Professional Documents
Culture Documents
in
keeping
with
the
structure
of
reasoned
discourse,
it
should
have
as
its
spine
one
or
more
of
the
blocks
of
reason
you
have
been
taught.
The
goal
is
the
effect
you
wish
to
have
on
your
audience.
For
example,
your
goal
might
be
to
explain
a
difficult
concept,
or
to
persuade
them
to
change
or
perhaps
strengthen
their
position
on
something.
Your
audience
in
the
seminar
will
vary.
Your
audience
for
the
mid-term
and
final
portfolio
will
be
members
of
the
writing
faculty
whom
you
should
regard
as
educated
nonspecialists.
Another
member
of
your
audience
is,
of
course,
your
instructor.
Your
primary
audience,
however,
should
be
your
colleagues
in
the
class.
In
the
beginning,
your
colleagues
will
generally
know
very
little
about
the
topic
at
hand.
As
the
semester
progresses,
you
and
they
will
become
a
more
specialized
audience,
with
knowledge
of
the
field.
You
should
strive
to
master
an
understanding
of
their
knowledge,
feelings,
premises,
and
positions
on
topics
through
reading
their
work,
listening
to
what
they
have
to
say,
and
attending
to
the
findings
of
collaborative
sessions.
When
describing
your
audience,
be
sure
to
address:
What
you
think
they
already
accept
or
know
What
you
will
need
to
explain
How
they
are
likely
to
feel
about
the
subject
What
will
require
persuasion
Next,
you
will
provide
a
says/does
description
of
every
sentence
in
your
draft.
Thus
the
first
sentence
of
the
first
paragraph
might
be
described
as
follows:
P1S1
says:
Students
usually
outline
before,
not
after,
they
write
a
paper
P1S1
does:
States
a
specialized
quantitative
premise
to
launch
the
explanation
As
this
suggests,
the
rhetorical
outline
requires
that
you
paraphrase
each
sentence
and
then
explain
what
it
is
doing,
emphasizing
its
role
in
your
reasoning.
SaysWhat
a
Sentence
Means
The
says
part
of
the
outline
is
reasonably
self-evident,
if
not
always
easy
to
do:
using
different
words,
restate
the
point
of
your
sentence.
Your
paraphrase
should
try
to
capture
the
heart
of
the
sentence,
as
well
as
strive
for
clarity,
simplicity,
brevity.
Thus
if
I
have
written:
When
you
really
examine
critical
writing
and
the
responses
to
it
that
professors
and
others
may
give
to
it,
you
will
find
that
in
the
end
what
you
have
to
say
is
more
important
in
critical
writing
than
how
stylistically
beautifully
you
say
it.
My
says
of
the
above
sentence
might
be:
Says:
Substance
trumps
style
in
critical
writing.
Or:
Says:
A
critical
writers
audience
values
substance
over
style.
As
these
two
paraphrases
underscore,
the
says
prompts
you
to
eliminate
clutter.
It
forces
you
to
decide
what,
if
anything,
in
the
sentence
is
important
to
preserve.
Notice
in
these
two
rewrites
that
one
sentence
foregrounds
substance
and
style,
while
the
other
foregrounds
the
audiences
desires.
Each
sentence
sets
up
somewhat
different
expectations,
different
paths
for
the
next
sentence
to
take.
Guide
to
Writing
Rhetorical
Outlines
2
The
says
part
of
the
outline
also
prompts
you
to
come
up
with
different
ways
of
saying
the
same
thing.
Each
restatement
will
have
a
different
effect.
For
example,
I
could
also
rewrite
the
above
sentence
as:
Says:
In
critical
writing,
substance
is
more
important
than
style.
This
sentence
replicates,
in
meaning,
the
first
says
above.
However,
changing
the
verb
from
the
strong
trumps
to
the
weaker
is
changes
the
voice
and
tone
of
the
sentence
from
punchy
and
direct,
to
formal
and
passivefrom
strong
tea
to
weak
tea.
In
turn,
opening
with
a
prepositional
phrase
changes
the
rhythm,
texture,
and
intonation
of
the
sentence.
Polishing
for
the
readers
ear
in
such
fashion
is
not
the
greatest
priority
of
the
critical
writerwho
indeed
values
substance
over
stylebut
can
be
a
lovely
flourish
once
you
are
certain
that
your
reasoning
is
clear,
solid,
well-supported,
and
attuned
to
your
audience.
DoesThe
Method
for
Delivering
the
Says
For
most,
the
does
statements
are
more
challenging
than
the
says
statements.
Becoming
aware
of
the
fact
that
sentences
do
things,
not
just
say
things,
is
half
the
battle.
The
does
of
critical
writing
is
foundational
to
its
meaning.
How
you
reasonwhat
you
do
to
prove
your
argumentis
as
important
as
what
you
have
to
say.
Weak
reasoning
is
seldom
persuasive.
If
your
proposition
is
unsupported
by
reasons,
or
the
reasons
are
contradictory,
illogical,
or
lacking
in
evidence,
your
audience
will
be
inclined
to
reject
or
ignore
it,
no
matter
how
beautiful
and
engaging
your
writing
happens
to
be.
If
you
hire
someone
to
build
your
house
who
neglects
to
create
a
solid
foundation,
you
will
not
be
impressed
by
lovely
haphazardly-arranged
piles
of
materials.
Critical
writing
sentences
do
at
least
three
things:
they
convey
meaning
(says);
they
provide
reasonings
scaffolding
(method);
and
they
produce
various
secondary
effects
(sound,
other
types
and
layers
of
meaning,
emotional
triggers).
Your
says
statements
address
the
first
function
of
sentences.
Your
does
statements
focus
on
the
next
two,
with
the
primary
emphasis
on
reasoning.
As
you
become
comfortable
with
writing
and
identifying
reasoned
discourse,
you
may
branch
out
and
add
other
things
your
sentences
are
doing.
What
Sentences
Do:
Here
are
some
of
the
things
a
critical
writing
sentence
may
do:
1.
Introduce
a
premise:
Arguments
and
explanations
must
always
begin
in
agreement.
One
of
the
first
tasks
of
a
writer
is
to
discover
some
point
of
common
ground
upon
which
to
build
an
argument.
It
is
best
to
begin
with
a
shared
premise.
However,
if
none
can
be
found,
then
writer
and
readers
need
to
agree
on
something
else.
In
argument,
this
will
include
agreement
on
what
counts
as
evidence,
and
what
form
a
persuasive
argument
will
take:
flipping
a
coin;
arm-wrestling;
the
alignment
of
the
stars;
or,
in
academic
and
professional
discourse,
the
form
of
reasoning.
A
premise
is
an
already-proven
or
accepted
proposition.
It
may
be
a
fact,
a
principle,
an
axiom,
a
rule,
a
commonly-held
belief.
A
premise
is
a
generalization
that
you
are
reasonably
certain
your
audience
accepts.
Premises
are
used
to
open
argumentsproviding
common
ground
between
you
and
your
readerand
also
used
as
reasons
in
support
of
your
argument.
Thus
if
I
am
setting
out
to
argue
for
animal
rights,
I
will
likely
begin
Guide
to
Writing
Rhetorical
Outlines
3
by
drawing
upon
the
generally-accepted
premise
of
human
rights
to
provide
common
ground.
From
there,
I
will
borrow
and
adapt
reasons
(premises)
used
to
support
human
rights
to
advance
my
argument
for
animal
rights.
In
your
does
statement,
you
might
identify
a
premise
and
note
what
it
is
doing.
For
example,
a
premise
might:
establish
common
ground
between
writer
and
reader.
be
a
precondition
for
the
argument
or
explanation
you
wish
to
make.
be
a
reason
in
support
of
your
proposition.
be
evidence
in
support
of
your
reason.
This
premise
will
be
either:
Universal:
something
most
people
would
agree
with;
or
Specialized:
something
your
targeted
audience,
but
not
all
people,
would
agree
with
This
premise
may
state
a:
Truth:
a
concept,
philosophy,
approach,
belief
held
by
most
or
held
by
the
targeted
audience,
or
Fact:
a
proposition
that
has
been
proven
through
standard
rules
of
evidence
held
by
most
people
or
by
the
targeted
audience
This
premise
may
be:
Abstract:
a
concept
such
as
truth,
freedom,
justice,
change,
happiness
Concrete:
a
concept
grounded
in
concrete
social
relationships
that
can
be
observed
and
experienced,
such
as
solidarity,
fidelity,
generosity
This
premise
may
be:
Quantitative:
percentage,
majority,
measurements,
quantitative
comparisons
such
as
taller
than,
richer
than
Qualitative:
based
on
abstract
(universal
or
specialized)
values
such
as
desirable,
rare,
preferable,
better,
exquisite,
important,
significant
2.
A
sentence
might
introduce
an
explanatory
or
justificatory
proposition.
Note
that
your
proposition
is
also
a
premise,
though
as
yet
unproven:
that
is
your
job.
You
can
describe
what
your
proposition
is
doing
using
the
same
vocabulary
as
that
of
the
premises
described
above.
3.
A
sentence
can
provide
a
reason.
A
reason
is
a
premise
used
to
support
ones
proposition.
Critical
writers
begin
with
a
premise,
and
thereafter
advance
their
argument
through
a
series
of
premises
which,
depending
on
the
discipline
or
profession,
may
have
other
names.
We
use
the
term
reason
because
its
the
most
generally
applicable.
To
persuade
my
reader
to
give
animals
rights,
I
will
provide
a
series
of
reasons
and
evidence
to
support
my
proposition.
Ideally
the
reasons
I
choose
will
already
be
persuasive
in
their
form.
For
example,
I
might
use
a
majority/quantitative
premise
knowing
that
Americans
are
moved
by
majority/quantitative
reasons.
I
might
also
use
an
abstract
universal
premise
as
a
reason
(freedom)
knowing
that
Americans
tend
to
have
strong
positive
feelings
about
freedom.
Reasons
are
used:
in
support
of
the
proposition.
to
refute
the
proposition.
to
refute
or
concede
to
the
opposition.
4.
A
sentence
may
support
and
develop
a
premise,
proposition,
or
reason
by:
Guide
to
Writing
Rhetorical
Outlines
4
restating it to clarify a complex idea. defining a key term. providing evidence. Depending on the discipline or profession, this evidence may include: Personal experience or observations Others experiences or observations Quotations of authorities or authoritative texts Testimonials of authorities Excerpts, presentations, or quotations of primary sources, such as literature, recordings, artifacts Numbers Logical Proofs Lab Reports Analogies analyzing, interpreting, explaining, or evaluating it. qualifying or stating an exception to it.
5.
Sentences
may
also
incite
a
readers
emotions
(see
list
of
logical
fallacies).
6.
A
sentence
may
also
provide
a
transition
(linkage)
between
two
paragraphs,
sentences,
arguments;
or
between
proposition,
reasons,
and
evidence.
In
most
cases
a
transition
sentence
will
also
perform
one
of
the
functions
indicated
above
in
addition
to
acting
as
a
bridge.
7.
A
sentence
also
provides
texture,
variation,
rhythm,
pitch
that
makes
the
experience
of
reading
more
pleasurable
and
engaging.
Reserve
this
level
of
cosmetic
analysis
and
polishing
for
final
drafts.
Does
and
DoesntWhen
Sentences
Lack
Function
As
you
outline
your
draft,
or
that
of
your
peer,
you
will
notice
that
some
sentences
arent
doing
anything.
When
this
happens,
briefly
remark
this
in
your
does
sentence:
P3S4:
says:
Nurture
and
nature
both
determine
character
does:
redundant.
Repeats
information
already
presented
in
P3S2
Or:
does:
seems
to
be
a
new
idea
not
related
to
the
reason
being
developed
Or:
does:
introduces
a
new
reason
Or:
does:
not
follow
exercise
format
and
open
with
a
reason
In
turn,
you
may
notice
that
two
or
three
sentences
are
working
in
concert
to
do
one
thing:
P2S3-6:
says:
I
was
given
a
painstaking
lesson
in
outlining
from
my
5th
grade
teacher
does:
provides
a
personal
anecdote
to
illustrate
the
reason
Final
Portfolio
CriteriaDemonstrating
the
Ability
to
Discuss
the
Craft
of
Writing
One
of
the
four
criteria
of
assessment
for
the
final
portfolio
is
demonstration
of
your
knowledge
of
writing.
The
outline
is
the
major
tool
for
developing,
practicing,
and
demonstrating
this
knowledge.
Like
any
artist,
your
understanding
of
the
craftand
your
aimis
always
going
to
outstrip
what
you
are
actually
able
to
execute
in
the
art
itself.
Along
with
being
a
valuable
tool
for
metacognitive
development
and
revision,
the
rhetorical
outline
is
also
a
checklist
for
logical
coherence
as
well
as
an
excellent
way
to
practice
your
skills
of
paraphrase
and
expand
your
Guide
to
Writing
Rhetorical
Outlines
5
repertoire of rhetorical strategies. As you analyze your own and others writing, you will acquire innumerable ways of, for example, supporting an explanatory reason or bridging two paragraphs. Artists learn from other artists, if they know how to assess a colleagues craft, a colleagues strategy for approaching a similar problem. As you peer review others work and see how they have outlined your work, note the strategies described and deployed. You will pick up new moves as well as new (and often better) ways of expressing your ideas.