The question is a deceptively complex one but the answer is …’it depends!’

Let’s take a scenario that every teacher will be familiar with – a class that they’ve worked with for a term. An effective teacher will know the individual interests of the pupils and DIFFERENTIATING AN ACTIVITY BASED ON PUPIL INTERESTS & INDIVIDUAL ENTHUSIASMS would certainly be a positive thing.

In the specific case of poetry a pupil who loves maths could use a syllabic format such as a Haiku or Tanka or even a Hendecasyllabic. The numerical element would be a possible ‘way in’ to poetry for a pupil who had previously been indifferent to it. Of course I recognise that number crunching and poetry are two separate things BUT it would also be a nonsense to assume that Haiku etc are not forms of poetry. Take the works of Basho which transcend the apparent constraints of the three line syllabic form and the necessity for the inclusion of a ‘kigo’ (My choice of the word ‘apparent’ is an important one. The philosopher/ writer Raymond Queneau rightly points out that a constraint need not be a limiting factor, in fact the whole of OULIPO’s work is based on the idea that the concept of the constraint is an important facet of the creative process..take lipogrammatic writing by way of example)

The example given above could be classed as a ‘Form choice differentiation’.

A further POSITIVE way of differentiating could be termed ‘Theme choice’. If pupil ‘A’ enjoys football then a football related poem could be the way forward. If pupil ‘B’ enjoys music then a poem on this theme could be the way forward.

AND THEN there’s always differentiation by personal choice…the ‘here’s a range of possibilities (perhaps modeled and discussed)..now have a go at whichever takes your interest!’ approach. I use this regularly in the classroom as an interested pupil is always a motivated pupil.

Differentiation does have it’s ‘dark side’ and can be a limiting factor…take the original National Literacy Strategy document (a flawed idea adapted from the eminently sensible Western Australian ‘First Steps’ model then ruined in the UK) and it’s division of a developmental continuum (good idea) into years and terms (bad idea)..this nonsense led to inappropriate differentiation based on which year and term you happened to be in.

So, that’s merely a scratching of the surface of an answer but I set myself a half hour deadline to reply so forgive clumsy grammar etc.

I’m all for freedom of expression and to write decent poetry you need to read decent poetry
and experiment to find your own voice, and make mistakes and be exposed to new ideas etc etc I’m a firm advocate of rule breaking but you can’t break a rule until you know a rule. There are also instances where too much choice can be a negative thing (..back to the philosophy of Queneau and Pérec: both well worth reading)

To conclude, a personal note…poetry is one of my favourite genres. My first collection (for adults) was published by Crocus books in 1992 then a further collection was published by Redbeck Press (also for adults). I had work featured in the Iron Press book of Tanka and then there are the two books for teachers. It’s been a consistent part of my life for over 40 years and tonight I will be reading some Douglas Dunn…I also love Simon Armitage’s work…
…this could go on all night but I hope that it provokes some discussion. The question that was posed by Rob is one that all reflective practitioners should discuss!!!

One word of warning: Inherent in the original question (though I recognise that it may have been a playing of the ‘Devil’s advocate’) is the assumption that differentiation might somehow destroy the integrity of poetry…as I hope I’ve begun to indicate in this blog: it depends!

When I wrote the ‘Exciting Sentences’ book in 2008 I had hoped for, but certainly didn’t expect, such an overwhelmingly positive response. The approach is a simple one: if you give a sentence type a name (such as ’2A sentences’ = 2 adjectives before a noun) and all staff use the same name then pupils will quickly develop a vocabulary which helps them to analyse sentences in the writing of others AND use a broader range in their own writing.
Feedback with regard to the impact of this idea has been forthcoming from schools as close to home as Stoke on Trent and as far away as New Zealand. Participants at my UK conferences do, however, often ask about the level at which sentences are taught and so, rather than wait until the new sentences book is published in 2013, here are the levels at which I’d INTRODUCE the sentence types. I’ve maintained the same order as the book for ease of use.

SENTENCE TYPE. LEVEL AT WHICH INTRODUCED

BOYS. High Level 1/ low level 2
2A. Low level 2
like a/as a. High level 2/ low level 3
3ed. Level 3
2 pairs. Level 4
De:de. Level 3 (initially thought this would be L4 but many pupils have coped
well with it at Level 3)
Verb, person. Level 3
O.(I). Level 4
If, if, if, then. Level 4
Emotion word, (comma) Level 3
Noun, which/who/where Level 3/4 (some pupils grasp it easily at Level 3, others find it complex…best to try it out in your own schools)
Many Questions. THE ONLY SENTENCE TYPE I’D USE JUDICIOUSLY..mainly because some pupils overuse question marks after its introduction. If you decide to include it, not below Level 4 for this reason.
Ad, same ad. High level 3
3 bad- (dash) question? solid level 4
Double LY ending Level 4
All the W’s Level 2
List sentences Level 2
Some;others Level 4
Personification of weather Level 3. (If taught effectively this is certainly feasible at Level 3!)
P.C. Another Level 3/4 one. Try with your own pupils.
The more, the more Level 3
Short sentences Level 3 (People often point out that pupils below level 3 can write short sentences which is quite correct. Knowing how and when to apply them in the context of a genre is, however, an entirely different matter, hence Level 3)
ing, ed. Level 3
Irony sentences Personally I’d suggest Level 5 though some have had success at Level 4
Imagine 3 examples: Level 4

Inevitably there will be debate about levels (quite right too..we don’t move forward without it!) so don’t be afraid to try out a sentence type at a lower level than the suggested ones above if you feel your pupils can cope with it.
HOW TO TEACH THE SENTENCE TYPES.

It’s not about numbers!!!! Using 6 sentence types in a piece of writing does NOT make it an effective piece of writing. The simplest way to explain how to teach sentence types is a Do and Don’t list.

DON’T LIST

1 Don’t turn them into worksheets
2 Don’t spend a whole lesson on a sentence type
3 Don’t decontextualise them

DO

1 Link them to exciting writing projects with real purposes and real audiences
2 Model them and use them as targets in exciting writing projects with real purposes and real audiences
3 Link to reading but not all the time. Pupils should read books just for the pleasure of reading books (whole ones too!) and too much deconstruction ‘kills’ the joy of reading!

Finally, I was recently asked which genres they relate to. Many can be used in a wide range of genres but some are more narrative driven. I’d be glad of feedback if any school has been relating them to genres. BOYS sentences work well in comparison/contrast reports. In a more advanced report an If,if,if, then sentence can provide a powerful opening.

I am currently writing a 2nd book of sentence types. It’s been ‘on the go’ for three years now but expect that in 2013 and in the meantime don’t forget that HOW sentences types are taught is the most important factor in their success or failure.

I’ve been writing a new conference on effective teacher-pupil interactions in the classroom and wanted to share one concrete technique on my Blog: Questions for Answers.

The idea is a simple one and it’s interesting because it inverts the typical transactional norm of the Primary classroom. Instead of asking pupils to answer questions we ask them to generate questions! It’s a technique I’ve regularly seen used in maths sessions (The number is 50. What are the questions?) but I’ve rarely seen it used across the curriculum.

Taking history as an example, a lesson could begin with the following written on a Whiteboard:

Here are today’s answers:

Pyramid
Nile
Pharaoh
Shadoof
Old Kingdom

What are the answers?

Groups of pupils are given selections of books on the subject (In this instance ‘Ancient Egypt’) and, hey presto, we have a superb activity for assessing (by stealth) pupils’ information retrieval skills. Coincidentally it raises the cognitive bar!

A simple idea but a fantastic way of differentiating a session in any area of the curriculum! I’d be very keen to hear from teachers using this technique or others of a similar ilk!

1964 Kinks ‘You Really Got Me’

1965 Bob Dylan ‘The Times They Are A Changing’

1966 Nancy Sinatra ‘These Boots are made for walkin’

1967 Doors ‘Light My Fire’

1968 The Beatles ‘Happiness is a Warm Gun’

1969 Leonard Cohen ‘Bird on the Wire’

1970 Velvet Underground ‘Sweet Jane’

1971 Rolling Stones ‘Brown Sugar’

1972 David Bowie ‘Starman’

1973 New York Dolls ‘Personality Crisis’

1974 Sweet ‘Ballroom Blitz’

1975 Queen ‘Bohemian Rhapsody’

1976 The Sex Pistols ‘Anarchy in the UK’

1977 Iggy Pop ‘The Passenger’

1978 The Undertones ‘Teenage Kicks’

1979 XTC Making Plans for Nigel

1980 Joy Division ‘Love Will Tear Us Apart’

1981 Grace Jones ‘Pull up to the Bumper’

1982 The Clash. ‘Should I Stay or should I go’

1983 Violent Femmes ‘Blister in the Sun’

1984 Echo and the Bunnymen ‘The Killing Moon’

1985 Talking Heads ‘Road to Nowhere’

1986 Beastie Boys ‘Fight For Your Right’

1987 New Order ‘True Faith’

1988 Pixies ‘Where is my Mind?’

1989 Stone Roses ‘Fools Gold’

1990 Tanita Tikaram ‘It All Came Back Today’

1991 Nirvana ‘Smells Like Teen Spirit’

1992 Inspiral Carpets Smoking her Clothes’

1993 Depeche Mode ‘I Feel You’

1994 James ‘Sometimes’

1995 Radiohead ‘Fake Plastic Trees’

1996 The Prodigy ‘Firestarter’

1997 Radiohead ‘Paranoid Android’

1998 Madonna ‘Frozen’

1999 Blur ‘Tender’

2000 Coldplay ‘Yellow’

2001 The Beta Band ‘Human Being’

2002 Libertines ‘What a Waster’

2003 The Flaming Lips ‘Yoshimi Battles the Pink Robots’

2004 Morrissey ‘Irish Blood English Heart’

2005 Bright Eyes ‘We are Nowhere and It’s Now’

2006 Bonnie ‘Prince’ Billy ‘Cursed Sleep’

2007 Rufus Wainwright ‘Release the Stars’

2008 The Low Anthem ‘Oh My God, Charlie Darwin’

2009 First Aid Kit ‘You’re Not Coming Home Tonight’

2010 Eminem ‘Not Afraid’

2011 Kaiser Chiefs ‘Little Shocks’

Firstly, let me ‘nail my colours to the mast’- if I had any money in my IT budget I would never buy a notebook again…it would have to be IPads. The reason is quite simple: access to the huge range of educational apps which are now available!

Although the initial hardware spend isn’t a small one the low cost of software (apps) is astounding. Many of the apps include features, which only 5 years ago would have cost tens or hundreds of pounds, for less than a couple of pounds today.

I’ve only had one main issue since buying my iPad and that has been its inability to play videos in Flash. Fortunately that issue is now easily rectifiable. There are three apps available in the AppStore which solve this problem. I’ve downloaded all three and the ability to bookmark sites within each app allows me to quickly access many documentaries and YouTube videos which I couldn’t previously view. All of these can be used to add a visual dimension to lessons.

I’m not going to review each of the three apps as they all do the job well, but if you also want to play Flash videos on your IPad these are the apps that you need:
1 Puffin
2 Skyfire
3 iSwifter

All three have worked well for me although personally I find iSwifter the least glitchy! (If you want to try out the American site Hulu then Puffin is your best bet!) There is some pixillation on all three sites but if you have a decent broadband connection each is worth experimenting with.

If you want to test each out in order to ascertain a personal preference try out
http://www.tv-links.eu/. There are many documentaries on this site and it’s an excellent starting point.

I hope this short blog has helped you with the issue of Flash and Apple. I’d be glad to hear of any further suggestions. Feel free to email me at alanpeat@tiscali.co.uk

Persuasive Nouns: enticement exhortation seduction persuasion influence point of view advice opinion argument power pressure authority viewpoint attitude position approach judgement recommendation suggestion guidance information belief outlook disagreement
authority ability stance perspective feelings thoughts views proposal plan idea proposal proposition leadership direction assistance skill facility gift contribution award way course trend

Persuasive Verbs: Accelerate Achieve Adopt Anticipate Apply Assess Avoid Boost Build Capture Change Choose Clarify Command Comprehend Confront Connect Conquer Convert Create Cross Decide Define Deliver Demand Deploy Design Develop Diagnose Discover Drive Eliminate Ensure Entice Establish Evaluate Exploit Explore Finalize Find Focus Foresee Gain Gather Generate Grasp Identify Ignite Illuminate Implement Improve Increase Induce Influence Innovate Inspire Intensify Lead Learn Manage Manipulate Master Maximize Measure Motivate Overcome Persuade Plan Position Prepare Prevent Profit Raise Realize Reconsider Reduce Refresh Replace Resist Respond Retain Save Simplify Solve Stimulate Succeed Transform Understand Unleash Win

Persuasive Adjectives: alluring adorable attractive beautiful colourful distinct elegant glamorous gorgeous handsome magnificent precious sparkling unusual important outstanding different super inexpensive cheap agreeable charming cheerful comfortable courageous delightful determined eager enchanting encouraging energetic enthusiastic successful lovely excited exuberant fair faithful fantastic fine friendly funny gentle glorious good
Persuasive Adverbs: clearly totally importantly significantly always carefully clearly correctly easily elegantly enormously enthusiastically equally exactly fast fortunately gladly honestly justly more nearly neatly often only perfectly politely powerfully promptly punctually quickly rapidly rarely really regularly rightfully safely seldom seriously soon speedily successfully swiftly thoughtfully truthfully unexpectedly very well

Connectives used in persuasion:
Sequencing connectives:- next, then, first, second, third…finally, after, before meanwhile, eventually
Emphasising connectives:- above all, especially in particular, significantly
Comparing connectives: – in the same way, likewise, like equally, similarly
Cause and effect connectives:- consequently because , so, therefore
Qualifying connectives:- however, although unless, except, if, as long as
Illustrating connectives:- for instance, in the case of for example, such as
Contrasting connectives:- whereas, alternatively, otherwise instead of, the other hand on

Some Classical Concepts of Persuasion (Pathos)

Simile – A Qualified Comparison using “as”, “as if”, or “like”; softer in its implications.
“Hand cream for skin as soft as silk .”

Metaphor – An Absolute Comparison with no qualifiers. “She is a Dove.”

Allegory – A figurative treatment of one subject under the guise of another in order to persuade; a parable.

Metonymy – Borrowing a word out of its usual usage to enhance and persuade”Ruby Lips.”

Irony – A Polite Wounding; an incongruity of speech in which the words express a meaning that is usually opposite of the intended meaning.

Sarcasm – A form of Irony that is deliberately intended to hurt or offend; always intentional.

Hyperbole – An intentional exaggeration not intended to be taken literally; usually descriptive in nature.

Catachresis – Related to Metaphor, but more direct; name-calling. “He’s a dork.” “What a doll.”

Onomatopoeia – Use in adverts and jingles

Interrogatio – Asking a question or series of questions in order to trap someone into a specific response or to make a point. A leading question.
Rhetorical Questions – A technique demands a response from the audience. A question is asked and the viewer or listener is supposed to answer in such a way as to affirm a product’s value.
Dissimulation – Use of humor to emphasize the differences between two items

Ecphonesis – A showing of strong or vehement passion.

Aporia – The art of creating doubt.

Personification – Giving human attributes to inanimate objects in a passive form.

Aposiopesis – Denial through pretending to conceal or omit what one really intends to declare. “We won’t mention the fact that …..

Anacoenosis – Appealing to the audience for documentation or approval.

Anastrophe – Inversion; holding the point to the end to increase the listener’s expectations or to thwart a hostile audience.

Erotesis – A show of strong emotion in order to infuse energy or passion

Prolepsis – Enumerate our opponent’s objections in our discourse, then answer them in order to emasculate them.

Epanaphora – Graceful repetition; either a word or phrase alone, or a word at the beginning of a series of phrases

Apostrophe – The deliberate interruption of our current train of thought for a specific effect.

Periphrasis – Double-talk. Use of excessive language in order to dodge an issue or question. (Common in politics.)

Synchoresis – Granting or yielding a point in order to win one

Oxymoron – Two juxtaposed concepts which apparently contradict each other, used to lend force to persuasion.
A just war A new classic Abundant poverty Accurate estimate
Active retirement Agree to disagree Almost complete Amicable divorce
Among the first Anti-Missile Missile Approximately equal Authentic replica
Authentic reproduction Awfully good Awfully nice Awfully pretty
Beyond infinity Calculated Error Calculated risk Clean air
Clearly ambiguous Comparatively unique Cautiously Optimistic
Deliberate mistake Easy payments Equally diverse Essential luxury

Essential service Even odds Evolutionary fact Exact estimate
Executive assistant Evolutionary fact Exact estimate Executive assistant
Expect the unexpected Extended Deadline Extremely average
Eyes Wide Shut Fairly Accurate Fairly obvious Final conclusion
Firm estimate Free Credit Free election Free gift
Fresh frozen Geniune imitation Gentle turbulence Guaranteed forecast
Genuine fake Gourmet fast food Half true Harmless lie
Harmless pollution Healthy tan

Enantiosis – The juxtaposition of opposites used to mutually set off or enhance each other.

Climax – Building to a key point.

Hypotyposis – Language that moves very rapidly; using as few words as possible to make a point.

Alliteration – Repetition of consonants

Epiphonema – The Epic Statement; a word or phrase that is intended to be remembered; a slogan or trademark. Often used at the end of a piece of persuasion.

Euphony – A pleasant-sounding title, usually used to describe an unpleasant task or object. “Sanitation Engineer” for “Garbage Collector”. Tool of the Politically Correct.

Cacophony – Describing in loud or harsh terms, or the use of loud sounds or language.

Honorific – Giving people or items an inflated title.

Types of Suggestion
Prestige – Associate a cause or product with prestige, implying that agreement or consumption will impart qualities of prestige to the endorser on the consumer.

Auto-Suggestion – Self-suggestion that originates from without.

Direct Suggestion – Directly suggesting an action. “You must do such-and-such.”

Indirect Suggestion – Suggesting an action by delineating a path and letting the subject arrive at the target suggestion through his or her own interest.

Negative Suggestion – Suggesting a negative attitude by example.

Positive Suggestion – Putting something in a positive light, usually through praise or flattery.

Counter Suggestion – Countering an opponent’s suggestion, usually before it is made.

Psychological Forms
Atmosphere Effect – Developing an atmosphere or mood complimentary to the message.

Together Device – Fostering Unity; appealing to the harmonious whole, or as a harmonious whole. “We’re in this together.”

Common Ground – Appealing to those individual aspects we all share. “What do we have in common?”

Rationalization – Explaining plausible reasons for needing an idea or item.

Repetition – Repeating an idea for effect. “Tell ‘em what you’re gonna tell ‘em, tell ‘em, then tell ‘em you told ‘em.”

Scapegoat Technique – Blaming others for unreconcilable problems in which they had no involvement, usually to escape one’s own fault.

The Big Lie – To tell a lie in such a way that it sounds like truth: the bigger the lie, the more credibility it exudes. “I feel your pain”, “The Worst Economy of the last 50 years”. OR To tell the truth in such a way that it sounds like a lie.

Strategy of Terror – Using terror or fear to elicit a response or an action. “They want to take away your medicare.”

Transfer – The concept that, by using a product (or adopting a position) endorsed by a desirable spokesman, some of the qualities of the spokesman – ostensibly gained by him through use of the same product – will transfer to us. Usually used with Prestige (see above).

Plain Folks – Appeal to the basic elements of a population.
Testimonial – Using the testimony of an endorser (either celebrity or average Joe) to promote a product; usually outcome-based (what the product did for him).
Band Wagon – Conscientious attempt through excitement or pressure to get people to support your cause, usually through a degree of coercion. “Get on the Band Wagon.”

The Weasel claim- A weasel word is a modifier that practically negates the claim that follows. The expression “weasel word” is aptly named after the egg-eating habits of weasels. A weasel will suck out the inside of an egg, leaving it appear intact to the casual observer. Upon examination, the egg is discovered to be hollow. Words or claims that appear substantial upon first look but disintegrate into hollow meaninglessness on analysis are weasels. Commonly used weasel words include “helps” (the champion weasel); “like” (used in a comparative sense); “virtual” or “virtually”; “acts” or “works”; “can be”; “up to”; “as much as”; “refreshes”; “comforts”; “tackles”; “fights”; “come on”; “the feel of”; “the look of”; “looks like”; “fortified”; “enriched”; and “strengthened.”
“Helps control dandruff symptoms with regular use.” The weasels include “helps control,” and possibly even “symptoms” and “regular use.” The claim is not “stops dandruff.”
“Leaves dishes virtually spotless.” We have seen so many ad claims that we have learned to tune out weasels. You are supposed to think “spotless,” rather than “virtually” spotless.
“Only half the price of many colour sets.” “Many” is the weasel. The claim is supposed to give the impression that the set is inexpensive.
“Tests confirm one mouthwash best against mouth odor.”
“Hot Nestlés cocoa is the very best.” Remember the “best” and “better” routine.
“Listerine fights bad breath.” “Fights,” not “stops.”
“Lots of things have changed, but Hershey’s goodness hasn’t.” This claim does not say that Hershey’s chocolate hasn’t changed.
“Bacos, the crispy garnish that tastes just like its name.”
The Unfinished Claim – The unfinished claim is one in which the ad claims the product is better, or has more of something, but does not finish the comparison.
Samples of Unfinished Claims
“Magnavox gives you more.” More what?
“Anacin: Twice as much of the pain reliever doctors recommend most.” This claim fits in a number of categories but it does not say twice as much of what pain reliever.
“Supergloss does it with more color, more shine, more sizzle, more!”
“Coffee-mate gives coffee more body, more flavor.” Also note that “body” and “flavor” are weasels.
“You can be sure if it’s Westinghouse.” Sure of what?
“Scott makes it better for you.”
“Ford LTD–700% quieter.”
When the FTC asked Ford to substantiate this claim, Ford revealed that they meant the inside of the Ford was 700% quieter than the outside.
The “We’re different and unique” claim – This kind of claim states that there is nothing else quite like the product being advertised. For example, if Schlitz would add pink food colouring to its beer they could say, “There’s nothing like new pink Schlitz.” The uniqueness claim is supposed to be interpreted by readers as a claim to superiority.
Samples of the “We’re Different and Unique” Claim
“There’s no other mascara like it.”
“Only Doral has this unique filter system.”
“Cougar is like nobody else’s car.”
“Either way, liquid or spray, there’s nothing else like it.”
“If it doesn’t say Goodyear, it can’t be polyglas.” “Polyglas” is a trade name copyrighted by Goodyear. Goodrich or Firestone could make a tire exactly identical to the Goodyear one and yet couldn’t call it “polyglas”–a name for fiberglass belts.

The Water is Wet claim – “Water is wet” claims say something about the product that is true for any brand in that product category, (for example, “Schrank’s water is really wet.”) The claim is usually a statement of fact, but not a real advantage over the competition.
Samples of the “Water is Wet” Claim
“Mobil: the Detergent Gasoline.” Any gasoline acts as a cleaning agent.
“Great Lash greatly increases the diameter of every lash.”
“Rheingold, the natural beer.” Made from grains and water as are other beers.
“SKIN smells differently on everyone.” As do many perfumes.

The “So what” claim – This is the kind of claim to which the careful reader will react by saying “So What?” A claim is made which is true but which gives no real advantage to the product. This is similar to the “water is wet” claim except that it claims an advantage which is not shared by most of the other brands in the product category.
Samples of the “So What” Claim
“Geritol has more than twice the iron of ordinary supplements.” But is twice as much beneficial to the body?
“Campbell’s gives you tasty pieces of chicken and not one but two chicken stocks.” Does the presence of two stocks improve the taste?
“Strong enough for a man but made for a woman.” This deodorant claims says only that the product is aimed at the female market.

The Vague claim – The vague claim is simply not clear. This category often overlaps with others. The key to the vague claim is the use of words that are colorful but meaningless, as well as the use of subjective and emotional opinions that defy verification. Most contain weasels.
Samples of the Vague Claim
“Lips have never looked so luscious.” Can you imagine trying to either prove or disprove such a claim?
“Lipsavers are fun–they taste good, smell good and feel good.”
“Its deep rich lather makes hair feel good again.”
“For skin like peaches and cream.”
“The end of meatloaf boredom.”
“Take a bite and you’ll think you’re eating on the Champs Elysées.”
“Winston tastes good like a cigarette should.”
“The perfect little portable for all around viewing with all the features of higher priced sets.”
“Fleishman’s makes sensible eating delicious.”

The Endorsement or Testimonial – A celebrity or authority appears in an ad to lend his or her stellar qualities to the product. Sometimes the people will actually claim to use the product, but very often they don’t. There are agencies surviving on providing products with testimonials.
Samples of Endorsements or Testimonials
“Joan Fontaine throws a shot-in-the-dark party and her friends learn a thing or two.”
“Darling, have you discovered Masterpiece? The most exciting men I know are smoking it.” (Eva Gabor)
“Vega is the best handling car in the U.S.” This claim was challenged by the FTC, but GM answered that the claim is only a direct quote from Road and Track magazine.

The Scientific or Statistical claim – This kind of ad uses some sort of scientific proof or experiment, very specific numbers, or an impressive sounding mystery ingredient.
Samples of Scientific or Statistical Claims
“Wonder Break helps build strong bodies 12 ways.” Even the weasel “helps” did not prevent the FTC from demanding this ad be withdrawn. But note that the use of the number 12 makes the claim far more believable than if it were taken out.
“Easy-Off has 33% more cleaning power than another popular brand.” “Another popular brand” often translates as some other kind of oven cleaner sold somewhere. Also the claim does not say Easy-Off works 33% better.
“Special Morning–33% more nutrition.” Also an unfinished claim. “ESSO with HTA.”
“Sinarest. Created by a research scientist who actually gets sinus headaches.”
The “Compliment the consumer” claim – This kind of claim butters up the consumer by some form of flattery.
Samples of the “Compliment the Consumer” Claim
“We think a cigar smoker is someone special.”
“If what you do is right for you, no matter what others do, then RC Cola is right for you.”
“You pride yourself on your good home cooking….”
“The lady has taste.”
“You’ve come a long way, baby.”

Quotes – Famous thoughts on persuasion
He who wants to persuade should put his trust not in the right argument, but in the right word. The power of sound has always been greater than the power of sense. (Joseph Conrad )
For your own good is a persuasive argument that will eventually make a man agree to his own destruction. (Janet Frame)

That which proves too much, proves nothing! (Chinese Proverb)
I have a theory that the best ads come from personal experience. Some of the good ones I have done have really come out of the real experience of my life, and somehow this has come over as true and valid and persuasive. (David Ogilvy)

The great enemy of the truth is very often not the lie, deliberate, contrived and dishonest, but the myth, persistent, persuasive and unrealistic. (John F. Kennedy )

The more informative your advertising, the more persuasive it will be. (David Ogilvy)

Thaw with her gentle persuasion is more powerful than Thor with his hammer. The one melts, the other breaks into pieces. (Henry David Thoreau)
People often say that motivation doesn’t last. Well, neither does bathing-that’s why we recommend it daily. (Zig Ziglar)
Comfort the afflicted, and afflict the comfortable.(Finley Peter Dunne)
The ultimate inspiration is the deadline.(Nolan Bushnell)
There is only one way… to get anybody to do anything. And that is by making the other person want to do it. (Dale Carnegie)
You cannot raise a man up by calling him down. (William Boetcker)
There are two levers for moving men — interest and fear.(Napoleon Bonaparte)
The tongue can paint what the eye can’t see.(Proverb)

He who wants to persuade should put his trust not in the right argument, but in the right word. The power of sound has always been greater than the power of sense.(Proverb)
If you would persuade, you must appeal to interest rather than intellect.( Joseph Conrad)

If you would convince others, seem open to conviction yourself. (Benjamin Franklin)

Nothing is so unbelievable that oratory cannot make it acceptable. (Lord Chesterfield)

You may fool all the people some of the time, you can even fool some of the people all of the time, but you cannot fool all of the people all the time. (Samuel Johnson)

If you wish to win a man over to your ideas, first make him your friend (Abraham Lincoln)
People are usually more convinced by reasons they discovered themselves than by those found out by others. (Blaise Pascal )
The secret is to always let the other man have your way. (Claiborne Pell)

When a heart is on fire, sparks always fly out of the mouth. (Proverb)

If you’re trying to persuade people to do something, or buy something, it seems to me you should use their language. (David Ogilvy)

The real persuaders are our appetites, our fears and above all our vanity. The skillful propagandist stirs and coaches these internal persuaders. (Eric Hoffer)

Secrecy has many advantages, for when you tell someone the purpose of any object right away, they often think there is nothing to it. (Johann Wolfgang Von Goethe)

If you can’t get people to listen to you any other way, tell them it’s confidential.
(Proverb)

He makes people pleased with him by making them first pleased with themselves. (Lord Chesterfield)

More flies are caught with honey than with vinegar. (French Proverb)