Persuasive Writing
Eureka 2020
Persuasive writing
Persuasive writing can take many forms:
■ feature articles in magazine or newspapers which tackle a particular issue or topic
■ opinion pieces with a more direct and straightforward angle on a subject of debate
■ letters in newspapers or other media.
The style and language of persuasive writing is driven by the form, the audience and the stance
of the writer. Some use highly emotive, charged language to create maximum impact; others
employ a more balanced tone, using measured argument to make their point. Other writers
might take an amused or slightly ironic approach.
The conventions writers use in persuasive writing will therefore change according to the tone
they wish to strike. These might include:
■ loaded, emotive language (e.g. he gives an appallingly dull, wooden performance)
■ rhetorical effects and devices, for example, rhetorical questions (e.g. Are we really meant to
believe so many men would fall for her?)
■ humour or ironic comment (e.g. The only chemistry between them was the hot air they kept
on speaking)
■ expanded noun phrases, especially in reviews (e.g. ‘He is the usual all-American
downtrodden fall-guy we all root for)
■ hyperbole, or exaggeration for comic, sarcastic or dramatic impact (e.g. The music continues
to rattle the lonely glassware. This is a very quiet restaurant.)
■ direct appeal to the reader through a conversational tone, for example using question tags or
other informal forms (e.g. You’ll come out of the cinema smiling, which can’t be a bad thing,
can it?)
■ technical or specialist/subject-specific vocabulary that casts the writer as an expert (e.g. The
opening montage clearly shot on location in Turkey features a roof-top chase which introduces
our charismatic protagonist)
■ often, but not exclusively, expressed mainly in the present tense to describe the immediate
experience.
Key technique: the expert view
An expert is a person who is a great authority on a subject
This can be seen in:
■ specialist or technical terms which the writer is competent in using
■ the perspective or viewpoint expressed (a confidence that they know what they’re talking
about)
■ references to other, similar texts, plays, etc.
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Key technique: evoking thought processes
Writers often use sentence structure and types of sentence (long, short, simple, complex, etc.)
to convey their state of mind. For example, an account of a match might read:
I wondered if I was watching the same team I’d seen last year. It was bizarre. United players
kept falling over or passing to the other team. What was going on? I found my mind drifting.
When was half-time? Oh… they’d scored. The other team, that is. No surprise there. Time for
my half-time pie and cup of tea.
From this we get a sense of the way the writer’s mind is drifting, uninvolved with the game.
The short questions are unanswered, and when something does happen, the writer expresses
his weary acceptance in a short minor sentence with no verb – No surprise there– a throwaway
line soon replaced by another minor sentence as a more important thought pops into his mind
– pie and cup of tea.
Word associations are ideas suggested by particular words or phrases
Syntactical patterning is the use and order of similar words and structures
Register is language associated with a particular subject or situation a mixture of direct
statement and doubt
■ the use of adjectives
■ further negative and harsh vocabulary
■ further use of word associations
■ the use of internal thoughts.
What is ‘writing for a specified audience’?
When you write for a specified audience the task is likely to:
■ tell you what voice or perspective you need to write from
■ set out the type and purpose of text you will be expected to write, as it will not be based on
a passage you have already read. In some cases, the audience or likely reader will be mentioned,
or implied by the type of text mentioned.
■ give guidance on the mood or tone you are required to create though those words may not be
mentioned (the word sense may replace them).
Draw on what you know about the conventions of a magazine or newspaper article: this might
be related to form/layout/structure, typical modes of address to readers, likely vocabulary, turns
of phrase, and so on.
■ Imagine yourself in the shoes of the writer: what kind of things might he/she choose to write
about? What ‘voice’ will he/she have? Level of formality or informality?
Draw on what you know about how to create a ‘sense’/mood/tone: for example, particular
vocabulary, figures of speech, types of sentences, etc.
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■ Think about the purpose of the text and what writing techniques that suggests. In this case,
there is discussion; what devices and ways of writing fi t this purpose?
■ Plan the content/structure: what challenges and rewards will you mention? How will you
start, develop and end your piece?
Use the planning and generating ideas by dividing the material into clearly defined sections.
■ Give reasons why you are offering advice about that particular section.
■ Use repeated sentence structures [You might not like whatever song is playing. You may be
bored with the show in general. You may have been dragged here against your will. But …]
followed by a word such as but or however which then outlines the case against.
■ Use imperatives and if clauses [Take five if you want! But please, don’t take 77.]
■ At certain points adopt informal language to make a connection with your readers [Please
shut up. Please.]
■ Vary sentence length and structures for effect – almost as if thoughts are popping into your
mind, or you are speaking them aloud [I get it. You want to show all your friends on Facebook
and Twitter that you saw a cool concert. Fine. Take a photo.]
■ Insert occasional direct personal opinion [I can hear them. Maybe go to a coffee shop when
the show is done. Lie under an oak tree and talk until the sun comes up. I don’t care. Just quiet
down so I can enjoy the show.]
Scripted speeches
Scripted speeches are those that are prepared and written down in advance in contrast to the
kind of spontaneous conversation and dialogue we use in everyday situations. Scripted
speeches may be political speeches or speeches addressed to particular organisations or
gatherings. They may be intended for public mass audiences or for more local and private
meetings. The conventions for speeches will largely depend on the purpose; so for persuasive
speeches you would be expected to include rhetorical devices; but more explanatory speeches
or scripts might not require them.
Regardless of the particular purpose of the text:
■ try to give a good sense of the ‘voice’ of the speaker/s
■ remember to write in the first person
■ consider how tenses might play a part (i.e. talking about the situation now, or what is to
come).
Speeches:
■ seek to engage their audience in a range of ways, often with rhetorical techniques similar to
those used in persuasive writing; they may or may not offer counter-arguments
■ tend to offer a particular line or point of view and attempt to persuade listeners to share their
vision
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■ may try to establish a particular mood, a particular attempt to come to terms with issues or
events or a vision of the future; they may draw on a range of techniques to achieve these ends
Key technique: the direct approach
Some scripted speeches may adopt a plain and direct style, whilst encouraging some future
ideal (a vision of something perfect, a desire to aim for)
Key technique: imagery
Imagery is descriptive language, referring to adjectives, similes and metaphors
Extended image is a comparison of two things which is returned to throughout the text
Parallel structures are words and phrases that are similar in length and order
Persuasive articles
Other forms of individual opinions about particular issues can be found in the writing of
newspaper and magazine columnists. Persuasive articles use many of the same techniques as
scripted speeches. Indeed, we might even see some persuasive articles as a form of monologue
by a writer hoping to reach an (unseen) audience.
Framed in the guise of personal writing, such columnists often give vent to their views about a
particular matter which affects them in some way and turn this into a topic that has wider
concerns.
Key technique: the mode of address
One key technique used in persuasive articles is adapting the mode of address.
This is often tied up with formality and informality, but it can go beyond this. For example, we
might notice very direct language which speaks to the reader/audience as if they are the only
person listening or reading. This can be a feature of other types of article, too.
Read these two travel accounts:
A I know what you’re thinking. What was I doing in a bar in the depths of Eastern Europe at
midnight, playing cards with a bunch of shady characters in motorcycle jackets? Me, a naïve,
young woman who had only ever been abroad once … on a day trip with my mum and dad.
Well, don’t worry. I was asking myself the very same question.
B Everything about the bar was of concern. There were a number of men, of a certain age,
gathered round a beer-soaked table, playing a card-game. The lights above were fizzing, and
cigarette smoke wafted about, hiding their shadowy faces from time to time
Letters
Remember: use a capital letter at the start of each line of the address and make sure it is written
in a blocked format (aligned on a straight vertical line) or indented (sloping inwards to the
right). The close of the letter can be chosen from a range of possible options such as Best
wishes, Yours truly, Regards and so on.
If the letter is formal there are some differences:
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■ the address of the intended reader should be placed on the left -hand side of the letter below
the level of the sender’s address (which is on the right-hand side)
■ if the title and surname of the intended reader is known, the letter should begin
Dear Mrs Gonzalezor Dear Mr Manzoor.
■ if the name of the intended reader is not known, the opening of the letter should be either
Dear Sir or Dear Madam if the gender is known; if the gender is not known, Dear Sir or Madam
is used.
■ the close of a letter where the name of the intended reader is known should be Yours sincerely
(followed by a comma) followed legibly by the sender’s name
■ the close of a formal letter where the reader’s name is not known should be Yours faithfully
(followed by a comma) followed legibly by the sender’s name
■ the opening paragraph should generally state the purpose of the letter.
Planning written responses
The precise content of your plan will reflect the task, the text type and the purpose (where
known). For example:
■ issue-based texts (i.e. to argue or discuss a topic) are likely to be organised by ideas or
viewpoints
■ descriptive or personal texts(e.g. travel accounts, memoirs) are more likely to be organised
by time(specific moments or experiences), features (e.g. change of place, location), people(e.g.
new characters) or by changing, or developing, emotions
■ persuasive texts are likely to be organised by reasons, promotional features, etc.
In some cases, these aspects will intersect and work as hybrid forms, so this is only a guide.
However, there are some useful success criteria for planning written responses:
■ begin by identifying the key words/phrases in the task as you have learned from the previous
section (the text type, audience, purpose, etc.)
Generate key ideas, features, events, etc. by using spider-diagrams or other ‘idea shower’.
What are the key text types and purposes?
The purposes such texts and forms suggest are widespread, but might be to inform, explain,
describe, reflect (on experiences), discuss or explore, comment, review, persuade, argue a case,
or promote an idea.
Discursive writing and writing to argue
Discursive writing and writing to argue – as they are often areas that provide the greatest
challenges to students, particularly in terms of structure and tone/mood. Discursive writing is
when you consider a particular issue, problem, or situation and outline the arguments on both
sides before coming to a reasoned conclusion.
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The keys to effective discursive writing are:
■ to present both, or multiple, points of view
■ to write in a detached, objective manner (avoiding first person statements such as I think…)
■ to move towards a more personal response at the end of the piece, at which point you give
your ‘verdict’ on the issue.
Argumentative writing is very close in style to discursive writing and indeed discursive writing
usually sets out or explores key arguments around a specific issue. However, argumentative
writing draws more strongly on the writer’s sense of voice from the very beginning. You are,
to a large extent, trying to persuade or convince the reader of your point of view from the outset
rather than offering a more restrained and briefer judgment at the end. Therefore, argumentative
writing tends to have a more personal, direct style.
Planning and structuring discursive writing
As you have already learned, it is important, to make a list of the key terms and requirements
in the task question. Do any words or phrases need defining from the start? What is your
interpretation of such key words and phrases?
Remember:
■ planning will involve having points for and against: two or three points for each side of the
case
■ each of these points will form a paragraph of your answer in between your introduction and
conclusion
■ you should decide on the order of your paragraphs. In order to keep reader interest and an
increasing sense of authority, it is best to begin with minor points before moving on to the
stronger ones.
Depending on your viewpoint about the topic, there are options for how you might plan your
writing:
■ if you are for the topic, your plan could be like this: an introduction, points against, points
for, a conclusion
■ if you are against the topic, your plan could be like this: an introduction, points for, points
against, a conclusion.
Another approach would be to begin each paragraph with an argument, followed by its counterargument. Whichever approach you choose, each paragraph should contain the following:
■ a topic sentence or an initial question to outline the subject of that paragraph
■ a consideration of arguments about that point in the paragraph.
■ exemplification– examples to illustrate each argument (e.g. you might refer to surveys or
statistics, real or feasible ones)
■ evidence of connectives linking sentences.
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The use of connectives might include words and phrases which suggest:
■ a consequence or result – because of this, the effect of this, consequently
■ additional and reinforcing points – furthermore, moreover, in addition, besides
this, similarly, in the same way.
There should also be connectives linking the paragraphs themselves. Such connectives might
include words and phrases which suggest:
■ organisation and order – to begin with, firstly, at the same time, ultimately, finally ,in
conclusion, overall, as a whole
■ contrast – however ,on the one hand … on the other hand, yet, despite this, conversely
Introductions in discursive writing
A good introduction can offer focus, structure and direction. You should avoid stating the
obvious in a rather generalised way: In this essay I am going to write about … or I am going
to look at both sides of the argument for and against …
However, from the beginning, a sense of balance and control needs to be evident for discursive
writing.
For example
Some people believe that education, the learning of skills and knowledge, is one of the most
important ingredients in young people’s lives, vital for their personal development and the
future of the country. However, others believe that the benefits of long-term education are overstated and that it is far better for young people to experience the world of work early in their
lives for the personal development of the individual and the good of the nation
Using evidence in arguments
The development of argument and evidence (such as the use of particular examples) is a
technique that you should use in each paragraph of your discursive or argumentative writing.
Certain words and phrases can be employed to assist this process. For instance, inserted phrases
such as they add/argue/believe or additionally in a supporting sentence after an initial topic
sentence can give further detail about a specific point.
For example:
Some people believe that education is the most precious gift a young person can receive. It
gives, they argue, a foundation for personal development and participation in society …
The use of relevant data, statistics and surveys (real or feasible) can create the impression of
expertise, and of the writer’s knowledge and authority. The example above could be continued
as follows:
… for example, a survey carried out by the EEC recently found that most students who received
an education up to the age of eighteen felt more adjusted and ready to experience the world at
large than those who had left school or college at sixteen.
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Sometimes, it can be effective in a key paragraph to state the counter-argument with relevant
evidence before addressing it. A further continuation of the example response might read:
According to a recent survey in the US, many college graduates felt that their years of study
had not really proved of long-term benefit for their emotional and psychological well-being.
Their stress levels, they argued, had been at an all-time high. However, supporters of college
education feel that the time invested in acquiring more in-depth skills and knowledge equips
graduates with high-level expertise and understanding of not just their own area of study but
the society they live and interact with …
The approach can be ‘paragraph for, paragraph against’ structure or ‘argument and counterargument in each paragraph’ structure.
Conclusions in discursive writing
Conclusions in discursive writing should continue the measured approach adopted beforehand,
yet also indicate the viewpoint of the reader.
■ The personal view comes only at the end and does not rant or preach but takes a careful
approach (It seems)
■ the use of a well-known saying or phrase (Beauty … lies in the eye of the beholder) is
employed again, as in the introduction
■ examples of possible effects are offered (lose self-esteem and motivation)
■ the use of we creates a sense of inclusion compared to the possibly more opinionated use of
I
■ the final words also create a cyclical ending to the whole piece with the final idea echoing
the opening.
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