Outline the Speech

An outline is a plan for arranging the elements of your speech in support of your thesis. Outlines are based on the principle of coordination and subordination—the logical placement of ideas relative to their importance to one another. Coordinate points are of equal importance and are indicated by their parallel alignment. Any main point or subpoint should have at least one other point coordinate to it—that is, your speech should have two or more main points, and for each main point there should be two or more subpoints. Subordinate points, also called subpoints, comprise the substance of the main points and are identified in outlines by their placement below and to the right of the points they support. (For a full discussion of outlining, see Chapter 13.)

COORDINATE POINTS

  1. Main Point 1
  2. Main Point 2
    1. Subpoint 1
    2. Subpoint 2

SUBORDINATE POINTS

  1. Main Point 1
    1. First level of subordination
      1. Second level of subordination
      2. Second level of subordination
        1. Third level of subordination
        2. Third level of subordination

As your speeches become more detailed you will need to select an appropriate organizational pattern (see Chapters 13 and 26). You will also need to familiarize yourself with developing both working and speaking outlines (see Chapter 13). To allow for the full development of your ideas, working outlines generally contain points stated in complete or close-to-complete sentences. Speaking outlines are far briefer and are usually prepared using either short phrases or key words.

Following is a working full-sentence outline created by a beginning public speaking student for a speech of introduction (see speech below):

TOPIC: Speech of Introduction for Ashley White
SPEECH PURPOSE: To inform
SPECIFIC SPEECH PURPOSE: To inform my audience about overcoming obstacles posed by physical limitations to find another path to personal and professional fulfillment.

Introduction

We are on a lifelong journey to find our identity. On this journey, we look for those things that make us unique, that bring us success, and that hold us back, and we discover how they define our personality. We set standards for ourselves and observe our boundaries. (Captures audience attention—in this case, by presenting her story as a universal quest for identity and fulfillment. This creates a common bond with the audience and encourages listeners to identify with what’s to come.)

We take so many extraordinary measures, but when exactly are we supposed to discover who we are? Is there a specific moment? Is there an initiation age? Is it ever certain? What happens if what defines us must suddenly be let go? How do we find new purpose with what is left? (States thesis statement and previews main points. In a brief speech, the preview may not systematically preview each main point but instead serve as a transition to them, as occurs in Ashley’s speech.)

Body

  1. I have always identified myself as a dancer.
    1. Since age three I have been in dance classes, but since birth I have danced.
    2. Few people outside of the discipline understand the commitment that dance affords its chosen ones.
    3. It becomes more than a hobby; it is self-defining.
  2. My dance teacher was the first to notice the curve, and I was formally diagnosed with scoliosis at the age of ten . . .
    1. Scoliosis is a lateral curvature of the spine . . .
      1. It often gets worse during adolescent growth . . .
      2. It affects girls and boys . . .
    2. At eleven, I was wearing a back brace . . .
    3. Adolescence is a difficult time to deal with any anomaly . . .
      1. The brace made me feel different . . .
      2. Dance class was my only time of liberation . . .
    4. In college I received troubling news . . .
      1. My curve had worsened and it was time for surgery . . .
      2. The doctor informed me that dancing professionally would not be likely . . .
  3. Amongst all this emotional turmoil, I have found a new passion. . . .
    1. This art is expressed in the kitchen, not in the dance studio . . .
    2. Cooking and dancing require many of the same skills . . .

Conclusion

(Restates the thesis in a memorable way.) This transition of redefining myself has been a difficult one, and I have learned that it is actually an ongoing one. Being in touch with oneself requires constant learning, redefining, and reapplying, and not just being dedicated to a single interest.

(Leaves the audience with a motivating message.) This lifelong journey I am on? I know now that this is just the beginning of finding my own identity.