Chapter 3
IN THIS CHAPTER
Writing for readability and impact
Aiming for a reader-friendly, conversational style
Injecting energy into your language
Employing elements of good design
Your writing style probably took shape in school where literary traditions and formal essays dominate. This experience may have led you to believe that subtle thoughts require complex sentences, sophisticated vocabulary, and dense presentation. Perhaps you learned to write that way — or maybe you didn’t. Either way: Get over it. The rules of academic writing don’t apply to the business world.
Real-world business writing is more natural, reader-friendly, and easier than academic writing — especially after you learn the essential techniques covered in this chapter.
All these indicators of successful business communication come into play in everything you write. The following sections break down the various components of style into separate bits you can examine and adjust in your own writing.
Clarity and simplicity go hand in hand. It means your messages communicate what you intend with no room for misunderstanding or misinterpretation. Your reason for writing, and what you want the reader to do as a result of reading the message, are equally clear. This requires using:
Creating an easy reading experience is hard on the writer. Just like a simple dress or suit is often more expensive than a fussy one, a message that seems simple is a bigger investment, but in terms of thought. When you write well, you do all the readers’ work for them. They don’t need to figure out anything because you’ve already done every bit of it. Leave out information or connections, and they will leap the gap in any way they choose. So, take the trouble to be unambiguous and complete, because that’s how you win what you want.
Guidelines for business writing are not theoretical. They’re practical, and moreover, supported by research studies on how people respond to the written word. Fortunately, you don’t have to read the research. Most word-processing software, including Microsoft Word, and several websites have already digested all the data and offer easy-to-use tools to help you quickly gauge the readability of your writing.
Several readability indexes exist (see the sidebar “Readability research: What it tells us” later in this chapter). In this section, I focus on the Flesch-Kincaid Readability Index because it’s the one Microsoft Word uses. A readability index predicts the percentage of people likely to understand a piece of writing and assigns it a grade level of reading comprehension. The grade-level scores are based on average reading ability of students in the U.S. public school system. The algorithm for a readability index is primarily based on the length of words, sentences, and paragraphs.
At the same time, usually you don’t want to gear your use of language to the least literate members of your audience. So, take any calculations with many grains of salt and adapt them to your audience and purpose. And just so you know, the “average reader” in the United States is pegged at a seventh- to ninth-grade reading level, depending on which study you look at.
Finding the Flesch-Kincaid Readability Index varies a little based on which version of Microsoft Word you use. Generally, go to Word’s Spelling and Grammar Preferences screen and make sure the “Show readability statistics” checkbox is selected. Thereafter, whenever you complete a spelling and grammar check, you see a box with readability scores: the Flesch Reading Ease score, which rates how difficult the text is to read, and the Flesch-Kincaid Grade Level, which assigns an approximate U.S. grade level to the text.
Several readability tests are available free online, including at www.readability-score.com
. On most sites, you simply paste a chunk of your text into a box and the readability information pops right up.
My personal print media readability targets for general audiences are as follows:
For online media, my readability targets are even tighter. Reading from a screen — even a big one — is physically harder for people so they are even less patient than with printed material. Sentences for online media work best when they average 8 to 12 words, and interspersing short sentences — sometimes just a single word — adds punch. Paragraphs should contain one to three sentences.
On the other hand, somewhat longer paragraphs work better for books, if you wonder why I’m bending my own rules at times.
To check out how a readability index works, select a section or a whole document of something you wrote recently in Microsoft Word and run a spelling and grammar check. (Or copy and paste a selected passage into an online readability checker.) When the spelling and grammar check is completed, review the Readability Statistics to find out if you need to simplify your writing. If the statistics say that at least a 12th-grade reading level is required (in many Word versions, the index doesn’t show levels above 12), and less than 60 percent of readers will understand your document, consider rewriting. Do the same if you used more than 10 percent passive sentences. You’ll find lots of suggestions for rewriting in the next section, but consider any or all of the following:
Then recheck the statistics. If the figures are still high, repeat the process. See if you can get the grade level down to grade 10, then grade 8. Try for less than 8 percent passive voice. Compare the different versions. Which do you prefer? Which do you think best serves your purpose?
You may wonder whether basing your writing on short simple sentences produces choppy and boring material reminiscent of a grade school textbook. Aiming for clear and simple definitely should not mean dull reading.
Think of the worst public speakers you know. They probably present in a series of long, complex sentences in an even tone that quickly numbs the ear. Good speakers, by contrast, hold your attention by varying the length of sentences, inflection, and intonation. As a writer, you want to do the same.
Even a short message benefits from attention to sentence rhythm. Consider this brief message:
Kim: The video crew didn’t show up again yesterday. We waited all morning. They never came. We just sat there twiddling our thumbs. What a waste of time. It’s just unacceptable. Please advise. —Ted
And an alternate version:
Kim: The video crew let us down again yesterday. Waiting all morning cost us a lot of time, and as a result, we are at risk of missing the target deadline. Do you have a suggestion on how to move ahead? Thanks. —Ted
Notice, too, that when you combine some short sentences to alternate the rhythm, easy ways to improve the wording and content emerge. Ted may be inspired to go a step further and write a third version of the same message:
Kim: I’m sorry to report that the video crew failed to show up again yesterday. Losing a whole morning makes it hard to meet our deadline, August 14th, which keys off the annual meeting. I’ve looked into some alternative resources — the shortlist is attached. Do you have a few minutes to talk about how to move ahead? Thanks. —Ted.
Notice how much more connected the thoughts seem, and how much more authoritative the overall message feels. Yes, the content shifted — but this happens when you write thoughtfully! In everything you write, what you say and how you say it are inextricable.
This is the magic of good writing. It clarifies problems. It enables you to discover solutions that didn’t occur to you at first thought. It equips you to look more effective and to be more effective. Good writing is always worth the time it takes, and once you adopt this belief and absorb the structure I’m providing, you can become an efficient writer as well as a powerful one.
Many people have a problem opposite to creating short, disconnected sentences. Maybe you tend to write lengthy complicated sentences that end up with the same result: dead writing.
A number of potentially good writers don’t succeed as well as they might because they fall into a pattern that repeats the same rhythm, over and over again. Here’s an example taken from an opinion piece written for a workshop:
I strongly support efforts to improve the global economy, and naturally may be biased toward the author’s position. While this bias may be the reason I responded well to the piece in the first place, it is not the reason why I consider it an exceptional piece of writing. Not only is this article extremely well researched, its use of cost-benefit analysis is an effective way to think about the challenges.
The monotonous pattern and unending sentences serve the ideas poorly. One way to rewrite the material:
I strongly support efforts to improve the global economy and this probably inclined me to a positive response. But it’s not why I see it as an exceptional piece of writing. The article is extremely well researched. Further, its cost-benefit analysis is an effective way to think about the challenge.
Again, simply varying the sentence length and structure quickly improves the overall wording and flow. Notice that you can take liberties with the recommended short-long-short sentence pattern and use two short sentences, then two more complex ones, for example.
New business writers are often told to adopt a “conversational” tone, but what does that actually mean?
Business correspondence written during the nineteenth century and even most of the twentieth, seems slow, formal, and ponderous when you read it now. Today’s communication needs to move as fast as our lives, and we want it to feel natural.
Rhythm, discussed in the preceding section, is a basic technique that gives your copy forward momentum and promotes a conversational feeling. Additional techniques for achieving conversational tone include:
If you ignore the preceding guidelines — and want to look hopelessly outdated — you can write a long-winded and lifeless message like the following:
Yawn — and also a bit confusing. Or you can write a clear, quick, crisp version like this:
Elaine, I’m sorry to say the Blue Jay deadline has been moved up to August 14. Bummer, I know. What problems does this create? Let’s talk. Thursday at 3? —Carrie
Hi. How are you? Listen, we got a problem. The Blue Jay deadline — would you believe — it’s now August 14th. Yeah, I know, total bummer. We should talk about the problems. Is Thursday at 3 good?
Online copy often works best when it carries the conversational illusion to an extreme. Pay attention to the jazzy, spontaneous-style copy on websites you love. The words may read like they sprang ready-made out of some genie’s lamp, but more than likely they were produced by a team of copywriters agonizing over every line for weeks or months or years. Spontaneous-reading copy doesn’t come easy: It’s hard work. Some people — frequent bloggers, for example — are good at writing conversationally because they practice this skill consciously.
Written communication starts with words, so choose them well. But the most important guideline for selecting the best words for business writing may seem counterintuitive: Avoid long or subtle words that express nuance. These may serve as the staple for many fiction writers and academics, but you’re not aiming to sound evocative, ambiguous, impressive, or super-educated. In fact, you want just the opposite.
The short everyday words you use in ordinary speech are almost always best for business writing. They’re clear, practical, and direct. They’re also powerful enough to express your deepest and widest thoughts. They’re the words that reach people emotionally, too, because they stand for the most basic and tangible things people care about and need to communicate about. “Home” is a whole different story than “residence”; “quit” carries a lot more overtones than “resign.”
Make a list of basic one- and two-syllable words and almost certainly, they come from the oldest part of the English language, Anglo-Saxon. Most words with three or more syllables were grafted onto this basic stock by historical invaders: the French-speaking Normans and the Latin-speaking Romans for the most part, both of whom aspired to higher levels of cultural refinement than the Britons.
If you were raised in an English-speaking home, you learned Anglo-Saxon words during earliest childhood and acquired the ones with Latin, French, and other influences later in your education. Scan these previous two paragraphs and you know immediately which words came from which culture set.
In many workplaces today, you need to communicate with culturally diverse audiences all the time as well as with people with different educational levels. Make simple, straightforward language the general rule.
This principle holds for long documents like reports and proposals as much as for emails. They should never read pretentiously no matter how big a job you’re pitching and no matter how impressive the company. And short word guidelines are also important for online writing such as for websites and blogs. When we read onscreen, we have even less patience with multi-syllable, sophisticated words. Reading (and writing) on smartphones and other small devices usually makes short words the only practical choice.
Using short, friendly words may seem like common sense, so why do you see so much business messaging with all those long, highly educated words in dense sentences? I have no idea. If everyone wrote the way he prefers to read, I’m sure we’d have a more collegial, efficient, and productive world.
Consciously develop your awareness of short-word options. Clearer writing gives you better results. In most circumstances, opt for the first and friendlier word in the following pairs.
Use… |
Rather than… |
help |
assistance |
often |
frequently |
try |
endeavor |
need |
requirement |
basic |
fundamental |
built |
constructed |
confirm |
validate |
rule |
regulation |
create |
originate |
use |
utilize |
prove |
substantiate |
show |
demonstrate |
study |
analyze |
fake |
artificial |
limits |
parameters |
skill |
proficiency |
need |
necessitate |
I don’t mean that the longer words are bad — in fact, they can often be the better choice. But generally, be sure you have a reason for going long. Observe your writing and identify the three or more syllable words you use often and think about shorter alternatives. An online thesaurus can help.
Concrete nouns are words that denote something tangible: a person or any number of actual things, such as dog, nose, dirt, house, boat, balloon, computer, egg, tree, chair, and so on. They are objects that exist in real space. You can touch, see, hear, smell, or taste them.
Abstract nouns typically represent ideas and concepts. They may denote a situation, condition, quality, or experience, such as catastrophe, freedom, efficiency, knowledge, mystery, observation, irritability, intemperance, analysis, research, love, democracy, and many more.
Suppose at a pivotal point of World War II Winston Churchill had written in the manner of many modern business executives:
We’re operationalizing this initiative to proceed as effectively, efficiently, and proactively as possible in alignment with our responsibilities to existing population centers and our intention to develop a transformative future for mankind. We’ll employ cost-effective, cutting-edge technologies and exercise the highest level of commitment, whatever the obstacles that materialize in various geographic situations.
Instead he wrote and said:
We shall not flag or fail. We shall go on to the end. We shall fight in France, we shall fight on the seas and the oceans, we shall fight with growing confidence and growing strength in the air, we shall defend our island, whatever the cost may be. We shall fight on the beaches, we shall fight on the landing grounds, we shall fight in the fields and in the streets, we shall fight in the hills; we shall never surrender.
Which statement engages the senses and therefore the heart, even three-quarters of a century after this particular cause was won? Which carries more conviction? Granted, Churchill was writing a speech, but the statement also works amazingly when read.
Notice how many words of the mock business-writing piece contain three or more syllables. Churchill’s piece uses only three. And running both passages through readability checks (see the previous section, “Applying readability guidelines”) predicts at least a 12th-grade reading level to understand the business-speak with only 2 percent of readers understanding it. By contrast, Churchill’s lines require only a 4th-grade reading level and 91 percent of readers understand them.
Good strong verbs invigorate. Passive verbs, which involve a form of the verb “to be,” deaden language and thinking, too. Consider some dull sentences and their better alternatives:
The first sentence in each set represents what grammarians call the passive voice: a form of the verb “to be” followed by a word ending in “-ed.” Other constructions also use non-active verbs that tell you to take a second look. One clue: sentences that rely on the phrases “there is” and “there are,” which often bury meaning. Compare the following pairs:
You may need to go beyond changing the verb and rethink the entire sentence so it’s simple, clear, and direct. In the process, take responsibility. Passive sentences often evade it. A classic example:
Mistakes were made, people were hurt, and opportunities were lost.
Who made the mistakes, hurt the people, and lost the opportunities? The writer? An unidentified CEO? Mystery government officials? This kind of structure is sometimes called “the divine passive”: Some unknown or unnamable force made it happen.
To help you remember why you generally need to avoid the passive, here’s my favorite mistake. I asked a group of people to write about their personal writing problems and how they planned to work on them. One person contributed:
Many passive verbs are used by me.
The award was created to recognize outstanding sales achievement.
Or you may have a surprise to disclose that leads you to use the passive for emphasis:
This year’s award was won by the newest member of the department: Joe Mann.
Comparisons help your readers understand your message on deeper levels. You can use similes and metaphors, which are both analogies, to make abstract ideas more tangible and generally promote comprehension. These devices don’t need to be elaborate, long, or pretentiously literary. Here are some simple comparisons:
Whatever device you use, effective comparisons
Good written messages and documents are well thought out and presented clearly and vividly, as covered in this chapter and the preceding one. But I have one more aspect to highlight. Your writing must not only meet audience needs and read well; it also must look good.
The following sections show you how to use various graphic techniques to maximize your message’s appeal. And rest assured, you don’t need to purchase special software or other tools to easily implement these good design principles.
To coin a comparison (see the sidebar “Making up fresh comparisons”):
Add white space to your writing for the same reason bakers add yeast to their bread — to leaven the denseness by letting in light and air.
Always look for opportunities to add that valuable white space to your message. Check for white space in everything you deliver. Factors that affect white space include the size of the typeface, line spacing, margin size and column width, and graphic devices such as subheads, sidebars, and integrated images.
Type has numerous graphic aspects and effects. Following are some of the most significant, as well as easiest to adjust.
Using an easy-to-read simple typeface (or font) is critical. For printed text, serif fonts — fonts with feet or squiggles at the end of each letter, like the font used in this book — are more reader-friendly because they make every letter distinct and unambiguous. They also guide the eye smoothly from letter to letter, word to word. However, sans-serif fonts (ones without the little feet) are often favored by art directors because they look more modern and classy. Some sans serifs leave room for confusion — for example, it can be hard to distinguish between a small “l” and “l.” The sans-serif font Verdana was specifically designed to be readable on small screens at low resolution and is often used for digital media.
And never type a whole message in capitals or bold face, which gives the impression that you’re shouting. Avoid using italics on more than a word or two because the copy is hard to read.
Like font choice, the best point size for text depends on the result you’re trying to achieve. Generally, somewhere between 10 and 12 points works best, but you need to adjust according to your audience and the experience you want to create. Small type may look great, but if you want readers 55 and older to read your annual report, 8-point type will kill it.
Online text suggests a similar 10- to 12-point range for body copy, but calculating the actual onscreen experience for a wide range of monitors and devices is complicated. Online text often looks different on different platforms. Err on the side of a generous point size.
Never resort to reducing the size of your typeface to fit more in. I once had to persuade the top boss to cut back his “Message from the CEO” because it was longer than the allocated space. He didn’t want to sacrifice more than a few words. Then I showed him what his message would look like in the 6-point type we’d need to run the whole thing. He quickly found his red pen.
For both online and print media, avoid making columns of type so wide that the eye becomes discouraged in reading across. If breaking the copy into two columns isn’t suitable, consider widening one or both margins. Also, avoid columns that are only three or four words wide, because they’re hard to read and annoying visually.
Think carefully before you fool with justifying text. Justified type has a straight edge vertically. This paragraph is justified on the left, which is almost always your best choice for body copy. When text is left uneven on the right, this is called “rag right” in printer parlance. Copy that’s justified right and rag left is difficult to read because each new line starts in a different spot. The text in this book is fully justified on both the left and right, which can be a tricky style choice, especially for online media. Sometimes fully justified copy can visibly distort words and spacing to make your words fit consistently within a block of text.
Using color to accent a print document makes for happier eyes, but stay simple. One color, in addition to black used for the text, is probably plenty. See whether an accent color sparks your message by using it consistently on headlines and/or subheads. Full color is much less expensive than it used to be, but often is best applied to photographs and other graphics rather than to making rainbow copy.
If you’ve got good images and they’re appropriate, flaunt them. Increasingly this principle is applied to email as well as long documents, because so much research demonstrates the strength of visual material in drawing and holding reader attention. Visuals are beginning to dominate relatively older online media like Twitter and are the story with newer tools like Pinterest and Instagram, not to mention video powerhouse, YouTube.
Appropriateness of graphics depends on your purpose. A proposal can benefit from charts and graphs to make financials and other variables clear and more easily grasped. A report may include photographs of a project under way. A blog with a fun image related to the subject is more enticing. Additional possibilities for various media include images of successful projects to support credibility, illustrations of something yet to be built, change documentation, and visualizations of abstract ideas.
Of course, your own resources and time may be limited. But when visual effect matters — to attract readers or when you’re competing for a big contract, for example — take time to brainstorm possibilities. Wonderful online resources proliferate, and many are free. Your computer aided by software, and even your smartphone plus apps, can help you produce a good infographic, chart, or graph. It may take some imagination as well as research.
For websites, resist the temptation to use generic stock photos of people: those depictions of good-looking models meeting, talking, or working carefully balanced for age, gender, and ethnicity. No one believes those are your staff members or clients. “Real” people are more interesting and convincing even though imperfect by model standards. If your business doesn’t lend itself to showing people, exercise imagination to come up with other visual representation of what you do or what you mean.
Print media in the past decade have increasingly used graphic techniques to draw readers in with as many ways as they can come up with. Today’s readers are scanners first. Think of your own behavior when opening up a newspaper or magazine. You most likely scout for what interests you and then read the material, in whole or at least in part, if it appeals to you. When you get bored, you quickly stop reading and start scanning again.
Good headlines and subheads are critical to capture readers’ attention and guide them through a document. But you must also pay major attention to writing the following:
All these devices serve three important purposes. Along with images, they
The next chapter introduces you to the editing stage of writing. If like most people you’ve never given much thought to this process, or it strikes fear into your heart, not to worry. Common sense can take you a long way and a batch of professional tricks does the rest. Once you discover how magically self-editing can strengthen your messages, I think you’ll become a believer.