Introductions & Conclusions

""Should You Believe Company Reviews?"

1. How does the author introduce the topic at hand?

She opens with a rhetorical question (When you need help picking out a new book, gadget, hairstylist or even doctor, what do you do?) and then uses it and the familiar concept of online shopping to segue into her own topic of job review sites.

2. What techniques are used throughout to hook and maintain the audience's attention?

By utilizing quick, snappy headings, as well as a healthy bit of suspense (we don't know right away how she feels about these review sites, though there is some foreshadowing that they aren't entirely good or entirely bad), the author grabs audience attention and encourages them to keep reading.

3. How does the author incorporate outside evidence? Explain why you think the presentation of evidence is either compelling or weak.

Outside evidence is presented in a conversational manner, like the writer is pointing out situations that a job-seeker might find themselves in if they pursue a career while perusing ratings on these company review sites. She then links to the specific reviews where these complaints were raised, thus adding real-world gravity and a more verifiable, fact-grounded tilt to her editorial.

I personally like the way she presents evidence. It doesn't feel like she's trying to force your hand into seeing things the same way she does, nor is the tone inappropriately scholarly. She strikes the balance between friend and self-help writer quite well.

4. How does the author conclude the article?

She ends the article with one last piece of advice: "Don't be afraid to trust your (well-informed) gut. It's usually right."

5. List any  of  the author’s techniques pertaining to arrangement, style, voice, or delivery of content that you would be interested in imitating in your own editorial.

This article is a bit unique, for me, in that I liked everything the author did outside of the opening and closing. I am usually fairly skeptical about opening a piece with a rhetorical question (though I will concede that it can be effective and that I've done it myself on occasion). The author's question here, though, felt very mundane and inorganic, and made me question, for a moment, whether I was reading the actual article or some spam advertisement that preceded it.

Similarly, I thought the last sentence felt tacked on and cheesy, and not necessarily of a piece with the rest of the article. I would have ended it with the "take this with a grain of salt" advice and the point that people with bad things to say will always say them louder than people with nothing to complain about.

Outside of those two things though, I really liked the conversational voice (not at all antagonistic, which is something to think about for an argumentative editorial) and the headings, which do a lot of break up the piece and enhance the flow.

"Coke Blinks"

 1. How does the author introduce the topic at hand?

He better explains his intriguing title, setting up the scene and giving a brief history of Coca Cola at the same time. In addition, he also establishes his negative stance on the topic.

2. What techniques are used throughout to hook and maintain the audience's attention?

He works through a brief rhetorical analysis of the central commercial, makes a key point by equating sugary soda drinks with cigarettes, both in manipulative advertising and disease-causing danger, and then moves on to more scientific support. The audience can only sit, open-mouthed, as they hear about how bad this stuff is for them and how shameless the marketing campaigns that keep the machine moving really are. In a sense, the subject matter keeps things going more than the actual writing or structure, but the author serves as a good conduit for that information, which is worth something at least.

3. How does the author incorporate outside evidence? Explain why you think the presentation of evidence is either compelling or weak.

He links to polls, studies, commercials, etc., as well as conducting interviews on his own, all to rail against the dual damages of sugary beverages and manipulative advertising.

4. How does the author conclude the article?

His last paragraph brings everything together and it all coalesces to form a portrait of Coca Cola as a villain of the people and of public health: 

"The beverage companies see the writing on the wall and will lobby, cajole, beg, plead, propagandize, lie, spend and do anything else they have to do to prevent that regulation, just as the tobacco companies did. And chances are, in time, they’ll also accept regulation in the United States while aggressively increasing their marketing efforts overseas. But that won’t work either, because the word is out: Coke is not part of the solution. It’s a big part of the problem."

The last sentence is a perfect condensation of his argument: this company is damaging something in our country, their interests are purely monetary, their advertising is faulty, and they need to be removed from the occasion.

5. List any  of  the author’s techniques pertaining to arrangement, style, voice, or delivery of content that you would be interested in imitating in your own editorial.

I wish that he had structured the whole thing with a little more flow or hierarchy. He seems to jump from one thing to the other, and with no forecasting statement to orient readers, it doesn't always feel natural to follow the changes. Headings would have helped break things up and would have made the piece feel shorter and easier to comprehend.

With that said, his conclusion is brilliant and his manipulation of a wide variety of sources shows a great understanding of the topic.

Editorial Topic Question Exercise

1) The unseen sides of the music piracy argument

As someone who is interested in a career in entertainment journalism, I'm significantly invested in the music industry's success, but I personally believe they have exaggerated the dire impact of music piracy to a disgusting degree. Over the past decade, the RIAA (Recording Industry Association of America) has shamelessly villainized hundreds of small-time downloaders, demanded comically absurd and frivolous settlements, and refused to adapt to the changing face of music distribution and enjoyment. Artists and music lovers tell a different tale though, one where downloading helps to spread the word and gives listeners a chance to hear more music, love more music, and ultimately, go on to support more music through live shows, merchandise, or even record sales. I would like to take a deeper look into this subject, articulating the RIAA's grievances, establishing my own view on the subject, and offering a compromise of sorts that the recording industry could implement if they hope to move forward.

-How does the RIAA define "theft"? Does that definition equate with "piracy"?

-Does one illegal download truly constitute one lost sale? If so, how much money does the recording industry on every illegally downloaded song? Album?

-How many albums were being sold in the 80s? 90s? 2000s? How much has this decreased?

-How much money do the recording companies think they have lost as a result of piracy?

-At the same time, how much of that is merely a result of shifting technology and digital distribution (we will call this "the iTunes effect").

-What do artists think of music downloading? How have established artists watch their fanbases grow or shrink over the past 15 years?

-What about the impact on new artists? Is it harder to "make it" in music now? Are fewer artists, technicians, managers, etc. making their careers in this business?

-Do we believe that a digital album is worth the same amount as a physical release? How do the principles of supply and demand impact this new business model?

-Why are record labels still clinging to the idea of the album as the primary musical distribution method?

-Have we returned again to an age of the single (a la the 50s and 60s)? Or does the fact that the album still thrives for many music fans dictate the need for its continued prominence?

-How have streaming services like Spotify and Pandora changed the way people listen to music? How can the music industry make money off this format? Are these services, that barely compensate artists and give minimal amounts to labels, really that much different than piracy?

-Is the idea of "the cloud" likely to destroy the record label model entirely?

-Are labels going to continue to exist, or will they fall out of business and relevance? What could take their place?

-What role do other sources of income, like tours, merch, vinyl sales, etc. play into all of this?

-When the labels shut down Napster a decade ago, did the action help at all? Or did it merely break up that userbase and scatter them to many different P2P networks across the web, thus making the problem worse?

-How many piracy lawsuits have the RIAA pursued since the piracy explosion?

-What is their average requested settlement amount? How much do they feel owed for each "stolen" song?

-How are these lawsuits viewed by the general public? How has the reputation of the recording industry changed in the past decade?

-How is music piracy different from the idea of "mix tapes" or "mix CDs"?

Can I Buy You a Coffee: Argument Exercise

ACTIVITY 1

1.  What is the author’s argument?

That men don’t really understand how women feel about being consistently hit on, chatted up, annoyed, or otherwise harassed by guys who have some sort of hidden (or not so hidden) agenda. He tries to flip the situation, positioning pretty girls who want to talk to him about Jesus or convert his religious beliefs as the “sleazy guy” character, and himself as the innocent, minding-his-own-business female.

2.   What is the author’s purpose or occasion for writing? In other words, how does the author try to convince you that what he says is timely and relevant?

His ultimate goal, really, is to explain the situation, from a female’s point of view, in a way that other guys can understand. He believes that, since men are rarely hit on, they feel complimented or flattered when something like this happens to them. They them project that belief onto the women they hit on, but the situation isn’t the same because women have to deal with the same kind of behavior so much that it quickly becomes annoying, disruptive, or downright threatening.

3.   Who would you suspect is the author’s intended audience? What details help you infer?

The comments section ultimately gives it away, since it’s largely filled with men who are viewing his words as some sort of revelation. “This should be mandatory reading for men, salespeople, and proselytizers!” one reader exclaims. He’s aiming for all the guys in every bar and coffee shop that walk up to girls, feeling like God’s gift to the Earth, and try to women them with bad pick-up lines or watered-down drinks.

4.  What persuasive techniques does the author use to get his main points across? In other words, how does he deploy his argument?

He builds what is, essentially, an extended metaphor with the coffee/Jesus freak scenario, and then translates it into the same situation that pretty girls find themselves in every time they’re out in public. More often than not, people just want to be alone, and by creating a situation that men would find exceedingly irritating (because almost no guy wants to be chatted up by a girl who only wants to convert him to her religion), he is able to issue a wake-up call.

5.   Explain why you find this argument to be effective or ineffective:

I think it is effective, for all of the reasons I have outlined above. The metaphor, the characters, the entertaining narrative that really delves into the thoughts of the main character: it all exists to further his explanation of why girls don’t want to be hit on in bars.

ACTIVITY 2

The Stases

Fact & Definition – What is the issue? How is it defined?

The issue is men's disrespect of women and their personal space or their right to say "no." He defines this issue through the active use of analogy, building his short story, and then revealing it as a made-up parable by which men can come to understand how obnoxious or offensive their behavior is.

Cause & Conseequence – What caused it?/ What consequences does it have?

The ferrett points to the difference in frequency, between men and women, of events like these as the cause. He thinks that since men are not often hit on or catcalled, they don't really understand why women are bothered by such behavior. The consequence, then, is that they either continue to engage in such behavior or actually increase it, since they personally like how similar actions make them feel.

Value -  Is it good/bad? Just/unjust? Fair/Unfair? Right/wrong? Etc. etc.

Part of his justification is that "too much of a good thing" turns bad (referring to compliments, offers to buy one another drinks, etc.), and that women view such events in a negative light as a result. He also thinks men are in the wrong by constantly harassing women: since they don't understand why their behavior is harassment, they gradually move in more harmful activities. And all of this is unfair, since women have to deal with it on a day to day basis and men rarely do.

Action – What should be done about it?

Men should consider the female point of view and just back off. Buying someone a coffee and getting to know them isn't bad, but harassing someone as an attempt to get laid is. There is a very obvious line between the too (if you're looking for it), and the author argues that men should be more conscious of where that line is and more respectful to women as a general rule.

Jurisdiction – Who has the authority to do something about it?

All men can do their part if they consider how they would feel if the tables were turned and if it were them being bombarded by unwelcome intrusions and threatening behaviors.

Genre Overview: The Superhero Origin Story

• Hero gains powers and decides to fight crime. This can happen in a variety of ways:

1) Accident gives hero super powers (The Hulk, Spiderman)

2) Person is born with super powers and hones them to use for good or evil (Superman, the X-Men)

3) Person has no super powers, but goes through a traumatic experience and decides to become a vigilante. These guys are often very wealthy and have the means to create costumes, weapons, machines, and gadgets to help them on their quest (Batman, Iron Man).

*These types are outlined further (and with snappy names) here.

• Hero tests newfound powers in fun, extreme ways. In a film version of the origin story, this plays out as a thrilling, but comedic, montage of discovery.

• Hero uses powers to seek revenge on a person who did them wrong before they were super-powered.

• A mentor emerges to show these heroes that they should not use their powers for petty personal scuffles, but for a wider purpose. This enlightened hero begins to see their new place in the world.

• Hero begins training, with or without powers, to take on their foes.

• Hero establishes a lair for their superhero operations.

• Hero begins fighting crime, usually taking on small-time criminals that are dealt with quickly and without much challenge or fuss. Elsewhere, a greater threat builds.

• The true villain of the piece emerges, often someone who was close to the hero before they gained their powers (or before they decided to become a vigilante). Variations exist as to where in the story this revelation occurs for the hero.

• Hero suffers some great lost at the hands of their new villain, establishing that villain as their arch-enemy. This can be the death of a parent, the loss of a love interest (death or kidnapping) or the passing of the aforementioned mentor. The the final case, the hero takes up the mantle of their mentor and becomes a true superhero.

• A big final battle takes place between the hero and their villain, often with high stakes hanging in the balance for others (i.e. the hero's home city may be in jeopardy, etc.) This race-against-time battle ends with the vanquishing of the villain and the triumph of the hero.

• Story ends with hero looking toward a future of crime fighting.

a) Does the genre have an identifiable format or organizational layout? Describe it:

See the above story arc. This story arc can appear in comic books, novels, films, or any other form of narrative entertainment.

b) What is the function or purpose of the genre?

This genre is a purely entertainment-based one, though more talented comic book writers will often try to meld larger social questions and implications into the thrust of their work.  

c) Who is the most probable intended audience for this genre? What details make you think so?



The superhero origin story finds its basis, most of the time, in comic books, though it can often translate to film, television, or other brands of literature. The comic book audience is a very specific, dedicated fanbase, classified in some circles as "nerds." Films bring the superhero origin story to a wider audience on mainstream music fans, with action elements and dramatic tension that attract large numbers of moviegoers. It is for this reason that comic book films are often the central blockbusters of the big summer movie blockbuster season: the accessibility and familiarity of the origin story makes it a surefire crowd-pleaser.

d)  Describe the tone and style of your genre…is it very formal? Informal? What type of vocabulary is used? 


In the comic book setting, the superhero origin story is presented as much through visuals (illustrations) as through words. In books, the story is presented entirely through the written narrative of the form. In films, the story is played out largely in real-time, action-based shots.

 e) Describe the content of your genre? 


Stock characters, key narrative events, and a certain visual style (often either very dark or very vibrant and colorful, with little in between) define the superhero origin story to accentuate the transition of the central character from everyday man or woman to larger-than-life vigilante.

f)  What other qualities do you notice about this genre?


It's a sure bet that, once a superhero origin story has been created, a sequel or follow-up of some sorts is on the way.

The Opening Track: Things I Would Like to Learn

As someone who has done a great deal of web writing, I would personally like to see the course expand beyond the boundaries of the rhetoric and writing program and touch upon more advanced skills, be they web design, coding, boosting search engine results, or anything else relating to the more technical side of website manipulation. I feel like I have a firm grasp on how to structure a written argument and how to utilize rhetorical devices: now I would like a more formal overview of how to meld those skills with the faster, more concise writing that web users demand.

Over the past few years, I have gotten a crash course in a lot of this: I started a music blog (actually on this blogger account!) in the summer of 2011 and quickly learned how to utilize visuals to boost interest and site traffic, how to promote my writing via social media outlets, and how to connect with other bloggers to form a sort of web network. Since then, I have written and edited for the Western Herald, overseeing the paper's Arts & Entertainment section as well as helping to manage the website. I also held an internship this past summer where I got a lot of experience in generating web content for various different clients and working around the back end of several types of websites. Lastly, I write for a variety of online magazines that require me to compose, post, and promote all of my own content.

Through these different positions, I have learned a lot about digital writing and rhetoric, but still do not feel entirely comfortable with designing a website, writing code, or making alterations in the structure or layout of a particular page. I hope this class will help me to hone those skills.