Writing Masterclass: Presentation (Strategy 6 in the Writing Masterclass Series) | Rachel Leroy | Skillshare

Writing Masterclass: Presentation (Strategy 6 in the Writing Masterclass Series)

Rachel Leroy, Stop Striving and Start Thriving

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8 Lessons (33m)
    • 1. Strategy 6 in Become a Professional Writer

      5:34
    • 2. Introduction and Writing Presentation: Mood Clarifiers Strategy 6 Technique 1

      4:56
    • 3. Writing Presentation: Showing Human Characteristics Strategy 6 Technique 2

      3:57
    • 4. Writing Presentation: Unities Strategy 6 Technique 3

      3:18
    • 5. Writing Presentation: Rhetorical Situation Strategy 6 Technique 4

      2:28
    • 6. Writing Presentation: Rhetorical Appeals--Ethos, Pathos, and Logos Strategy 6 Technique 5

      4:59
    • 7. Writing Presentation: Tone Strategy 6 Technique 6

      5:29
    • 8. ClosingThoughts

      2:07

About This Class

 If you enjoyed this course, please like it and share with others. Honest reviews are welcome and appreciated. 

In this course you will learn to hone your style and craft in the fundamentals of effective writing.

  • Practice effective word usage and economy
  • Implement proactive sentence structure
  • Utilize effective word order and sentence flow
  • Create strong intros, conclusions, paragraph order, and variety
  • Strategize your purpose and unity with maximum effect
  • Convince your reader through strong logic and presentation
  • Understand what attitudes will give you an edge in your writing
  • Practice effective habits that will help you create the writing quality you desire

This course is intended to be part of the series, Writing Masterclass: The Ultimate Guide to Writing Mastery. "Writing Presentation" is Strategy 6 of this series:

Strategy 1, Writing Words

Strategy 2, Writing Sentences

Strategy 3 Writing Structures

Strategy 4, Writing Paragraphs

Strategy 5, Writing Purpose

Strategy 6, Writing Presentaiton

Strategy 7, Writing Attitudes

Strategy 8 Writing Habits

Transcripts

1. Strategy 6 in Become a Professional Writer: hello and welcome to writing that sales techniques that transform your writing. This course offers you an opportunity to improve your riding style through specific techniques that you can apply right away to your writing process. Now this isn't a course on how to sell your riding directly, but it's a course on how to improve your riding style itself, which will increase the chances that you're riding will sell itself. In addition to specific marketing strategies that you may use, the course covers different sections of the writing process and nuts and bolts techniques on how to improve your writing process and your riding style. It covers all the way from the word level, all the way to global issues, all the way to habits and attitudes. The course is set up into four sections, one section on words and sentences, so it starts with words and then builds into sentences. Then there's another section on paragraphs and structures, and so it's scaffold and build into paragraphs in structures in terms of larger chunks of the writing process. And then it goes into purpose and presentation, which is looking more at global ideas, combining paragraphs and combining host structures of your piece to see what it looks like as a whole, and then stepping back from your writing pieces individually and looking at them as a group . You will also have a section on habits and attitudes that can help maximize your writing process, help you to improve your riding style and help you to increase the chances of succeeding in your goals as a writer. Now, this course is for anybody who wants to improve the writing style. It's targeted more for beginners, but it could also be useful for intermediate riders. Whether you're a business writer, a creative writer, someone who writes poems, short stories, poetry, someone who blocks someone who writes academically. Whatever the case, maybe there's a little bit of something for everyone in this course. If you're an advanced writer, you may find things that will help you here. But this is more, of course, for in intermediate and beginning writers, the goal of this course and what it will do for you, this course. Like I said, we'll help you to improve yourself as a writer in a way that will be techniques that you can apply practically and specifically and, um, each course section. Like I said, it's set up into two strategies per section. There's eight strategies total several techniques per strategy and each technique. For most of them. There is an explanation. First a rule and then an explanation, a demonstration or an example and then an application of it in some way so that you can put it into practice right away. The example helps you to see that particular technique in practice, and then the exercise and or the quiz at the end of each particular strategy will actually help you to apply that technique so you know how to use it in your own riding, and you can apply it right away. Keep in mind that none of these techniques are necessarily catch alls. For example, if we say use active voice, that doesn't mean that you use active voice 100% of the time. So keep in mind that these techniques are not all out rules, even though that word may be used on occasion to describe these techniques. So if there's a case where active voice is not appropriate or it doesn't flow, well, then don't use it. So this is like I said, Each technique is not a catch all but a general rule of thumb. In each situation, you'll need to look at the context of the situation to see what's most appropriate, like anything, for example, a musician. First, you have to learn the rules before you can break them, and then once you understand the nature of them, that's when breaking them becomes appropriate because you understand the context of a situation. So keep that in mind as well. Um, but this course is unique because it covers a wider range of techniques than some of the similar courses that air included on this side and similar sites because it includes a wider range of techniques in many cases, and also it covers habits and attitudes. I think it's important not just a look at the Senate's level and the word level, the paragraph level and the whole work level. But to stand back and look at your works as a whole and look at patterns in your own riding style and patterns in your habits that influence those techniques, and so we'll talk about and cover that as well. The course is set up in terms of each of the sections in each of the techniques in each of the strategies. For each section, there will be two videos with talking over slide shows, so they'll be to slide shows per section, and there will be a talking head video over each one that will guide you through that process. At the end of that talking head video or slide show, there will be either a quiz or a some kind of technique or exercise to apply to that. In some cases, there may be both, but in most cases it will be either one or the other, depending on which is more appropriate in that situation. So let's go ahead and get started and welcome to the course writing that sales techniques that will transform your writing. 2. Introduction and Writing Presentation: Mood Clarifiers Strategy 6 Technique 1 : hello and welcome to Strategy. Six were moving right along as the Muppets sink that say that to my students and those sneakers sometimes but moving right along under strategy. Six. We have presentation, and the strategies for this one is to clarify rhetorical situation, plan your unities and stick with them. Clarify your rhetorical situation and your rhetorical situation includes your genre, your voice, your audience, your all of those things that create what your story is and how you're going to present your purpose. Your main idea. Plan your unities and unities or things like tone to a degree. Um, pro nail reference TNT's ver tents and things like that and then stick with them. Understand your audience purpose and tone from the beginning. Plan your point of view verb tense pronoun references, etcetera and keep them consistent throughout. Unless there's a specific reason to change them. Of course, if you are in present tense and then you go into a story that's in past tense, there is a clear reason for changing that particular unity and unities. Like I said, all those things that you want to think about ahead of time that usually stay consistent throughout a piece. And so think about what those are planned them consciously and then stick with them throughout. And then when you go back and revise, go through and make sure that all of their unities are staying consistent because it's very easy to get wonky and to shift into another point of view. Because once again we tend to write how we speak and we shift back and forth when we're speaking. And so it's really important to work on keeping that consistent throughout once again. That's one of my weaknesses I have to Constantly aka threatened, looked through something four times, and I'm like, I've got this right and I'll find point of view that still in past tense that should be in present or vice versa, or something like that or a pronoun reference that's often them like I just looked at that . So it's really good and really important to go through it several times now. Technique. One of presentation is to alert readers to mood changes. Early alert readers to mood changes early and basically a change in mood is win the context of a situation changes or your contrast ing to ideas or something like that. So the explanation for that is to use mood. Clarify years early, when there is a new change and use one's appropriate to the context of the situation. It's important to use mood, clarify IRS when necessary, but also make sure that you use ones appropriate to the situation and also, maybe most importantly, don't do it at the end of when it ships. Make sure you do it right when it happens, so that the reader knows that the mood shift has occurred and you can sort of market or sign posted, and they know that you're going straight into that new change. An example to clarify. Um, well, here are some examples first, of new changing words you could think of Fanboys Fanboys for And Nor but yet so others. Or however, moreover, and there are many, many others a suggestion, I would say would be Teoh. Look up transition works, Google Transition words or Google New Change words MOVED. CLAIRE FIRES Those just in terms you might want to consider and then you'll get dozens of them, and you can look at the context of the situation to see which one is better and also to help you to use a variety with those, so you don't keep saying, but but but But but and you can use variety there so that there's an organic flow, just like with your word choices and your Senate structures and all of that. But an example of that that would need correction. James didn't mind the selection at the cafeteria when he began a vegan diet, however, he bought his own lunch toe work. He brought his own lunch to work. That one makes sense, but it doesn't flow as optimally as it could. So here's a correction. James didn't mind the selection at the cafeteria, however, when he began a vegan diet he bought brought his own lunch toe work. And so that's one where the, however, was just shifted to the beginning of the second sentence right when the mood changes and so that makes it clear for the reader there what's happening right when it begins, and so that is, technique went in Strategy six, and that's just to clarify a large your readers to your mood. Changes early, alert readers to new changes early and just remember to get lists of mood clarifying words and phrases and use a variety of those in the context of the situation 4. Writing Presentation: Unities Strategy 6 Technique 3: Hello and welcome to presentation strategy. Six. Technique. Three. Plan your unities and stick with, um, plan your unities and stick with, Um, probably the first question that people will have in this particular technique is what is a unity, and that's a good question. Unity would be something like a pronoun reference, a point of view, um, a verb, tense mood, tone and style. Those are things that they're called unities because you want to pick one on, then stick with it through out your piece. So if you say, use past tense and there's no reason to shift into present tense. If there is, you would want to do that. But if you're in past tense and you stay in past tense, that's a unity, because you're unifying the tents throughout the peace and keeping it consistent. And so, just to repeat some of those pronoun reference point of view like first person, second person, third person that kind of ever laughs with Pernille Reference I you we tents Burt Chance Mood, which we talked about in one of the previous techniques, tone and sometimes tone shifts. It just depends on the situation and style, and those are some of the things you want to try to keep consistent throughout the piece, and some of them also overlap with some of the other techniques and some of the other strategies that we have talked about or we will talk about. So try to keep them consistent unless there's a specific reason to shift from an example. I went to Tybee Island for the day at 2 p.m. I am chomping on fried pickles at Spanky's when my ex walks in. That's where. For no apparent reason, the verb tense ships once again, when we're telling stories and when we're speaking, people tend to do this a lot. But it's really important in our riding to make sure that we keep the virgins consistent unless there's a specific reason for shifting it. So here are two corrections. Either one could work. There's this always been this debate between Is it better to use past tense or present tense when you're narrating or writing fiction? And I think it just depends on the personal, a choice of the writer, the situation they're style. You have to use your instinct to figure out what works best. But in one case here is present tense and in another case, past tense. I go to Tybee Island for the day at 2 p.m. A chomp on fried pickles at Spanky's, when my ex Walks in the Virgins has consistently present tense there. And then I went to Tybee Island for the day at 2 p.m. I was chomping on fried pickles at Spanky's when my ex walked in. So there's more of a past tense consistency there in that correction, so it's not shifting back and forth. And so just to reiterate technique three. Plan your unities and stick with them, and that would apply to all of the things that I listed earlier. And there may be others as well, so you would want to think consciously about it. It might even be helpful to write down What is my verb tense here? Is there any situation where I need to shift it? What is my pronoun reference? What is my point of view? What is my mood? What is my tone? My style? And if you write those down and keep them with you as your writing the piece, I think that will really help in keeping consistent unities throughout the piece. 5. Writing Presentation: Rhetorical Situation Strategy 6 Technique 4: Okay, we are on strategy six, and we are on technique for strategy. Six. Technique for strategy. Sixes Presentation. We had just finished technique three, which was to play in your unities and stick with, um, technique. Four is to clarify the rhetorical situation and stick with it. So it's the same concept as clarifying your unities and sticking with him and being consistent having that thread that runs through something that stays consistent. The rhetorical situation. Very rarely will you shift it like you might a verb tense or a pronoun reference if the context of the situation changes. So your rhetorical situation usually it will stay the same, and the rhetorical situation include your purpose, your thesis, your audience, your genre and so on. And so those were the global concept in your piece when we talk about your rhetorical situation and also what are you trying to get across to the reader that goes along with your thesis? Or if you don't have a direct anxious what that driving force or that driving question is throughout a piece, whether it's fiction or nonfiction, Um, but you want a balance, clarify rhetorical situation and stick with it. Choose your purpose, thesis, audience and genre and be true to them throughout. And I don't have a specific example for that one because that one's a little more complicated. But an example might be something like if you're writing an essay on people getting easily distracted in the 21st century Squirrel. No, just kidding. But if you if you wrote a paper about that, you would want to make sure that you stayed on that. You wouldn't want to suddenly start talking about medication that people take or anything like that. If you're focusing on, say the reasons behind it now, if medications are relevant or that connect to that in some way, you would definitely want to. If you're tone, it's serious. It would most likely stay series throughout the peace. And if your audience was a body of your peers, fellow students, maybe if you're taking a course, then you would want to keep that throughout. If you used a semi formal tone in style, you would want to keep that consistent throughout as well. So that would be an example of how to keep your rhetorical situation consistent. Clarify the rhetorical situation and stick with it, and that is technique for from Strategy six presentation 6. Writing Presentation: Rhetorical Appeals--Ethos, Pathos, and Logos Strategy 6 Technique 5: we are moving right along where you're now on strategy. Six. Technique five. Strategy six. Technique. Five Presentation is Strategy six and technique. Five. States balance rhetorical appeals in each given context. Balance. Rhetorical appeals in each given context once again, like some of the others and strategy. Six. You may be wondering what the term means and so a rhetorical appeal. Let me explain what they are. There are three rhetorical appeals, and they're based on Aristotle's model for arguments. So this is a tried and true model that's been around for a long time. It's based on a lot of pedagogical or teaching research. It's based on logic. Argumentation. Ah, lot of logic classes, riding classes, critical thinking classes and things like that will introduce these as some of the basic foundations for their courses. And so there are three rhetorical appeals. One is ethos and ethos is the appeal to the speakers and readers since of ethics and credibility. Ethos is, for example, if you used a well known authority to back up your point or to use a fact from their research, that would be an example of ethos. If you appeal to the good in your reader. That would also be an example of ethos. For example, if you were to use an example off just their sense of ethics and their sense of personal morality, that would be an example of either. The second appeal is pay focus. Pathos is the appeal to the emotional side of an off audience, and that means the pathetic appeal. Pathetic in this sense doesn't mean something that's laying or sad, like we may know now. Pathetic. And that since was more emotional and it wasn't a bad thing. And pay folks, like I said, appeals to their emotional side. So if you talked about, for example, those infamous commercials A S P. C A puts out with Sarah McLachlan singing Arms of the Angel and you see the Big Puppy eyes and the big kitten eyes, anybody who has a heart at all that's going to get to them in some way when they see those poor, hungry animals and their their their bone thin and they're sad and they're lonely and it's trying to get you to donate money to them, that's a good example of pathos, and that is the emotional side of the audience It's a very extreme example. There are obviously more subtle examples. You could use this well. Logos is the 3rd 1 and that's the appeal to the logical side of the reader on that uses fax statistics before and after shots. Hard evidence, strong arguments, though balance all three strong arguments should balance ethos, pathos and logos. And maybe even to a degree. This could work in fiction, I'm not sure, but I know in nonfiction and especially an argumentation and probably in a lot of other genres as well. You would want to balance ethos, ethical appeal, pathos, emotional appeal and logos. Logical appeal. And here's an example. I just made this up, but it's it's an example of how to balance all three. Ray Johnson argues that 50% of marriages end in divorce. As a result, all couples should get counseling before tying the knot. Okay, there's a couple of flaws in the argument here. One who was right Johnson washing. We care what he thinks. Two word of that information come from, and three, you know, it's not very well explained, And so when you incorporate ethos, pathos and logos into the example, it makes it a lot fresher, clearer Mawr example more well explained, and it doesn't bore the readers much. The emotional side engages the reader. The logical side adds factual detail and substance and the ethical side. The ethos adds credibility. And so you have the balance of all three of those. Here's a better one. Renowned marriage psychologist Dr Ray Johnson. We know Mia's He has credit credentials from the University of Texas, argues that since 50% of all marriages end in divorce and there are often Children involved in these divorces, all couples should get marriage counseling by alights licensed counselor, minister, priest or rabbi before getting married to decrease the chances of bad marriages and divorce that incorporates eat those pathos and logos all at the same time, you've got credentials and talking about Children being involved. There's a combination of pathos and ethos in that, and you've got logos by using the statistic and then telling us who and why. And so there's a combination of all of those in there, and that's a much better example. So to reiterate technique, five balance rhetorical appeals in each given context balanced all three rhetorical appeals emotional, ethical and logical appeal to the reader in all three use, all three at the same time, and that is to technique five of strategy six. 7. Writing Presentation: Tone Strategy 6 Technique 6: Hello and welcome to Strategy six Presentation technique. Six. We are moving right along in technique. Six states that when the topic is solemn, simplify when the topic is serious. Simplified when the topic is humorous, amplified when the topic is solemn, simplified when the topic is humorous amplify. You've probably seen comical riding. Or maybe writing that was satire where everything was exaggerated. An example of that is the famous piece by Swift, a modest proposal at the time. The Irish were Ian Dark poverty. It was the potato famine. People were going hungry, There was mass migration, people were dying and the Irish were living in abject poverty in many situations, and the English at the term were mistreating the Irish in many cases. And so Jonathan Swift wanted Teoh bring it to people's attention in a way that would shock them and wake him up, sort of ah, attention! Create attention to sort of hold a mirror up so that people would get involved and make changes. And so in the mosque proposal, he This is a kind of disturbing image. But he, for example, said, Why don't we use baby skin as persons? And it was just this ridiculous exaggeration. Let's use Irish baby skin is persons to show that they were dehumanizing the Irish and they were not treating them like human beings. And so that's an example of hyperbole, where something is greatly exaggerated. But it gets the reader's attention. And in that situation, it wasn't meant to be directly funny. But it was an example where exaggeration was effective. And so, um, like I said, in a situation where it's humorous, exaggeration can actually make it funnier or increase the effect If it's satire and then in a situation where it is serious, you definitely don't want to exaggerate it. Um, for example, anyone who has read serious riding with exaggerations knows that it comes across as melodramatic, absurd and sometimes unintentionally funny. You might have seen some old melodramas from the past, and they have that effect because they were a little ridiculous. A lot of the if something bad happened, it was exaggerated. So proper is kind of have that vibe about, um, I'm not, you know, dissing. So popular is I've watched a few myself, but they you have to admit there's an absurdity to them because of that and Likewise, humor that falls flat can sometimes undermine a writer's golts. I'm totally a fan of deadpan humor. Like I said, you have to look at the context of the situation. For example, Bill Murray. He is a comic genius, and he uses understatement in comedy. So I'm not making this an absolute rule. But in more cases than not, hyperbole shouldn't be used or exaggeration shouldn't be used in serious situations. And in more cases than not in humor. You wouldn't do something that's flat or under exaggerated unless you're trying to be funny in that sense, and you're very aware of how it will affect your audience. So just keep your audience in the context of the situation in mind when you're doing something like that, Um, so solemn topics should remain simple, allowing the situation to speak for itself. Humor is the proper time to exaggerate in most cases and use hyperbole and blow situations out of proportion. Now here's an example. An article in 2000 and seven from the Onion if you don't know what the onion is, it is a newspaper that is entirely satire and a lot of times is sort of a social commentary on certain things, but sometimes it's just plain silly, and they use a lot of exaggeration, and a lot of people like to read it because of the humor behind it. And so in 2007 they put out an article entitled, My space Outage leaves millions friendless on. I've had my students read this, and basically it's discusses the loss of identity, complete panic and aid from the Red Cross that comes as a result of the MySpace outage. And my space was more popular a few years ago than Facebook is now. But basically it was just meant to make fun of the fact that people get so dependent on social media that they literally should have wires homeless tied into their head and how people when they're cut off from that, they're kind of like their stuff on. So like, Oh my God, I'm going to die and and you realized, you know, it just puts it in perspective. That exaggeration, obviously, is meant to be funny. I don't want over explain it, but you get the point. Um, bringing in the Red Cross just adds to the silliness of the situation, but the articles. Humorous effect explains the onions popularity as well. Because it has many, many articles like that. I encourage you to look up the onion and read some of the articles. They're very funny as long as you're not easily offended. But keep in mind for strategy six. Um, the last technique in this particular strategy. Remember to exaggerate in humor more often and to downplay, not to minimize the importance of something serious, but not to over exaggerate when that there's something serious. The last technique in strategy six. 8. ClosingThoughts: Hello, my dear students, I want to thank you for taking this course in the series on riding master class and at the end of each of thes courses in the Siri's Ah, large portion of them will have an exercise and you'll see that in the documents section of the course is some of them may not, but many of them wheel if he would. I encourage you to do the exercises, take the quizzes and put your results to the exercises in the project area of the course that allows us to see what you're doing. I can give you feedback on your exercises so that you can see how you're doing in terms of mastering the class concepts and also includes some edited pieces that you have done or riding pieces that you have done based on the class. Police put those in the project section so we can see, and I can see the wonderful things that you're doing to improve your riding so you can see real results occur. And also, if you wouldn't mind if you have enjoyed the course. If you've gotten something from the course, police check the box that says I would recommend. This course will probably see it at the top of your screen or somewhere popped up on your screen near the end in the last lecture of the course. If you would do that, I greatly appreciate it. And police leave an honest review so that it will allow me to help you and to make better courses for other students in the future. Thank you so much for your time, and I look forward to seeing you there. And also, if you have questions, police post them in the discussion area. I love to talk about riding. I love to help you with your riding. And while I don't have time to give full critiques on rotting, I will be more than glad to comment on your responses to the questions there that are exercises in the course. So if you have any questions in general police, feel free to write right me and reach out to me as well. You can also find my contact information in my faculty profile, and I look forward to getting to know you have a great day