show Personality to Connect

Attorney and author Sarah Hurwitz was the primary speech writer for former first lady Michelle Obama. Prior to that, Hurwitz wrote speeches for former President Barack Obama when he was a presidential candidate, Hillary Clinton, and other prominent politicians.

In an  interview about speech writing with the Wharton School of the University of Pennsylvania , Hurwitz described how she and Michelle Obama used details to show — rather than tell — a relevant anecdote.

“I think details are so incredibly important,” Hurwitz told the Wharton interviewer. “When she tells the story of her father who had multiple sclerosis and worked at the city water plant, she could say, ‘You know, my dad had MS. He worked at the plant. He worked really hard. He sacrificed a lot.’ That’s all just sort of telling. I don’t really see him. But instead what she said in some of her speeches was, ‘You know, as my dad got sicker it got harder for him to get dressed in the morning. He would wake up an hour early so that he could slowly button his shirt. He would drag himself across the room with two canes to give my mom a kiss.’”

Through the use of colorful, vivid details about an experience, Hurwitz helped her subject reveal her personality as a way of connecting to the audience.

Speech Writing Resources

• Public Affairs Council: Speechwriting 101 — Writing an Effective Speech
• Medium: “Orations Worth Ovations — The Olive Branch as a Weapon”
• ThoughtCo: “How to Organize Research Notes”

Speeches can be categorized by delivery style, writing style, and purpose. It’s important to know ahead of time what type of speech will be written, because the type has a bearing on word choice, tone, and many other elements of the speech.

To determine the type of speech to write, first answer questions such as:

• Is the speech intended to elicit an emotion or trigger a specific action?
• Does the speaker want to stick to the script or talk off the cuff?
• Will the speaker be required to defend an opinion?
• Will the speaker be alone on the podium, or will others talk?

Answers to these and other relevant questions will provide guidance about what type of speech to write. The more details writers know about the context of the event, the more likely they’ll craft an effective speech.

Here are four common types of speeches with examples of when each should be used.

Informative Speech Writing

An informative speech is used to explain a concept, describe an object or objects, or provide context for an event or a social movement. For example, a CEO might want to deliver an informative speech at a shareholder event or share details about an annual report with employees.

An effective informative speech presents facts in a concise, easily understood format. One potential challenge for the writer of an informative speech is to capture and maintain the interest of the audience. A dry recitation of facts seldom makes for a memorable or an effective speech.

Persuasive Speech Writing

A persuasive speech is used in an effort to convince an audience to support an idea or take a specific action. Types of persuasive speeches include opening or closing arguments in a criminal trial, an opening or a closing statement in a debate, and a sales presentation.

Persuasive speeches use rhetorical devices to create a sense of intimacy with the audience. The words used, the tone of voice, the volume, the physical gestures, eye contact — all of these devices can create a connection and engender trust with the audience.

The greater the connection, the more likely the audience is to be persuaded by the arguments being presented.

Motivational Speech Writing

A motivational speech is used to convince an audience to take specific action, particularly action that’s designed to engineer change of some sort. This type of speech is also used to elicit an emotional response to a particular cause or purpose.

Motivational speakers know how to connect with an audience on an emotional level. They help audience members understand an obstacle, recognize how that obstacle affects them, and determine ways to overcome that obstacle.

Motivational speeches are good for commencement addresses, recruiting drives, and charity drives. Coaches and managers also make motivational speeches before games and matches to help players focus their emotions toward success on the field of play.

Demonstrative Speech Writing

A demonstrative speech is used to show the audience how to do, build, or create something. A demonstrative speaker is typically an expert in the field who’s sharing knowledge or demonstrating how audience members can attain knowledge for themselves.

A demonstrative speech often requires visual aids, such as a slideshow or stage props. The speaker typically provides context for the demonstration with an introduction, and then gives the presentation. Sometimes, the speaker will open the floor to audience questions.

A demonstrative speech might be used by a salesperson to show how a product is used, by an inventor to show how a new device was created, or by a professional instructor to show how to use a piece of equipment.

Additional Tips for Writing Different Speech Types

• Your Dictionary: 5 Steps for Writing an Informative Speech
• Lifehack: “Ultimate Guide to Persuasive Speech (Hook and Influence an Audience) ”
• Houston Chronicle : “The Key Components of a Motivational Speech”
• Purdue University: Tips for Effective Demonstrations

Salaries for speech writers vary widely in the U.S. Wages can be determined by factors such as the prominence of the client or employer, professional experience, and the complexity or relevance of the speech topics.

According to a 2011 report in  The   Washington Post , Obama speech writer Jon Favreau earned $172,200 annually — the same salary as some of the former president’s top advisors. An expert freelance speech writer who crafts minor speeches for businesses or personal use might charge by the word, hour, page, or speech.

According to the U.S. Bureau of Labor Statistics (BLS), writers and authors ― speech writers among them ― were paid a median salary of $63,200 in 2019. Salaries and job opportunities are affected by factors such as geography, job market, and economic conditions.

BLS employment projections for writers and authors show that the number of positions nationwide is expected to hold steady at about 123,000 from 2018 to 2028. In a related field, media and communication workers, BLS projections indicate a 4% increase in positions from 2018 to 2028.

The history of the U.S. can be told through its famous speeches.

George Washington’s farewell address created the precedent of the peaceful transition of power in the federal government. Frederick Douglass gave voice to the enslaved and momentum to the abolitionist movement with his 1852 speech “ What to the Slave Is the Fourth of July? ”

The Lincoln-Douglas debates in the 1850s led to Lincoln’s victory in the 1860 presidential election, an event that helped trigger the Civil War. Then President Franklin D. Roosevelt offered motivation and encouragement with his inaugural address, with its famous line “the only thing we have to fear is fear itself.”

MLK delivered perhaps the most influential speech in American history on the steps of the Lincoln Memorial in 1963, giving impetus to the civil rights movement.

We remember the speakers, and rightfully so. They were front and center, delivering the words that shifted history.

However, before the words could be spoken, before history could be made, someone had to write the speeches. Someone had to, as Hurwitz advises, “say something true.”

That’s the role of the speech writer: to distill the facts and provide the words that allow the speaker to serve as an effective, persuasive, entertaining messenger.

“Whether you were giving a speech to 1,000 people or talking to your board or leading an informal meeting, it’s really important to say something that is clearly and glaringly true,” Hurwitz said. “I think that it makes people trust you. It makes them respect you. It shows your authenticity. I think it makes you credible and it’s a really good way to start. I’d say it’s also a good way to continue and end a speech.”

Houston Chronicle , “Speechwriter Job Description”

Houston Chronicle , “The Key Components of a Motivational Speech”

National Archives, “Tear Down This Wall”

PayScale, Average Speech Writer Salary

PRSA, “Your Speech Writer: An Operator’s Manual”

Public Affairs Council, Speechwriting 101: Writing an Effective Speech

Public Affairs Council, “Speechwriting: Getting to a Perfect Fit”

Ragan, “Want to Become a Speechwriter? Step 1: Write Speeches”

Textbroker, Speechwriting

The Manual, “10 Famous Speeches That Stand the Test of Time”

Time , “‘He Had Transformed’: What It Was Like to Watch Martin Luther King Jr. Give the ‘I Have a Dream’ Speech”

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Speechwriting in Perspective: A Brief Guide to Effective and Persuasive Communication

February 25, 1998 – April 12, 2007 98-170

The frequent delivery of public remarks by Senators and Representatives is an important element of their roles as community leaders, spokespersons, and freely elected legislators. Congressional staff are often called on to help prepare draft remarks for such purposes.

Writing for the spoken word is a special discipline; it requires that congressional speechwriters’ products be written primarily, although not exclusively, to be heard, not read. Speeches are better cast in simple, direct, and often short sentences that can be easily understood by listeners. Rhetorical devices such as repetition, variation, cadence, and balance are available to, and should be used by, the speechwriter.

It is important for speechwriters to analyze audiences according to factors such as age; gender; culture; profession; size of audience; political affiliation, if any; and the occasion for, and purpose of, the speech. Most effective speeches do not exceed 20 minutes in length.

After researching a topic, speechwriters should prepare an outline from which the speech will be developed. They should strive to maintain a clear theme throughout the speech. Most speeches will have a three-part structure consisting of an introduction, a body, and a conclusion.

The accepted style of contemporary American public address is natural, direct, low key, casual, and conversational. This puts listeners at ease and promotes a sense of community between audience and speaker.

Punctuation should reflect the sound structure of the speech, reinforcing the rhythm and pace of actual speech. Clarity of expression is as important a consideration in speech grammar as rigid adherence to rules for written language.

Effective delivery can greatly improve a speech. Congressional speechwriters should make every effort to become familiar with the speaking style of the Member for whom they are writing, and adjust their drafts accordingly.

A wide range of speechwriting resources are available for congressional staff from the Congressional Research Service and other sources.

Topic areas

Domestic Social Policy

• Introduction

Writing For The Spoken Word: The Distinctive Task of The Speechwriter

Repetition and variation, cadence and balance, rhythmic triads, parallelism, alliteration, sentence variation, rhetorical questions, sentence fragments, inverted order, suspension for climax, use of conjunctions, audience analysis, demographics, audience size, degree of political affiliation, occasion and purpose, information, entertainment, time and length, time of day, how many words, speech research, speechwriting resources, policy resources, additional resources, speech preparation, building blocks: suggested principles, the speech outline, thematic clarity, three-part structure, techniques of persuasion, attention-problem-solution, this or nothing, contemporary style and tone, pitfalls to be avoided, punctuation, grammar and syntax, speech presentation, analysis of lincoln's farewell to his neighbors, general observations.

Writing for the spoken word is a special discipline; it requires that congressional speechwriters' products be written primarily, although not exclusively, to be heard, not read. Speeches are better cast in simple, direct, and often short sentences that can be easily understood by listeners. Rhetorical devices such as repetition, variation, cadence, and balance are available to, and should be used by, the speechwriter.

Introduction 1

"Rhetoric," wrote Aristotle, "is the power of determining in a particular case what are the available means of persuasion." This report reviews some effective means for the rhetoric of persuasive communication in speeches written by congressional staff for Senators and Representatives. By speeches, this report means draft statements prepared for oral delivery by Members. Such speeches are often prepared under the pressure of deadlines that leave minimal time for extensive revision. Moreover, they must often be drafted in whole or part for Members who may have little opportunity to edit and amend them. The burdens of public office (as well as of campaigning) and the insistent demand for speeches of every kind for a variety of occasions require some degree of reliance on speechwriters, a reliance that is heightened by the limitations of time and the urgencies of the media.

A speech thus "ghostwritten" should nevertheless reflect the intention and even the style of the speaker. The best ghostwriters are properly invisible; they subordinate themselves to the speaker in such a way that the final product is effectively personalized in the process of actual communication. The only ways to achieve or even approach this ideal are practice and experience. This report seeks to provide some guidance for congressional staff on the principles and practice of speechwriting. The suggestions offered herein, when combined with practice, attention to audience and occasion, and, most importantly, the Member's attitudes, convictions, and style, can help create a speech that can be a "seamless garment" when delivered by the Member.

Writing effective speeches requires a constant awareness of the distinction between the written and the spoken word: the speechwriter must learn to "write aloud." While the best speeches read as well as they sound, the novice speechwriter should give priority to the ear and not the eye. His or her speech must be written to be heard, not read.

This means that easy intelligibility should be a paramount concern, so that the listening span is not strained. One of the first rules of the speechwriting profession is that a sentence written to be heard should be simple, direct, and short. When the speechwriter "writes aloud," George Orwell's advice to cut out any word that can possibly be cut is helpful, so long as the resulting effect is clarity, and not verbal shorthand. 2 Ciceronian oratory on the one hand and Dick-and-Jane simplicity on the other are extremes to be avoided. The speechwriter thus faces the challenge of crafting words that convey the speaker's meaning clearly, but that also draw on the rich nuance and texture of spoken English.

The average spoken sentence runs from eight to 16 words; anything longer is considered more difficult for listeners to follow by ear, and according to one expert, may be too long for the average listener to absorb and analyze quickly. 3 By comparison, written sentences of up to 30 words are easily understood by average readers. 4 Given these generally accepted limitations, what devices are available to the writer to make more complex sentences and speech wording accessible to the listener? Complex sentences can be clarified by repeating key words and using simple connections. By numerous rhetorical techniques, the speaker states, restates, and states again in different ways, the central themes of the speech.

Repetition with variation is a basic speechwriting tool used by many of the greatest speakers to emphasize key elements while avoiding monotony. Some examples follow.

• Martin Luther King's "I have a dream" speech was a striking example of this technique, using that phrase to introduce a series of his visions for a better future.
• Lincoln at Gettysburg emphasized the significance of the day's events by restating the solemnity of the occasion in not fewer than three variations: "We cannot dedicate, we cannot consecrate, we cannot hallow this ground, ..."
• Similarly, Winston Churchill's World War II speeches used repetition with variation to build a powerful climax: "We shall fight in France and 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 and landing grounds, in fields, in streets and on the hills, ... we shall never surrender."
• Franklin D. Roosevelt's 1937 "One third of a Nation" speech imparted a sense of urgency by his deliberate repetition of a "here are" construction to describe conditions in the country, followed again and again with "now":

Here is one-third of a nation ill-nourished, ill-clad, ill-housed—NOW.

Here are thousands upon thousands of farmers wondering whether next year's prices will meet their mortgage interest—NOW.

Here are thousands upon thousands of men and women laboring for long hours in factories for inadequate pay—NOW.

Another venerable rhetorical device is the use of cadence and balance in the spoken word. This is a part of speechwriting where the speaker and the writer need cooperation to ensure success. The tradition of public speaking in the English language owes much to the poetic tradition, which was originally an oral tradition. As one observer noted, "the language of the speech should also be poetic —replete with alliteration, metaphor, and other figures of speech. Such adornments, far from being superfluous, enhance meaning and emphasize relationships among ideas." 5 As difficult to define as to achieve, cadence and balance impart movement and harmonious effect to any speech. Essentially a matter of ordering groups of words (and ideas) into rhythmic patterns, cadence and balance can be attained by such classical rhetorical devices as the ones described below. Do not be put off by the classic Greek names of some of these rhetorical devices; in practice we use them naturally in conversation and writing every day.

The grouping of words into patterns of three can lead to a memorable effect, provided the device is not overused. Some notable examples from classic oratory include " Veni, vidi, vici "; "Never ... was so much owed by so many to so few"; "The kingdom, the power, and the glory ..."; "I have not sought, I do not seek, I repudiate the support of ..."; "one third of a nation ill-clad, ill-nourished, ill-housed...."

The linkage of similar words or ideas in a balanced construction that repeatedly uses the same grammatical form to convey parallel or coordinated ideas: "Bigotry has no head and cannot think; no heart and cannot feel;" "Charity beareth all things, believeth all things, hopeth all things, endureth all things."

The repetition of initial sounds in a series of words to give emphasis. For instance, "We need to return to that old-fashioned notion of competition—where substance, not subsidies, determines the winner," or, "... the nattering nabobs of negativism...."

This is the repetition of the same word or words at the beginning of successive clauses or sentences. Churchill's famous defiance of Hitler, "We shall fight on the beaches, we shall fight on the landing grounds ...," which has been previously cited, is one of the most famous examples.

A common form of parallel structure comparing and contrasting dissimilar elements. For instance, "... give me liberty, or give me death."; "Ask not what your country can do for you—ask what you can do for your country."; "To some generations much is given; from others, much is demanded ..."; "A great empire and little minds go ill together."; "It was the best of times, it was the worst of times. It was the age of wisdom, it was the age of folly."; "If Puritanism was not the godfather to Capitalism, then it was godson."

This technique involves more than alternating longer sentences with short ones. The writer may employ either periodic sentences, that is, those in which the main clause comes at the end, or loose sentences, in which the main clause is presented at or near the beginning, to be followed by other main or subordinate clauses. Sentence variation also includes the use of such devices as those described below.

"Is peace a rash system?" "Is life so dear or peace so sweet as to be purchased at the price of chains and slavery?" The speaker leads the audience to the conclusion he hopes they will draw by asking a question that makes his point, and that he intends to answer himself, either immediately, with a flourish, or at greater length during his remarks, through patient exposition.

"Dear money. Lower credit. Less enterprise in business and manufacture. A reduced home demand. Therefore, reduced output to meet it." The speaker dramatizes the situation by reducing it to a stark declaration, which he renders more striking by pausing to let the facts sink in after each sentence fragment.

"With what dignity and courage they perished in that day." This classic rhetorical practice, once more widely used, seeks to embellish the general flow of words, much like an ornament or a musical flourish. It also helps give a particular sentence special emphasis by causing it to stand out from others by its unusual form.

With this device, the speaker comes to a complete stop in his remarks, using the ensuing moment of silence to concentrate the listeners' attention on his next phrase. "My obligation as President is historic; it is clear; yes, it is inescapable." Even periodic sentences, if used with care, repeating the "suspended" subject or verb before modifying phrases or clauses can contribute to the effect: "Thus did he prove to be a leader who—victorious in battle, magnanimous in victory, skilled in the arts of peace—was able, in the face of his most determined foes ..."

Repeating key words and using simple connective conjunctions ( and , for , because , but ) can make many complex sentences more easily intelligible to the ear by breaking them up into "bite size" segments. For instance, "Be a craftsmen in speech that thou mayest be strong, for the strength of one is the tongue, and speech is mightier than all fighting."

No speech will sound fresh and vivid if it is not animated by imaginative imagery, by metaphor in its many forms: "the hatred of entrenched greed"; "America will always stand for liberty"; "Democracy is the healthful lifeblood which circulates through the veins and arteries of society ..."; "Whether in chains or in laurels, liberty knows nothing but victories."

Extended metaphors or analogies, comparing similarities in different things, should be used with care so that the principal subject will not be lost in the image. Two or more metaphors in a single sentence or thought can be safely ventured only by the most experienced writers—"To take arms against a sea of troubles"—without incurring ridicule (as in the famous—and perhaps apocryphal—example attributed to the newspaper Pravda , the onetime propaganda organ of the Soviet Communist Party: "The fascist octopus has sung its swan-song").

Above all, in the spoken word there must be an element of identity and rapport with the listener, whether the speaker uses a "natural" conversational tone or a more oratorical style. Effective speechwriting for Congress is not a branch of "creative writing." Its "rules" are meant to foster clarity of expression, whatever the occasion and purpose of any given speech. Mere clarity is not enough for persuasive rhetoric, however. Indeed, there are times when clarity, brevity, and the like are not appropriate. The issues, because of their import and complexity, may preclude such treatment; similarly, the gravity or delicate political nature of the occasion may call for some measure of deliberate ambiguity. The best speechwriter will take into account the context of the speech and the speaker's personality, the image that is projected—that is, the speaker whom the audience sees and hears. The section on speech analysis in this report attempts a closer look at Lincoln's great Farewell Address at Springfield, illustrating many of the principles considered in this report.

What Jefferson Bates called "audience analysis" is probably the single most important factor to be considered in writing every speech: know your listeners, and you will have a much better chance of connecting with them. 6

Bates and others list a number of criteria useful in audience analysis, including, among others: age; gender; culture; education; profession ; size of the audience; and affiliation. 7 Age is obviously an important factor; high school students, young parents, and senior citizens have different levels of life experience, different interests reflecting the challenges they face at their particular stages of life, and, to some extent, they even speak different languages. Although gender differences in societal roles are less pronounced than a generation ago, some believe that certain persistent disparities of viewpoint between many men and women on some topics persist. With respect to "culture," William Wiethoff, in Writing the Speech , states that it "has escaped a standard or preferred definition. Speechwriters, however, may envision culture as the race, customs, and religion shared by members of an audience." 8 The factors of education, profession, and income level can be a pitfall for the unwary speechwriter. Never confuse education with intelligence, or professional status and worldly success with moral superiority or virtue, or modest means and educational attainment with the opposite.

The writer must be sensitive to these varying frames of reference found in an audience. Draft remarks should be familiar, sympathetic, and topical, without being condescending. They must, as always, be phrased in a way that is natural for the Member; it is painfully obvious to an audience if a Member is not comfortable in his role or with his words.

The size of an audience is another important factor in preparing a speech. A large audience and a formal occasion usually call for greater formality in language and delivery, lengthier remarks, and greater reliance on some of the classical rhetorical practices cited in this report. By comparison, many Members will require only talking points for a town meeting, and will almost certainly speak extemporaneously in still more intimate gatherings. In the age of cable and satellite television, and Webcasts, the Member is often asked to address what may appear to be a very small group of listeners physically present at the broadcast venue; at the same time, however, many others, perhaps thousands, may be viewing from other locations, or from their homes. It is the writer's task to craft remarks that simultaneously take into consideration the people physically present in the studio or location, and those who may be watching from home or other locations.

Speechwriters must also condition their words to the degree of political affiliation, or lack thereof, in the intended audience. A gathering of the party faithful is usually ready for some "red meat." An audience consisting of a non-partisan citizen's group, such as the League of Women Voters, is almost certainly not. The writer must also always remember that, while the Member is affiliated with one political party, and comes from a particular part of the state or district, he or she represents all the people, and gives due attention and respect to the legitimate views and aspirations of all constituents.

Another of the speechwriter's tasks is to assess the occasion at which the Member has been asked to speak and tailor the remarks accordingly. In contemporary society, the delivery of remarks by public figures is an expected element in almost every secular public ceremony, and at many religious services. The speechwriter must ensure that the occasion and the speech agree with one another, in both tone and content.

For instance, Veterans' Day and Memorial Day are among the most solemn public holidays in the calendar. For these two events, the speechwriter should focus on themes of commemoration, service, and sacrifice. The atmosphere should appropriately be both somber, and hopeful: "their sacrifice led to a better, more secure life for those who followed them." High school and college commencements are of a different genre altogether. The occasion may demand inspirational remarks, but as one observer noted, "I've heard speakers ... deliver a tedious, solemn policy address at graduation ceremonies in which the graduates and families just want to hit the exits and have a good time." 9 Conversely, a formal address to a learned society will differ dramatically from friendly remarks at a neighborhood picnic, town meeting, or retirement home. Simply put, the writer should exercise common sense in preparing remarks appropriate in tone and content to both the audience and the occasion.

Another useful consideration for congressional staff is to plan the delivery of substantive remarks on substantive occasions. If the Member is scheduled to announce a major policy statement or initiative, it should be delivered in commensurate surroundings, and on occasions when media coverage will be adequate. Timing is also a serious factor; speeches delivered at mid-morning, at lunchtime, or early afternoon at the latest, are far more likely to be covered that same day by local TV news.

The purpose of a speech and the occasion at which it will be delivered are closely related. Most frequently, the latter will govern the former. William E. Wiethoff suggests a "purpose" template for speechwriters in Writing the Speech . 10 In it he establishes three categories of purpose: information , persuasion , and entertainment .

These speeches seek to convey facts or information to the audience. The speaker first identifies the information that is about to be presented, seeking to link the new facts with others the listeners may already be aware of. Next, the speaker elaborates on the details of the information just conveyed, while avoiding a level of complexity and detail that would confuse the audience. Finally, the speaker draws together the facts and ideas related earlier, ideally recapitulating the main points in order to fix them in the listener's memory.

The persuasive speech is a two-edged sword: it can seek to instill in the listeners either the acceptance of, or at least a more favorable opinion toward, a particular condition, fact, or concept. This variant is described as advocacy . Conversely, a speech may also attempt to change an audience's impressions, opinions, or most ambitiously, their convictions. Wiethoff calls this dissent , and asserts that it is more difficult than advocacy, since the speaker faces the burden of proving to the listeners that what they have heretofore accepted should be modified or rejected. 11 In both cases, the writer must marshal the arguments that will convince the audience.

Wiethoff's third category of speech purpose is entertainment. A great percentage, perhaps a majority, of Member speeches will fall into this category. The choice of title for this group may be misleading, however. These are not necessarily frivolous occasions, and they are not unimportant to the life and people of a town or village, students at a school, or members of a club who constitute the audience for such remarks. Speeches in this category serve the vital function of reinforcing the common ties and experiences that bind communities together and help reinforce the vitality of civic life in America. As Wiethoff notes:

These speeches are delivered during ceremonies or rituals that are significant in themselves. They do not need clarification in order to be understood. They do not need proof of their importance. Instead, on these occasions people share an expectation of what will happen, and they are dissatisfied if the events do not take place as expected. 12

"Entertainment" speeches may be solemn in nature, such as a Memorial Day address, or celebratory, such as remarks at the opening of a new school, library, or child-care facility. They remind citizens of their joint identity as members of a community; these events, seemingly everyday, or even trite, are actually vital expressions of civic life. The Member's role as a community leader and spokesperson on these occasions should not be underestimated; it is a great honor for him or her to deliver remarks at these community rites, and a congressional speechwriter should devote talent and originality to them.

Obviously, the three purpose categories cited here are not necessarily mutually exclusive; in order to convince an audience, a speaker often needs to combine persuasion with information. Similarly, while some types of remarks are intended purely for entertainment, such as a celebrity roast, the careful speechwriter will always seek to entertain audiences in order to capture and retain their attention.

How long should a Member speak? The answer to this fundamental question of speechwriting, like so many others, depends on a wide range of factors. Audience analysis and occasion have been previously noted, but the habits and attitudes of the speaker must also be taken into consideration.

The natural inclinations of the Member must be examined. Is the Member a person of few words, or is he or she a good talker? Does the Member stick to the text, or lay it aside to share anecdotes, personal reminiscences, or even humor, with the audience? These and other related questions can be answered only through experience on the part of the congressional speechwriter. Learning the Member's style and preferences will result in a better product that communicates more effectively.

Time of day should be considered by the writer. In the morning, people are relatively fresh, and are generally better prepared physically to listen attentively. By late afternoon, or after a luncheon, however, the audience may need to be stimulated, either by coffee or by lively remarks. Finally, lengthy after-dinner remarks should almost never be inflicted, especially on a paying audience. The potential auditors are full, tired, and ready to go home. It's best to give them their wish as quickly as possible.

Finally comes the classic question: how many words should the speechwriter prepare? Once again, the factors of audience, occasion, Member preference, and time of day should be considered. The question of length of time, however, must be dealt with at some point. A number of classic speech authorities suggest that in most cases 20 minutes should be the upward limit. Conventional wisdom often holds that most listeners tune out, perceptibly or not, after that period. 13 Ritual or pro forma speeches, such as occasional remarks at schools, churches, or public functions where the Member is a guest, but not the main attraction, benefit from brevity, perhaps being limited to five to 10 minutes. Although substantive public policy speeches may merit greater length, in modern America, only presidential inaugural and State of the Union messages seem to exceed the 20-minute limit regularly, with the latter often weighing in at over an hour.

The question of pace is also important; is the Member a fast talker? Different speakers exhibit considerable variety in pace, ranging from 115 to 175 words a minute. Once again, the speechwriter will factor these personal differences into his work. As a benchmark, however, an often-cited rule-of-thumb is that the average 20-minute speech contains about 2,600 words, or, about 130 per minute. Most word processing programs will provide a total document word count as part of their spell check feature. 14

Having a fixed time stimulates careful preparation. Both a time limit and notes or text help guard against logorrhea , or excessive verbiage. Time limits also encourage speakers not to be overly comprehensive, saying everything there is to be said on the speech topic. This is a temptation difficult to resist, but a speech is, by nature, a precis or digest. Excessive complexity or verbiage are capable of transforming an effective speech into something ponderous and exhausting. Jefferson's sharp judgment of 1824 applies today with equal force: "Amplification is the vice of modern oratory.... Speeches measured by the hour die with the hour."

Theme, audience, time, place, occasion and purpose—once these are settled, the speechwriter's next concern is to gather ideas, facts, examples, illustrations, quotations, and humor, in short, whatever is needed to give substance, character, and interest to the speech. There is no shortcut for researching a speech, although a number of resources can speed the process.

Congressional speechwriters often consult the Congressional Research Service first when preparing a draft statement or an address for a Member. CRS offers a range of speechwriting resources for the use of congressional staff, many of which are available from the CRS Home Page, at http://www.crs.gov .

To find this report and other speechwriting resources, go to the CRS Home Page and click on the tab on the right, "Reference Desk" http://www.crs.gov/ reference/ general/ reference.shtml . On the left side of the page you will find a link to "Speechwriting & Holidays/Commemorative Events" http://www.crs.gov/ reference/ general/ speechwriting.shtml . This page provides links to commemorative speech materials, many of them focusing on major holidays, such as the Fourth of July and Labor Day, and month-long celebrations like Black History Month and Native American Heritage Month. Information is provided on the history of and related facts about the holiday or celebration. The speechwriting page also accesses sources providing practical tips for writing a speech, quotations, the full text of selected speeches and United States historical documents and writing guides.

Other sources of information on public policy, reference resources, appropriations information, legal resources and many external links conveniently organized by topic are also available on the CRS Home Page. From the "Reference Desk," you can access "Basic Resources for Daily Work in Congressional Offices": government directories, encyclopedias, statistical sources, dictionaries, grammar guides, maps, and other online reference links. There is also a "Legislative Reference Source" page with links to facts about Congress including information on membership, committees, rules and schedules.

Providing timely, accurate, and unbiased information and analysis on current policy questions is the most important function of the Congressional Research Service. The congressional speechwriter can access the CRS Home Page to garner analysis on current policy issues. The page links to the Current Legislative Issues, such as the Economy, Homeland Security, Internet/Telecom, and Iraq. These are further divided into subcategories, with links to the full text of CRS reports, containing comprehensive and multi-disciplinary analysis and information. They are available exclusively to congressional staff from the CRS Home Page and provide a ready resource to the congressional speechwriter.

In addition to the Current Legislative Issues on the CRS Home page, on the left side of the page is a link to "Featured Products." The first Featured Product link is entitled "Floor Agenda: CRS Products." For a speechwriter who wishes to write about recent bills scheduled for floor action, this is an invaluable resource. This link accesses CRS reports about legislation that is scheduled for floor action that week. The link to the "Appropriations Status Table" accesses the latest status of and links to appropriation bills, as well as committee and CRS reports.

Congressional staff who wish to discuss any policy-related issue with the appropriate CRS analyst can call the Inquiry Section at [phone number scrubbed], to place a request or to ask for a briefing by an analyst. Alternatively, to find out how to contact a CRS expert from the Home Page, click on the "Contact Expert" tab. A request for analysis or research assistance may also be faxed to the Inquiry Section at [phone number scrubbed] or may be placed from the CRS Home Page by clicking on the "Place a Request" tab.

The CRS Hotline at [phone number scrubbed] is available for immediate ready reference requests, such as questions about presidential quotes on the virtues of the Constitution or perhaps variations in the Consumer Price Index for the past five years. In addition, the LaFollette Congressional Reading Room (LM-204, James Madison Memorial Building, the Library of Congress), Rayburn Research Center (B-335, Rayburn House of Representatives Office Building), and Senate Research Center (SR-B07, Russell Senate Office Building) provide a full range of in-person assistance, including many standard reference sources and CRS products. They are staffed full-time by information professionals available to assist you.

Legislative information is also available from commercial publications such as CQ Weekly , the annual Congressional Quarterly Almanac , and the same publisher's eight-volume history of major legislation and national issues since 1945, Congress and the Nation. A journal of similar content but with greater emphasis on executive branch activities is National Journal , which appears weekly.

There are sites on the Web that may be helpful to the speechwriter.

American Rhetoric http://www.americanrhetoric.com/ index.htm This is an Index to an expanding database of over 5000 full text, audio and video versions of public speeches, debates and interviews. This site has a useful set of communication links and is updated every two weeks.

Speechwriter.com http://wwwthespeechwriter.com This website contains many links to research sites, statistics, encyclopedias, business links, current events, anecdotes, quotes, speeches, toasts and biographies.

The Advanced Public Speaking Institute http://wwwpublic-speaking.org/ public-speaking-articles.htm This website has 43 articles on the use of humor in a speech.

Additional helpful resources may include books on speechwriting. Writing Great Speeches: Professional Techniques You Can Use ( Essence of Public Speaking Series ), by Alan M. Pearlman, has endorsements from two public speaking groups, the National Speakers Association and Toastmasters International. You may also wish to consult a work by Richard Dowis, The Lost Art of the Great Speech: How to Write One—How to Deliver It . The author, a former journalist and public relations executive, discusses the content, the memorability, rule of three, and other speechwriting methods. Finally, Choosing Powerful Words: Eloquence that Works ( Essence of Public Speaking Series ), was written by Ronald H. Carpenter, a professor of English and communications. These books may be requested from the Loan Division of the Library of Congress, telephone 707-5441.

There are other basic materials with which every speechwriter should be familiar. These include a good standard dictionary (spell check is not foolproof, and has a rather limited vocabulary). The preferable dictionary is prescriptive as well as descriptive, that is, it prescribes or recommends usage in addition to providing descriptions or definitions. A thesaurus, such as Roget ' s , published in numerous editions since 1852, or J.I. Rodale's Synonym Finder , various editions since 1961, is useful in finding the right word and generally superior to the thesaurus feature offered with most word processing programs. For quotations, consult the standard Bartlett ' s Familiar Quotations in any one of its many editions, or Respectfully Quoted , a quotation dictionary compiled by the Congressional Research Service. Annual almanacs, such as the Information Please Almanac and the World Almanac , are often essential for quick reference.

Literary and religious sources include the works of Shakespeare in any readable edition and the English Bible, especially the King James or Authorized Version. Aside from its obvious spiritual aspects, the King James Bible is important for both its literary quality and its tremendous influence on spoken and written English.

Access to some standard encyclopedia, such as Americana , World Book or Britannica, is also helpful for fact checking and general information. Chase ' s Calendar of Events is a useful annual guide to special observances throughout the nation. A wealth of facts, statistics, and data useful in speech preparation can be found in the annual U.S. Government publication Statistical Abstract of the United States , published annually. For sample speeches on many topics of contemporary interest, the speechwriter may wish to consult Vital Speeches of the Day , published twice monthly, available through EBSCO Host and other Internet sources. It provides examples of speeches delivered by recognized public figures on topical questions and major issues and events of the day, and is annually indexed by author and topic. All these sources are available in the La Follette Congressional Reading Room, and most are also available in House and Senate office building reference centers.

Daily newspapers are a familiar, if neglected, resource for speeches; a dedicated speechwriter will read or skim several each day, noting and saving background items that may prove to be useful later. Both national and hometown papers should be included. Other useful sources include weekly news magazines and more specialized journals that cover public policy issues. Here, again, the advent of the Internet provides new sources of information valuable to the congressional speechwriter: home district newspaper web sites may be regularly scanned for local news on issues and events of interest to the Member. These are usually posted online the day they are published, and almost always well in advance of postal delivery of the printed product.

Certain general principles may be useful to guide the congressional speechwriter in choice of content and style:

• Quotations and humorous anecdotes or remarks are like spices, and should be used with discrimination, mindful of good taste and effectiveness. Speeches overloaded with quotations and anecdotes can sink from their own weight.
• Pseudo-quotations should be avoided. Never use a quotation that cannot be verified in an authoritative source.
• Unless a writer is gifted with lightness of touch, self-deprecating or gentle humor is usually more effective than satire or ridicule.
• Jokes aimed at people's personal lives or at religious and ethnic groups are invariably offensive, regardless of the speaker's motives. Avoid them.
• Statistics should be used with care and moderation. Like the points in an outline, they are better alluded to in context than cited in tedious detail. A speech filled with statistics becomes a statistical abstract, not a speech.
• When selecting material, the responsible speechwriter will take great care to quote accurately and give full credit for whatever is borrowed outright. Plagiarism is often illegal and always unethical . On the other hand, it is entirely proper to adapt existing materials to one's own purpose in preparing a new speech for any occasion. As Thomas Jefferson wrote in response to accusations that he had plagiarized parts of the Declaration of Independence from other works, "I did not consider it as any part of my charge to invent new ideas altogether and to offer no sentiment which had ever been expressed before." Straining after originality, which has been defined by an anonymous wit as "imitation not yet detected," can ruin the best of speeches.
• Finally, the seasoned speechwriter soon learns to recycle the best parts of previous efforts, to save time and effort, and also to preserve a particularly fine turn of phrase.

The task of actually writing the speech, once the preliminaries are completed, will be greatly facilitated in most cases by the use of an outline. The novice speechwriter may be tempted to dispense with this device, on the grounds that it adds a time consuming extra step to a process that is often constrained by tight deadlines. On the other hand, it forces the writer to plan and organize his thoughts, to determine in advance what he intends to say, and to begin at the beginning.

A speech outline generally is not nearly as detailed as an outline for an academic work, such as a journal article, or even a research paper. The outline serves as a skeleton, a framework to carry the flesh and blood of the fully developed speech. At the same time, this skeleton should eventually be invisible, clothed in delivery with ideas and emotions, and as simple as possible; beware of explicitly enumerating too many points or topics. Outlines may be written in topics, or key sentences, or in complete thoughts, so long as there is an orderly sequence.

The frugal writer will retain speech outlines, since they can easily be reworked for future efforts. In whole or in parts, these can be placed in folders in a word processing program, or written out into a looseleaf notebook binder or even on index cards. From any of these media, the outlines can be quickly cut, rearranged, or added to as future occasions may require. President Ronald Reagan, for example, was legendary for his expert use and reuse of note cards that included facts and themes he sought to emphasize in various speeches.

Throughout the speech, the writer ought to be constantly asking: "What is it I am trying to say?" and, after it is written: "Have I, in fact, said it clearly, succinctly, and well?" Every speech seeks in some way to move an audience, to win support, to motivate, to convince, perhaps to inspire, or simply to entertain. Adhere to the central theme or idea while addressing it in different ways, much in the manner that good sentences are constructed for a paragraph.

The arrangement of ideas and themes should follow a logical progression. Each fact establishes a certain point, which leads to the speaker's next point, and so forth, ultimately climaxing with the thematic conclusion. While it is more dramatic to gain an audience's attention by opening a speech with a grand conclusion, be sure that the initial dramatic assertion is followed up by the essential process of weaving the argument the Member seeks to make.

Do not try to say too much, particularly when the speech is intended as the vehicle for a major announcement or initiative. The most memorable presidential inaugural addresses have been those that set a single theme, or coherent group of related themes. 15 Stick to no more than three major points, rather than attempting to say a little something about everything. Anything more risks running afoul of Churchill's famous comment concerning a bland dessert: "This pudding has no theme."

Nearly every speech will have a basic three-part structure of introduction, body, and conclusion. An arresting introduction should lead into an emphatic statement of the main theme or themes. The argument that follows seeks to elaborate and develop the theme convincingly and effectively—that is, without too much detail. The central theme is restated in the closing peroration. One helpful approach for overcoming the feeling of word fright (what can I say and how?) is to write the speech in reverse: begin with the conclusion, which should summarize the central message, while abridging and restating whatever goes before. If the introduction sets the tone and establishes initial appeal or rapport, the closing communicates the final effect and is more likely to be remembered. Working backward is one way of imparting unity, coherence, and emphasis to the speech as a whole.

There are many techniques available for the actual writing of a speech. Almost all speeches delivered by, or on behalf of, Members of Congress, even those for ceremonial or pro forma occasions, will have a certain political character because of the Member's representative function, and also because of the way in which his or her office is perceived. In the rhetorical context, political means persuasive, including the expression of personal interest and concern, assuring and reassuring, conveying the Member's identity with each audience, and so creating a community of interest and trust. Three kinds of persuasive techniques are usually distinguished:

• the appeal to reasonableness: "Surely Democrats and Republicans alike can agree that there is no excuse today for hunger in the world's richest nation...."
• the appeal to emotion: "Can we, as a nation, close our eyes to the spectacle of millions of children going to bed hungry every night...?"
• the ethical appeal (that is, to the character of the audience): "our historic traditions of decency and generosity demand that we face squarely the question of hunger in America...."

All three approaches may be used in any given speech.

One popular option for developing a speech is the "attention-problem-solution" method, especially for longer speeches of a non-partisan character. Useful for many different occasions, this method begins by stimulating the interest of the audience, usually with attention-grabbing examples of a problem that needs to be recognized and confronted. The speaker then moves to define the "problem" situation, and concludes with the proposed "best" solution, presented so as to win listener support.

Another option, the "this-or-nothing" method, advocates a policy mainly by presenting and refuting proposed alternatives as inadequate or worse. It lends itself well to partisan occasions or to stirring those already convinced. In every case the speaker seeks to reinforce and strengthen his principal ideas as they are unfolded in the speech. Prior audience analysis and subject preparation will often help the speech "write itself."

No speaker should ever apologize for his or her presence, or for the content of the speech. If it truly deserves apologies, it is better left unsaid. Further, a prudent speaker, rightly wary of the impulse to speak "off-the-cuff," will make certain that "extemporaneous" or "impromptu" remarks are not unprepared. For most speakers it is also better not to memorize a speech (unless one has a gift for it), since memory is fallible and elusive at best.

The congressional speechwriter should not shrink from commonly accepted contemporary usage: the all-day speeches and obscure classical allusions of Daniel Webster and Henry Clay make wonderful reading, but they are history. The development of public address systems, radio, and, finally, the "cool" medium of television, and the perhaps even more intimate medium of the webcast have combined with other social changes to turn down the volume, both in decibels and emotions, of public speaking in the United States, for better or worse eliminating its more histrionic qualities.

The accepted style of contemporary oratory is generally low key, casual without being offensively familiar, and delivered directly to the audience in a conversational tone and volume. It puts the audience at ease and helps promote psychological bonding between listeners and speaker. The speaker is perceived as a neighbor or friend, as well as an elected official. This is, of course, what every Senator and Representative strives to be. Perhaps the first, and certainly one of the most effective, practitioners of this art was President Franklin Delano Roosevelt, in his radio "fireside chats." His calm, reassuring voice and homey language revolutionized the bond of communication between the American people and their Presidents. It could be said that FDR spoke "with," rather than "to," the people, a standard to which Members can honestly aspire today. Once again, certain exceptions are allowed, but these are generally reserved largely to the President, or for only the most formal occasions.

Use natural words and phrases in a speech; let the sentences flow conversationally. It is helpful for some writers, time permitting, to prepare a first draft in longhand, shaping the sentences slowly, speaking aloud the phrases they intend to use.

The first person is perfectly acceptable in modern public discourse, and when combined with other personal pronouns—remember to avoid "I" strain—it can help connect listener to speaker and create a sense of community within the audience. While the first person singular is sometimes deprecated, it is its excessive use that should be avoided. Conversely, speakers should avoid referring to themselves in the first person plural (we) or the third person singular (he or she). The former has been reserved to monarchs, and is considered archaic in modern speech. The latter too often conveys a sense of excessive self importance to listeners. For instance, a Member should think twice before referring to himself or herself in the third person singular: "Dave (or Mary) Smith thinks the problem of hunger is the greatest challenge facing America today."

Writers should generally use simple, declarative sentences, preferably in active voice, when making important statements of fact, assertion, or opinion. Use of the passive voice should not be dismissed out of hand, however; it is sometimes the more desirable form, and can lend grace and variety to the speaker's flow of words that stimulates the listener. It is excessive use that should be avoided. Similarly, exclusive use of the active voice can impart a choppy, juvenile cadence to even a content-rich speech.

Just as there are points to emphasize in every speech, serving as clear transitions or aural signposts for paragraphs ("secondly," "nevertheless," "finally," "accordingly," "as a result," "in spite of," "as I have said," etc.), so there are things to avoid, and they are more numerous. While they are discussed in full in many reference works, they include:

• jargon and trendy neologisms: "impact" used as a verb, "stakeholders," "incentivize," "outside the box," et al .;
• redundancy resulting from excess verbiage, not deliberate restatement;
• mannerisms that may distract the listener, and trite phrases or cliches, with the exception previously mentioned, monotony of style or pace, and, in general, language inappropriate to the audience and occasion.

Punctuation is crucial to an effective speech; it helps to clarify the delivery of the spoken word. Good punctuation in English, apart from a few basic elements, is less a matter of inflexible rules than of purpose and style, particularly where speeches are concerned. Historically there have been two broad traditions of punctuation: syntactical—that is, guided by syntax or grammatical construction; and elocutionary—deriving from the rhythm and pace of actual speech. One writer has further distinguished three methods of punctuating:

• by structure or logic to indicate the sense of what is being said;
• by the rhythm of word order and intended meaning—a subtle use best avoided by novice speech writers;
• and by respiration—that is, by the physical ease of natural speech, which assumes that what is read is really spoken. 16

This last method, essentially the same as the elocutionary style, is the most widely used and certainly the most appropriate for speeches. In short, punctuate according to the ear and not the eye. This also means punctuating for the lungs: give the Member time to breathe! A long and convoluted sentence (something to be avoided in general) can leave the Member literally gasping for breath as he or she concludes it. A useful practice for congressional speechwriters is to declaim aloud (speak aloud, not in a conversational tone, but as if one were speaking to an audience) any lengthy sentence intended for the Member. If the writer finds it taxing on the lungs, then so will the Member; in such cases, it is advisable either to fashion shorter sentences, or to repunctuate the original, using such obvious "time out" devices as the colon and semi-colon, both of which are described in the next paragraph.

Commas and dashes are useful to the speaker and listeners alike as guideposts to what lies ahead in a speech. They also provide pauses where the speaker can let the import of the previous sentence sink in, or simply catch his or her breath. Opinion is divided on colons and semicolons; some consider them as serving the same functions as commas and dashes, while others suggest that they are more emphatic, demanding a full stop in the flow of remarks, rather than a short pause. They are also sometimes criticized as leading to long compound sentences that are difficult for audiences to process, and that are better replaced by shorter declarative ones. In the final analysis, the Member's personal preferences and style should be the congressional speechwriter's guide.

Correct grammar and syntax in the context of speechwriting and delivery mean using a level of English usage that is appropriate to the occasion. While it is highly desirable, the formal grammar of the written language is not an end in itself; it exists to further the clarity of expression. Far more important than the grammarian's rules is the communication of personality by which a speech, as opposed to a lecture, is clothed with emotion and enthusiasm, so that the speaker is perceived to be sincere and trustworthy, neither "talking over people's heads" nor "talking down" to them. While this may belong more to the presentation or delivery, the writer should strive for it in speech preparation as well.

Effective delivery can transform a weak speech and make it sound very good. Poor delivery can ruin the best-prepared speeches, and sometimes does. Although delivery is not the concern of the speechwriter as such, it must be always in mind as a speech is actually written. The speaker's pace, his or her style, mannerisms, tendencies (such as departing from a text), peculiarities, or special difficulties (words to avoid)—these are elements with which the writer should be well acquainted before preparing any speech. Knowing how a Member speaks is essential in preparing a draft that is both useful and realistic.

Ideally, a speech draft ought to be reviewed three times—by the writer, by the prospective speaker, and by a disinterested third party. Of these three, priority should ordinarily be given to the speaker. The revised product is likely to be more effective. With speeches, as with food, however, too many cooks are undesirable. Moreover, time seldom permits this much critical evaluation and rewriting. It may even be easier to provide for some appraisal of the speech's impact and audience reaction after delivery. For example, it is said that Senator Robert F. Kennedy's speech writers would follow his delivery of a speech word by word, noting those phrases or ideas that were well received, or others that created problems.

An effective political speech is defined not by rules of rhetoric, but by the character of response it evokes. The speaker, then, is always concerned to measure that response and to elicit "positive feedback." This means a network of contacts that can report on the opinions and reactions of the audience, and evaluate the interest generated and evident a week or more after the event. It requires an awareness of media coverage and subsequent treatment from constituents, the sponsoring organization, and others. In short, it means adding a political relevance to the familiar phrase, "keeping in touch."

Although there are substantial distinctions between legislative and non-legislative speeches, the basic principles of preparation and presentation are identical for both. Good writing is nurtured by wide reading, which in turn fosters a sense of style, enriched vocabulary, accuracy in grammar, and a feeling for English syntax. The best speechwriters will, through regular daily reading, bring an ever more abundant background to their work. Everything is grist for the speechwriter's mill. Moreover, nothing is surer in speechwriting than that "practice makes perfect." The more one writes, the easier the task becomes, and the smoother and more conversational the flow of the Member's remarks.

As with so many aspects of speechwriting and delivery, the physical form of a speech is a matter of personal preference. Some speakers prefer to work from a completely polished text, one that may include carefully tailored "spontaneous" anecdotes and jokes at appropriate places, and may even incorporate hints on speech delivery or effective body language in the text. Others prefer to speak from notes derived from such a text, proceed from a series of "talking points," or simply extemporize. Whichever method is used, preparatory notes or an outline are recommended, with the cautionary warning that dependence on a manuscript can deaden the delivery, just as the excessive use of notes or cards can stimulate verbosity.

President-elect Lincoln's farewell speech at Springfield, Illinois on February 11, 1861 is arguably the shortest great speech ever delivered from the back of a train. Its railway car setting recalls to mind the now-vanished connection between political events and the railroad, including the whistle-stop campaigns of most presidential candidates from William Jennings Bryan to Dwight Eisenhower. What Jacques Barzun called Lincoln's "workaday style [would become] the American style par excellence," undermining the monopoly exercised by purveyors of "literary plush." 17 The Springfield speech illustrates with extraordinary brevity—it is only a 15 line paragraph—the Lincolnian qualities of precision, vernacular ease, rhythmic virtuosity, and elegance.

The sense of right order and emphasis throughout culminates in the closing sentence—"one of the greatest cadences in English speech." 18 The effect is achieved by the simple yet artful devices of parallelism, the balancing of similar and antithetical words phrases, and ideas, evoking rich Biblical overtones among his hearers. Lincoln's style is rooted in the "speaking intonations" and "humanly simple vernacular" of everyday speech, heightened by form and rhythm, the distinctively American tradition seen at its best in such writers as Emerson and Frost. 19 Although some hold that today there is no place for rhetorical eloquence, arguing that "bluntness and clarity" and simplistic thoughts are the norm, 20 others assert that the craft of speechmaking, the impact of skilled political rhetoric is as significant as ever in our history. 21 Lincoln's mastery of that craft remains a formidable example.

My Friends: No one, not in my situation, can appreciate my feeling of sadness at this parting. To this place, and the kindness of these people, I owe everything. Here I have lived a quarter of a century, and have passed from a young to an old man. Here my children have been born, and one is buried. I now leave, not knowing when or whether ever I may return, with a task before me greater than that which rested upon Washington. Without the assistance of that Divine Being who ever attended him, I cannot succeed. With that assistance, I cannot fail. Trusting in Him who can go with me, and remain with you, and be everywhere for good, let us confidently hope that all will yet be well. To His care commending you, as I hope in your prayers you will commend me, I bid you an affectionate farewell. 22

The rise and, indeed, the virtual triumph in American political speaking of "the popular conversational idiom," with its emphasis on simplicity, brevity, and terseness, has tended to encourage "simplistic language together with slogans or catch words ...," influenced perhaps by the techniques of mass media advertising and particularly television. 23 "Repetition and retention of a few simple ideas are stressed more than a complex concept." 24 In consequence, some have noted a growing trend toward what some have characterized as a numbing mediocrity: "Since the 1920s more political speakers have addressed larger audiences on a wider range of topics than at any time in history. Yet so marked is the decline in the quality of style that the majority of speeches are pedestrian, prosaic, and impotent." 25 This last may be an excessively pessimistic evaluation of the state of contemporary political speech. Few, moreover, would advocate a return to the florid style of public speaking that prevailed as recently as the 1920s.

The remedy, in part, may be the cultivation of style. "Time should be devoted," writes L. Patrick Devlin, "to using impressive language," which he defines as "the most vivid, clear, concise, and meaningful style." 26 It will be most effective if it bears the personal stamp of the speaker. "The process of persuasion is ... more a matter of communicating values than logical information." 27 In essence, good speechwriting requires that the speaker assume a role: to some extent, he or she must be able to impart confidence and to sense the character of an audience. We need not agree with Talleyrand's cynical observation that "speech was given to man to disguise his thoughts" to recognize that effective persuasion calls for the ability to win the hearts and minds of listeners. To seem natural is not easy; as George Fluharty and Harold Ross wrote in Public Speaking :

The speaker is estimating his audience and his audience is estimating him. His ethics, his integrity, understanding, and humanity are strong forces for good and also strong components of his "ethos" or personal effect upon not only his present but also his future audiences. The speaker should therefore make sure that the actual situation permits him to use a given persuasive device. 28

Once again, the words of Abraham Lincoln, himself no mean practitioner of the public speaker's art, may serve to summarize the speechwriter's ultimate goal:

When the conduct of men is designed to be influenced, persuasion, kind, unassuming persuasion, should ever be adopted. It is an old and true maxim that "a drop of honey catches more flies than a gallon of gall." So with men. If you would win a man to your cause, first convince him that you are his sincere friend. Therein is a drop of honey that catches his heart, which, say what he will, is the great high-road to his reason, and which, when once gained, you will find but little trouble convincing his judgment of the justice of your cause, if indeed that cause really is a good one. 29

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Definition of speech-writer noun from the Oxford Advanced Learner's Dictionary

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Speech Writing

The 10 Key Steps for Perfect Speech Writing

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Speech writing is a crucial skill that transcends academic settings and finds its place in various aspects of our lives. 

Whether you're a student preparing for a class presentation, or someone looking to inspire an audience on a special occasion, speech writing is an invaluable asset. 

In this guide, we will look into the steps, outline, tips, and examples that will empower you to become a proficient speechwriter. With these insights, you'll be well-equipped to not only engage your audience but leave a lasting impact with your words. 

Let’s start with the basics!

• 1. What is Speech?
• 2. How to Write a Speech?
• 3. Speech Writing Format
• 4. Types of Speech Writing
• 5. Speech Writing Topics
• 6. Speech Writing Examples
• 7. Speech Writing Tips

What is Speech?

Speech, often regarded as the art of effective communication, is the act of expressing thoughts, ideas, or messages verbally in a structured manner. It involves the use of language, tone, and body language to convey information to an audience. 

Speech serves a variety of purposes, from informing and persuading to entertaining and inspiring. In essence, it's the spoken word's ability to connect people, convey meaning, and invoke emotions.

What is Speech Writing?

Speech writing is the process of creating a well-structured, coherent script for a spoken presentation. It involves crafting the content, tone, and organization of a speech to ensure that the message is conveyed clearly and effectively to the intended audience. 

Speech writers carefully choose words , phrases , and rhetorical devices to maximize the impact of the spoken words. They aim to engage, inform, persuade, or inspire the listeners. Effective speech writing is a skill that requires careful planning, research, and attention to detail.

Next up we will look into the steps to write a good speech.

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How to Write a Speech?

Writing a compelling speech that captivates your audience requires careful planning and execution.  Whether you're preparing a persuasive presentation or an informative talk the following ten steps will guide you from the initial concept to the final delivery:

Step 1: Define Your Purpose and Audience

• Purpose: Begin by identifying the main objective of your speech. Are you looking to inform, persuade, entertain, or inspire your audience? Understanding your purpose will shape the tone, content, and structure of your speech.
• Audience: Know your audience's demographics, interests, and expectations. Consider factors such as age, education, beliefs, and cultural background. Tailor your speech to resonate with your specific audience.

Step 2: Choose a Topic

• Select a topic that aligns with your purpose and engages your audience's interest. 
• Ensure your topic is not too broad or too narrow. You should be able to cover it effectively within your allotted time.

Step 3: Research and Gather Information

• Thoroughly research your chosen topic. Utilize reputable sources such as books, articles, academic journals, and trusted websites.
• Take detailed notes during your research to have a wealth of information and supporting evidence for your speech.

Step 4: Create a Strong Thesis or Central Message

• Your thesis statement is the core message of your speech. It should be clear, concise, and specific. It encapsulates the key idea you want to convey to your audience. This statement will guide the content and structure of your speech.

Step 5: Develop an Outline

• Divide your speech into three main sections: Introduction, Body, and Conclusion. Each section serves a distinct purpose.
• Outline the main points you want to cover within the body of the speech. Organize them logically, and ensure each point supports your thesis.

Step 6: Write the Introduction

• Craft a compelling introduction that captures your audience's attention. Use a hook, such as a relevant quote, story, or question, to pique their interest.
• Provide context to help your audience understand the topic, and introduce your thesis statement to set the direction for your speech.

Step 7: Build the Body

• In this section, expand on the main points outlined earlier. Each main point should be a clear and distinct idea.
• Support your points with evidence, examples, and data. Use transitions to guide your audience smoothly from one point to the next, creating a coherent flow.

Step 8: Craft a Memorable Conclusion

• Summarize the key points you've made in the body of your speech. Reiterate your thesis statement to reinforce your central message.
• End with a compelling closing statement that leaves a lasting impression on your audience. This can be a call to action, a thought-provoking statement, or a memorable quote.

Step 9: Edit and Revise

• Review your speech for clarity, grammar, and coherence. Check for any inconsistencies or unclear language.
• Seek feedback from peers, mentors, or speech coaches. Consider their suggestions and make necessary improvements to refine your speech.

Step 10: Practice and Rehearse

• Practice your speech multiple times to become familiar with the content and the order of your points.
• Work on your delivery skills, including tone, pace, and body language. Practicing in front of a mirror or recording yourself can help you identify areas for improvement.

Bonus Step: Get Feedback

• If possible, conduct a practice run in front of a small audience. This can be friends, family, or classmates.
• Listen to their feedback and address any concerns or suggestions. Incorporating feedback can significantly enhance your speech.

Speech Writing Format

Creating an effective speech requires following a structured speech format to ensure that your message is conveyed clearly and engages your audience. 

Here is a standard speech writing format to guide you through the process:

1. Introduction:

• Hook: Start the speech with a compelling hook, such as a question, quote, anecdote, or startling fact, to grab the audience's attention.
• Provide Context: Give your audience a brief overview of the topic and its relevance.
• Thesis Statement: Present your central message or thesis statement, which sets the direction for the speech.
• Main Points: Divide the body of your speech into two to five main points or sections, each supporting your thesis statement.
• Supporting Evidence: For each main point, provide supporting evidence, data, examples, or anecdotes to make your argument compelling.
• Transitions: Use clear transitions between points to maintain a smooth and coherent flow throughout the speech.

3. Conclusion:

• Summarize Key Points: Briefly recap the main points you've covered in the body of your speech.
• Restate Thesis: Rewrite your thesis statement to reinforce your central message.
• Closing Statement: End with a memorable closing statement that leaves a lasting impression, which can be a call to action, a thought-provoking idea, or a final quote.

Types of Speech Writing

There are many types of speeches , and they are combined into different categories. We will take a look at some basic types of speech writing:

Informative Speeches

Persuasive speeches, entertaining speeches, motivational speeches, special occasion speeches.

Now, let's explore each type in more detail:

An informative speech aims to educate or provide information to the audience. These speeches typically focus on facts, data, and explanations.

Examples: Informative speeches can cover a wide range of topics, such as scientific discoveries, historical events, technological advancements, or explanations of complex concepts.

A persuasive speech aims to convince the audience to adopt a particular viewpoint or take a specific action. These speeches often employ persuasive techniques and emotional appeals.

Examples: Persuasive speeches can address issues like climate change, social justice, political candidates, or consumer choices, urging the audience to support a particular stance or take action.

Entertaining speeches are designed to amuse and entertain the audience. They often include humor, anecdotes, and storytelling.

Examples: Stand-up comedy routines, humorous storytelling, and funny anecdotes are examples of entertaining speeches.

Motivational speeches are meant to motivate and uplift the audience. They often incorporate personal stories, motivational quotes, and themes of resilience and hope.

Examples: Speeches by notable figures like Martin Luther King Jr.'s "I Have a Dream" address social change. Others like commencement speeches inspire graduates to embrace the future.

Special occasion speeches are delivered during specific events or celebrations. These speeches can include toasts, eulogies, wedding speeches, and more.

Examples: A eulogy at a funeral, a wedding toast, or a commencement address at a graduation ceremony are all examples of special occasion speeches.

Speech Writing Topics

The topic is the first and foremost thing that you need to write a speech. Here are some amazing speech-writing topic ideas to help you get started.

Persuasive Speech Topics

• The impact of climate change on our future
• Social media and mental health: is it time for regulation?
• The importance of vaccination in preventing disease outbreaks
• The ethics of artificial intelligence and privacy
• The benefits of renewable energy for a sustainable future

Informative Speech Topics

• The science behind Covid-19 vaccines
• Exploring the history and impact of the internet
• The art of sustainable gardening and urban farming
• Understanding cryptocurrency and blockchain technology
• The wonders of space exploration: mars missions and beyond

Demonstration Speech Topics

• How to create a delicious and healthy smoothie bowl
• DIY home renovation: painting techniques and tips
• The art of crafting homemade natural soap
• Mastering Yoga: a guided sun salutation sequence
• Gardening for beginners: planting your first vegetable garden

Impromptu Speech Topics

• If I could travel anywhere in the world right now, I would go to...
• The most influential person in my life and why.
• What superpower I wish I had and how I'd use it.
• A book that changed my perspective on life.
• The best piece of advice I've ever received and how it impacted me.

For more inspiring topics check out our impromptu speech topics blog!

Entertaining Speech Topics

• The art of dad jokes: Making people laugh with cheesy humor.
• Embarrassing moments at family gatherings: A humorous take.
• Hilarious autocorrect fails in text messaging.
• The funny side of pets and their quirky behaviors.
• Epic food mishaps in the kitchen: Tales of culinary disasters.

Check out our blog for more entertaining speech topics !

Motivational Speech Topics

• “I’m proud of you my son” someday, my dad will say this to me
• Positive thinking boosts your self-confidence.
• It is perfectly fine for a boy to cry.
• Same-sex couples should be allowed to adopt a child
• I will make my parents proud

Looking for more inspirational speech topics? Read our motivational speech topics blog to get inspired!

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Speech Writing Examples

When it comes to learning the art of speech writing, practical guidance is important. To illustrate effective techniques and structure, here are some short speech-writing examples for students. 

These speech writing samples will help you understand how to craft compelling speeches that resonate with your audience.

For additional samples, read through our speech examples blog!

Speech Writing Tips

Follow these tips for writing a speech that not only informs but also inspires and persuades.

• Audience Analysis: Before you start, conduct a thorough audience analysis. Understand their interests, knowledge, and expectations.
• Engaging Speech: Craft an engaging speech that captures your audience's attention from the start. Use rhetorical questions or captivating anecdotes.
• Short Sentences: Keep your sentences concise and easy to follow. Short sentences are more impactful.
• Connect with the Audience: Make your audience feel involved. Use relatable examples and stories to establish a connection.
• Great Speech Structure: Organize your speech with a clear structure, including an introduction, body, and conclusion.
• Rhetorical Questions: Utilize rhetorical questions to stimulate thought and engagement.
• Memorable Sentence Structures: Create memorable sentence structures that stick in their memory and the audience remembers the key message.
• Public Speaking: Remember that public speaking requires practice, so rehearse your speech multiple times to boost confidence and delivery.

Moving towards the end, for effective communication, speech writing is a skill that can empower you to inform, persuade, and inspire your audience. This comprehensive guide has walked you through the essential steps, outlines, and examples to help you craft a compelling and memorable speech.

If you think you are good at speaking but not so good at writing and this thing bothers you a lot, then there is no harm in getting some help. We at MyPerfectWords.com can save you from embarrassment by helping you write an outstanding speech. 

Our best essay writing service is here to assist you in crafting a compelling speech. With our expertise, we can help you not only effectively convey your message but also captivate your audience.

Don't wait – place your order now and get assistance from our experienced speech writing service .

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Dr. Barbara is a highly experienced writer and author who holds a Ph.D. degree in public health from an Ivy League school. She has worked in the medical field for many years, conducting extensive research on various health topics. Her writing has been featured in several top-tier publications.

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DPI-835M: Speechwriting

In this section.

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Stephen Krupin

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What makes a speech persuasive and memorable – and how do you write one? How can storytelling help political, corporate, nonprofit, and community leaders achieve their goals? What is the role of the speech in our politics, policymaking, and international relations? This course will explore the techniques speechwriters and speakers use, from research to rhetoric, to shape messages that move people and change the world.

Each course in the DPI communications series assumes a fluency with the English language. Attendance at first class mandatory.

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Speech Writing

• Updated on  
• Jan 16, 2024

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

This Blog Includes:

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

Must Read: Story Writing Format for Class 9 & 10

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

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

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

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

Relevant Read: Speech on the Importance of English

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

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

Relevant Read: Reported Speech Rules With Exercises

Format of Speech Writing

Here is the format of Speech Writing:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Speech Sandwich of Public Speaking

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

Use Concrete Facts

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

Use Rhetorical Strategies and Humour

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

Check Out: Message Writing

Know your Audience and Plan Accordingly

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

• Knowledge of the Topic (familiar or unfamiliar)

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

Timing Yourself is Important

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

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

Recommended Read: Letter Writing

Speech Writing Examples

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

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

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

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

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

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

Thank you very much.

Relevant Read: Speech on Corruption

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

INDISCIPLINE IN SCHOOLS,

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

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

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

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

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

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

Relevant Read: How to Write a Speech on Discipline?

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

HOW TO CONTROL ANGER

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

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

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

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

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

Relevant Read: English Speech Topics for Students

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

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

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

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

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

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

Also Read: How to Ace IELTS Writing Section?

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

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

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

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

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Figurative Language

Figurative Language Definition

What is figurative language? Here’s a quick and simple definition:

Figurative language is language that contains or uses figures of speech . When people use the term "figurative language," however, they often do so in a slightly narrower way. In this narrower definition, figurative language refers to language that uses words in ways that deviate from their literal interpretation to achieve a more complex or powerful effect. This view of figurative language focuses on the use of figures of speech that play with the meaning of words, such as metaphor , simile , personification , and hyperbole .

Some additional key details about figurative language:

• Figurative language is common in all sorts of writing, as well as in spoken language.
• Figurative language refers to language that contains figures of speech, while figures of speech are the particular techniques. If figurative speech is like a dance routine, figures of speech are like the various moves that make up the routine.
• It's a common misconception that imagery, or vivid descriptive language, is a kind of figurative language. In fact, writers can use figurative language as one tool to help create imagery, but imagery does not have to use figurative language.

Figurative Language Pronunciation

Here's how to pronounce figurative language: fig -yer-uh-tiv lang -gwij

Figures of Speech and Figurative Language

To fully understand figurative language, it's helpful to have a basic understanding of figures of speech. More specifically, it's helpful to understand the two main types of figures of speech: tropes and schemes .

• Tropes are figures of speech that play with and shift the expected and literal meaning of words.
• Schemes are figures of speech that involve a change from the typical mechanics of a sentence, such as the order, pattern, or arrangement of words.

Put even more simply: tropes play with the meaning of words, while schemes play with the structure of words, phrases, and sentences.

The Different Things People Mean When They Say Figurative Language

When people say figurative language, they don't always mean the precise same thing. Here are the three different ways people usually talk about figurative language:

• Dictionary definition of figurative language: According to the dictionary, figurative language is simply any language that contains or uses figures of speech. This definition would mean that figurative language includes the use of both tropes and schemes.
• Much more common real world use of figurative language: However, when people (including teachers) refer to figurative language, they usually mean language that plays with the literal meaning of words. This definition sees figurative language as language that primarily involves the use of tropes.
• Another common real world use of figurative language: Some people define figurative language as including figures of speech that play with meaning as well as a few other common schemes that affect the rhythm and sound of text, such as alliteration and assonance .

What does all that boil down to for you? If you hear someone talking about figurative language, you can usually safely assume they are referring to language that uses figures of speech to play with the meaning of words and, perhaps, with the way that language sounds or feels.

Common Types of Figurative Language

There are many, many types of figures of speech that can be involved in figurative language. Some of the most common are:

• Metaphor : A figure of speech that makes a comparison between two unrelated things by stating that one thing is another thing, even though this isn't literally true. For example, the phrase "her lips are a blooming rose" obviously doesn't literally mean what it says—it's a metaphor that makes a comparison between the red beauty and promise of a blooming rose with that of the lips of the woman being described.
• Simile : A simile, like a metaphor, makes a comparison between two unrelated things. However, instead of stating that one thing is another thing (as in metaphor), a simile states that one thing is like another thing. An example of a simile would be to say "they fought like cats and dogs."
• Oxymoron : An oxymoron pairs contradictory words in order to express new or complex meanings. In the phrase "parting is such sweet sorrow" from Romeo and Juliet , "sweet sorrow" is an oxymoron that captures the complex and simultaneous feelings of pain and pleasure associated with passionate love.
• Hyperbole : Hyperbole is an intentional exaggeration of the truth, used to emphasize the importance of something or to create a comic effect. An example of a hyperbole is to say that a backpack "weighs a ton." No backpack literally weighs a ton, but to say "my backpack weighs ten pounds" doesn't effectively communicate how burdensome a heavy backpack feels.
• Personification : In personification, non-human things are described as having human attributes, as in the sentence, "The rain poured down on the wedding guests, indifferent to their plans." Describing the rain as "indifferent" is an example of personification, because rain can't be "indifferent," nor can it feel any other human emotion.
• Idiom : An idiom is a phrase that, through general usage within a particular group or society, has gained a meaning that is different from the literal meaning of the words. The phrase "it's raining cats and dogs" is known to most Americans to mean that it's raining hard, but an English-speaking foreigner in the United States might find the phrase totally confusing.
• Onomatopoeia : Onomatopoeia is a figure of speech in which words evoke the actual sound of the thing they refer to or describe. The “boom” of a firework exploding, the “tick tock” of a clock, and the “ding dong” of a doorbell are all examples of onomatopoeia.
• Synecdoche : In synecdoche, a part of something is used to refer to its whole . For example, "The captain commands one hundred sails" is a synecdoche that uses "sails" to refer to ships—ships being the thing of which a sail is a part.
• Metonymy : Metonymy is a figure of speech in which an object or concept is referred to not by its own name, but instead by the name of something closely associated with it. For example, in "Wall Street prefers lower taxes," the New York City street that was the original home of the New York Stock Exchange stands in for (or is a "metonym" for) the entire American financial industry.
• Alliteration : In alliteration, the same sound repeats in a group of words, such as the “ b ” sound in: “ B ob b rought the b ox of b ricks to the b asement.” Alliteration uses repetition to create a musical effect that helps phrases to stand out from the language around them.
• Assonance : The repetition of vowel sounds repeat in nearby words, such as the " ee " sound: "the squ ea ky wh ee l gets the gr ea se." Like alliteration, assonance uses repeated sounds to create a musical effect in which words echo one another.

Figurative Language vs. Imagery

Many people (and websites) argue that imagery is a type of figurative language. That is actually incorrect. Imagery refers to a writers use of vivid and descriptive language to appeal to the reader's senses and more deeply evoke places, things, emotions, and more. The following sentence uses imagery to give the reader a sense of how what is being described looks, feels, smells, and sounds:

The night was dark and humid, the scent of rotting vegetation hung in the air, and only the sound of mosquitoes broke the quiet of the swamp.

This sentence uses no figurative language. Every word means exactly what it says, and the sentence is still an example of the use of imagery. That said, imagery can use figurative language, often to powerful effect:

The night was dark and humid, heavy with a scent of rotting vegetation like a great-aunt's heavy and inescapable perfume, and only the whining buzz of mosquitoes broke the silence of the swamp.

In this sentence, the description has been made more powerful through the use of a simile ("like a great-aunt's..."), onomatopoeia ("whining buzz," which not only describes but actually sounds like the noise made by mosquitoes), and even a bit of alliteration in the " s ilence of the s wamp."

To sum up: imagery is not a form of figurative language. But a writer can enhance his or her effort to write imagery through the use of figurative language.

Figurative Language Examples

Figurative language is more interesting, lively, beautiful, and memorable than language that's purely literal. Figurative language is found in all sorts of writing, from poetry to prose to speeches to song lyrics, and is also a common part of spoken speech. The examples below show a variety of different types of figures of speech. You can see many more examples of each type at their own specific LitChart entries.

Figurative Language Example: Metaphor

Metaphor in shakespeare's romeo and juliet.

In Shakespeare's Romeo and Juliet , Romeo uses the following metaphor in Act 2 Scene 2 of Romeo and Juliet , after sneaking into Juliet's garden and catching a glimpse of her on her balcony:

But, soft! what light through yonder window breaks? It is the east, and Juliet is the sun.

Romeo compares Juliet to the sun not only to describe how radiantly beautiful she is, but also to convey the full extent of her power over him. He's so taken with Juliet that her appearances and disappearances affect him like those of the sun. His life "revolves" around Juliet like the earth orbits the sun.

Figurative Language Example: Simile

In this example of a simile from Slaughterhouse-Five , Billy Pilgrim emerges from an underground slaughterhouse where he has been held prisoner by the Germans during the deadly World War II firebombing of Dresden:

It wasn't safe to come out of the shelter until noon the next day. When the Americans and their guards did come out, the sky was black with smoke. The sun was an angry little pinhead. Dresden was like the moon now , nothing but minerals. The stones were hot. Everybody else in the neighborhood was dead.

Vonnegut uses simile to compare the bombed city of Dresden to the moon in order to capture the totality of the devastation—the city is so lifeless that it is like the barren moon.

Figurative Language Example: Oxymoron

These lines from Chapter 7 of Ernest Hemingway's For Whom the Bell Tolls describe an encounter between Robert Jordan, a young American soldier fighting in the Spanish Civil War, and his lover María.

She held herself tight to him and her lips looked for his and then found them and were against them and he felt her, fresh, new and smooth and young and lovely with the warm, scalding coolness and unbelievable to be there in the robe that was as familiar as his clothes, or his shoes, or his duty and then she said, frightenedly, “And now let us do quickly what it is we do so that the other is all gone.”

The couple's relationship becomes a bright spot for both of them in the midst of war, but ultimately also a source of pain and confusion for Jordan, as he struggles to balance his obligation to fight with his desire to live happily by Maria's side. The contradiction contained within the oxymoron "scalding coolness" emphasizes the couple's conflicting emotions and impossible situation.

Figurative Language Example: Hyperbole

Elizabeth Bennet, the most free-spirited character in Pride and Prejudice , refuses Mr. Darcy's first marriage proposal with a string of hyperbole :

From the very beginning, from the first moment I may almost say, of my acquaintance with you, your manners impressing me with the fullest belief of your arrogance, your conceit, and your selfish disdain of the feelings of others, were such as to form that ground-work of disapprobation, on which succeeding events have built so immoveable a dislike; and I had not known you a month before I felt that you were the last man in the world whom I could ever be prevailed on to marry.

Elizabeth's closing statement, that Darcy is the "last man in the world" whom she would ever marry, is an obvious hyperbole. It's hard to believe that Elizabeth would rather marry, say, an axe murderer or a diseased pirate than Mr. Darcy. Even beyond the obvious exaggeration, Austen's use of hyperbole in this exchange hints at the fact that Elizabeth's feelings for Darcy are more complicated than she admits, even to herself. Austen drops various hints throughout the beginning of the novel that Elizabeth feels something beyond mere dislike for Darcy. Taken together with these hints, Elizabeth's hyperbolic statements seem designed to convince not only Darcy, but also herself, that their relationship has no future.

Figurative Language Example: Personification

In Chapter 1 of The Scarlet Letter , Nathaniel Hawthorne describes a wild rose bush that grows in front of Salem's gloomy wooden jail:

But, on one side of the portal, and rooted almost at the threshold, was a wild rose-bush, covered, in this month of June, with its delicate gems, which might be imagined to offer their fragrance and fragile beauty to the prisoner as he went in, and to the condemned criminal as he came forth to his doom, in token that the deep heart of Nature could pity and be kind to him.

In the context of the novel's setting in 17th century Boston, this rose bush, which grows wild in front of an establishment dedicated to enforcing harsh puritan values, symbolizes those elements of human nature that cannot be repressed, no matter how strict a community's moral code may be: desire, fertility, and a love of beauty. By personifying the rosebush as "offering" its blossoms to reflect Nature's pity (Nature is also personified here as having a "heart"), Hawthorne turns the passive coincidence of the rosebush's location into an image of human nature actively resisting its constraints.

Figurative Language Example: Idiom

Figurative language example: onomatopoeia.

In Act 3, Scene 3 of Shakespeare's The Tempest , Caliban uses onomatopoeia to convey the noises of the island.

Be not afeard. The isle is full of noises, Sounds, and sweet airs that give delight and hurt not. Sometimes a thousand twangling instruments Will hum about mine ears, and sometime voices...

The use of onomatopoeia makes the audience feel the sounds on the island, rather than just have to take Caliban's word about there being noises.

Figurative Language Example: Synecdoche

In Act 4, Scene 3 of Shakespeare's Macbeth , an angry Macbeth kicks out a servant by saying:

Take thy face hence.

Here, "thy face" stands in for "you." Macbeth is simply telling the servant to leave, but his use of synecdoche makes the tone of his command more harsh and insulting because he uses synecdoche to treat the servant not as a person but as an object, a body part.

Figurative Language Example: Metonymy

In his song "Juicy," Notorious B.I.G. raps:

Now I'm in the limelight 'cause I rhyme tight

Here he's using "limelight" as a metonymy for fame (a "limelight" was a kind of spotlight used in old theaters, and so it came to be associated with the fame of being in the spotlight). Biggie's use of metonymy here also sets him up for a sweet rhyme.

Figurative Language Example: Alliteration

In his song "Rap God," Eminem shows his incredible lyrical dexterity by loading up the alliteration :

S o I wanna make sure, s omewhere in this chicken s cratch I S cribble and doodle enough rhymes T o maybe t ry t o help get s ome people through t ough t imes But I gotta k eep a few punchlines Just in c ase, ‘ c ause even you un s igned Rappers are hungry l ooking at me l ike it's l unchtime…

Why Do Writers Use Figurative Language?

The term figurative language refers to a whole host of different figures of speech, so it's difficult to provide a single definitive answer to why writers use figurative language. That said, writers use figurative language for a wide variety of reasons:

• Interest and beauty: Figurative language allows writes to express descriptions, ideas, and more in ways that are unique and beautiful.
• Complexity and power: Because figurative language can create meanings that go beyond the literal, it can capture complex ideas, feelings, descriptions, or truths that cause readers to see things in a new way, or more closely mirror the complex reality of the world.
• Visceral affect: Because figurative language can both impact the rhythm and sound of language, and also connect the abstract (say, love) with the concrete (say, a rose), it can help language make an almost physical impact on a reader.
• Humor: By allowing a writer to layer additional meanings over literal meanings, or even to imply intended meanings that are the opposite of the literal meaning, figurative language gives writers all sorts of options for creating humor in their writing.
• Realism: People speak and even think in terms of the sorts of comparisons that underlie so much figurative language. Rather than being flowery, figurative language allows writers to describe things in ways that match how people really think about them, and to create characters who themselves feel real.

In general, figurative language often makes writing feel at once more accessible and powerful, more colorful, surprising, and deep.

Other Helpful Figurative Language Resources

• The dictionary definition of figurative : Touches on figurative language, as well as some other meanings of the word.
• Figurative and Frost : Examples of figurative language in the context of the poetry of Robert Frost.
• Figurative YouTube : A video identifying various forms of figurative language from movies and television shows.
• Wikipedia on literal and figurative language : A bit technical, but with a good list of examples.

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Speechwriting Definition

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Trump’s Call for Israel to ‘Finish Up’ War Alarms Some on the Right

Recent remarks he made urging an end to the Gaza conflict, with no insistence on freeing Israeli hostages first, were another departure from conservatives’ support for Benjamin Netanyahu.

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By Jonathan Swan

Reporting from Washington

Two Israeli journalists traveled to Palm Beach, Fla., a little over a week ago, hoping to elicit from Donald J. Trump a powerful expression of support for their country’s war in Gaza.

Instead, one of them wrote that what they heard from Mr. Trump at Mar-a-Lago “shocked us deeply.”

“Both U.S. presidential candidates, Biden and Trump, are turning their rhetorical backs on Israel,” concluded Ariel Kahana, a right-wing settler who is the senior diplomatic correspondent for Israel Hayom. The newspaper is owned by the billionaire Republican donor Miriam Adelson; Ms. Adelson herself arranged the interview with Mr. Trump, according to a person with direct knowledge of the planning.

What had Mr. Trump said that so alarmed Mr. Kahana?

He told the interviewers that Israel was losing public support for its Gaza assault, that the images of devastation were bad for Israel’s global image and that Prime Minister Benjamin Netanyahu should end his war soon — statements that sounded far more like something President Biden might say than the kind of cheerleading Mr. Netanyahu has come to expect from Washington Republicans.

“You have to finish up your war,” Mr. Trump said. “You have to get it done. We have to get to peace. We can’t have this going on.”

That statement apparently troubled Mr. Kahana even more than Mr. Biden’s warnings to Israel. Mr. Biden has called for a six-week cease-fire in exchange for Hamas releasing Israeli hostages. In the interview excerpts released by Israel Hayom, Mr. Trump did not qualify his call for Israel to finish the war by insisting on the release of hostages.

“Trump effectively bypassed Biden from the left, when he expressed willingness to stop this war and get back to being the great country you once were,” Mr. Kahana wrote in Hebrew. “There’s no way to beautify, minimize or cover up that problematic message.”

Trump aides insisted this was a misinterpretation. A campaign spokeswoman, Karoline Leavitt, said that Mr. Trump “fully supports Israel’s right to defend itself and eliminate the terrorist threat,” but that Israel’s interests would be “best served by completing this mission as quickly, decisively and humanely as possible so that the region can return to peace and stability​.”

But there is no getting around the division between Mr. Trump and congressional Republicans, who seem to be competing to see who can more ostentatiously demonstrate support for Mr. Netanyahu’s government. They are flying to Israel to meet with Mr. Netanyahu , planning to invite him to address Congress and generally urging Israel to do whatever it takes, for as long as it takes, to annihilate Hamas.

In contrast, Mr. Trump’s hedging commentary to Israel Hayom is only the latest in a long line of public statements he has made to undercut Mr. Netanyahu, whom he has still not forgiven for congratulating Mr. Biden as the winner of the 2020 election.

In 2021, Mr. Trump told the Axios journalist Barak Ravid that he had concluded that Mr. Netanyahu “never wanted peace” with the Palestinians.

Mr. Trump’s first reaction to the Oct. 7 Hamas terrorist attack was to criticize Mr. Netanyahu and Israeli intelligence services. Advisers privately pleaded with him to clean up his comments and he quickly turned to standard lines of support for Israel’s right to defend itself.

The ambiguity of Mr. Trump’s rhetoric about the Israel-Hamas war has let different audiences hear what they want in his public statements. He has said nothing of substance about what he would do differently from Mr. Biden on Israel policy if he were president, and his team again refused to get into specifics when questioned by The New York Times.

Given that void, right-wing supporters of Israel and Israelis like Mr. Kahana are parsing every utterance from Mr. Trump, worried that in a second term he might not be as reliable an ally as he was in his first term, when he gave Mr. Netanyahu nearly everything he wanted, including moving the U.S. Embassy to Jerusalem and recognizing Israel’s sovereignty over the Golan Heights.

“Those who support Trump and also are deeply supportive of Israel’s efforts to win the war with Hamas have to reconcile themselves with the fact that at a crucial moment when the administration seems to be speaking out of both sides of its mouth, and creating a sense of instability in the relationship between the United States and Israel, Trump exacerbated that instability as the putative nominee of the other party,” said John Podhoretz, the editor of Commentary magazine and a former speechwriter for Ronald Reagan.

“The only difference between Trump and Biden — and I say this as somebody who is not a supporter of Biden — is that Biden has put his money where his mouth is. He’s been sending arms,” Mr. Podhoretz added. “So that would seem to suggest that operationally, the problem with Biden is rhetoric and not policy. And all Trump is is rhetoric, and he’s not laying out any policy that should make anybody feel good.”

Mr. Trump’s former ambassador to Israel, David M. Friedman, insisted in an interview that people were misreading Mr. Trump’s statements.

While he said he respected Mr. Kahana, Mr. Friedman suggested the reporter had over-interpreted Mr. Trump’s remarks: “I understand the fear of Republican isolationism, because there is a vein within the Republican Party that moves in that direction, but I didn’t hear him to say what he said. I heard him to say, ‘Finish the job’ — meaning defeat Hamas, defeat them decisively, defeat them as quickly as possible. And then move on.”

Some of Mr. Trump’s former advisers have filled the Trump policy vacuum with their own ideas to resolve the conflict. His son-in-law Jared Kushner, who has pursued foreign deals using relationships he built during the Trump administration, said at a Harvard University forum in February that “Gaza’s waterfront property could be very valuable” and that Palestinians should be “moved out” and transported to an area in the Negev Desert in southern Israel that would be bulldozed to accommodate them.

Mr. Friedman has gone much further than Mr. Kushner, who seemed to be only musing. Mr. Friedman has developed a proposal for Israel to claim full sovereignty over the West Bank — definitively ending the possibility of a two-state solution. West Bank Palestinians who have been living under Israeli military occupation since 1967 would not be given Israeli citizenship under the plan, Mr. Friedman confirmed in the interview.

It’s far from clear whether Mr. Trump would support this, though he did tell the Israeli interviewers that he planned to meet with Mr. Friedman to hear his ideas. Mr. Friedman said he had not yet discussed his plan with Mr. Trump.

Unlike Mr. Friedman, Mr. Trump has long clung to the possibility of a grand bargain between Israel and the Palestinians, insisting that only he can broker the “deal of the century.” Still, while in office, Mr. Trump acted so lopsidedly in favor of Israel that a two-state solution that would be acceptable to the Palestinians was never realistic.

John R. Bolton, a former national security adviser to Mr. Trump, who has become a sharp critic, said that Mr. Trump’s interview with Israel Hayom “proves the point that I’ve tried to explain to people: that Trump’s support for Israel in the first term is not guaranteed in the second term, because Trump’s positions are made on the basis of what’s good for Donald Trump, not on some coherent theory of national security.”

“What he said in this most recent interview was ambiguous to a certain extent, but it seemed to me to be verging on negative about Israel’s conduct of the war,” Mr. Bolton said in an interview. “And I think there’s more there than meets the eye.”

“What matters to Trump more than anything else is how you look in the press. So forget the justice of it,” he added. “It just looks bad.”

The way Mr. Bolton sees it, when his former boss warns Mr. Netanyahu that his image is failing, “he’s not worried about Israel’s image. He’s worried about his if he has to defend it.”

Jonathan Weisman contributed reporting.

Jonathan Swan is a political reporter covering the 2024 presidential election and Donald Trump’s campaign. More about Jonathan Swan

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