pb2b: some title or some shit or something

Moves are the tactics deployed by writers to enhance their argument. A strong move can be as simple as leading off an essay with an anecdote, to something more complicated such as creating parallels in sentence structure that stay consistent from paragraph to paragraph. Both of these two moves can be equally effective when practiced in useful places within an essay. Authors such as Lamott and Boyd in particular seem to focus the practical purpose of their styles on creating relatable pieces that are easy reads as well as informative. Through the use of either bold or conservative moves in proper situations, writers create the styles that make one different from the next, keeping their writings interesting and individual.

Anne Lamott, in her essay “Shitty Rough Drafts,” a piece in which her moves’ successes derive from their more relatable approach to explaining the importance of rough drafts. By using the word “shitty” in the title, the author immediately steps away from traditional writing techniques and customs, which can provide a source of intrigue before the written text even begins. Additionally, Lamott writes in with a more conversational style and her words and phrases flow as if they were spoken, such as the natural pauses created by the commas: “all right, one of them does” (22). This keeps the reader engaged and personal tone makes the content more easily absorbed, such as when Lamott outlines the common image of a successful writer—“enthusiastic and confident” (21). She does this only to quickly strike down this vision by providing a more realistic depiction of a writer. They write ‘shitty’ first drafts, only to tear those preliminary versions apart on their way to a more polished second or third draft. After efficiently explaining why the drafting process is necessary for ‘good’ writing, Lamott smoothly transitions into instructions for a constructive revision process, listing the major steps in her writing process such as writing too much, cutting it down, and marking up hard copies (24-25). The author is able to stress the importance of putting ideas on paper in an unofficial, unfinished manor because approaches a, frankly, rather mundane subject from an unorthodox angle, making it more effective in conveying her purpose.

Janet Boyd’s “Murder! (Rhetorically Speaking)” showcases a different set of moves, one with several obvious differences. The most prominent, perhaps, is Boyd’s ability to further her argument on the importance of purpose, audience, and context awareness through an extended example of the analysis of a crime investigation (88). She then goes on to explain how the list of facts of this imaginary crime can be read within the scope of a multitude of genres. By leading with a list of provocative details, Boyd plants an idea in her reader’s head, allows them to think over said idea, and then points them into the direction she intended. This move, stylistically organizing her argument so that the reader is allowed time to mull over the reading, improves the logical structure of the essay as well as maintains a strong level of reader interest. The author also periodically takes a break in argumentation to present the audience with bullet points containing questions that lead the reader to better understand genre (88, 94). This strategy, like Lamott's approach to the task of teaching writing, emphasizes relatability as a key path to reader attention. Boyd leads the reader to the conclusion she wants them to make, and the reader, in turn, develops a more comprehensive understanding through the step by step process provided by the writer.

Lamott and Boyd, as mentioned above, share one glaring similarity: they both try to connect with the reader by appropriating their linguistic and organizational style. These unique approaches to writing instruction offer a new-look way of capturing the reader and then delivering the information. This style, in contrast to dry textbooks, are more likely to keep a student turning pages. Lamar and Boyd are both interestingly driven by creating this casual relationship with their audience through their respective rhetorical devices. These two writers successfully shape their arguments in an understandable and intriguing ways, and through their moves are able to inform students more effectively and enjoyably than a normal course text.