My blog has moved!

Please visit my blog on my new website: http://www.lindseymccaffrey.com/.

Take some time to read my blog and leave a comment - I'd love to hear from you!

How to write a customer case study that ROCKS

In a previous blog entry, I wrote about getting the most out of your marketing-communications budget with customer case studies.

A few of you contacted me with a request for more information—in particular, how to go about creating a case study.

Let's get started.

Who is your audience?
Ideally, your case study should help your company meet two critical business objectives: acquire customers, and build (or help to maintain) an “expert” reputation. To do this, you need to write not only for an end-user audience, but for the people who will use the case study—the go-between, if you will.

Salespeople need case studies to get customers
Salespeople want something tangible to take to events and meetings, that they can point to and say the following: “We have helped companies like this one accomplish [business objectives] X, X and X. Look at the problem we helped solve for them. Look at how great they are doing now. We can do the same for you.”

Case studies are not only a great sales tool, but a nice bonus to add to a contract. “Sign with us and we will write a fantastic case study about your company…and get you coverage in a publication of your choice.”

Media/public relations need case studies to showcase expertise
Journalists rely on sources for their stories. They want someone who knows what they are talking about. Case studies are third-party references that lend credibility to your company. They are “proof positive” that your company is an expert in a specific field—at least, in the eyes of the featured customer.

Keep in mind that the better the case study is written, the more likely a journalist will look to you the next time they write a story related to your product or service.

Guideline for writing your case study
Despite their differences, all of your audiences—salespeople, potential customers, public relations, and the media—have one thing in common: limited time available. They want the basics, albeit the most important basics, wrapped up nicely into 500 words or less.

Below is a guideline for writing a case study, including suggested word length for each sub-topic:

• Customer background (50 words)
• Problem – the real business “pain” (100 words)
• Solution (100 words)
• Benefits – return on investment (ROI) etc. (200 words)
• Future (50 words)

Above all, be clear, be concise, and be convincing.

Do’s and don’ts

DO:

• Make your case study read like a story. This is technically a “soft” sales piece. Avoid marketing-speak. Moreover, unless they are product testers, journalists will rarely write an article about your product or service; instead, they will be looking for experts to add context to a related story. This is all the more reason to write in a narrative style.
• Feature customers who love (not just like) your product or service. The number of case studies you have is not as important as a solid reference from a customer who sings your praises.
• Try to diversify your case study collection. If you have happy customers from a variety of industries, this presents an opportunity to expand your target audience outreach.
• Use quotes: not only will they add “colour” to the story, but journalists may even pull them directly from your case study into a story they are writing.

DON’T:

• Apply quotes to every section: the most important area is the benefits section. If you can provide one or two quotes to demonstrate how happy a customer is with you (and why), you’re good as gold.
• Overdo it with jargon. Remember that your potential customers and journalists may not understand your company’s internal-speak. If possible, avoid acronyms.
• Finalize your case study without getting approval from your customer. Their reputation is at stake. Keep them involved and allow them opportunity to review before you publish.

As you can see, much strategy is required to put together an effective case study. But with some careful thought and a good writer who understands their audiences, your case study can become one of your company’s most powerful communication tools.

Associations, societies, councils...what's the difference?

NOTE: the definitions below are correct, but my interpretations are somewhat tongue-in-cheek...readers' input very much welcomed!

Have you ever wondered why some groups are called Society of this, or Alliance of that? What is the difference between an association and an organization? Or a council and a guild?

Have you ever cared to know?

Sadly enough, I have. Living in Ottawa, Canada, I am surrounded less by corporations and more by national non-profit and governmental structures that go by a variety of different monikers.

In my quest for clarity, I recently consulted http://www.dictionary.com/—and learned three things:

• Firstly, there is a great deal of overlap across definitions.  
• Secondly, there are too many words out there to describe what is essentially just a “group that does stuff.”
• Thirdly, I'm not sure all groups have consulted a dictionary to determine what kind of structure they actually are.

A set of definitions (and my interpretations of them) are provided below. Let's get started.

Organizations, Associations, and Societies
Organization, association and society are often used interchangeably. At their most basic, any of these words can be used to refer to a group of people who share a common interest or purpose.

The subtle difference lies in structure and interests. To look at these words side by side (by side), you notice two things. First, it is implied that societies are less structured than organizations and associations. Moreover,
societies are not typically related to business but instead to “religious, benevolent, cultural, scientific, political, patriotic, or other purposes.”

Interestingly, no definition I came across actually elaborated on what these structures do, instead focusing on the area of common interest.

Guilds
A guild, like organizations, associations and societies, is a group of people who share a common interest or purpose. But wait—there’s more!

Historically, a guild was a medieval association (such as for merchants or artisans) that maintained standards and protected the interests of its members. Examples of modern-day guilds would be the Canadian Guild of Crafts, the Guild of Canadian Film Composers, and the Writers Guild of Canada. Heck, there’s even a Canadian Knifemaker’s Guild.

So, it would appear that today’s guilds are really just organizations, associations or societies for people in the creative arts.

(But if that's the case, why is the US Screen Actors' Guild not technically a guild, but a union?)

Alliances
An alliance refers to an agreement or friendship between two or more parties, made in order to merge efforts, advance common goals and secure common interests.

One example is the Canadian Alliance of Student Associations (CASA), which describes itself as “an alliance of student associations and student unions from across Canada. Through this network of student governments, CASA represents and promotes the interests of post-secondary students to federal and inter-provincial levels of government.”

Institutions/Institutes
An institution is an established organization of a “public character” (e.g., educational, charitable, health-related), founded for advanced instruction and/or research in a specialized field or subject.

Interestingly, there are not a lot of institutions out there—not by name, that is. Do a basic Google search, and you get twice as many results for institute. (Perhaps this is because institution has that whole “loony bin” connotation?) Some examples include the Canadian Patient Safety Institute or the Engineering Institute of Canada.

Councils
A council is a body of people summoned, elected, appointed or convened to serve in an advisory, consultative, administrative or legislative capacity.

For example, the Canadian Council for the Arts reports to Parliament through the Minister of Canadian Heritage, and is governed by a Board of Directors appointed by the Governor in Council. The council funds, fosters and promotes the arts, operating at “arm’s length” of government.

Federations
Federation is often used in a political context—for example, to refer to a unit formed by a number of nations or states (or, in Canada, provinces). Each component of the federation retains control of its own internal affairs. Consider, for example, the International Federation of Red Cross and Red Crescent Societies, or the Canadian Federation of Students.

However, some dictionaries also refer to a federation as any alliance, association or organization for common action. Go figure.

Agencies
Agency can be used to refer to any organization, company, or bureau that provides some service for another (e.g., an advertising agency). However, in political terms, it is a governmental department—for example, the Canada Revenue Agency, or Public Health Agency of Canada.

Foundation
A foundation is an institution financed by a donation or legacy to aid research, education, the arts, etc. It often provides funds for charities.

What does all of this mean?
Going by the dictionary, and trying to make sense of every nuance across each structure, I have concluded that definitions sometimes mean nothing. That said, I have taken on the task of simplifying things beyond belief, by summarizing them into the following "cheat sheet" for handy reference: 
 
Organization = group of people who have a common interest, but who pretty much do nothing
Association = see Organization
Society = a less structured Organization or Association
Guild = artsy Organization or Association (if structured); or Society (if not so structured)
Alliance = a productive Association, Society, Organization or Guild
Institution/Institute = a highly productive Organization, Association, or Alliance
Council = appointed advisory group to government
Federation = Alliance with a political foundation
Agency = customer service group, brought to you by government
Foundation = highly productive Organization, Association or Alliance that money built for charity's sake

Why you should use bullets in your writing

Ezine just published my latest article: click here to read it!

Bullets can break down a long sentence-a fabulous option for the brevity-challenged writer. But there are also benefits to the reader. Bullets help break up the page. They make content more "readable." In many ways, they can prevent your target audience's eyes from glazing over...

http://ezinearticles.com/?Why-You-Should-Use-Bullets-in-Your-Writing&id=5086237

How to acknowledge complaints without actually saying "sorry"

You are the CEO of a manufacturing company of children’s shoes for indoor use.

Lately, school principals are calling and emailing to say that their students’ shoe bottoms are leaving unsightly permanent marks on their gymnasium floors. Someone starts up a Facebook page regarding the issue, and more and more people are signing on as members. Twitter is afire with complaints from the cash-strapped educational sector.

As CEO, you have two choices: ignore the issue, or respond. What are you going to do?

Not all executives are keen to acknowledge
complaints. They believe that in doing so, they
are admitting that they were wrong. (They also
worry that they will have to fork out money to
set things right.)

However, there is a way to acknowledge a
complaint without being overly apologetic,
and retain the business of those who feel
wronged.

Think of it this way: in life, perhaps more than
anything, people want to be acknowledged
and appreciated. This applies to one’s personal
life as well as business. The art, however, is in
how you frame what you say to your customer.

Use the following as a paragraph-by-paragraph
guide for writing a public statement (e.g., for
your website):

1. Emphasize how much you value/appreciate
    your clientele

2. Without going into too much detail,
    acknowledge what the issue/problem is

3. Show your clientele that you understand their
    needs

4. State what you are going to do to rectify
    the problem

5. Again, emphasize how much you value the
    customer

6. Close with a statement that encourages your
    client to continue their business with you

Did you see #4? Acknowledging a problem also
requires fixing it. So, before you do or say anything,
you need to identify the steps you will take to rectify
the issue. Your solution does not have to be set in
stone and it could even just be a temporary solution.
But you still need to include one.

To summarize, when you acknowledge complaints:
be humble, and be helpful.

It’s just smart public relations.

Statistically speaking, you may be wrong

Statistics are mighty nuggets of proof that can further any argument or cause. They tell nay-sayers where to shove it. And journalists love them for two reasons: statistics make headlines, and they simplify the message for media consumers.

The problem lies in those who—whether intentionally or not—incorrectly interpret and communicate statistics to those they wish to influence.

As an example, your organization’s mission
is to help save the whales. You come across
a fantastic statistic that supports your cause:
saving the whales is a top-five environmental
concern among Canadians. Perfect! The statistic
becomes part of your key messages, and you
always make sure to share it during media
interviews. Journalists eat it up, and pretty soon
your organization is experiencing a surge in
financial donations.

You may be able to argue that the statistic is
technically accurate. But what you have chosen
not to mention in your interviews is the following:

- “saving the whales” was number five of seven
   options provided to those polled;

- “among Canadians” actually refers to a small
   number of random people who were not
   representative of the entire makeup of the
   country (e.g., in terms of ethnicity, financial
   status etc.); and

- the statistic came from a source with whom

   you are not familiar.

As you can see, when it comes to credibility,

context can giveth or taketh away.

Sadly, part of the problem lies with the general

public. Too often, we rely on statistics as fact
without knowing or even stopping to consider the
context. Perhaps this is a symptom of living in a
fast-paced world of information overload—we
simply have no time to question validity, and instead
scan the news for “nuggets” that we can store in
our minds and share with friends over drinks.

However, I ultimately believe that organizations
need to take responsibility for the messages they
distribute. It is simply unethical to intentionally
mislead audiences—and even if organizations are
unaware they are doing so, they should always question
the validity of any statistic before they disperse it to
the masses.

Handout: Using Statistics
Statistics Can Be Misleading
Health Statistics Can Be Manipulated

What we can all learn from Ted L. Nancy

If you’ve never heard of Ted L. Nancy, you’re missing out on two things: first, a bunch of belly laughs; and second, a fantastic lesson in writing and customer service.

A couple of years ago, my husband introduced me to Letters from a Nut, a book of off-the-wall prank letters written to various companies under the pseudonym of Mr. Ted L. Nancy (who for years people mistakenly believed was Jerry Seinfeld).

Among some of Nut’s best letters, I encourage you to check out the Harper Collins Canada website, where you can browse inside a good chunk of the book. Among other things, Nancy asks a hotel to find his missing tooth. He also contacts
Nordstrom to inquire about the purchase of
a window mannequin that uncannily resembles
his deceased neighbour.

Nancy’s letters, inarguably, are absurd. The first time
I read them (and I highly suggest you read them out
loud to someone you love), I was thoroughly
entertained. But the second time I scanned through
the book, I realized something else: the great care
that these companies took in responding to Nancy by
mail.

It is highly possible that not one recipient of Nancy’s
letters took him seriously. Despite this, if you read some
of their responses, you will see that each letter clearly
conveys respect for the client, an appreciation for their
message, and a high-quality commitment to customer
service.

In a previous job, I was responsible for responding to
hundreds of inquiries from the general public. Perhaps
not surprisingly, none were as ridiculous as those
published in Letters from a Nut (although a couple
came pretty close).

Regardless of the source, I always ensured that every
response was appropriately worded so the client felt
“heard.” Tone plays a big part in that. So does
understanding the value of your client, no matter how
crazy they may seem. Why? Because they represent
your bottom line. (Not to mention that there is no
reason to be unkind.)

Not everyone has the flair for writing that Nancy’s letter
recipients demonstrated in their responses. We should all
aspire to follow their lead.

Words, graphics and photos: make them “mesh”

I am not a graphic designer, but I generally know what looks good. And when I see something that doesn’t quite look right, I believe my client deserves to know.

A couple of years ago, I wrote the brochure copy for a small non-profit that provided free “telecounselling” to local citizens.

The key objective of the brochure was to promote the client’s many helpful services—referrals and counselling, among others—to a wide range of ages.

Writing the copy was the easy part. The challenge came when I was asked to review my words in layout.

At first glance, the brochure looked good. The design was clean, and there was a nice balance of text and visuals on each panel. The client and graphic designer were pleased with the outcome. But upon taking a closer look, I had some concerns.

In essence, the photos and graphics did not support my text nor the main objective my client was trying to achieve. For example:

- On the inside of the brochure, the client had selected a photo of an elderly man holding a phone. There was no way to determine if this man was supposed to be a caller or a volunteer. Moreover, his face registered nothing but ambivalence; this did nothing to illustrate the “friendly” or “helpful” image the client wanted to portray.

- The cover was another story. The client had opted for a photo of a young, attractive woman wearing a suit jacket. Sporting a headset, she looked professional and efficient. The main problem was that the photo was “too corporate.” Someone in need of counselling would likely walk right by the brochure, mistaking it as an advertisement for a business call centre.

Moreover, sad to say, there are a lot of sick people out there. The last thing the agency needed was for lonely men to call their free 1-800 number, hoping to speak to this woman or others who looked like her. (By the way, in case you hadn’t already guessed, the woman was a model from a stock photo website)

- The agency also had a very outdated logo: a rotary phone, with curly cord intact. To be fair, some elderly callers still use rotary phones. However, the elderly only comprised a part of a very diverse caller base including youth and post-secondary students. Add the logo to the photo of the elderly man on the inside of the brochure, and the client was about to alienate anybody under the age of 60.

Thankfully, the client took my concerns to heart and—with the help of the graphic designer—made changes to better meet its objectives and match the copy I had written.

So what does this story tell you?

Reviewing text in layout is not just about looking for spelling errors. It involves looking at the entire product with an analytical eye, ensuring it meets the client’s objectives and that the visuals “match” the words and that everything "meshes" on the page. Some may call this a value-add, but I believe it should be integral to professional writing and editing.

I believe my client deserves a high quality of customer service—and therefore, I deliver it.

Consistent messaging: how integrated marketing communications builds trust

In personal relationships, we generally begin to trust people when we feel we know them. Conversely, if during each interaction a person changes the details of their life story—even just the finer details—trust diminishes.

The same can be said about the business world. Simply put, you cannot expect potential clients to put their trust in your organization—and more importantly, invest in it—if your messages do not match across your online, print and other promotional materials.

When businesses approach target audiences with inconsistent messaging, they run the risk of appearing disorganized, disjointed and even dishonest.

This recent article shows that most senior-level marketers consider it vital to consolidate key messages across an organization. However, despite this belief, few businesses actually follow through on making it so. Granted, it is a major undertaking for any organization to ensure all messages are consistent across all materials, every single time something needs to be updated.

But you can’t put the onus on your audience to figure out themselves which data are “right” or the most up-to-date. Generally speaking, everyone in the free world is busy with work and family obligations. That leaves little time to absorb every piece of information we receive in a given day.

This is all the more reason to make integration a priority. A consolidated, clear message stands a much better chance of attracting your audience’s attention, holding their interest, and making a profit.

By integrating all communication tools so they speak consistently with one voice all the time, every time, you will realize that the sum is truly greater than its parts.

Trust me.

Ask a stupid question, get...an enlightened answer?

If there's one thing I have learned in my career as an editor, it is this:

There is no such thing as a stupid question (in editing, that is).

Too often, writers are so close to the content they have written that they are unable to think from the point-of-view of a newcomer.

An editor will look at what you have written and ask the questions that need to be asked: often, the simplest...and thus, sometimes perceived as the "stupidest."

I have seen a lot of copy in my career, and despite the best of the writer's intentions, there have been countless times when I have actually had to ask who their target audience is, what they are trying to sell, or how their product works. Yes, the words are there on paper (or the computer screen), but the text is equivalent to Pig Latin. Worse, actually.

I used to be afraid to ask the stupid questions for fear of looking like I didn't "get it." Now, I realize it's just part of my job; and if I don't ask the questions, it's likely that nobody else is going to either. For that very reason, bringing a pair of fresh eyes to the editing process should be seen not as a nice-to-have, but a must-have.

So be nice to your editors! Despite their stupid questions, we wordsmiths are actually a lot smarter than you may think.

Case studies: getting the most out of your marketing-communications budget

To get the most out of your publicity dollars, few communications tactics are as cost-efficient as a customer case study.

Also referred to as “customer stories,” “customer profiles” or “success stories,” case studies are a wonderful tool for promoting your product or service—and you can use them for many purposes, over and over again.

For example:

• Post them on your corporate website, and encourage your customer to do the same on their website for cross-promotion. 
• Promote the case study in social media (e.g., through your company Twitter account), to draw traffic to your website. 
• Include pull-out quotes from the case study in your print promotional materials (e.g., brochures).
• Use as event collateral at trade shows and conferences.
• Send your case study or an abbreviated version to specific journalists (or trade journals) who may be interested in publishing the story or interviewing the customer further.

Cash-strapped companies—particularly small businesses just starting out—can save a lot of money by hiring a writer to create a few case studies. And as an extra bonus, your customer will also be thrilled at the extra exposure…a strong indication that they will be back for more business.

The finesse of asking for more money

A couple of weeks ago, I wrote an article about how to write a thank-you letter to donors. Now, your objective is to get more money—from those very same people.

You may feel uncomfortable approaching previous donors, but it is actually a smart business move. They already know your business, what you represent and the value their donations provide. In other words, you don’t have to spend time just trying to get them to notice you.

Here are a few tips for successful follow-up communications with donors:

Wait

Ensure a few months have gone by before you hit donors up for more. The last thing you want is to appear greedy.

Acknowledge their generosity

Do not assume that all of your donors are sitting on piles of cash. Your donor could be a retiree with little to spare—so they may view their $50 donation as a lot of money. You are welcome to ask for more, but must always show appreciation for their previous donations…no matter the amount.

Tell them something new

An extra bonus to waiting a few months is that you will likely have something new to tell your donors. Perhaps your business is planning an exciting new program—one that their donor gift could go toward.

Use a soft call to action

What is the difference between soft and hard calls to action? Tone and wording. For example, instead of “Would you consider giving again?,” you could say “Donations from generous people like you help us achieve X, X and X. We would appreciate your continued support.”

Make giving easy

Attach your contact information so they can contact a specific person, who can facilitate the donation process. Or attach a form that the donor can fill out and mail back (don’t forget to include a self-addressed stamped envelope). Even better: consider creating a monthly giving program, if you don’t already have one. Monthly giving allows your business to receive automatic regular payments—much more practical to the donor, as well as to you.

In a way, one could draw parallels between asking donors for more money, and negotiating with mom and dad for more allowance. Above all else, your interactions must always reflect your appreciation for what they have already done. Once you’ve softened them up a bit, your chances of “getting more” will increase substantially.

A mess of words does no-one any favours

I recently read an interesting article that reminds me just how important strategic messaging and writing are to building your company’s image.

The author, in his online quest to learn about Fortune 500 mega-company Huawei, visited its website’s “About Us” section—and came across this:

Huawei is a leading telecom solutions provider. Through continuous customer-centric innovation, we have established end-to-end advantages in Telecom Network Infrastructure, Application & Software, Professional Services and Devices. With comprehensive strengths in wireline, wireless and IP technologies, Huawei has gained a leading position in the AII-IP convergence age…

Unable to understand this hot mess of words, the author looked up Huawei on Google and Wikipedia, only to discover some very undesirable facts about them. (For one, almost 40 of Huawei’s employees have committed suicide over the last two decades—including at least six who have done it on-site.)

Granted, this information would have been available regardless. But that is not the point. The point is this: if Huawei had just taken time to develop strategic, well-thought-out messaging, the author would not have needed to search elsewhere for information (and, subsequently, inform all of his online followers about Huawei’s “dark side.”)

I do not believe that a company needs to adapt its messaging so every person in the world can understand it. But if it a relatively educated person cannot grasp the main concept, then changes should certainly be reconsidered—and incorporated. Immediately.

QUICK TIP: Keep it brief

Years ago in journalism school, I learned a great rule for writing for radio: one thought per sentence.

It’s not an easy rule to follow. I believe in fluidity of thoughts and ideas. In my eyes, short statements can appear choppy. And blunt (see how I did that?).

However, I do understand its importance: brevity is ideal in some situations.

Take brochure-writing. You have a limited amount of space. You don’t have the luxury of taking time to describe things. And your readers don’t have the patience for that anyhow. They want the basics, NOW.

The same goes for web copy. Visitors do not want flowery language. They do not want to scroll through pages of text to find the information they need.

And print advertising? Don’t even think about lengthy sentences. Every single line of text costs you a great sum of money. Now there’s a good reason to keep things brief.

In brief? Be brief...whenever you can.

Know what your words mean

Admit it: at some point in your life, you have probably thrown a few words into a conversation, presentation or email that you think sound right within the context…but you are not 100 per cent certain.

Why do we use words that we are not entirely sure we know? Is it that we associate “simple” words with a lack of intelligence? Perhaps.

The problem is that in our attempts to appear “smart” on a subject, product or service, we take a great risk: looking really, really stupid.

For example, what if, during a PowerPoint presentation to clients or all-staff conference call, someone asks you to paraphrase or—gulp—define what you mean, right on the spot?

To build a reputation as an expert in your field, you need to build trust. And to build trust, you must always be prepared to provide the answers that your audience needs.

Don’t let your target audience down: stop thinking that “simple” words are for simple people. Use words that you know you know. Not only will it save you potential embarrassment—your audience will appreciate it too.

How to write a "thank you" letter...beyond those two words

Expressing gratitude in your writing requires more than a simple "thank you." It is a difficult task for many organizations. How do you get past the first two words?

In terms of monetary donations, people generally want to know two things:

1. that their gift was received and recognized; and
2. where their money is going.

The following is a very basic template for writing a thank-you letter.

Paragraph 1:

Thank your financial donor for their gift and acknowledge their goodwill.

Paragraph 2:

Discuss the “need”—the reason you needed money in the first place. Paint a picture of the benefactor(s) of the funds.

Paragraph 3:

Discuss the “solution”—how the donor’s money will solve the need mentioned in paragraph 2. Use language to make the donor feel like they are personally making a difference.

Paragraph 4:

Restate your gratitude. Encourage the donor to stay in touch. Promise to keep them updated on how their donation is helping your cause (but be sure you can follow through on that promise before you send the letter).

Above all else, it is important that your gratitude is woven throughout the letter. You do not need to lay it on thick, but should ensure that you choose words to properly communicate your thankfulness.

Using the formula above, here is an example of a very basic (emphasis on the basic) thank-you letter:

Dear X,

Thank you for your donation. We very much appreciate your generous financial contribution to ABC Non-Profit.

Since late 2008, thousands of people in [country name]—infants, children, mothers, fathers and grandparents—have lost their lives due to a lack of water, or because they drank unclean water. Many continue to suffer. But it doesn’t have to be this way: they can have access to clean, fresh water and an improved quality of life—thanks to people like you.

Your donation is going towards an exciting initiative that is going to save thousands of lives. Later this year, we will send a team of volunteers to [country name]. There, they will work with community leaders to build state-of-the-art facilities to provide citizens with access to an abundant supply of clean, fresh and safe water.

We hope to have an update for you in the coming months as we embark on this project. Until then, once again, thank you so much for your donation. Simply put, we could not do this kind of work without people like you.

Sincerely,

X

It may take time to write the perfect thank-you letter, but by properly expressing your gratitude, you will greatly increase chances that the donor will give again.

Clichés: my two cents*

When people use the term “we need to think outside the box,” they’re using a cliché which...well...is actually inside the box.

According to dictionary.com, a cliché is "a trite, stereotyped expression; a sentence or phrase, usually expressing a popular or common thought or idea, that has lost originality, ingenuity, and impact by long overuse.”

Clichés are sadly everywhere, but they’re especially rampant in the business world. Are you guilty of using any of the following?:

• Leverage your X
• We do not have the bandwidth to X
• We need to step up to the plate
• A leading provider of X

Even worse: cliches that bear no universal definition. For example, have you ever heard synergy, paradigm shift or core competency, and had no idea what the person was talking about? Or you thought you knew what they meant, but your understandings differ completely?

As a writer, it is my job to avoid using clichés. Of course, if a client is a strong proponent of such sayings, I will argue only so much. But it is my responsibility—my duty, if you will—to try to convince them otherwise.

Ultimately, clichés indicate a degree of laziness—and often, they do not add value to what you are trying to say.

A professional writer should be able to help a company develop new ways to deliver messages…and take it to the next level*. It’s a win-win* for the company, and its target audience/readers.

* All clichés used in this article were inserted deliberately

QUICK TIP: In-house vs. external writing

Thinking about writing the content in-house first, and then passing it to a writer/editor for proofing?

Think again: oftentimes, this results in the writer doing less proofreading and more rewriting.

In fact, it may take even more of the writer's time (and therefore more of your corporate budget) to rewrite the content, instead of having them start completely fresh.

Your best strategy? Hire an external writer from the very beginning; he or she can help you develop a strategy, key messages, and some fantastic content.

It's worth the investment.

"What's in it for me?"

“This banana is yellow and chock-full of nutrients!”

“This banana will give you more energy through the day!”

Which of the two above statements is more appealing? I am assuming that you would choose the second one. But why?

Think about it: if you eat the banana, what’s in it for you? What do you get out of it?

In essence, the first statement doesn’t answer the main question: “so what?.” It assumes that:

• you know what “chock-full of nutrients” means;
• you will read between the lines; and
• you will automatically interpret “chock-full of nutrients” as “gives you more energy.”

The first statement is also too obvious. Of course the banana is yellow! Of course it’s nutritious! Everybody knows this. Particularly if you are trying to fit content into a small area (e.g., in a brochure, or a newsletter), you are just wasting space on words that don’t lend any real value.

Finally, the first statement is just that: a statement. It’s cold. It’s impersonal. It isn’t talking straight to the reader. Granted, not every statement has to have the word “you” in it. But this particular statement is—quite simply—boring. It does nothing to grab the reader, mainly because they have not been factored into the text.

Simply put, if you want to sell a product or idea, you need to focus less on the features, and more on the benefits. Use “what’s-in-it-for-me?” as a guideline for your word choice, and you will have your audience eating (bananas?) out of your hand.

The delight is in the details

As the editor of a corporate newsletter, I was once tasked with collecting, reviewing (and sometimes rewriting) content submitted by internal employees.

One particular story caught my interest: a 14-year-old boy was embarking on a summer-long canoe trip, all on his own, to raise awareness and money for cancer research. It was a nice, feel-good story.

When I hit the half-way mark, however, the writer took a turn. Out of nowhere, one sentence stood out: on one of his previous travels, the boy had experienced a near-death situation.

Wow! My interest was piqued. What happened? Why was this guy still going ahead with his trip? Was he scared to get back in a canoe? What precautions would he take this time around?

But the writer took no time to elaborate on said situation. Instead, he proceeded to write about what the boy was planning to eat en-route.

Perhaps the writer didn’t see the near-death experience as important, but I certainly thought it was. In fact, it would have made the story all the more compelling.

Let’s put it this way: if this story had been written differently, it could have been a front-page story in a newspaper. The original, by contrast, would probably have been buried – page 3, at best.

Broadly speaking, omitting particular details in your writing can mean the difference between can’t-miss-it and can’t-find-it. (That being said, one should never misinterpret this as approval for being overly wordy.)

The challenge is in making every word count: providing just the right amount of information—interesting information, that is—and holding your reader’s attention long enough so they want to read it to the very end.

After all, that’s what makes a good fictional story. Shouldn’t the same be said for stories about the people around us?

Tone: it matters in your writing

When you’re trying to sell an idea or product, the last thing you want to do is alienate your audience. But, all too often, it can happen. I've seen it far too many times to count.

Let’s say a particular charity is asking for donations. You have some used clothing, so you offer it to the charity by email.

However, the charity does not want clothes—specifically, it needs money. Its response follows:

Thank you for your email. Our charity does not accept clothing. We only accept financial donations. To make a financial donation, please visit our website.

Sincerely, X

In the charity’s eyes, the information in this email is technically accurate: it reflects exactly what the organization needs. And the person sending the email doesn’t see the need to explain why the charity does not accept clothing donations.

But from the viewpoint of the donor/recipient of the email, how would you feel if this showed up in your inbox? Hurt? Unappreciated? Angry? I would venture to guess that you would take not only your clothing, but also that potential financial donation elsewhere.

The fact is that tone matters. And it rightfully should. As such, it is critical to get it right: especially in your first point of contact with potential clients/customers.

With a little finesse and a softer approach, here is a much better—and still very accurate—response:

Thank you for your email, and for your generous offer. We very much appreciate you thinking of us. Unfortunately, we do not accept donations of clothing, as we do not have capacity to store these items (we operate out of a small office with limited room). We do however accept monetary donations. Should you wish to make such a donation, please visit our website, where you can fill out an online form.

In the meantime, if you are looking for a place to donate your used clothing, you may wish to consult [insert charity name here].

Once again, thank you for contacting us. Without people like you in our community, we would not be able to do the important work we do.

Sincerely, X

Again, it comes back to knowing your audience. A well-meaning person wants to know that their actions are appreciated and making a difference. As the potential beneficiary of that well-meaning person, you owe it to them to use the right tone in your communications with them.

What makes a "writer"?

Years ago at my first full-time office job, I was having problems with my work computer and called the resident IT guy.

Once I was done running through my list of questions, he—ever the consummate professional—turned to me and said, “You know, the way you’re talking, it’s like you’ve never used a computer before.”

Now, more than a decade later, I wish that I had pointed out the obvious to him: that computers were not my specialty, but his; and, conversely, I did not necessarily expect him to know how to write a press release, develop a newsletter, or put together a national communications strategy for launching a product.

My point is this: just because I use a computer, that does not make me a computer expert.

The same goes for writing: even if most of your school assignments, work tasks or otherwise involve writing, that does not make you an expert writer.

Writing involves so much more than words—especially when you’re trying to convince someone to do or believe something, which is typically what I do in my profession:

• You must consider your audience, their sensitivities, prior knowledge (if any) of the issue or product, and their preferences.
• You have to predict what their “difficult questions” may be—and carefully find ways to answer them.
• You also have to do your research—find out what competitors are doing and saying, and what their key audiences are doing and saying.

All of this will guide the words you decide to put on paper.

Ultimately, writing is only half of what a writer actually does. Simply put, a writer—a professional writer—is also a strategist. And not everyone can claim to be one.

Especially not that IT guy.