Download as pdf or txt
Download as pdf or txt
You are on page 1of 45

Full download text book at textbookfull.

com

Essential Communication 2nd Edition


Ronald Adler

DOWLOAD HERE

https://textbookfull.com/product/essential-
communication-2nd-edition-ronald-adler/

DOWLOAD NOW

Download more textbook from textbookfull.com


More products digital (pdf, epub, mobi) instant
download maybe you interests ...

Understanding Human Communication 13th Edition Ronald


B. Adler

https://textbookfull.com/product/understanding-human-
communication-13th-edition-ronald-b-adler/

Interplay: The Process of Interpersonal Communication


14th Edition Ronald B. Adler

https://textbookfull.com/product/interplay-the-process-of-
interpersonal-communication-14th-edition-ronald-b-adler/

Interplay The Process of Interpersonal Communication


Fifth Canadian Edition Ronald B. Adler

https://textbookfull.com/product/interplay-the-process-of-
interpersonal-communication-fifth-canadian-edition-ronald-b-
adler/

Voice and Communication Therapy for the Transgender


Gender Diverse Client A Comprehensive Clinical Guide
3rd Edition Adler

https://textbookfull.com/product/voice-and-communication-therapy-
for-the-transgender-gender-diverse-client-a-comprehensive-
clinical-guide-3rd-edition-adler/
Making Conversation: Seven Essential Elements of
Meaningful Communication 1st Edition Dust

https://textbookfull.com/product/making-conversation-seven-
essential-elements-of-meaningful-communication-1st-edition-dust/

Introduction to Software Engineering 2nd Edition Ronald


J. Leach

https://textbookfull.com/product/introduction-to-software-
engineering-2nd-edition-ronald-j-leach/

Criminology (Ninth Edition) Freda Adler

https://textbookfull.com/product/criminology-ninth-edition-freda-
adler/

Music Therapy A Fieldwork Primer 2nd Edition Ronald M.


Borczon

https://textbookfull.com/product/music-therapy-a-fieldwork-
primer-2nd-edition-ronald-m-borczon/

Essential Korean Phrasebook & Dictionary 2nd Edition


Soyeung Koh

https://textbookfull.com/product/essential-korean-phrasebook-
dictionary-2nd-edition-soyeung-koh/
Getting the Most Out of
This Book
You are about to explore communication in a
variety of situations—online, in person, at home, at work, and during intercultural experiences, to name a few.
Along the way, you will have the opportunity to try out communication strategies and see which work best for
you.
It’s a journey worth taking. As Martin Yate, author of the best-selling job search guide Knock ‘em Dead,
puts it, “Communication counts big time.”1 Of the top 10 qualifications employers want most, 7 directly
involve communication.2 And employers aren’t the only ones hoping to land great communicators. Listening
skills and supportive communication are among the most desired qualities in friends3 and romantic partners.4
Throughout this book, we will consider the ways that communication both shapes and reflects our personal
identity. We will consider the impact of verbal and nonverbal cues and the importance of mindfully listening
to others. We’ll take a close-up look at the dynamics of communicating with friends, family members,
romantic partners, and coworkers, and conclude with guidance on becoming an accomplished public speaker.
At every step, you will have opportunities to reflect on your own communication patterns and goals. As you
will see, no one communication strategy works well for everyone or every situation. Instead, the best
communicators make well-informed choices depending on the circumstances.
Given that what you learn here can improve your personal life and career success, here are three tips for
getting the most from this book.

Don’t skip anything.


This isn’t your ordinary textbook. For one thing, we have zeroed in on the fundamentals, so this book is
shorter than most. For another, chapter elements look more like magazine stories than traditional texts. So how
will you know what is essential and what is extra? In this book, everything is essential and nothing is extra.
Key words and theories appear in unexpected places, such as question-and-answer features and Tips &
Reminders. The result is an unconventional experience that feels like pleasure reading but provides the deep-
level learning of a traditional text.

Apply concepts to your own life.


As you read, reflect on how you can enhance your communication skills. Self-quizzes in Ask Yourself
segments provide insights about your communication strengths and challenges. To take that a step further,
Pause to Reflect and Putting It All Together features invite you to apply what you are learning to real-life
situations.
Save important reminders.
Visual reminders boost the likelihood that people will follow through with important goals,5 so we have
provided handy information in the form of Tips & Reminders and Communication Take-Aways that you might
want to save for future reference.

The bottom line is:


Don’t be fooled into thinking that a
fun-looking story is frivolous or extra.
Every element in this book is loaded with
essential information that can help you
become a better communicator.
Contents

Getting the Most Out of This Book

1 Communication: What and Why


Communication Defined
Communication is symbolic.
Communication is a process.
Communication is irreversible.
Communication is relational.

Models of Communication
Linear Model
Transactional Model
PAUSE TO REFLECT: How “Noisy” Is Your Communication?

Communication Contexts
Intrapersonal Communication
Dyadic/Interpersonal Communication
Small Group Communication
Organizational Communication
Public Communication
Mass Communication
PAUSE TO REFLECT: Which Contexts Suit You Best?

The Unique Context of Social Media


Audience size varies vastly.
Users generate their own content.
Networks are highly diverse.
TIPS & REMINDERS: 5 Tips for Communicating Well on Social Media

Communication Competence
There is no “ideal” way to communicate.
Competence is situational.
Competence is relational.
Competence can be learned.
Competent communicators are flexible.
Competent communicators are empathic.
Competent communicators are cognitively complex.
Competent communicators self-monitor.
Competent communicators are committed.
PAUSE TO REFLECT: What Are Your Communication Goals?

ASK YOURSELF: What Type of Communicator Are You?

Misconceptions About Communication


Myth 1: Communication requires complete understanding.
Myth 2: Communication can solve all problems.
Myth 3: Communication is good.
Myth 4: Meanings are in words.
Myth 5: Communication is simple.
Myth 6: More communication is always better.
COMMUNICATION TAKE-AWAYS: Communication: What and Why
PUTTING IT ALL TOGETHER: Show Your Communication Know-How

2 The Self, Perception, and Communication


The Self-Concept Defined
Self-Concept
Self-Esteem

Communication and the Self-Concept


Significant Others
Mass Media
Culture
Expectations
PAUSE TO REFLECT: What Shapes Your Self-Concept?

Mistaken Attributions and Communication


Individuals typically judge themselves more charitably than they judge others.
People often pay more attention to negative impressions than to positive ones.
When individuals do perceive positive qualities, they tend to overgeneralize.
People gravitate to the familiar.

Myths About Gendered Communication


Myth 1: Sex and gender are the same.
Myth 2: People are either male or female.
Myth 3: Gender is a continuum.

Empathy, Emotional IQ, and Communication


Display empathy.
Understand the difference between empathy and sympathy.
Cultivate emotional intelligence.
TIPS & REMINDERS: 3 Steps to Engage in Perception Checking
ASK YOURSELF: How Emotionally Intelligent Are You?

Identity Management
Individuals have public and private selves.
People engage in facework to manage their identities and the identity of others.
Identity management is collaborative.
People have multiple identities.
Identity management may be deliberate or unconscious.
People differ in their degree of identity management.
Roles influence the identities people display.
Identity management can be goal oriented.
Identity management isn’t necessarily dishonest.
PAUSE TO REFLECT: Which Identities Do You Enact?

Identity Management and Social Media


Social media can boost self-esteem.
Being genuine matters most.
Self-esteem can enhance emotional resilience.
COMMUNICATION TAKE-AWAYS: Self, Perception, and Communication
PUTTING IT ALL TOGETHER: Show Your Communication Know-How

3 Culture and Communication


Culture Defined
Salience
In-Group and Out-Group
Coculture

Communication and Cocultures


Intersectionality
Race and Ethnicity
Regional Differences
Sexual Orientation and Gender
Religion
Socioeconomic Status
Political Viewpoints
Ability and Disability
TIPS & REMINDERS: 3 Ways to Discuss Politics Responsibly on Social Media

Age and Generation


Ideas about aging change over time.
Stereotypes discourage open communication.
Being young has its challenges.
Generations regard technology differently.
Differences emerge at work.
TIPS & REMINDERS: 4 Ways to Learn More About Other Cultures

Cultural Values and Norms


Individualism and Collectivism
High and Low Context
Uncertainty Avoidance
Power Distance
Talk and Silence
Competition and Cooperation
PAUSE TO REFLECT: What Cultural Norms Do You Embrace?

ASK YOURSELF: How Much Do You Know About Other Cultures?

Overcoming Prejudice
We tend to think our culture is the best.
We often prejudge and stereotype others.
Judgments can lead to unfair treatment.
Mindful thinking can help.

Coping with Culture Shock


Don’t be too hard on yourself.
Homesickness is normal.
Expect progress and setbacks.
Reach out to others.
COMMUNICATION TAKE-AWAYS: Communication and Culture
PUTTING IT ALL TOGETHER: Show Your Communication Know-How

4 Language
The Nature of Language
Language is symbolic.
Meanings are in people, not in words.
Language is governed by rules.

The Power of Language


Names
Accents and Dialects
“Powerful” and “Powerless” Speech
Affiliative Language
PAUSE TO REFLECT: How Does Language Influence You?

Misunderstandings
Language is equivocal.
Meaning is relative.
Language differs by community.
Language is nuanced.
TIPS & REMINDERS: 6 Ways to Avoid Misunderstandings

Disruptive Language
Don’t confuse fact and opinion.
Don’t confuse facts with inferences.
Don’t present emotions as facts.
Don’t resort to insults.
TIPS & REMINDERS: 3 Ways to Distinguish Between Facts and Opinions

Gender and Language


ASK YOURSELF: How Do You Use Language?

COMMUNICATION TAKE-AWAYS: Communication and Language


PUTTING IT ALL TOGETHER: Show Your Communication Know-How

5 Listening
The Importance of Listening
People with good listening skills are more likely than others to be hired and promoted.
Listening is a leadership skill.
Good listeners are not easily fooled.
Asking for and listening to advice makes you look good.
Listening makes you a better friend and romantic partner.
PAUSE TO REFLECT: How Can You Improve as a Listener?

Misconceptions About Listening


Myth: Hearing and listening are the same thing.
Myth: Listening is a natural process.
Myth: All listeners receive the same message.

The Listening Process


Hearing
Understanding
Remembering
Interpreting
Evaluating
Responding

Listening in a Complex World


Message Overload
Rapid Thought
Psychological Noise
Physical Noise
Cultural Differences
TIPS & REMINDERS: 3 Ways to Limit Social Media Distractions

Gender: Listening and Responding


Women tend to disclose similar experiences.
Men tend to solve or distract.
Empathy from women can feel like a put-down to men.
A man’s well intentioned response can feel like disinterest to a woman.
Awareness can help.

Hurtful Listening Habits


Pretending to Listen
Tuning In and Out
Acting Defensively
Avoiding the Issue
Ignoring Underlying Issues
Being Self-Centered
Talking Too Much
TIPS & REMINDERS: 6 Tips for Listening Nondefensively

Skills for Different Types of Listening


Relational Listening
Supportive Listening
Task-Oriented Listening
Analytical Listening
Critical Listening
TIPS & REMINDERS: 4 Tips for Listening Mindfully

ASK YOURSELF: What Are Your Listening Strengths?

COMMUNICATION TAKE-AWAYS: Listening Effectively


PUTTING IT ALL TOGETHER: Show Your Communication Know-How

6 Nonverbal Communication
The Nature of Nonverbal Communication
Nonverbal communication is impossible to avoid.
Nonverbal behavior is part of identity management.
Nonverbal cues help define relationships.
Nonverbal behavior is ambiguous.
Nonverbal communication is essential to success.
PAUSE TO REFLECT: How Nonverbally Savvy Are You?

Functions of Nonverbal Communication


Repeating
Substituting
Complementing
Regulating
Contradicting

Deception and Nonverbal Cues


Kinesic Nonverbal Communication
Posture
Fidgeting
Smiling
Eye Contact
Expressions of Emotion
Voice
Touch
ASK YOURSELF: How Worldly Are Your Nonverbal Communication Skills?

Nonverbal Aspects of Space, Time, and Place


Space
Time
Territory
Environment

Nonverbal Cues and Attractiveness


Attractiveness Advantage
Clothing
Body Art
Overall Effect
TIPS & REMINDERS: 3: Ways to Interpret Nonverbal Cues More Accurately
Gender and Nonverbal Communication
Gender Differences
Media’s Influence
Social Structure
Commonalities
TIPS & REMINDERS: 3 Ways to Convey Nonverbal Cues More Mindfully

COMMUNICATION TAKE-AWAYS: Nonverbal Communication


PUTTING IT ALL TOGETHER: Show Your Communication Know-How

7 Communicating in Interpersonal Relationships


Defining Interpersonal Communication
Relational Messages
Affinity
Respect
Immediacy
Control

Metacommunication
Metacommunication is often below the surface.
Metacommunication can be used for more than solving problems.
Metacommunication can be risky.
PAUSE TO REFLECT: What Can Metacommunication Reveal?

Self-Disclosure in Close Relationships


Social Disclosure Defined
Social Penetration Model
The Johari Window
TIPS & REMINDERS: 8 Questions to Consider Before Self-Disclosing

Interpersonal Communication Online


Online communication helps people stay connected.
Online communication can feel nonthreatening.
Online communication can be validating.
Online communication has a pause option . . . sometimes.
Online communication can be distracting.
Online communication can be overwhelming.
PAUSE TO REFLECT: Do You Overuse Social Media?

Confirming and Disconfirming Messages


Use confirming messages more than disconfirming ones.
Show recognition.
Acknowledge thoughts and feelings.
Show that you agree.
TIPS & REMINDERS: 4 Ways to Avoid Damaging Your Relationships

Relational Spirals
Positive Spirals
Negative Spirals
Cyclical Spirals
PAUSE TO REFLECT: Is Your Relationship Spiraling Up or Down?

ASK YOURSELF: What’s the Forecast for Your Communication Climate?

COMMUNICATION TAKE-AWAYS: Interpersonal Communication


PUTTING IT ALL TOGETHER: Show Your Communication Know-How

8 Communicating with Friends and Family


Friendships and Family Ties
Friendships
Family Relationships
Friends and Family

How People Evaluate Friendship Potential


You have a lot in common.
You balance each other out.
You like and appreciate each other.
You admire each other.
You open up to each other.
You interact frequently.
You find the relationship rewarding.
TIPS & REMINDERS: 4 Reasons You Don’t Have to Be Perfect to Be a Good Friend

Types of Friendships
Short-Term Versus Long-Term
Low Disclosure Versus High Disclosure
Doing-Oriented Versus Being-Oriented
Low Obligation Versus High Obligation
Frequent Contact Versus Occasional Contact
TIPS & REMINDERS: 8 Communication Strategies for Being a Good Friend

ASK YOURSELF: What Kind of Friendship Do You Have?

Gender and Friendship


Do men and women do friendship differently?
Can heterosexual men and women be just friends?
Are there advantages to other-sex friendships?
How does gender diversity figure into friendship?

Communicating with Friends Online


There is greater diversity online.
Many people share more in person, at least at first.
Online communication can be less anxiety provoking.
Online communication transcends time and space.
More online communication isn’t always better.

Parenting Relationships
Family Dynamics
Parenting Styles

Sibling Relationships
Supportive
Longing
Competitive
Apathetic
Hostile
TIPS & REMINDERS: 6 Communication Tips for Strengthening Family Ties

PAUSE TO REFLECT: How Does Your Family Communicate?

COMMUNICATION TAKE-AWAYS: Communicating with Friends and Family


PUTTING IT ALL TOGETHER: Show Your Communication Know-How

9 Communicating with Romantic Partners


Stages of Romantic Relationships
Initiating
Experimenting
Intensifying
Integrating
Bonding
Differentiating
Circumscribing
Stagnating
Avoiding
Terminating
TIPS & REMINDERS: 3 Ways That Communication Influences Romantic Potential

PAUSE TO REFLECT: Where Does Your Relationship Stand?

Gender and Intimacy


Speaking the Languages of Love
Affirming Words
Quality Time
Gifts
Physical Touch
Acts of Service
ASK YOURSELF: What’s Your Love Language?

Dialectical Perspective
Openness Versus Privacy
Connection Versus Autonomy
Predictability Versus Novelty
TIPS & REMINDERS: 9 Strategies for Managing Dialectical Tensions

Deception in Romantic Relationships


Altruistic Lies
Evasions
Self-Serving Lies

Ways That Partners Express Conflict


Nonassertiveness
Indirect Communication
Assertiveness
Passive Aggression
Direct Aggression
TIPS & REMINDERS: 3 Ways to Protect Yourself from an Abusive Partner

Conflict Patterns That Destroy Relationships


Criticism
Contempt
Defensiveness
Stonewalling
PAUSE TO REFLECT: How Do You Handle Conflict as a Couple?

Applying Win–Win Problem Solving


Identify your problem and unmet needs.
Make a date.
Describe your problem and needs.
Check your partner’s understanding.
Solicit your partner’s needs.
Check your understanding of your partner’s needs.
Negotiate a solution.
Follow up on the solution.
COMMUNICATION TAKE-AWAYS: Communicating with Romantic Partners
PUTTING IT ALL TOGETHER: Show Your Communication Know-How

10 Communicating to Land a Job


Networking Strategies to Find a Job
View everyone as a networking prospect.
Network online.
Seek referrals.
Conduct informational interviews.
Show appreciation.
TIPS & REMINDERS: 5 Strategies to Build a Career-Enhancing Network

Managing Your Online Identity


Take stock of strengths and goals.
Build a professional identity.
Avoid embarrassing posts.
Monitor your online presence.
Do damage control.
Beware mistaken identities.
Don’t be scared off.
Don’t stop when you get hired.
TIPS & REMINDERS: 5 Steps to Follow When Applying for a Job

Preparing for a Job Interview


Do your research.
Prepare for likely questions.
Dress for success.
Bring along copies of your résumé and portfolio.
Know when and where to go.
Reframe anxiety as enthusiasm.
TIPS & REMINDERS: 4 Ways to Answer “What Is Your Greatest Weakness?”
Responding to Common Interview Questions
TIPS & REMINDERS: 7 Strategies for Creating a Presentation About Yourself

PAUSE TO REFLECT: What Do You Have to Offer?

Interviewing and the Law


Know the law.
Prepare in advance.

Participating in a Job Interview


Mind your manners.
Follow the interviewer’s lead.
Keep your answers succinct and specific.
Describe relevant challenges, actions, and results.
Ask good questions of your own.
Follow up after the interview.

Interviewing by Phone or Video


Present a professional identity.
Practice with technology in advance.
Ensure that you have the right time for the interview.
Ask in advance how long the interview will last.
Look at the camera, not at the screen.
Conduct a dress rehearsal.
COMMUNICATION TAKE-AWAYS: Communicating to Land a Job
PUTTING IT ALL TOGETHER: Show Your Communication Know-How

11 Communicating in the Workplace


Communication Skills Boost Career Success
Good communicators work well in teams.
Good communicators enhance client satisfaction.
Good communicators build public awareness.
Good communicators make good leaders.
Good communicators inspire others.

Communication Mistakes to Avoid at Work


Making Fun of People
Oversharing
Overlooking Cultural Differences
Gossiping
Doing Less Than Your Best
Losing Your Cool
Fixating on a Mistake
TIPS & REMINDERS: 8 Ways to Communicate in a Professional Manner Online

Communication Strategies for Leaders


Characteristics of Effective Leaders
Trait Theories of Leadership
Situational Leadership
Transformational Leadership
Behaviors That Demonstrate Leadership Potential
ASK YOURSELF: What’s Your Leadership Style?

Working with a Difficult Boss


Put in extra effort.
Make up the difference.
Seek advice from others.
Try to clarify and improve the situation.
Manage your expectations.
Keep a professional demeanor.
Consider moving on.
TIPS & REMINDERS: 5 Steps to Leave a Job Without Burning Bridges

PAUSE TO REFLECT: What Has Shaped Your Leadership Approach?

Power in the Workplace


Legitimate Power
Expert Power
Connection Power
Reward Power
Coercive Power
Referent Power

Communication in Small Groups


Definition of a Small Group
Motivational Factors
Rules in Small Groups
Roles in Small Groups
Cohesiveness

Advantages of Group Problem Solving


Groups have more resources than individuals.
Group members can catch errors.
Group work enhances buy-in.
Groups benefit from diverse ideas.
Groups are best at solving some problems.
TIPS & REMINDERS: 4 Stages in Decision-Making Groups

PAUSE TO REFLECT: How Do You Feel About Group Work?

Making the Most of Group Meetings


Encourage equal participation.
Avoid information underload and overload.
Avoid pressure to conform.
Make the most of diversity.

A Structured Problem-Solving Approach


Identify the problem.
Analyze the problem.
Identify criteria for success.
Gather relevant information.
Identify supporting and restraining forces.
Develop creative solutions.
Evaluate possible solutions.
Implement the plan.
Follow up on the solution.
TIPS & REMINDERS: 5 Ways to Reach a Group Decision

COMMUNICATION TAKE-AWAYS: Communicating in the Workplace


PUTTING IT ALL TOGETHER: Show Your Communication Know-How

12 Preparing Speeches
Analyzing Your Audience
Demographics and Political Affiliation
Attitudes, Beliefs, and Values
Audience Perception of the Occasion
PAUSE TO REFLECT: Where do you stand?

Planning Your Speech


Step 1: Choose a topic.
Step 2: Define your purpose.
Step 3: Write a purpose statement.
Step 4: State your thesis.
Step 5: Gather information.
Step 6: Double-check your sources.
TIPS & REMINDERS: 3 Ways to Evaluate Online Information

Structuring Your Speech


Outlines
Speaking Notes
Organizational Patterns

Creating the Introduction


Capture attention.
Preview the main points.
Set the tone of your speech.
Demonstrate the importance of your topic to your audience.
Establish credibility.
TIPS & REMINDERS: 9 Ways to Capture the Audience’s Attention

Designing Conclusions and Transitions


The Conclusion
Transitions
PAUSE TO REFLECT: How Did You Come to That Conclusion?

Types of Supporting Material


Definitions
Examples
Statistics
Analogies/Comparison–Contrast
Anecdotes
Quotations/Testimony
Styles of Support
PAUSE TO REFLECT: What Kind of a Gatherer Are You?
COMMUNICATION TAKE-AWAYS: Preparing Speeches
PUTTING IT ALL TOGETHER: Show Your Communication Know-How

13 Presenting Speeches
Managing Speech Anxiety
Facilitative and Debilitative Anxiety
Past Negative Experiences and Irrational Thinking
TIPS & REMINDERS: 4 Types of Irrational Fears About Public Speaking

PAUSE TO REFLECT: Are You Thinking Rationally?

ASK YOURSELF: Do You Suffer from Speech Anxiety?

TIPS & REMINDERS: 5 Ways to Overcome Debilitative Speech Anxiety

Choosing a Type of Delivery


Extemporaneous
Impromptu
Manuscript
Memorized

Selecting Visual Aids


Objects and Models
Diagrams
Word and Number Charts

Using Visual Aids


Chalkboards, Whiteboards, and Polymer Marking Surfaces
Flip Pads and Poster Boards
Handouts
Projectors
Other Electronic Media
Presentation Software
TIPS & REMINDERS: 5 Rules for Using Visual Aids Effectively

TIPS & REMINDERS: 4 Steps to Practicing a Speech

Visual Aspects of Delivery


Appearance
Movement
Posture
Facial Expression
Eye Contact
TIPS & REMINDERS: 6 Tips for Online/Virtual Delivery of Speeches

Auditory Aspects of Delivery


Volume
Rate
Pitch
Articulation
TIPS & REMINDERS: 4 Ways to Improve Your Articulation

PAUSE TO REFLECT: How Is Your Articulation?

COMMUNICATION TAKE-AWAYS: Presenting Speeches


PUTTING IT ALL TOGETHER: Show Your Communication Know-How

14 Speaking to Inform and Persuade


Informing Versus Persuading
Informative Speeches
Persuasive Speeches

Techniques of Informative Speaking


Define a specific informative purpose.
Use clear, simple language.
Emphasize important points.
Generate audience involvement.
TIPS & REMINDERS: 3 Ways to Make It Easy for the Audience to Listen

TIPS & REMINDERS: 4 Ways to Handle a Question-and-Answer Period

Techniques of Persuasive Speaking


Set a specific persuasive purpose.
Adapt to your specific audience.
Establish common ground and credibility.
Draw upon Aristotle’s Triad.
TIPS & REMINDERS: 3 Types of Persuasive Appeals

PAUSE TO REFLECT: Informative and Persuasive Speaking

Logic, Ethics, and the Art of Persuasion


Step 1: Structure your basic argument.
Step 2: Describe the problem.
Step 3: Describe the solution.
Step 4: Describe the desired audience response.
Sample Outline Using Monroe’s Motivated Sequence

Structuring Reasoning Within Your Argument


Claims and Subclaims
Evidence
The Toulmin Model
TIPS & REMINDERS: 6 Fallacies and How to Avoid Them 222

ASK YOURSELF: Can You Identify Common Fallacies? 223

COMMUNICATION TAKE-AWAYS: Speaking to Inform and Persuade 224


PUTTING IT ALL TOGETHER: Show Your Communication Know-How 225

A Informative Speech

B Sample Persuasive Speech


Notes
Glossary
Credits
Index
Brief Contents

Getting the Most Out of This Book

1 Communication: What and Why

2 The Self, Perception, and Communication

3 Culture and Communication

4 Language

5 Listening

6 Nonverbal Communication

7 Communicating in Interpersonal Relationships

8 Communicating with Friends and Family

9 Communicating with Romantic Partners

10 Communicating to Land a Job

11 Communicating in the Workplace

12 Preparing Speeches

13 Presenting Speeches

14 Speaking to Inform and Persuade

A Informative Speech
B Sample Persuasive Speech
Notes
Glossary
Credits
Index
Another random document with
no related content on Scribd:
Om jin yn it heele hear,
Fen de tichte naecheltoeken,
Ind de heeche foarsce fleer,
Komt ien lekk’re wierook roeken:
Krekt as wier ’t,
Dat Natuer ien dankfeest fiert.
KRYSTIID

Bisnijde fjilden, frachten snie,


Op huwsen ind op lannen,
Whearoer de oastersniestoarm gie,
Dy ’t alles ynne bânnen,
Fen ’n tiche stranche winterdei,
Fol fuwle froast ind sniejacht lei;
Dat sount ien wyke al bigoun—
Ind sa is ’t Krystiid woarn.

’t Is as Natuer eak feest mei fiert:


Hast fen de iere daeche,—
Hark ho ’t fen alle kanten liidt,
Wylst koeltsjes fier it draege!
De loft sa klear, sa djip, sa ljacht—
Nou nei de leaste unwaers nacht—
Dy foar de klok syn toalwe sloech,
Har stil to reasten joech.
O greate dei! o greate moarn!
Ien nije wrâld is berne:
Troch de geboarte fen Gods Soan!
Wha it hielal scil kenne!
What is, as komt yn letter tiid—
Mar iens wier it dat Inglenliit—
Do himelljacht fen ’t loftrom, blonk,
It frede op ierde klonk!
Whear disze nacht song ’t bijefolk,
Fen de Forlosser ’t kommen;
Nou noch de minscen ta ien tolk,
Sont ’t Ingelenforstommen.
Ja hillich is noch stees die nacht,
Hjir eak bij noardsce stjerrenpracht,
Dy oer de frediche ierde blinkt;
Dy Christus komst herthinkt.
FEBERWAERISWAER

De mistdrip hinchet oenne bjemmen;


’t Is lyts ind nau om jin yn ’t roun;
Ien wiit ind fochtich suedewyntje,
Gjit flaau oer beam, ind fjild, ind groun.

De sinne blieuwt mar alle dagen,


Oan ’t donkre neewlich loftrom wei,
Ind moarns wirdt it foar niughen uwre,
Folstrekt gjin suewer, helder dei.
’t Is wyld ind woest yn fjild ind lânnen,
Whear op gjin blomke groeit as kjit,
Mar whear fortuorre ind forwile,
It wyntje oer deade ruwchte gjit.
My is dear alle wille oafstoarn;
De fleurichens fen maitiidsnocht;
Fen ljurkjes, ljippen, fenne blommen
Dy min oer miede ind finnen sjocht,
Fen ’t soeijend reit om djippe gotten,
Whear troch it mylde sueden djoeit,
Whear yn ’t wiidgat, troch blaue baeren
De swarte markol, scomljend soeit,
Fen d’ eksters dy daer yn struwellen,
Fen ’t leeche hachebosc, har neast,
Op ’n heeche feaste poalle makken;
Ind nestelen daer, sonder reast.
Daer seach ik alles: ’t libjen, wirkjen.
Natuer yn folle libbenskracht,
Besyld troch ’n soele maitiidsasem,
Uet ’t sinnich sueden, tear ind saeft.
Ind boppe oer de blommiche ierde,
Drieuwt saeft ien gouden wolkenpracht;
As woe dy nou eak feest mei fierde,
Ta ruil foar snie ind hacheljacht.
Ind what is fen dat alles blieuwn nou?
Ien kjelderiche mistdamp leit,
Him swier op loft, op beam, ind huezen,
Oer ’t deadsce fjild, fol ienlykheit.
It wirdt ek tsjuster yn jins binnenst;
It wirdt sa kâld yn hert ind iir:
De deadskens fen natuwr dielt oan jin,
Him mei, droefgeestich, mâl ind swier.
Ik kin it daer net mear uethâlde;
Neerslaechtich wirket ’t op ’t gemoed,
Ind luwkt mei huewerjende lea jin,
Whear nei de waerme kagchelgloed.
DAEGE

Troch ’t kanten weefsel,


Dat de nacht,
Oer d’ ierde lei heth,
Brekt mei kracht,
Ien sé fen strielen;
Rollet op,
De nachtgordynen,
Ta ien trop
Fen wolkenberchen;
Franje ind flok,
Dy seamje ’t buwtenst;
Ieder brok,
Det fen it gaesich,
Nachtkleed scuort,
Tsjocht mei de daeche,
Foart ind foart.—
Op de uetraffele
Wolkenkop,
Leit nou de sinne,
Rozen op:
De dei is berne!
Daer omheech;
Mar fier nei ondren,
Djip omleech,
Leit ynne weefsels,
Fenne nacht,
Noch stil de ierde;
Tige sacht,
Spraedt hja hjar wjokken,
Boppe, nei
De ljachte himel:
Ind ’t is dei!
Ien kreet fen jubel,
Groet it al:
Minsc ind dieren,
’t Fuwcheltol,
’t Luwdst’ ind innichts hast,
Nou de moarn;
De dei fen juster,
Is oafstoarn;
De soarch ind kommer,
Fen de dei,
Dy foarbygong is,
Mei him wei.
Moed ind fortrouwen,
Yn ’t forsciit!
Dy yn de droom jin,
’t Al onthiit.
TSJIN OAFSTEKKERS

Dat binne klachten, al de dei,


Mar altiid oan, mar altiid wei,
Oer ynkomst ind gemaeken;
Daer heart min fen, der heart min oer,
’t Is ’t earste ind leaste fenne boer,
Ind ’t luwdst fen wyze snaken.

Dy roppe ’t uet, troch hiel it lân;


Dy lju kin prate, ha forstân;
Ja bin daer fen trochdrongen;
Ja wyte alles soks precys,
Omdat se heecher onderwys,
Op ’n heeche scuolle ontfongen.
„Gjin buwter hast fen de earste keur?
Dat komt dat jimme de âlde sleur,
Mar net forlitte wolle;
Jimm’ wirkje noch sa as alear,
Nei d’ alde wiize ind minear—
Mar net mei kunst ind holle.
As dien’ sa mem ind beppe eak
Dat hâldt yn disse tiid gjin stek,
De wrâld is sont foroare.
Do gong ’t sa stil, sa flau, sa loom;
Mechanica, chemie ind stoom,
Binn ’t dy nou sprekke doare.
Ja, tsjernje nou mei snie ind iis,
Troch stoomkracht drieuwn, ind dat is wiis,
Al hiel nei Deensc’ methode;
De nije molke farsc ind fris,
Sa as se fenne kou komd is,
Dat is de nije mode.
Dat jouwt ien wonder resultaat;
Dat jouwt jin foordiel, jouwt jin baet;
Break dus mei jimme mieninch;
Ien kelderke mei iis ind snie,
Wearby ’n machientsje nedich wier,
Derta hoecht dochs gjin lieninch!”
De oeren scjin, de hannen scjin;
De amers scrobje, net to min,
De tynen gljeun fen scjinnens;
Bjin wei de fisk- ind spekkichheit,
Fordelchje it troch sindlykheit:
Wei is den buwterminnens!
Daer sit de greate buwterknoop:
O scrip mar ta, forliis gjin hoop;
Hâld mar dy Deensce kosten;
Ind lit de njugchentjende eeuw,
Links lisze, mei syn luwd geschreeuw,
Fen gekke ljue ind kwosten.
*** END OF THE PROJECT GUTENBERG EBOOK FRYSCE
WÂLDBLOMKES ***

Updated editions will replace the previous one—the old editions will
be renamed.

Creating the works from print editions not protected by U.S.


copyright law means that no one owns a United States copyright in
these works, so the Foundation (and you!) can copy and distribute it
in the United States without permission and without paying
copyright royalties. Special rules, set forth in the General Terms of
Use part of this license, apply to copying and distributing Project
Gutenberg™ electronic works to protect the PROJECT GUTENBERG™
concept and trademark. Project Gutenberg is a registered trademark,
and may not be used if you charge for an eBook, except by following
the terms of the trademark license, including paying royalties for use
of the Project Gutenberg trademark. If you do not charge anything
for copies of this eBook, complying with the trademark license is
very easy. You may use this eBook for nearly any purpose such as
creation of derivative works, reports, performances and research.
Project Gutenberg eBooks may be modified and printed and given
away—you may do practically ANYTHING in the United States with
eBooks not protected by U.S. copyright law. Redistribution is subject
to the trademark license, especially commercial redistribution.

START: FULL LICENSE


THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg™ mission of promoting the free


distribution of electronic works, by using or distributing this work (or
any other work associated in any way with the phrase “Project
Gutenberg”), you agree to comply with all the terms of the Full
Project Gutenberg™ License available with this file or online at
www.gutenberg.org/license.

Section 1. General Terms of Use and


Redistributing Project Gutenberg™
electronic works
1.A. By reading or using any part of this Project Gutenberg™
electronic work, you indicate that you have read, understand, agree
to and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or
destroy all copies of Project Gutenberg™ electronic works in your
possession. If you paid a fee for obtaining a copy of or access to a
Project Gutenberg™ electronic work and you do not agree to be
bound by the terms of this agreement, you may obtain a refund
from the person or entity to whom you paid the fee as set forth in
paragraph 1.E.8.

1.B. “Project Gutenberg” is a registered trademark. It may only be


used on or associated in any way with an electronic work by people
who agree to be bound by the terms of this agreement. There are a
few things that you can do with most Project Gutenberg™ electronic
works even without complying with the full terms of this agreement.
See paragraph 1.C below. There are a lot of things you can do with
Project Gutenberg™ electronic works if you follow the terms of this
agreement and help preserve free future access to Project
Gutenberg™ electronic works. See paragraph 1.E below.
1.C. The Project Gutenberg Literary Archive Foundation (“the
Foundation” or PGLAF), owns a compilation copyright in the
collection of Project Gutenberg™ electronic works. Nearly all the
individual works in the collection are in the public domain in the
United States. If an individual work is unprotected by copyright law
in the United States and you are located in the United States, we do
not claim a right to prevent you from copying, distributing,
performing, displaying or creating derivative works based on the
work as long as all references to Project Gutenberg are removed. Of
course, we hope that you will support the Project Gutenberg™
mission of promoting free access to electronic works by freely
sharing Project Gutenberg™ works in compliance with the terms of
this agreement for keeping the Project Gutenberg™ name associated
with the work. You can easily comply with the terms of this
agreement by keeping this work in the same format with its attached
full Project Gutenberg™ License when you share it without charge
with others.

1.D. The copyright laws of the place where you are located also
govern what you can do with this work. Copyright laws in most
countries are in a constant state of change. If you are outside the
United States, check the laws of your country in addition to the
terms of this agreement before downloading, copying, displaying,
performing, distributing or creating derivative works based on this
work or any other Project Gutenberg™ work. The Foundation makes
no representations concerning the copyright status of any work in
any country other than the United States.

1.E. Unless you have removed all references to Project Gutenberg:

1.E.1. The following sentence, with active links to, or other


immediate access to, the full Project Gutenberg™ License must
appear prominently whenever any copy of a Project Gutenberg™
work (any work on which the phrase “Project Gutenberg” appears,
or with which the phrase “Project Gutenberg” is associated) is
accessed, displayed, performed, viewed, copied or distributed:
This eBook is for the use of anyone anywhere in the United
States and most other parts of the world at no cost and with
almost no restrictions whatsoever. You may copy it, give it away
or re-use it under the terms of the Project Gutenberg License
included with this eBook or online at www.gutenberg.org. If you
are not located in the United States, you will have to check the
laws of the country where you are located before using this
eBook.

1.E.2. If an individual Project Gutenberg™ electronic work is derived


from texts not protected by U.S. copyright law (does not contain a
notice indicating that it is posted with permission of the copyright
holder), the work can be copied and distributed to anyone in the
United States without paying any fees or charges. If you are
redistributing or providing access to a work with the phrase “Project
Gutenberg” associated with or appearing on the work, you must
comply either with the requirements of paragraphs 1.E.1 through
1.E.7 or obtain permission for the use of the work and the Project
Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg™ electronic work is posted


with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any
additional terms imposed by the copyright holder. Additional terms
will be linked to the Project Gutenberg™ License for all works posted
with the permission of the copyright holder found at the beginning
of this work.

1.E.4. Do not unlink or detach or remove the full Project


Gutenberg™ License terms from this work, or any files containing a
part of this work or any other work associated with Project
Gutenberg™.

1.E.5. Do not copy, display, perform, distribute or redistribute this


electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1
with active links or immediate access to the full terms of the Project
Gutenberg™ License.

1.E.6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form,
including any word processing or hypertext form. However, if you
provide access to or distribute copies of a Project Gutenberg™ work
in a format other than “Plain Vanilla ASCII” or other format used in
the official version posted on the official Project Gutenberg™ website
(www.gutenberg.org), you must, at no additional cost, fee or
expense to the user, provide a copy, a means of exporting a copy, or
a means of obtaining a copy upon request, of the work in its original
“Plain Vanilla ASCII” or other form. Any alternate format must
include the full Project Gutenberg™ License as specified in
paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying,


performing, copying or distributing any Project Gutenberg™ works
unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing


access to or distributing Project Gutenberg™ electronic works
provided that:

• You pay a royalty fee of 20% of the gross profits you derive
from the use of Project Gutenberg™ works calculated using the
method you already use to calculate your applicable taxes. The
fee is owed to the owner of the Project Gutenberg™ trademark,
but he has agreed to donate royalties under this paragraph to
the Project Gutenberg Literary Archive Foundation. Royalty
payments must be paid within 60 days following each date on
which you prepare (or are legally required to prepare) your
periodic tax returns. Royalty payments should be clearly marked
as such and sent to the Project Gutenberg Literary Archive
Foundation at the address specified in Section 4, “Information
about donations to the Project Gutenberg Literary Archive
Foundation.”

• You provide a full refund of any money paid by a user who


notifies you in writing (or by e-mail) within 30 days of receipt
that s/he does not agree to the terms of the full Project
Gutenberg™ License. You must require such a user to return or
destroy all copies of the works possessed in a physical medium
and discontinue all use of and all access to other copies of
Project Gutenberg™ works.

• You provide, in accordance with paragraph 1.F.3, a full refund of


any money paid for a work or a replacement copy, if a defect in
the electronic work is discovered and reported to you within 90
days of receipt of the work.

• You comply with all other terms of this agreement for free
distribution of Project Gutenberg™ works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™


electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
the Project Gutenberg Literary Archive Foundation, the manager of
the Project Gutenberg™ trademark. Contact the Foundation as set
forth in Section 3 below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend


considerable effort to identify, do copyright research on, transcribe
and proofread works not protected by U.S. copyright law in creating
the Project Gutenberg™ collection. Despite these efforts, Project
Gutenberg™ electronic works, and the medium on which they may
be stored, may contain “Defects,” such as, but not limited to,
incomplete, inaccurate or corrupt data, transcription errors, a
copyright or other intellectual property infringement, a defective or
damaged disk or other medium, a computer virus, or computer
codes that damage or cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for


the “Right of Replacement or Refund” described in paragraph 1.F.3,
the Project Gutenberg Literary Archive Foundation, the owner of the
Project Gutenberg™ trademark, and any other party distributing a
Project Gutenberg™ electronic work under this agreement, disclaim
all liability to you for damages, costs and expenses, including legal
fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR
NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR
BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH
1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK
OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL
NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT,
CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF
YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you


discover a defect in this electronic work within 90 days of receiving
it, you can receive a refund of the money (if any) you paid for it by
sending a written explanation to the person you received the work
from. If you received the work on a physical medium, you must
return the medium with your written explanation. The person or
entity that provided you with the defective work may elect to provide
a replacement copy in lieu of a refund. If you received the work
electronically, the person or entity providing it to you may choose to
give you a second opportunity to receive the work electronically in
lieu of a refund. If the second copy is also defective, you may
demand a refund in writing without further opportunities to fix the
problem.

1.F.4. Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO
OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED,
INCLUDING BUT NOT LIMITED TO WARRANTIES OF
MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain implied


warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted
by the applicable state law. The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation,


the trademark owner, any agent or employee of the Foundation,
anyone providing copies of Project Gutenberg™ electronic works in
accordance with this agreement, and any volunteers associated with
the production, promotion and distribution of Project Gutenberg™
electronic works, harmless from all liability, costs and expenses,
including legal fees, that arise directly or indirectly from any of the
following which you do or cause to occur: (a) distribution of this or
any Project Gutenberg™ work, (b) alteration, modification, or
additions or deletions to any Project Gutenberg™ work, and (c) any
Defect you cause.

Section 2. Information about the Mission


of Project Gutenberg™
Project Gutenberg™ is synonymous with the free distribution of
electronic works in formats readable by the widest variety of
computers including obsolete, old, middle-aged and new computers.
It exists because of the efforts of hundreds of volunteers and
donations from people in all walks of life.

Volunteers and financial support to provide volunteers with the


assistance they need are critical to reaching Project Gutenberg™’s
goals and ensuring that the Project Gutenberg™ collection will
remain freely available for generations to come. In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a
secure and permanent future for Project Gutenberg™ and future
generations. To learn more about the Project Gutenberg Literary
Archive Foundation and how your efforts and donations can help,
see Sections 3 and 4 and the Foundation information page at
www.gutenberg.org.

Section 3. Information about the Project


Gutenberg Literary Archive Foundation
The Project Gutenberg Literary Archive Foundation is a non-profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service. The Foundation’s EIN or federal tax identification
number is 64-6221541. Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U.S. federal laws and your state’s laws.

The Foundation’s business office is located at 809 North 1500 West,


Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up
to date contact information can be found at the Foundation’s website
and official page at www.gutenberg.org/contact

Section 4. Information about Donations to


the Project Gutenberg Literary Archive
Foundation
Project Gutenberg™ depends upon and cannot survive without
widespread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can
be freely distributed in machine-readable form accessible by the
widest array of equipment including outdated equipment. Many
small donations ($1 to $5,000) are particularly important to
maintaining tax exempt status with the IRS.

The Foundation is committed to complying with the laws regulating


charities and charitable donations in all 50 states of the United
States. Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and
keep up with these requirements. We do not solicit donations in
locations where we have not received written confirmation of
compliance. To SEND DONATIONS or determine the status of
compliance for any particular state visit www.gutenberg.org/donate.

While we cannot and do not solicit contributions from states where


we have not met the solicitation requirements, we know of no
prohibition against accepting unsolicited donations from donors in
such states who approach us with offers to donate.

International donations are gratefully accepted, but we cannot make


any statements concerning tax treatment of donations received from
outside the United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg web pages for current donation
methods and addresses. Donations are accepted in a number of
other ways including checks, online payments and credit card
donations. To donate, please visit: www.gutenberg.org/donate.

Section 5. General Information About


Project Gutenberg™ electronic works
Professor Michael S. Hart was the originator of the Project
Gutenberg™ concept of a library of electronic works that could be
freely shared with anyone. For forty years, he produced and
distributed Project Gutenberg™ eBooks with only a loose network of
volunteer support.
Project Gutenberg™ eBooks are often created from several printed
editions, all of which are confirmed as not protected by copyright in
the U.S. unless a copyright notice is included. Thus, we do not
necessarily keep eBooks in compliance with any particular paper
edition.

Most people start at our website which has the main PG search
facility: www.gutenberg.org.

This website includes information about Project Gutenberg™,


including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how
to subscribe to our email newsletter to hear about new eBooks.

You might also like