Using Language Effectively

Learning Objectives

  1. Explain what it means to use appropriate language.
  2. Understand the role of framing in language.
  3. Explain what is meant by vivid language.

A man yelling into a megaphone

As with anything in life, there are positive and negative ways of using language. One of the first concepts a speaker needs to think about when looking at language use is appropriateness. By appropriate, we mean whether the language is suitable or fitting for ourselves, as the speaker; our audience; the speaking context; and the speech itself.

Appropriate for the Speaker

One of the first questions to ask yourself is whether the language you plan on using in a speech fits with your own speaking pattern. Not all language choices are appropriate for all speakers. The language you select should be suitable for you, not someone else. If you’re a first-year college student, there’s no need to force yourself to sound like an astrophysicist even if you are giving a speech on new planets. One of the biggest mistakes novice speakers make is thinking that they have to use million-dollar words because it makes them sound smarter. Actually, million-dollar words don’t tend to function well in oral communication to begin with, so using them will probably make you uncomfortable as a speaker. Also, it may be difficult for you or the audience to understand the nuances of meaning when you use such words, so using them can increase the risk of denotative or connotative misunderstandings.

Appropriate for the Audience

The second aspect of appropriateness asks whether the language you are choosing is appropriate for your specific audience. Let’s say that you’re an engineering student. If you’re giving a presentation in an engineering class, you can use language that other engineering students will know. On the other hand, if you use that engineering vocabulary in a public speaking class, many audience members will not understand you. As another example, if you are speaking about the Great Depression to an audience of young adults, you can’t assume they will know the meaning of terms like “New Deal” and “WPA,” which would be familiar to an audience of senior citizens. In other chapters of this book, we have explained the importance of audience analysis; once again, audience analysis is a key factor in choosing the language to use in a speech.

Appropriate for the Context

The next question about appropriateness is whether the language you will use is suitable or fitting for the context itself. The language you may employ if you’re addressing a student assembly in a high school auditorium will differ from the language you would use at a business meeting in a hotel ballroom. If you’re giving a speech at an outdoor rally, you cannot use the same language you would use in a classroom. Recall that the speaking context includes the occasion, the time of day, the mood of the audience, and other factors in addition to the physical location. Take the entire speaking context into consideration when you make the language choices for your speech.

Appropriate for the Topic

The fourth and final question about the appropriateness of language involves whether the language is appropriate for your specific topic. If you are speaking about the early years of The Walt Disney Company, would you want to refer to Walt Disney as a “thaumaturgic” individual (i.e., one who works wonders or miracles)? While the word “thaumaturgic” may be accurate, is it the most appropriate for the topic at hand? As another example, if your speech topic is the dual residence model of string theory, it makes sense to expect that you will use more sophisticated language than if your topic was a basic introduction to the physics of, say, sound or light waves.


Framing motivates an audience to think in a specific manner about the word or term. Political figures are often very good at defining terms in a way that are persuasive. Frank Luntz, a linguist and political strategist, is widely regarded as one of the most effective creators of persuasive definitions (Luntz, 2007). Luntz has the ability to take terms that people don’t like and repackage them into persuasive definitions that give the original term a much more positive feel. Here are some of Luntz’s more famous persuasive definitions:

  • Oil drilling → energy exploration
  • Estate tax → death tax
  • School vouchers → opportunity scholarships
  • Eavesdropping → electronic intercepts
  • Global warming → climate change

Luntz has essentially defined the terms in a new way that has a clear political bent and that may make the term more acceptable to some audiences, especially those who do not question the lexical meaning of the new term. For example, “oil drilling” may have negative connotations among citizens who are concerned about the environmental impact of drilling, whereas “energy exploration” may have much more positive connotations among the same group.

Use Vivid Language (Rhetorical Devices)

 Vivid language helps your listeners create strong, distinct, clear, and memorable mental images. Good vivid language usage helps an audience member truly understand and imagine what a speaker is saying. Two common ways to make your speaking more vivid are through the use of imagery and rhythm.


Imagery is the use of language to represent objects, actions, or ideas. The goal of imagery is to help an audience member create a mental picture of what a speaker is saying. A speaker who uses imagery successfully will tap into one or more of the audience’s five basic senses (hearing, taste, touch, smell, and sight). Three common tools of imagery are concreteness, simile, and metaphor.


When we use language that is concrete, we attempt to help our audiences see specific realities or actual instances instead of abstract theories and ideas. The goal of concreteness is to help you, as a speaker, show your audience something instead of just telling them. Imagine you’ve decided to give a speech on the importance of freedom. You could easily stand up and talk about the philosophical work of Rudolf Steiner, who divided the ideas of freedom into freedom of thought and freedom of action. If you’re like us, even reading that sentence can make you want to go to sleep. Instead of defining what those terms mean and discussing the philosophical merits of Steiner, you could use real examples where people’s freedom to think or freedom to behave has been stifled. For example, you could talk about how Afghani women under Taliban rule have been denied access to education, and how those seeking education have risked public flogging and even execution (Iacopino & Rasekh, 1998). You could further illustrate how Afghani women under the Taliban are forced to adhere to rigid interpretations of Islamic law that functionally limit their behavior. As illustrations of the two freedoms discussed by Steiner, these examples make things more concrete for audience members and thus easier to remember. Ultimately, the goal of concreteness is to show an audience something instead of talking about it abstractly.


The second form of imagery is simile. As you probably learned in English courses, a simile is a figure of speech in which two unlike things are explicitly compared. Both aspects being compared within a simile are able to remain separate within the comparison. The following are some examples:

  • The thunderous applause was like a party among the gods.
  • After the revelation, she was as angry as a raccoon caught in a cage.
  • Love is like a battlefield.

When we look at these two examples, you’ll see that two words have been italicized: “like” and “as.” All similes contain either “like” or “as” within the comparison. Speakers use similes to help an audience understand a specific characteristic being described within the speech. In the first example, we are connecting the type of applause being heard to something supernatural, so we can imagine that the applause was huge and enormous. Now think how you would envision the event if the simile likened the applause to a mime convention—your mental picture changes dramatically, doesn’t it?

To effectively use similes within your speech, first look for instances where you may already be finding yourself using the words “like” or “as”—for example, “his breath smelled like a fishing boat on a hot summer day.” Second, when you find situations where you are comparing two things using “like” or “as,” examine what it is that you are actually comparing. For example, maybe you’re comparing someone’s breath to the odor of a fishing vessel. Lastly, once you see what two ideas you are comparing, check the mental picture for yourself. Are you getting the kind of mental image you desire? Is the image too strong? Is the image too weak? You can always alter the image to make it stronger or weaker depending on what your aim is.


The other commonly used form of imagery is the metaphor, or a figure of speech where a term or phrase is applied to something in a nonliteral way to suggest a resemblance. In the case of a metaphor, one of the comparison items is said to be the other (even though this is realistically not possible). Let’s look at a few examples:

  • Love is a battlefield.
  • Upon hearing the charges, the accused clammed up and refused to speak without a lawyer.
  • Every year a new crop of activists are born.

In these examples, the comparison word has been italicized. Let’s think through each of these examples. In the first one, the comparison is the same as one of our simile examples except that the word “like” is omitted—instead of being like a battlefield, the metaphor states that love is a battlefield, and it is understood that the speaker does not mean the comparison literally. In the second example, the accused “clams up,” which means that the accused refused to talk in the same way a clam’s shell is closed. In the third example, we refer to activists as “crops” that arise anew with each growing season, and we use “born” figuratively to indicate that they come into being—even though it is understood that they are not newborn infants at the time when they become activists.

To use a metaphor effectively, first determine what you are trying to describe. For example, maybe you are talking about a college catalog that offers a wide variety of courses. Second, identify what it is that you want to say about the object you are trying to describe. Depending on whether you want your audience to think of the catalog as good or bad, you’ll use different words to describe it. Lastly, identify the other object you want to compare the first one to, which should mirror the intentions in the second step. Let’s look at two possible metaphors:

  1. Students groped their way through the maze of courses in the catalog.
  2. Students feasted on the abundance of courses in the catalog.

While both of these examples evoke comparisons with the course catalog, the first example is clearly more negative and the second is more positive.

One mistake people often make in using metaphors is to make two incompatible comparisons in the same sentence or line of thought. Here is an example:

  • “That’s awfully thin gruel for the right wing to hang their hats on” (Nordquist, 2009).

This is known as a mixed metaphor, and it often has an incongruous or even hilarious effect. Unless you are aiming to entertain your audience with fractured use of language, be careful to avoid mixed metaphors.


Our second guideline for effective language in a speech is to use rhythm. When most people think of rhythm, they immediately think about music. What they may not realize is that language is inherently musical; at least it can be. Rhythm refers to the patterned, recurring variance of elements of sound or speech. Whether someone is striking a drum with a stick or standing in front of a group speaking, rhythm is an important aspect of human communication. Think about your favorite public speaker. If you analyze his or her speaking pattern, you’ll notice that there is a certain cadence to the speech. While much of this cadence is a result of the nonverbal components of speaking, some of the cadence comes from the language that is chosen as well. Let’s examine four types of rhythmic language: parallelism, repetition, alliteration, and assonance.


When listing items in a sequence, audiences will respond more strongly when those ideas are presented in a grammatically parallel fashion, which is referred to as parallelism. For example, look at the following two examples and determine which one sounds better to you:

  1. “Give me liberty or I’d rather die.”
  2. “Give me liberty or give me death.”

Technically, you’re saying the same thing in both, but the second one has better rhythm, and this rhythm comes from the parallel construction of “give me.” The lack of parallelism in the first example makes the sentence sound disjointed and ineffective.


As we mentioned earlier in this chapter, one of the major differences between oral and written language is the use of repetition. Because speeches are communicated orally, audience members need to hear the core of the message repeated consistently. Repetition as a linguistic device is designed to help audiences become familiar with a short piece of the speech as they hear it over and over again. By repeating a phrase during a speech, you create a specific rhythm. Probably the most famous and memorable use of repetition within a speech is Martin Luther King Jr.’s use of “I have a dream” in his speech at the Lincoln Memorial on August 1963 during the March on Washington for Jobs and Freedom. In that speech, Martin Luther King Jr. repeated the phrase “I have a dream” eight times to great effect.


Another type of rhythmic language is alliteration, or repeating two or more words in a series that begin with the same consonant. In the Harry Potter novel series, the author uses alliteration to name the four wizards who founded Hogwarts School for Witchcraft and Wizardry: Godric Gryffindor, Helga Hufflepuff, Rowena Ravenclaw, and Salazar Slytherin. There are two basic types of alliteration: immediate juxtaposition and nonimmediate juxtaposition. Immediate juxtaposition occurs when the consonants clearly follow one after the other—as we see in the Harry Potter example. Nonimmediate juxtaposition occurs when the consonants are repeated in nonadjacent words (e.g., “It is the poison that we must purge from our politics, the wall that we must tear down before the hour grows too late”) (Obama, 2008). Sometimes you can actually use examples of both immediate and nonimmediate juxtaposition within a single speech. The following example is from Bill Clinton’s acceptance speech at the 1992 Democratic National Convention: “Somewhere at this very moment, a child is being born in America. Let it be our cause to give that child a happy home, a healthy family, and a hopeful future” (Clinton, 2005).


Assonance is similar to alliteration, but instead of relying on consonants, assonance gets its rhythm from repeating the same vowel sounds with different consonants in the stressed syllables. The phrase “how now brown cow,” which elocution students traditionally used to learn to pronounce rounded vowel sounds, is an example of assonance. While rhymes like “free as a breeze,” “mad as a hatter,” and “no pain, no gain” are examples of assonance, speakers should be wary of relying on assonance because when it is overused it can quickly turn into bad poetry.

Key Takeaways

  • Using appropriate language means that a speaker’s language is suitable or fitting for themselves, as the speaker; our audience; the speaking context; and the speech itself.
  • Vivid language helps listeners create mental images. It involves both imagery (e.g., concreteness, simile, and metaphor) and rhythm (e.g., parallelism, repetition, alliteration, and assonance).


  1. Watch a press conference or a political speech. Identify the uses of imagery and rhythm. How did the imagery and rhythm help the speech? Can you think of other ways the speaker could have used imagery and rhythm?


Clinton, W. J. (2005). My life. New York, NY: Vintage Books, p. 421.

Iacopino, V., & Rasekh, Z. (1998). The Taliban’s war on women: A health and human rights crisis in Afghanistan. Boston, MA: Physicians for Human Rights.

National Council of Teachers of English (2002). Guidelines for gender-fair use of language. Retrieved from

Nordquist, R. (2009). Mixed metaphor. Retrieved from at

Obama, B. (2008, January 20). The great need of the hour. Remarks delivered at Ebenezer Baptist Church, Atlanta. Retrieved from