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That way it will be easier for you to see if your inartistic information builds to your

artistic information, and it will be easier for you queue your information in the correct
order (mainly, from your premises to your conclusions).

Just as it can be hard to check for logical progressions in our own work, it can be
difficult for others to see it in our work as well. For example, if you hand someone a

10-page report or deliver to someone a 30-minute speech, then some of your

otherwise persuasive logic might be lost as your audience might muddle your ideas
or miss some of your important points. A brief outline similar to what you might use

to compose logical arguments might help others follow your logical arguments.

Giving your audience a well-polished, clean outline can help illuminate the persuasive
logic in your correspondence.

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Just remember what we learned in Lesson 3: there might not always

be a form for a particular type of correspondence, but their usually

is; and you want to stick to that form. This is true of outlines.
Be sure that any outline you give to your audience is well-written,

grammatically correct, and consistent with some authoritative

standard.

Examining Your Work for Logical Connections

Logos only works if your arguments work. The student might recall the previous
example of an illogical conclusion reproduced below:

Premises/Inartistic Information: Clouds are white. Clouds are in the sky.
Conclusion/Artistic Information: The sky is blue.

TX Marketing II: Negotiation Techniques 117