Being a confident, charismatic presenter gets you noticed. Being a mumbling, shaking wreck with 73 PowerPoint slides and a pile of notes cascading to the floor does as well - just not in a good way. The difference between the two is not a matter of innate talent, but of skill. And it is a skill that anyone can acquire. In Easy Eloquence, Susan Huskisson sets out everything you need to know to make sure that the next time you have to present you not only get your message across, but everyone leaves knowing that you are in control. In fact, with Susan's unique system, not only will you be able to create and deliver exceptional presentations but you will be able to do so in minutes. You won't even need PowerPoint - all you'll need is a piece of A4 paper and a packet of Post-it notes. If you use PowerPoint, she will show you how to make the slides reinforce the message - not the other way around.Being able to present effectively and convincingly is the hallmark of a well-rounded manager. Drawing on her own experience and stories from dozens of executives who have made themselves into excellent speakers, Easy Eloquence is grounded in the real world - the world where managers sometimes have to present at very short notice and where the success or failure of the presentation can turn a career. Easy Eloquence will help you make sure you and your message come out on top.

Since the publication of his groundbreaking books Writing Without Teachers and Writing with Power, Peter Elbow has revolutionized how people think about writing. Now, in Vernacular Eloquence, he makes a vital new contribution to both practice and theory. The core idea is simple: we can enlist virtues from the language activity most people find easiest-speaking-for the language activity most people find hardest-writing. Speech, with its spontaneity, naturalness of expression, and fluidity of thought, has many overlooked linguistic and rhetorical merits. Through several easy to employ techniques, writers can marshal this "wisdom of the tongue" to produce stronger, clearer, more natural writing.This simple idea, it turns out, has deep repercussions. Our culture of literacy, Elbow argues, functions as though it were a plot against the spoken voice, the human body, vernacular language, and those without privilege-making it harder than necessary to write with comfort or power. Giving speech a central role in writing overturns many empty preconceptions. It causes readers to think critically about the relationship between speech, writing, and our notion of literacy. Developing the political implications behind Elbow's previous books, Vernacular Eloquence makes a compelling case that strengthening writing and democratizing it go hand in hand.

Have you ever wanted to thank someone for a gift or a kind act but didn't know what to say or how to say it? Easy Eloquence can help. This collction of notes provides readers with the right words to help express their feelings. Complete with over 75 samples, this book makes it easy to write everything from thank you notes to sympathy cards.

To succeed in the world today, students need an education that equips them to recognize current trends, to be creative and flexible to respond to changing circumstances, to demonstrate sound judgment to work for society's good, and to gain the ability to communicate persuasively.

In the mid-19th century, rhetoric surrounding slavery was permeated by violence. Slavery’s defenders often used brute force to suppress opponents, and even those abolitionists dedicated to pacifism drew upon visions of widespread destruction. Provocative Eloquence recounts how the theater, long an arena for heightened eloquence and physical contest, proved terribly relevant in the lead up to the Civil War. As antislavery speech and open conflict intertwined, the nation became a stage. The book brings together notions of intertextuality and interperformativity to understand how the confluence of oratorical and theatrical practices in the antebellum period reflected the conflict over slavery and deeply influenced the language that barely contained that conflict. The book draws on a wide range of work in performance studies, theater history, black performance theory, oratorical studies, and literature and law to provide a new narrative of the interaction of oratorical, theatrical, and literary histories of the nineteenth-century U.S.