Audience Awareness, Part 2: The Dialogue Method

 A way to address your audience's concerns is what I call the dialogue method. Consider yourself in a dialogue with every possible reader. For example, let's say you wanted management to hire an expert organization to provide customer service training to your Call Center staff, and ten executives show up to your pitch in the conference room. Here are some questions they might ask:

Chief Communications Officer (CCO): How do we sell it to the Call Center?

Chief Information Officer (CIO): Is IT affected?

Chief Business Officer (CBO): Will it grow the business?

Chief Talent Officer (CTO): Are we training the right people?

Chief Legal Officer (CLO): Are there any liability issues?

Chief Research Officer (CRO): Where did you get your supporting data?

Chief Operations Officer (COO): What's the plan to keep the business running?

Chief Financial Officer (CFO): Do we have the budget for it?

Chief Security Officer  (CSO): How much security clearance does the trainer need?

Chief Executive Officer (CEO): What's the return on investment?

Of course, any of the officers could ask any of those ten questions, and any of them could ask numerous other questions. Why do the Call Center staff need the training? How pressing is this problem? How long has it been a problem? Is a lack of training the root cause of the problem? Are there alternatives to training? How long will the training take? What makes the suggested training organization so expert? Where will the training take place? How will we measure results? Will staff revert to previous behavior? And many more. 

I like this technique because all of us frequently ask and answer questions, so listing the questions and answering them seems as natural as speech. It's a good way to jumpstart the writing process.

 

Audience Awareness, Part 1: What is it?

Our writing is purposeful when we understand what we want our readers to know or do. But purposefulness is just half the story. If you were an IT analyst, would you tell your president how to complete an online procedure the same way you tell a fellow subject-matter expert? If you were a salesperson, would you describe the product or service you are selling to your customer the same way you would to your production supervisor? If you were a project manager, would you explain the contractual process to your concrete contractor the same way you would to your in-house inspector?  Of course, the answer in all three cases is no. Accepting this reality is the first step to becoming aware of your audience's concerns, knowledge, and needs.

Now here comes the hard part. What are their concerns? Is it only price. I doubt it. What do your readers know? Are they at a beginner level? Probably not. What do they need? Chances are, those needs are not exactly what our needs are. For these reasons and others, we should perform an audience analysis before spinning our wheels by flying through a pointless draft with several logical or contextual holes in it.

I often hear, "What if I don't know the full range of readers? I'm writing a report for my manager, but I'm not sure if the executive staff, legal department, or regulatory agencies might read it." Then assume the executives, lawyers, and regulators will read the report, and write it to your least informed reader. 

Still, I admit, that answer is easier said than done. This is why I use a self-made Audience Analysis Worksheet for complex documents that go to readers at multiple levels of an organization and even outside the organization. For instance, a worksheet for a project status report might look like this:

1. Who will read this report? List your readers' names and titles.
2. What is their relationship to your report? Some readers may need just to be in the loop for informational purposes, others may read the report to update their team, which may be tangentially engaged in the project; others may need to troubleshoot the issues you are reporting.
3. Who are the stakeholders? Who else might read the report only when a success or hurdle you mention affects their vital interests? 
4. What questions would they have? Consider questions like, Why are we engaged in this project? What phase of the project are you up to? What problems have you encountered? What caused the problems? How long have they been problems? How did you discover the problems? How did you attempt to resolve the problems? How did you determine the approach to solving the problems? How many staff hours were involved? What crafts or disciplines were involved? How successful were you at addressing the problems? What is the status of the problems now? What have you done to ensure the problems do not recur? What is your mitigation plan? What is your work plan for the next phase? What human, fiscal, equipment, and real property resources will you need? When do you plan to complete the next phase? When will you release the next status report or completion report? If you think these are heaps of questions to answer, I can think of many, many more. If you think I've missed some, list them in your own audience analysis.
5. Do any of my readers need to do anything? If yes, should I write to those individuals separately in addition to supplying them with this report? 

The challenge as a business or technical writer is to reckon with the fact that each message may require different readers, therefore, to answer different questions. Sometimes, we discover new questions as we draft our message, but there's nothing as intimidating to writers as a blank screen when their mind is all over the place. That's why reflecting on your audience will at the least turn that blank screen into ideas we're likely to include in our message.

"I hope this message finds you well."

"I hope this email finds you well ... I hope you are doing fine ... I hope you are having a good day ... I hope you had a good weekend ..."

Ugh! Who are we kidding? We all know how disingenuous those openers come across. Besides, they have nothing to do with the message that follows. I recently received this email starter from a client:

I hope this email finds you well. We are cancelling your class next Thursday due to insufficient space. 

Really? She just ruined my day! 

I admit that I have felt compelled to use that sentence myself when I am working for one of several corporations or government agencies whose leaders have made clear to me their expectation for staff to open written messages that way. But who says a CEO is infallible? Most of us correctly read that sentence as timewasting, thoughtless, insincere, and useless, even incongruous or ridiculous. I usually don't open that way and prefer not to.

I am a big proponent of using courteous language. A tone-sensitive opening of "Good day" or a specific comment connecting you to your reader, such as "Thank you for attending the meeting this morning," would work better. I really do hope my message finds you well, but there are better ways to express that sentiment.

Is the Human Writer Dead?

Technical writers, script writers, and even novelists might seek a new endeavor after reading an article like "AI and the End of the Human Writer" by Samanth Subramanian, which appeared in The New Republic already a year ago (April 22, 2024). The most common questions I get as a corporate writing consultant these days revolve around artificial intelligence. Do you use AI? (Yes.) Can AI help me write better? (Yes.) How accurate is AI? (Very.) How reliable is AI? (Very.) Should I let my school-aged children use AI? (Yes.) Should AI be banned from the classroom? (No.) Will AI replace my job? (Maybe.)

My article, "Using AI to Improve Writing Creativity, Productivity, and Quality" for ACS Chemical Health & Safety, describes many ways that AI can help on-the-job writers. Programs like Google's Bard, Microsoft's Copilot, and OpenAI's ChatGPT can help you plan, draft, rewrite, or translate a document:

•  Planning – Tell AI to "list features to include in a house description," and it will give you more details than you might have thought of under the categories exterior, interior, outdoor space, amenities, accessibility, and location. If this content is not enough, simply ask it, "Anything else?" and it will immediately list finer details, such as alarm system, safety locks, flooring, interior decor, smart home features, high-speed internet, laundry room, basement, attic, and community benefits. Ask it again, "Any other ideas," and it won't give up, providing other information, none of it redundant.  
• Drafting – Give it a list of ideas for, say, a country description, such as the square miles, geography, population, political system, religion, customs, cuisine, and folklore of Malta. In seconds, it will generate a 1,000-word essay including footnotes. If the depth of content in that draft won't do, ask it for an expanded version, and you'll get one, again in seconds.
• Rewriting – Drop in a document riddled with grammatical, diction, spelling, and punctuation miscues with the simple prompt, "Correct this," and AI will render a virtually error-free message. While AI does not yet organize ideas as effectively as it corrects mistakes, it is a reliable editing partner for basic documents.   
• Translating –  AI translating services may not have the high-minded attention to style as have human translators of fine literature, but it does a sufficient job with basic business writing. At the prompt of "Translate this into Spanish" (or many other major languages), your English text will be accessible globally. 

But is the human writer dead? If we are, we remain far from useless in the workplace. We still depend on human interaction to transact deals, investigate incidents, interview job candidates, deliver presentations, supervise staff, operate and repair equipment, and numerous other tasks—all of which require some type of writing, or at least dictation. Besides, as technology evolves, so do we.

On Not Playing It Safe

"I would write, but I can't take rejection."

"I always wanted to write but doubt I have the talent."

"I want to write but don't have the time."

"I don't have a good place to write."

"I would write if it weren't for my job."

"I'll write when I retire."

These are the excuses I have heard for a half century from people who claim aspirations of writing. They should read Nobel Prize laureate William Faulkner's 1956 interview in the Paris Review. Faulkner famously said, "An artist is a creature driven by demons. He don't know why they choose him and he's too busy to wonder why. He is completely amoral in that he will rob, borrow, beg, or steal from anybody and everybody to get the work done." 

As a writer, Faulkner was ruthless, and his prodigious output proves that he did not suffer fools, failures, or frenzies to stop him from writing. Even our ego should be worthless to us once we write:  

Interviewer: Then could the lack of security, happiness, honor, be an important factor in the artist's creativity?

Faulkner: No. They are important only to his peace and contentment, and art has no concern with peace and contentment.

Interviewer: Then what would be the best environment for a writer?

Faulkner: Art is not concerned with environment either; it doesn't care where it is.

Now if those aren't words to frighten away the pretenders, then I don't know what are. For the rest of us still hanging in there, we must remember Faulkner's point. There are no excuses. Just do it. Get to work.

Giving Away the Store, Part 12: Practice

I have been coaching a woman who has just begun writing at age 39. Her prose sparkles in places, and she paints radiant pictures of her characters and settings throughout her narrative, so encouraging her continued writing is an easy task for me. Nevertheless, she has expressed concern that her story does not have direction and goes nowhere. My response? So what!

This writer's lament brings to mind how little final product any endeavor yields. Professional sprinters who run in, say, six 60-meter and six 200-meter indoor races, and ten 100-meter and ten 200-meter outdoor races per year—quite a busy schedule these days—perform only eight minutes a year despite practicing on the track, in the gym, and in the weight room seven days a week with little exception throughout that season. Artists sketch endlessly in their studio but do not present everything they do as a completed artwork. Musicians do their scales all day long for their two 75-minute concerts per week, not including those periods when they have no gigs. Any expert independent contractor who gets paid by the hour, as I do, knows about the hours of unpaid preparation time they must dedicate to their craft. In my case, as a writing consultant, everything I read and write and view contributes to my consulting expertise, institutional knowledge, and performance skills. Why should writing be any different? Writers do far more than write. They read, research, interview, attend meetings and conferences, and record. So much goes into the work, and, as the prolific author Irving A. Greenfield once told me, "There are no shortcuts." I'll take the word of a writer of nearly 400 books.

The key to working as a writer is to write every day. And don't beat up yourself if you miss a day or two. Stuff happens in our life that we cannot control. Write about those interruptions too—write about anything—just keep practicing. You'll see big dividends! 

  

Giving Away the Store, Part 11: Travel

When I suggest that developing writers travel, I do not necessarily mean they go on a costly worldwide tour or even on a flight to another country—although those experiences would be great. But I also don't mean a staycation. Staying home on vacation surely has its perks. It's an opportunity to walk in your hometown at times when work prevents you from enjoying that opportunity. But staying home can be too easy. 

The travel I'm talking about could be an overnight trip to a forest if you live in the city, or to a city if you live in a forest. It could be a weekend at the shore. Or a visit to a national park, historic site, or monument. What's important is that you look at the trip not as just another opportunity to live it up in a karaoke bar or run around an amusement park. Write about your reactions to the different environment. What distinguishes this place from home? What would you miss about home if you were to live in this new place? Are people there any different from where you live? Would you like to be there with someone who is not with you? Why? What would it be like to live there? What adjustments would you have to make? How different would your life be? The more you dig into the scene, the more you'll learn about it. Before you know it, you'll drum up characters for a new story or create a topic for an essay. 

Take a notebook with you. If you're a laptop type, that will do just as well. Dedicate specific times of day to record your reflections in solitude. Don't feel you have to write "I did this and I did that." Write about the graffiti on a building wall. Write about that stray dog that followed you halfway down a city block. Write about the drone disturbing the geese as it hovers over the lake. Write about a delivery woman who sang Beyoncé's "Formation" as she drops off a package. Write about that ever-smiling six-year-old boy in a wheelchair under an oak tree. Write about whatever you like, or not like. When you return home, read what you wrote. Some gems may be lying in the middle of a paragraph or at the end of a sentence. By the time you make this activity a habit, you'll be connecting ideas from your last trip to previous ones. Now you're brewing.