While you generally want to move from the known to the new, from the thesis to its illustration or restriction, you sometimes want to violate this pattern. Educated readers in particular can be bored by texts that always present information in the same way.
For example, how Valerie Steele’s anecdotal tone and dialogue in the opening sentences of her essay on fashion in academia prepare the reader for her thesis:
Once, when I was a graduate student at Yale, a history professor asked me about my dissertation. “I’m writing about fashion,” I said.
That’s interesting. Italian or German?”
It took me a couple of minutes, as thoughts of Armani flashed through my mind, but finally I realized what he meant. “Not fascism,” I said. “Fashion. As in Paris.”
“Oh.” There was a long silence, and then, without another word, he turned and walked away.
Fashion still has the power to reduce many academics to embarrassed or indignant silence. Some of those to whom I spoke while preparing this article requested anonymity or even refused to address the subject. (“The F-Word.” Lingua Franca April 1991: 17–18.)