Magee's Argument Analysis: Thought Before Writing

Bryan Magee declares a philosophical papers worth is determined by its presentational structure, not its sentence quality. Valerie Hobbs agrees. However, Hobbs disagrees with the idea that presentational structure is acquired by thought alone. Hobbs determines two separate methods for creating presentational structures. I will focus on the apparent debate over the idea of ‘thought before writing’ vs. ‘writing before writing.’ This paper will briefly summarise Magee’s proposal in their paper. Then highlight Hobbs’s objection. Followed by an attempt to reconcile the two papers. I will spend more time on Magee’s paper because it is the primary source of information the two papers share. Magee’s primary appeal is the importance of structure
(Magee, 451-452; 459-460). Imagine scenario A as a ladder with crooked rungs irregularly spaced apart, making it difficult to use, however it connects to a forgotten hoard of treasure, collected by a long dead skulk of miserly thieves. The way to the reward was harder than it should/could have been, but worth it. Imagine scenario B as a perfect metal ladder, with perfectly placed rungs, and strong enough to carry 100 men and the cars they drive. The ladder is bolted to the ground and goes straight up into the air and beyond the clouds. When you scale to the top of the ladder you find nothing. The journey up this ladder was pleasant but ultimately a waste of time. (Magee, 459-460).
Thus far Hobbs was fairly agreeable; however, she begins to have doubts when from the idea that the presentational structure of papers is most important Magee posits when writing we must begin with “a stage of deep non-verbal reflection.” (Magee, 454). Essentially, one must silently, think up, or mentally forge and meditate upon the presentational structure before they begin writing. This idea is partially correct but either Magee misspoke or he does not fully grasp the truth. This is the principle cause for Hobbs’s
You know it is on you to repair them from the pieces you have and glue. You have multiple processes going as you work. You are recalling which pieces you have seen before and place them together for speedy repair. Like having the picture on the box of a puzzle. You, also, are pushing the unfamiliar pieces together and seeing which parts click and setting the matches aside. The vases are papers; the pieces are ‘truths’ and points you wish to make. Your grandmother coming along and seeing her shattered vases is your death. The glue is the minor edits you add to a final paper. The box is the life you have