Hope Edelman's Essay The Myth Of Co-Parenting

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In expositions, writers usually tend to focus on certain techniques to not only enhance their writing, but also make their audience believe in whatever they are writing. These age old techniques have been used for so long for one common goal, to create clear messages from their writing that the audience are able to connect with. When their is a feeling of understanding of what the writer is attempting to portray, it makes it far easier to obtain a deeper knowledge. In Hope Edelman’s essay, The Myth of Co-Parenting: How it Was Supposed to Be. How it was, she doesn’t fall short on exemplifying these certain techniques through the act of making her audience feel sympathetic. In her piece, she utilizes emotion and first hand experiences to make the audience identify with the situation, enabling them to make comparisons between Edelman’s marriage and their own. Hope Edelman recognizes that the emotion she writes with helps her female audience identify with her; therefore, making the examples she uses seem more…show more content…
In her essay, Hope Edelman specializes the focus on creating emotion, and using first hand experiences from her marriage to capture the attention of the intended audience, making them question the way their own marriage is being executed. This idea of sympathy being the path to go about capturing an audience in some form of communication, is still predominant in society. The writer is attempting to convey to that if possible, try to find similarities between Edelman’s marriage and their own. If successful, the marriage can make the changes Edelman feels are essential to being healthy. Hope Edelman’s perspective on the way marriage is meant to be, challenges traditional values of society; however, after reading this piece the audience may begin to prefer her idea of marriage. This would make The Myth of Co-Parenting: How it was supposed to be. How it was, successful in capturing the intended focus of raising awareness through emotion, and first hand

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