1. From Rules to the Ridiculous understanding audience when considering matters of correctness, style, and choice

2. What would you do if the person you were talking to looked like this?

3. In oral communication, we have the benefit of immediate feedback from our audience. A smile… A nod… A furrowed brow… We can make adjustments on the fly.

8. When we speak to people we are constantly assessing their reactions. We can read their non-verbal cues—their facial expressions, body language, and so forth. Sometimes they will even stop us to tell us what they think about what we are saying, or if they don’t understand. This feedback allows us to make adjustments. But how does this work in writing?

10. It’s easy to lose sight of our audience when writing…

11. After all, isn’t writing a lone activity? Something done in quiet solitude? You know the image—the writer alone in his cabin in the woods where no one else matters. Is this an accurate view of writing?

12. When talking about writing… There’s no right or wrong writing BUT… There is writing that is effective and writing that is not so effective Who decides if your writing is effective? There’s no right or wrong writing BUT… There is writing that is effective and writing that is not so effective Who decides if your writing is effective?

13. Writing is about making choices… How do you know what choices to make as a writer? Every choice you make as a writer should be based on your absolute understanding of just two things… How do you know what choices to make as a writer? Every choice you make as a writer should be based on your absolute understanding of just two things… 1. AUDIENCE 2. PURPOSE

14. Audience Analysis As writers, we need to make a deliberate effort to understand our audience We need to do some analysis by asking questions about our audience And then keep the resulting image of who our audience is foremost in our minds as we make our choices Know your audience, know how you want to affect your audience (i.e. know your purpose), and then make choices As writers, we need to make a deliberate effort to understand our audience We need to do some analysis by asking questions about our audience And then keep the resulting image of who our audience is foremost in our minds as we make our choices Know your audience, know how you want to affect your audience (i.e. know your purpose), and then make choices

15. PRACTICE: recognizing the target audience

16. Choose the right audience… Dear Sir, I am sorry to bother you with this, but I just wanted to verify with you an e-mail that I received from Mr. Johnson yesterday afternoon… Dear Sir, I am sorry to bother you with this, but I just wanted to verify with you an e-mail that I received from Mr. Johnson yesterday afternoon… Your co-worker The CEO Your cousin in Cleveland

17. Choose the right audience… Mike, Johnson sent this to me yesterday afternoon and I have no idea what he is talking about. Does it make sense to you… Mike, Johnson sent this to me yesterday afternoon and I have no idea what he is talking about. Does it make sense to you… Your co-worker The CEO Your cousin in Cleveland

18. Choose the right audience… Hey man, Wonder if you can help me out. My boss sent this to me yesterday afternoon and I just can’t figure out what he means. What’s your take on it… Hey man, Wonder if you can help me out. My boss sent this to me yesterday afternoon and I just can’t figure out what he means. What’s your take on it… Your co-worker The CEO Your cousin in Cleveland

19. So what about all the rules of English?

20. Any fool can make a rule and every fool will mind it. – H ENRY D AVID T HOREAU

21. Choices versus Obedience In some matters of language we have no choice: “up the street” vs. “the street up” But for other matters choice is at the forefront of a good writer’s mind. Which is clearest and most direct? –There was a lack of evidence in support for their claim. –Their claim suffered from a lack of evidence in its support. –They could not support their claim because they lacked evidence. In some matters of language we have no choice: “up the street” vs. “the street up” But for other matters choice is at the forefront of a good writer’s mind. Which is clearest and most direct? –There was a lack of evidence in support for their claim. –Their claim suffered from a lack of evidence in its support. –They could not support their claim because they lacked evidence.

22. Choice vs. Obedience Sometimes what is choice and what is not is contested… –Can I split an infinitive? –Can I start a sentence with and? –Can I end a sentence with up? Sometimes what is choice and what is not is contested… –Can I split an infinitive? –Can I start a sentence with and? –Can I end a sentence with up?

23. The fact of the matter… We must write English correctly, but we also must realize that some points of “correctness” are less important than we think (or not important at all). “Correct” writing is a not necessarily clear, direct, or effective. We must write English correctly, but we also must realize that some points of “correctness” are less important than we think (or not important at all). “Correct” writing is a not necessarily clear, direct, or effective. Unlike matters of style, correctness seems not to offer choices but to require obedience.

24. Three kinds of rules 1.Rules that govern the fundamental structure of English –the book, not book the 2.Rules that define standard written form –you were, not you was –I don’t know anything, not I don’t know nothing 3.Rules invented by grammarians about trivial points of usage –Don’t split infinitives, as in to quickly leave. –Don’t use than after different, use from. –Don’t use between with three or more. 1.Rules that govern the fundamental structure of English –the book, not book the 2.Rules that define standard written form –you were, not you was –I don’t know anything, not I don’t know nothing 3.Rules invented by grammarians about trivial points of usage –Don’t split infinitives, as in to quickly leave. –Don’t use than after different, use from. –Don’t use between with three or more.

25. Observing rules thoughtfully The worst (i.e., safest) case policy –Follow all the rules all the time because somewhere sometime, some reader might criticize you for something. –But if you follow all the rules all the time you surrender a measure of stylistic choice. A more thoughtful (i.e., riskier) approach –The alternative to blind obedience is selective observance –As always, be mindful of your audience. How conservative are they? What will they accept or not accept? Put clarity and directness before “correctness.” The worst (i.e., safest) case policy –Follow all the rules all the time because somewhere sometime, some reader might criticize you for something. –But if you follow all the rules all the time you surrender a measure of stylistic choice. A more thoughtful (i.e., riskier) approach –The alternative to blind obedience is selective observance –As always, be mindful of your audience. How conservative are they? What will they accept or not accept? Put clarity and directness before “correctness.”

26. If vast numbers of careful writers choose to ignore a rule and the vast majority of educated, careful readers don’t notice, then the deviation from the rule can be neither an error in good grammar nor a violation of “good” usage. – J OSEPH W ILLIAMS Observing rules thoughtfully

27. Writing by design… Writing is about choices Writing is architecture Writing is more than just words –it is about design, about conscious choices that change the way people experience meaning Writing is power Writing is about choices Writing is architecture Writing is more than just words –it is about design, about conscious choices that change the way people experience meaning Writing is power

28. The secret of style Have something to say, and say it as clearly as you can. That is the only secret of style. – M ATTHEM A RNOLD

29. Understanding style It is good to write clearly, and anyone can. Choice is at the heart of clear writing. Before our readers can accept our claims they have to understand them. Why do so many have a style that instead of revealing ideas, hides them? (Read from Williams 4~5) It is good to write clearly, and anyone can. Choice is at the heart of clear writing. Before our readers can accept our claims they have to understand them. Why do so many have a style that instead of revealing ideas, hides them? (Read from Williams 4~5)

30. Some causes of unclear writing Hiding behind language –To plump ideas and to mask their absence, hoping to impress those who confuse difficulty with substance Bad memories of HS grammar (Williams 10) Temporary aphasia— –a loss of the ability to use or understand language when learning to write or think in a new academic or professional area Hiding behind language –To plump ideas and to mask their absence, hoping to impress those who confuse difficulty with substance Bad memories of HS grammar (Williams 10) Temporary aphasia— –a loss of the ability to use or understand language when learning to write or think in a new academic or professional area

31. Principles of style can help Style takes us beyond rules –No one can teach good writing by rule… Help is in a few reliable principles, not in inviolate rules Good style can help us write more clearly and, therefore, see and feel and think more clearly Style takes us beyond rules –No one can teach good writing by rule… Help is in a few reliable principles, not in inviolate rules Good style can help us write more clearly and, therefore, see and feel and think more clearly

32. PRACTICE: making choices as you write

33. your family priest best friend 4-year old sister neighborhood pimp someone who doesn’t speak English very well the chief of police someone you’re talking to at a bar Guess the audience…

34. If you wish to persuade me, you must think my thoughts, feel my feelings, and speak my words. –M ARCUS T ULLIUS C ICERO