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Recommended: Writing style
My columnist, Catherine Rampell, writes with clear and distinguishable voice. This voice carries her pieces, giving each one the same qualities that define her writing. Regardless of topic, Rampell crafts her pieces with the same components: short intros, a witty voice, and direct quotations scattered in to add evidence and credibility. Through thorough examination of Rampell’s works, I found her writing to be very formulaic (though I’m sure this is true of a myriad of other columnists, especially considering the pressures on the industry.) Once I discovered her formula, my imitation began to write itself.
Staying true to Rampell’s style, I opened with a hook. Rampell forms her hooks in two ways: one being a question, while the other entails a vague, yet intriguing statement. I took the latter
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These questions, some rhetorical and some out of genuine curiosity function differently depending on their placement in the piece. For instance, questions positioned in the middle of an article are typically answered by Rampell herself. In one article she asks, “How could either actually get their ambitious plans through?” She then immediately proposes a solution, which in this case was - sarcastically of course - a “political revolution” and “magical underpants gnomes.” I followed the same pattern in the middle of my imitation, in which I asked, “Didn’t they recognize the racism, stereotypes, and plain disrespect that come, as collateral damage, attached to the previous logos?” I then immediately answered with, “Of course they didn’t.” Additionally, like Rampell, I ended the imitation with an unanswered question. For this addition in my piece, I drew inspiration from Rampell’s “Low-wage Senate workers get a raise- and then the shaft,” in which she concluded with the pensive question, “Do they know, or do they not
The human form transcends throughout time persistently present in art. Dating all the way back to Paleolithic human beings our renderings of idealized forms have served many purposes. Though the Neolithic and Paleolithic purpose of these renderings is widely speculative the range of reason for these depictions ranges from idolization and worship to assertion of aristocratic and economic status even to simply serving as statements of self-expression. Amongst ruins and artifacts, sculptures of ancient cultures demonstrate the ways in which humans perceptions of what is aesthetically desirable have progressed. Two idealized sculptures the Woman from Willendorf and the Khafre statue with approximately 21,500 years separating their individual gestations this demonstrate the stylistic progression of idealized imagery through time.
In her article “Shitty First Drafts,” Anne Lamott creates an argument attempting to prove to her readers that every good writer begins with a “shitty” first draft. This is a very bold claim to make about writers, and obviously should have some solid evidence to back it up. However, contrary to what one might think, Lamott has little to no “real” evidence to support her statements. Instead, she uses humor and sarcasm to cover the fact that she has no real support for her views. By doing this, Lamott lacks much of the credibility (usually) needed in a rhetorical argument, and her humorous tone does not suffice for a convincing argument. Even though Lamott incorporates a great deal of sarcasm and absurdity in her work, she lacks the most important
Widely respected throughout America, Anna Quindlen is a notable author and columnist who jump started her career as a part-time reporter for the New York Post at the age of 18. After earning her B.A. degree at Barnard College, New York City, Quindlen upgraded to positions as a general columnist, and later deputy metropolitan editor, for the New York Times. Her biweekly column, “About New York,” resulted in her becoming the third woman in all history of the Times to write a regular column for the exclusive and elite op-ed page. Quindlen then went on to receive the Pulitzer Prize for Commentary in 1992. From essays to children’s books to semi-autobiographical novels, Quindlen has been putting her thoughts down on paper for as long as she can remember -- a habit that has certainly paid off, as evidenced by her incredible success. This writer’s duty is to pass on the advice and
Catherine, Called Birdy by Karen Cushman is a historical fiction diary because it is about an adolescent girl writing about her life from 1290 to 1291.
Andi Anderson (Kate Hudson) is a beautiful, young, and successful writer who maintains a “How-To” section in “Composure” magazine. Her dream is to “write about things that matter, like politics and the environment, and foreign affairs- things I’m interested in.” (How To Lose A Guy In 10 Days, time stamp 02:00). She knows that the only way she will eventually be able to write about subjects she’s passionate about is to be successful in writing her superficial “How-To” section in the magazine.
In her article “But What Do You Mean” Deborah Tannen, claims that there is a huge difference in the style of communicating between men and women. Tannen breaks these down into seven different categories; apologies, criticism, thank-yous, fighting, praise, complaints, and jokes. With each of these she compares men to women by explaining the common misconceptions that each of the genders do. The different style of communication can cause some problems at the workplace and even affect the environment. The different styles of communication has been around forever and almost becomes a “ritual”(299). Tannen is effective with mainly women and not men. She is primarily successful with women due to the fact that her tone targets women, also the organization
Both Chang Rae-Lee and Amy Tan use their articles to illustrate the impact their mothers had on creating a respectable ethos as a writer. Lee and Tan are authentic and true, which are great values instilled by a mother that shine through in their writing. These articles are great examples of how much a writer’s ethos contributes to his/her overall argument. As said by Lee, "Having been raised in an immigrant family,…[one sees] everyday the exacting price and power of language…" (Lee 584).
A common mistake individuals make is that they describe sex and gender as the one in the same. Sex is assigned at birth and is based on a person’s genital appearance. Gender is a social construction; it reflects a culture meaning associated with a performance of femininity or masculinity. Sarah Rosetta Wakeman was born with the sex of female but as she grew older she would be seen associate with the gender of male. Wakeman was a simple farm girl from central New York and was the oldest of seven children. She left home and began dressing as a man and later joined the service into the 153rd regiment for the Union. She used the alias’ Private Lyons Wakeman and Edwin R. Wakeman. Wakeman ability to pass as a man in the Civil
Thomas Osborne opens the narrative with a description of himself up very late at night trying to write a paper. Sadly, he’s been at it for four days, and unfortunately he seems to have writer’s block. Osborne’s personal experience with a first draft that he deems “failed” due to the writer’s block. Also, his realization of his personal writing style and how he uses it to his advantage versus conforming to a more normal style of writing occurs later in the selection. Looking through the lens of a reflective analysis perspective, it’s easy for me to find similarities to Osborne through my writing style, personal experiences, and through analysis I better understood
As every well-read person knows, the background in which you grow up plays a huge role in how you write and your opinions. Fuller grew up with a very strict education, learning multiple classic languages before she was eight years old. Fern grew up with writers all throughout her family and had a traditional education and saw first hand the iniquities of what hard-working had to contend with. Through close analysis of their work, a reader can quickly find the connections between their tone, style, content, and purpose and their history of their lives and their educational upbringing.
David Foster Wallace, author of the essay “Authority and American Usage*,” praises and advocates for “good” writers who have a strong rhetorical ability, which he defines as “the persuasive use of language to influence the thoughts and actions of an audience” (Wallace 628). To have a strong rhetorical ability, an author needs to be aware of whom their audience is, in order to present their information in a way that will be influential on their audience. Wallace recognizes that an author who applies a strong rhetorical ability will be able to connect with the audience so that they respond “not just to [their] utterance but also to [them]” (Wallace 641). An author needs to take into consideration not just content, syntax and grammatical structure (their “utterance”) but also how their character will be perceived by their audience. A positive tone will make the author seem more pleasant and relatable, whereas a negative tone connotes arrogance and pretentiousness. That is why it is crucial for an author to recognize that an audience will respond to “them” and not just their “utterance,” as an author’s appearance to their readers can also shape how impactful their writing is.
Patricia Hill Collins outlines the existence of three different dimensions of gender oppression: institutional, symbolic, and individual. The institutional dimension consists of systemic relationship of domination structured through social institutions, such as government, the workplace or education institutions. In other words, this dimension explains “who has the power”. This is completely related to a patriarchal society. Patriarchy is the manifestation and institutionalism of male dominance. This means that men hold power in all institutions, while women are denied the access to this power. The symbolic dimension of oppression is based on widespread socially sanctioned ideologies used to justify relations of domination. It reflects inequality
In the Introduction to "They Say / I Say": The Moves That Matter in Academic Writing, Gerald Graff and Cathy Birkenstein provide templates, that were created from fundamental writing moves, that writers usually pick up along the way without realizing it. Those moves are so common that the authors turned them into templates in their book. The authors consider the main template “They Say / I Say” to be the foundation for all successful dialogue. Specifically, Graff and Birkenstein argue that the types of writing templates they offer help less experienced writers, as well as accomplished writers guidance and direction, to structure and generate their own writing. As the authors themselves put it “One of our key premises is that these basic moves are so common that they can be represented in templates that you can use right away to structure and even generate your own writing.” In other words, the authors offer a simplified tool to create writing on an academic level.
and Other Greats : Lessons from the All-star Writer's Workshop. New York: McGraw-Hill, 2006. Print.
Shea, Renee, Lawrence Scanlon, and Robin Scanlon. The Language of Composition: Reading, Writing, Rhetoric. 2nd ed. Boston: Bedford St. Martins, 2013. 525-529,546-551. Print.