![]() The approach is thus visual (prose as a window onto the world) as well as narrative (or “theatrical”), but it is also logical and cognitive: logical because we are asked to make explicit how our concepts as agents relate to one another cognitive in that we want to introduce these concepts in a way that can easily be processed by someone (our invisible reader) in whose mind they are new. In depicting this scene, we are also to imagine that its content (the argument we are making) contains concepts or ideas to which we assign roles as agents doing actions, or acting on a stage (this is the agent-action mode of thinking). ![]() So we start out with a framing device: We try to imagine ourselves as writers looking at a scene that we are depicting to a reader who cannot be assumed to have a full view of it. But that in turn means that in the act of writing we have to position ourselves in such a way as to be able to see what our readers see. ![]() We can do that if we can appreciate how readers read or want to read, or what they do with the words they read. This coursebook lays out an approach to expository and persuasive writing designed to make it easy for our readers to follow us, no matter how complex the ideas we are trying to put across. ![]()
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