Shape of Things

In software development, it’s called “feature creep.” Here’s how it’s defined in Wikipedia:

Feature creep is the proliferation of features in a product such as computer software. Extra features go beyond the basic function of the product and can result in baroque over-complication rather than simple, elegant design.

Increasingly, the equivalent of feature creep is invading our written communication. It comes in the form of annoying traits that have embedded themselves like killer algae in our text. Here are my 10 creepy things in no particular order. I’d love to hear yours.

1. Those annoying quotation marks everywhere. Thanks to Lynne Truss for telling the world about this in Eats, Shoots & Leaves, and to Seth Godin for reminding us recently.

2. Improper use of apostrophes (thanks again, Seth).

3. Turning nouns into awful verbs. Don’t incent me, please.

4. Avoiding the active voice.

5. Misleading headlines and hard-to-identify jump heads.

6. Typos - they’re everywhere despite (or probably because of) spellcheckers.

7. The 50+ word sentence and 20-line paragraph.

8. Indirect sentences stacked up like planes at LaGuardia.

9. Excessive adverbs and exclamation points.

10. Jargon-filled corporate speak that only insiders understand.

When organizations let these things happen - in brochures, on web sites, in press releases, blogposts and tweets - one can only surmise that they don’t care whether people think they are stupid, careless and insensitive. You are what you communicate.

Editing is a lost art, or at least a misplaced one.  It used to be rare to see a typo or grammatical error in the New York Times; now, it’s almost a daily occurrence.

Although it might seem a bit anachronistic, good editing matters.  How many times have you left a website because of poorly written text or typos? Poor writing and editing often precede the sound of business walking out the door.

I could go on, but the importance of editing is something people get or they don’t.  For those who do, here’s a two-part primer.  It’s no Strunk and White, but it’s a start.  Much of this comes from a Folio magazine seminar taught by Peter Jacobi more than 25 years ago.  Jacobi is now professor emeritus in the Indiana University School of Journalism.

What is Editing?

Editing is selection – knowing what to put in, what to take out, and how to prioritize information.

What is an Editor?

·         A creative planner

·         A visionary

·         A procurer and selector

·         A researcher

·         A conscience

·         A utility person

·         An understudy

·         An enforcer

·         A protector

·         A big-picture person

·         An attention-to-detail person

·         A servant

·         A trench worker

·         A voice

·         A cynic

·         A learner

·         A benevolent dictator

·         An unsung hero

Editing: The Two-Headed Monster

Micro-editing – helping the writer by concentrating on words, meaning, style, structure

Macro-editing – serving the reading audience by setting the agenda, tone and image

10 Ways to Become A Great Editor

1.      Read

2.      Write

3.      Perceive

4.      Appreciate

5.      Analyze

6.      Study

7.      Practice

8.      Be curious

9.      Learn from mistakes

10.  Be helpful

Begin at the Beginning

Know your audience: who they are, what they do, what they know, what they want to know, how they want to find out.

What Every Reader Wants

·         Information – as succinctly and clearly as possible.

·         Interpretation – what does it mean and how does it relate to my world?

·         Entertainment – yes, even technically oriented material should entertain.

What We Don’t Want to Do…

·         Assume that the audience is captive and that the message is a must for the reader – no story has a divine right to be read.

·         Write for the masses – each story goes out to an individual; picture the lonely engineer in the windowless cubicle and bring some light into his or her day.

·         Get into a rut – give readers change before they realize they want it.

·         Bore your reader – stay unique, focus on being different, lively.

The 6 Cs for Success

1.      Clarity

2.      Concise

3.      Complete

4.      Constructive

5.      Credible

6.      Conversational

Oh, and a Couple More

Consistent

Captivating

Part 2:  What to avoid and what to embrace.

References:

The Art of Editing, Floyd K. Baskette and Jack Z. Sissors, 1971, The Macmillan Company, pp. 418-419

The Associated Press Stylebook and Libel Manual, Addison-Wesley Publishing.

Edit your copy as if you are a lecherous skeptic with a jaundiced view of the world.  I hope for your sake you’re not.

Good writing has rhythm and flow.  Read your’s aloud.  Does it swing like a pendulum do or like Duke would do?

Before finalizing, read over that press release, case study, memo or planning document as if you are a complete idiot in the subject matter.

One of the best things a company can do is write about how customers use its products.  Not in the pandering way that makes “case study” a dirty phrase, but in a way that enlightens current and potential customers about how your product works to solve a problem or make something better.  Provide stories about solutions to common problems and you’ll have a built-in readership, whether the stories are published in a trade publication or website, an e-newsletter, the company website, or all of the above.

In the first of a three-part posting, I’ll define what makes a good case study and how to obtain the information you need before writing. 

What is a case study?

A case study outlines how a customer uses a product or service to do something faster, better or cheaper.

What makes a good case study?

• Detail. With a case study, God is in the details. Readers want to know exactly how something was done and why it is important. They want solid information: numbers, comparisons, customer testimonials, “before-and-after” contrasts.
• Uniqueness. The best story is one that an editor or reader has never heard before. Or, if he or she has heard it before, it should be presented in a way that will make it stand out from the hundreds of others appearing on the web at any given time.
• Relevance. The story has to be relevant to key issues facing your customers or potential customers.
• Good writing. Well-written stories, even if not as newsworthy, will get read before ones that are written poorly.
• Images. Images might not sell a mediocre story, but they can make a good story great.

Peeling the onion (getting inside the story)

Background Information.  Before conducting interviews, obtain as much information as possible about the application and the customer.  The best sources:  the account rep or technical person who deals with the customer for project-specific information, and the company web site and/or trade publications for more general company information.

The Interview.  This is the most important source of information.  The information you are able to coax out of the customer contact will mean the difference between a generic story and a story that has uniqueness, detail, personality and focus.  Because many customer contacts are difficult to reach, you must try to get all necessary information in one interview.  Some things to keep in mind:

• Concentrate on the 5 Ws and an H (Who?, What?, When?, Where? Why? and How?), as well as on the SW (So What?).
• Be polite, but firm in your questions. Don’t be negative, but be cynical, as cynical as the editor or reader who will be judging your story.
• Don’t accept vague statements on face value. The response to “Our customers are happy with our new products,” should be (in a most pleasant voice): “How do you know that? Have you surveyed them or found a way to measure their happiness?”
• Be curious and interested. Listen attentively and ask questions to find out more. If the person whom you are interviewing feels that you are curious and interested, he or she is much more likely to spend more time with you.
• Be prepared, but be flexible. Always have a list of questions you need to ask, but don’t be afraid to deviate into other areas if that’s where the interview takes you. Tangents often reap the greatest rewards.
• Be gently persistent. Keep trying to get the key information you need. If a question doesn’t get you what you want the first time around, have other variations of it ready and ask it again later in the interview.
• Ask about the people you are interviewing. Find out how long they have worked for the company, in what position they started out, other companies they have worked for, etc. If they had a particularly tough problem to overcome, sympathize. Remember, you are interviewing a person.
• Put the interviewee at ease. Make sure the interviewee knows up front that he or she will have a chance to review the article before it goes to the publication.
• Don’t be afraid to appear dumb. If you are prepared, you should be confident. If you don’t understand something, ask the person politely to explain. “Perhaps I should know what a tessellated pixel is, but I don’t. Could you please define it for me?” If you don’t hear something correctly, ask again: “I’m sorry, could you tell me again what hardware you are using?”
• Three words: benefits, benefits, benefits. Technical information is good for supplying the detail required for a good story. But, the benefits to the company are the real story. Technology without results is just a toy.
• Get correct titles and name spellings. Nothing turns off a source of information worse than having his or her name spelled wrong after spending 30 minutes to an hour talking with you.
• Find out if they have images available. A picture is worth…
• Thank the interviewee and ask permission for future help. Time is extremely valuable. Thank the interviewee for his or her time and ask if it is OK for you to call him or her in the future if you need more information.
• Be clear about your intentions. Let the interviewee know when you will have a draft for review and in what time frame you are seeking approval and images.

Next: Interview questions and pre-writing preparation.

Is there any document more vilified – and justifiably so – than the press release? Maybe legal documents and corporate mission statements, but in the land of bad writing, confused messages and blatant puffery, the press release is royalty.

As a public service, I present a short guide on how to do palatable press releases.  If you go beyond palatable to noteworthy, congratulations, you are in the elite company of about half of one percent of press release slingers.  Don’t believe me? Go to BusinessWire or PR Newswire and check it out for yourself.

Here are my 10 simple tips:

(1) Ruthlessly consider whether you need a press release.  The world would be a much better place if this sniff test was applied (see earlier post).

(2) Consider what you are announcing and who is going to want to hear about it.  Divorce yourself temporarily from your company’s or client’s corporate rhetoric and consider how you can show – not tell – the value of your news to the IT guy, CAD user or animator in your target audience.

(3) Determine the one or two things that are most newsworthy about your release and put that in the lead paragraph (the “lede” in news parlance) as simply and clearly as possible.

(4) The timeless five Ws and an H (Who, What, When, Where, Why and How) still work. Make them the foundation of your release, and add one more for the cynics (most of us) out there: “So what”?

(5) Avoid adjectives and overused, trite phrases.  In best cases, they will be ignored.  In worst cases, they’ll be a source of derision.  Leave any superlatives to customer or third-party quotes, and even tone these down so as not to create suspicion of payoffs.

(6) Write headlines that entice (“Headless body in topless bar”) or at least clearly summarize your news and the impact it will make on the target audience.  If a brief headline can’t do the job, add a subhead.

(7) Use declarative sentences.  Use short paragraphs. Use bullets for lists, but don’t make lists too long.

(8) Look at your release with a jaundiced eye.  Imagine Bogart as Eddie Willis in “The Harder They Fall” looking over your shoulder at your copy or Tina Brown peering over her reading glasses at that overly long paragraph.

(9) Have some fun with analogies or quotes – unless you work for certain agencies, your releases aren’t likely to be life-and-death stuff.

(10) Be interesting.  Surprise or delight if possible.  If you can’t manage any of those, at least be honest and straightforward.

There’s a whole lot more that could be said, but follow the above and you will be a superstar in the pantheon of press release writers.  Dubious distinction perhaps, but it’s a start.

If you have even a passing familiarity with advertising, you know David Ogilvy.  His ads for Hathaway shirts, Schweppes, Rolls Royce and other clients are legendary.  But, as a recent biography illustrates, Ogilvy’s biggest legacy is not clever headlines and ad campaigns (much of which are dated today), but how he built a brand inside his own organization, then spread it to the world.

As head of his own agency, Ogilvy spent most of his time building and refining the internal story. This wasn’t the yawn-inducing stuff of values, mission statements and goals, but an ever-evolving manifesto that united and excited Ogilvy and Mather employees across the globe.

After inculcating his agency’s story internally, Ogilvy shared much of his content with the world in the best-selling book, Confessions of an Advertising Man.  The book made him a household name and had clients beating a path to his door.

Few companies, of course, have a story (or a writer to document it) that will become a best seller.  But, every company has a story waiting to be told and spread – a story that uniquely identifies who they are and why they matter.

How the story is told doesn’t matter much: It can be a printed document, an online illustrated narration, a comic-book serial, a series of presentations or videos. Whatever the media, it should resonate with employees.

Your internal story should be perpetually alive, continually evolving with the company.  Get employees involved in contributing their insights and anecdotes.  Make the story an essential tool for orienting new employees and making sure established employees keep up-to-date.

Once you’ve established the story internally, push select portions out to the world at large.

Many companies work on their outside branding without having established a story within their organizations. That seems backward.  Think like Ogilvy and do it the inside-out way.

Even as the excellent Usability Week kicks off in Washington, D.C. this week, I’m thinking that web usability doesn’t get much respect. It’s like the offensive lineman that opens the holes for the superstar running back.

There are good people telling us about web usability, but not enough designers are listening.  The gospel preached by the Nielsen Norman Group and Steve Krug is not mystical – it’s based on real studies with real people.

Still, web designers go on making life miserable for people visiting their sites. Why? They want the coolest site on the planet, even if the intro screen makes us wait 30 seconds. And who cares about visitors? What do they know about great design anyway?

Well, we might not know design, but we do know frustration. And how not to return to a web site where we’ve had a bad experience.  Like the site of the small record label I want to support, but which continually makes me wait more than a minute to go from one page to another or doesn’t send me access to my password when I forget it.  Or, the online magazine that makes me navigate through multiple links in order to increase its page views.  Or, the major newspaper that doesn’t make it easy for me to subscribe to a blog.

Jakob Nielsen’s recent study of 20 high-traffic sites showed improvement over past years, but still 80 percent had page download times of 19 seconds or more.  Nielsen sets eight seconds as a tolerable level for page download. So, usability isn’t anywhere near where it should be, given the fact that for most companies the web site is the face of their entire business.

While designers fiddle, web consumers burn, taking their money to companies whose websites show them a little respect.

What website practices cause you frustration?  At what point do you abandon a site? Who does usability well?

Note: Donald Norman of the Nielsen Norman Group will be speaking at the highly recommended Business of Software 2009.  Steve Krug spoke last year.

Rus Emerick won’t let well enough alone. And that’s great for his organization,  Schneider-Electric.  Emerick has been an evangelist for DSSP within Schneider, and as a result the company is saving millions a year applying scanning-based technologies across its design and manufacturing processes.

Rus is rare in his zeal and vision.  But, there are plenty of people with insights in your business that can be leveraged. It’s win-win. The person becomes more engaged, and the company reaps the benefits of better information flow. 

Think of the value a support person could add if encouraged to not only help with problems, but to systematically share information on customers’ needs and frustrations.  How about if your sales people made it part of their jobs to solicit stories of successful projects involving your products or services — stories that could then be shared within your customer community?

As Rus says, it’s good to be the star of your rodeo, but there is so much more possible.  If you are a manager, give your people incentive to go beyond their jobs.  Help them redefine themselves. Don’t let yourself or your people be limited by the rodeo ring.