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Speech and Communication: Composing, Delivering, and Evaluating Spoken Argument

Grade 10 · secular

This is a talking-and-listening course, not a report-writing course. Your child learns to figure out what a specific listener already knows and cares about, build a spoken case for that exact person, and control how they sound and look while saying it. Every speech gets recorded and sent to a real person — a grandparent, an aunt, a sibling — instead of being given to a classroom. Then your child watches their own recording and grades it against a specific checklist instead of just going with "I think that went fine." By the end, they're building an argument that answers pushback out loud, delivering it to someone real, and comparing what they thought of their own performance to what that person actually thought.

What your child will learn

The whole year, in plain English. Tap any unit to see every skill inside, nothing is hidden.

Listening Critically, Reading an Audiencepeek inside ▸

Your child spends most of this unit listening to other people's recorded speeches, not making their own. The goal is to build a shared vocabulary — claim versus support, organizational pattern, bias, audience profile — that every later unit in the course reuses. Think of it as sharpening the ear before asking the mouth to do anything.

  1. Claim versus reasons in speeches

    Given a short transcript or recording, students state the speaker's central claim in one sentence, distinguishing it from the supporting reasons offered for it.

  2. The four organizational patterns (problem-solution, chronological, cause-effect, comparison), applied via the taught signal-phrase test

    Given a recorded excerpt following a previously modeled organizational pattern (problem-solution, chronological, cause-effect, or comparison), students name the pattern and point to the specific signal phrase the speaker used to indicate it, using the same signal-phrase test demonstrated in the worked example.

  3. Spotting four organizational patterns

    Students classify a short speech excerpt as following a problem-solution, chronological, cause-effect, or comparison organizational pattern, and identify the specific phrase or transition that signals the pattern.

  4. Spotting bias and missing evidence

    Students identify at least one instance of bias or unsupported assertion in a recorded speech and explain, in writing, what specific evidence is missing that would be needed to support the claim.

  5. How structure shows point of view

    Given two recordings of speakers arguing opposite sides of a similar issue, students compare how each speaker's choice of organizational pattern and use of evidence serves their differing points of view.

  6. Building a profile of your audience

    Students construct a written audience profile for a real, named individual (e.g., a parent, grandparent, sibling), specifying that person's likely prior knowledge, values, disposition toward a given topic, and at least two specific likely objections, with a one-paragraph justification for each prediction grounded in evidence about that person rather than a stereotype of 'people like them'.

  7. Impressions versus rubric evaluation

    Students distinguish between a self-rated impression of how well a speech communicated ('it went well') and a criteria-based evaluation of the same speech using a named rubric, and explain at least one instance where the two would disagree.

  8. Analyzing two brand new speeches

    Given two never-before-heard recorded speeches on unfamiliar topics, students independently complete a structured listening guide identifying claim, organizational pattern, and at least one instance of bias or unsupported assertion for each, without teacher prompting during listening.

  9. Stereotypes versus knowing your audience

    Students explain why predicting an audience's likely objections by assuming shared characteristics of a demographic group (e.g., 'grandparents don't like technology') produces a less accurate profile than gathering specific evidence about the named individual.

Building the Spoken Casepeek inside ▸

Now your child builds their own argument — for delivery, not for reading. The core idea: a listener only gets one pass, in real time, they can't re-read a sentence, so everything about how support is chosen, ordered, and phrased has to be built around that. This unit uses the real audience profile from Unit 1 as its foundation.

  1. Choosing evidence for your audience

    Given a spoken claim and three candidate pieces of evidence, select the two strongest for a specific named audience and state why the third is weaker for that listener.

  2. Three patterns for spoken arguments

    Recall the three organizational patterns for spoken argument taught in this unit (problem-solution, comparative/point-by-point, cause-effect) and state one defining feature of each.

  3. Matching pattern to your listener

    Given their own Unit 1 audience profile and a set of three supports, justify in writing which of the three organizational patterns best fits this specific listener and purpose, connecting a named feature of the audience profile to a named feature of the pattern.

  4. Essay outlines versus speech outlines

    Distinguish a written essay outline from a spoken-argument outline by identifying which features of a sample written outline would fail if delivered aloud without modification (e.g., dense subordinate clauses, absent verbal signposts, citation-page dependence).

  5. Verbal signposts for listeners

    Compose two verbal signpost phrases (a preview and a transition) for a given point in a spoken argument that a reader's paragraph break or header would otherwise signal in print.

  6. Citing sources out loud

    Cite a source aloud within a spoken sentence (naming who, what, and why-credible in under two seconds of speech) rather than reading a citation as a reader would see it on a slide or page.

  7. Critiquing pattern and audience fit

    Critique a peer's draft spoken outline by identifying one place where the chosen organizational pattern does not actually match the stated audience profile, citing a specific mismatch rather than a general impression.

  8. Outline structure versus what listeners hear

    Given a 3-minute recording of their own draft delivery and their written outline, identify at least two specific points where the structure audible in the recording diverges from the structure written in the outline.

  9. Matching patterns to a new audience

    Given an unfamiliar persuasive scenario and an audience profile the class has never analyzed (e.g., a workplace, civic, or cross-cultural listener), select and justify an organizational pattern for that new context using the same reasoning taught for known audiences.

  10. When adapting changes the argument

    Evaluate a claim about how far an argument can be adapted to an audience before it stops being 'the same argument,' using a specific case (e.g., the same claim reshaped for two audiences with opposing values) not discussed in class, and take a defensible position with reasons.

Controlling and Evaluating Deliverypeek inside ▸

This is the unit about how something is said, not what's said. The big idea your child needs to actually believe, not just agree with on paper, is that feeling confident while speaking is not the same as communicating clearly — a recording will show filler words, lost eye contact, or a pace nobody could follow, even when it felt smooth in the moment.

  1. How delivery reveals or hides structure

    Given a short recorded speech excerpt, identify the organizational pattern used (e.g., problem-solution, chronological) and state whether delivery choices obscured a structural transition.

  2. The nine delivery criteria

    Define and correctly label each of the nine delivery criteria (rate, volume, articulation, vocal variety, filler words, pause, gesture, posture, eye contact) when shown an isolated example of each in a short video clip.

  3. Defining the six vocal criteria

    Given the definition and a labeled worked example of each of the six vocal-delivery criteria on the reference card, match a new one-line audio description to the correct criterion name using the taught definitions, without needing to detect the behavior in a full unscripted clip.

  4. Rating strong and weak vocal delivery

    Given a paired set of clips of the same script delivered with strong vocal delivery versus weak vocal delivery, rate each clip against the vocal-delivery portion of the rubric (rate, volume, articulation, vocal variety, filler, pause) and cite the specific moment supporting each rating.

  5. Delivery and structure scored separately

    Explain why a clip with confident, fluent-sounding vocal delivery and a clip with hesitant vocal delivery can receive the SAME organizational-pattern score, using specific evidence from both clips.

  6. When words and body language conflict

    Given a video clip where a speaker's verbal claim (e.g., confident assertion) and physical delivery (e.g., avoided eye contact, closed posture) conflict, predict what a listening audience would most likely believe and justify the prediction using named physical-delivery criteria.

  7. Evaluating your own recorded delivery

    Using the full course delivery rubric, self-evaluate a recording of one's own delivery of the Unit 2 spoken argument, citing a specific timestamp as evidence for each of the six required criteria ratings.

  8. Planning practice for two delivery habits

    Given one's own self-evaluation results, name the two lowest-scoring, most fixable delivery behaviors and generate a concrete rehearsal plan (specific practice actions, not general intentions) targeting those two behaviors.

  9. Measuring change between two recordings

    After a delayed re-recording at least one week later, compare the new self-evaluation ratings on the two previously targeted behaviors to the original ratings and determine, citing timestamp evidence from both recordings, whether the targeted behaviors changed.

Argument Under Pressure: The Defended Addresspeek inside ▸

Everything comes together here — audience profile, structure, delivery — plus one brand-new skill: answering a real objection out loud, inside a live-feeling speech, without falling apart or restarting the argument. The final task is delivered to an actual family member and then checked against what that person actually thought.

  1. Review of key speech vocabulary

    Given a mixed-unit warm-up quiz covering audience profile, claim/support, organizational pattern, and delivery-criteria vocabulary from Units 1-3, students correctly define and apply each term to a short example.

  2. Finding the weakest claim or evidence

    Given a recorded speech excerpt, students identify which specific piece of evidence or claim in it is most vulnerable to counterargument.

  3. Straw objections versus real objections

    Students distinguish a straw-man objection from the strongest real objection an audience is likely to raise, when given three candidate objections to a sample argument.

  4. Rebuttals that answer the objection

    Given a new claim/objection pair structurally identical to the Day 6 worked example (one candidate rebuttal that merely restates the claim, one that directly engages the specific content of the objection), students correctly identify which rebuttal actually answers the objection.

  5. Your listener's strongest objection

    Students generate the single strongest likely objection a specific, named real audience member (not a generic audience) would raise against their own draft claim, using that audience member's profile.

  6. Fitting a rebuttal into your structure

    Students write a rebuttal segment that answers the identified objection without abandoning or restarting their argument's existing organizational pattern.

  7. Scoring with the four part rubric

    Students apply the cumulative Units 1-3 rubric (audience adaptation, argument structure, delivery criteria) plus the new rebuttal criterion to score a peer's rehearsal recording, citing timestamped evidence for each score.

  8. Rebuttals strengthen structure, not delivery

    Students explain why anticipating a counterargument is a structural addition to an argument's case rather than a delivery-polish technique.

  9. Evaluating your own recorded speech

    Students self-evaluate their own delivered address against the cumulative rubric using timestamped evidence from their own recording, before seeing the listener's response.

  10. When you and your listener disagree

    Given their own self-evaluation and their real listener's recorded or written response to the same address, students identify specific points of discrepancy and generate a plausible explanation for each.

  11. Deciding whose judgment guides revision

    Students propose a general principle for deciding whether self-evaluation or audience response should govern revision when the two disagree, and test that principle against a hypothetical higher-stakes scenario (e.g., a job interview or public testimony) not covered in class.

From the parent guide

This is a talking-and-listening course, not a report-writing course. Your child learns to figure out what a specific listener already knows and cares about, build a spoken case for that exact person, and control how they sound and look while saying it. Every speech gets recorded and sent to a real person — a grandparent, an aunt, a sibling — instead of being given to a classroom. Then your child watches their own recording and grades it against a specific checklist instead of just going with "I think that went fine." By the end, they're building an argument that answers pushback out loud, delivering it to someone real, and comparing what they thought of their own performance to what that person actually thought.

Unit 1 · what to expect

Your child spends most of this unit listening to other people's recorded speeches, not making their own. The goal is to build a shared vocabulary — claim versus support, organizational pattern, bias, audience profile — that every later unit in the course reuses. Think of it as sharpening the ear before asking the mouth to do anything.

The full guide covers all 4 units: where kids get stuck, what to say, and how to tell it's working. Included with the course.

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Speech and Communication: Composing, Delivering, and Evaluating Spoken Argument, 10th Grade Homeschool Curriculum | Clareza Academy