Toward Humanity

The Nine Tasks of an Editor

April 20th, 2012

Nine hierarchical tasks enable an editor to ensure your document fulfills its intended goal

They returned dejected, and a bit humbled, filing slowly into their manager’s office. Their manager started.

“What happened?”

“We weren’t invited to present.”

That was surprising. “Why not? You told me we had a great proposal, that we could clearly meet all their needs.”

“We do, and we can.”

“Then… what happened?”

“They rejected our proposal out of hand.”

“Huh? What does that mean?”

“They told us our proposal didn’t read well, that it was disorganized, wasn’t clear—‘fuzzy’ is what they said—that it rambled, was a little redundant, had some typos, and…” the hardest part, “it didn’t follow the rules of their RFP.”

“I don’t get it. I thought you guys had this all down pat, that you were expert.” It was more a statement than a question.

“We are expert in all the technical aspects required in the RFP. But…” The pregnant pause hung in the air. “But, as we’ve said before, it’s one thing to be technical experts, it’s another thing entirely to be able to communicate that expertise clearly, concisely, and conclusively. That we struggle with.”

The feeling of disappointment was almost palpable. Mildly accusatory glances circled around.

“We have a solution though.” Wary eyes. “We’ve said this before.” Wary looks. “We need an editor; it’s not a luxury.”

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An Editor: Your First Reader and Collaborator

March 24th, 2012

Your editor is not adjunct, but essential to your writing’s clarity and cohesion

“Of all the gin joints in all the towns in all the world, she walks into mine.”

One of the most famous and memorable lines in all of movie history wasn’t written by the script writers—it was created on the spot by Humphrey Bogart while filming one of the many lightening-rod scenes in Casablanca. Not only is Casablanca considered the best movie of all time by most film critics, but its script is also considered the best of all time by the Script Writers Guild. Even with those sterling achievements, Bogart’s ‘editing’ of that crucial line improved the dialogue and the film. As a result, the line endures 70 years after Bogart uttered it.

This is the value that an editor enmeshed with the writers can bring to improve written text.

Self-editing as a choice. More than likely, neither the documents you write, nor the ones I write, will carry the same longevity of Casablanca’s script. Nonetheless, your writing is important. And yet, many of us—myself included—often self-edit and eschew the brilliance that an editor can bring to our writing.

Make no mistake, self-editing often is a useful way to improve your writing. Letting text you’ve labored over to rest for a few days enables you to see that text from a new and expanded angle when you return to it. There’s a renewed clarity after your subconscious has stewed, which allows you to improve and build upon your initial text. In general, though, you are still bringing the same mind-set to your text, using the same base of information and perspective that you brought at the beginning.

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Where Are You Going with that Presentation?

February 14th, 2012

A clear, compelling objective forms the foundation of every great presentation

“Where are we going?”

My teenage son and I sat in the car in our driveway. He was behind the wheel, beginning another training session as he learns to drive. No engine started yet, when he posed that question. I just looked at him quizzically.

“You’re kidding, right?”

“No”, he said. “I don’t know where we’re going.”

I sat in silence for a bit, absorbing that. Okay, I thought, let’s start somewhere else.

“What are we trying to do?” I tried.

“Buy sneakers for me.” That’s good, at least he knew that.

“And where might we get those?”

“I don’t know.” The standard teenage response. Then he thought for a second. “How about the outlet mall? There’s a couple of stores there.”

“Let’s go then”, I said.

He started the car, and rolled a short distance, then stopped. He just sat there staring straight ahead. He looked deep in thought, pondering. I looked at him again, wondering.

He slowly turned to look at me, and with a look of chagrin said, “How do I get there?”

I laughingly smiled.

“You don’t know how to get there?” I asked with some incredulity.

“No”, he stated matter-of-factly. “How would I know that? I’m used to just sitting there and going along for the ride.”

Let’s pause the story there, and shift gears from driving to presentations.

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Nine Engaging Ways to Open a Presentation

January 3rd, 2012

Employ any one of these methods to instantly grab your audience’s attention.

Audiences pay attention at the start of every presentation. They want to know the context and objective of your presentation and what they can get out of it—before they continue to listen. Even with a compelling reason to pay attention, they also want to determine if it is worthwhile to listen… to you.

You can determine when you have your audience’s attention simply by listening to their nonverbal clues—their body language: they are sitting upright, looking at you, alert, bright-eyed. Ever look around while presenting and see the tops of people’s heads? Their heads are not bowed in deference; they are fiddling with their cell phones. And not listening to you.

You must connect your audience from the very start, employing an engaging and memorable opening, and giving them a compelling reason to listen. An effective opening:

Captures, and retains, your audience’s attention.
States your objective and its benefit to your audience.
Previews your call to action—what you want them to do when the presentation is over.

Consider using one of these techniques to open your next presentation with purpose.

A relevant story or anecdote. Audiences love stories. Telling a story or an anecdote that is directly related to your presentation, especially one that makes the point you are trying to make, can be especially powerful and motivating (no ‘war’ stories though). Tell your story so that your audience not only hears your words, but more importantly, can visualize the story and action. In my experience, opening with a story is far and away the best start you can make. It is, however, also the most difficult.

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Open Your Presentation with Pizzazz — Tell a Story

December 16th, 2011

Stories engage and resonate, and lead to successful, profitable presentations

Because I enjoy telling stories, especially in business situations, my first thought was to begin this treatise with a story about a poor method for opening a presentation so that you can learn how dreadful this kind of opening can be.

This opening, one that you probably see and hear far too often and most likely bores you to doze off, seems to pervade far too many presentations. But I figured you would be so bored reading about it that you would not even make it to the end of this first paragraph. Understandable.

Story. Instead, I’m going to start by telling you a story about one of the first times I ever gave a presentation, and how I quickly learned how to start with an engaging opening.

The day before, I was practicing my presentation in front of a valued colleague, Philip. So I started:

“Good evening. Thank you all for coming here tonight. It’s so good to see all of you. I’m excited to speak to you about…”

“Stop!” Philip exclaimed.

I stopped. And looked at him. “What?”

“Rich, that is just about the most boring way to start. Everybody is so used to hearing that crap, that they immediately stop listening.”

“But,” I protested. “I want to welcome them.”

Philip frowned. “And fall asleep,” he continued

“And thank them,” I feebly added.

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It’s All About Your Audience

November 17th, 2011

Too many presentations focus on the speaker or the slides — focus yours on the audience

The best communication focuses on your audience. This is especially true when giving presentations. Too often, speakers are temped to call attention to themselves, thinking—erroneously—that they are the star of the show. Other times (although far less often), the focus is on the slides. While both are important components of presentations, they nonetheless must take a back seat to the needs of your audience.

Bottom line: you must discover what your audience wants and needs, then deliver it to them on their terms.

Let’s look at this from a different perspective. Consider the last time you spoke to a preschooler. Chances are you crouched down on one knee to bring yourself eye to eye with the tyke. You might have gently touched the child’s arm to establish a connection. You used the child’s lexicon, choosing your words carefully. You spoke slowly and enunciated clearly. All this to ensure that the child—your audience—would readily understand. In other words, you communicated on their level, focusing the conversation on their needs.

Follow this example when presenting. Focus on the needs of your audience.

Making your audience paramount is the most difficult aspect of your presentation. Your audience is not completely under your control, whereas you, the speaker, and your materials are. A little planning together with some hard work, however, eases the path. Here are some ways to better understand your audience, discover their needs, and connect with them during your presentation.

Do your homework. Invest some time to learn about your audience. Find out where they work and what they do. At the very minimum, find out what they expect to get out of your presentation; in other words, what are they going to do with the information you impart to them. When you know that, you can directly address that during your presentation. Discover what they already know about the topic, and perhaps how you can tap into that knowledge.

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Yes, I See That

October 20th, 2011

Your ability to visualize—to see— information greatly enhances comprehension

Anyone who has watched a teenager take driver’s ed can empathize—even if that teen isn’t your own. The angst, the “omg, not my car!”. That’s one of the beauties of driver’s ed: the teen learns on someone else’s car. As is my teen. Yesterday, when he came home from school, I was pleased that was the case.

“How was school?” I asked.

“Good.” (Don’t you just love those informative one-word answers?)

“How was driver’s ed?” I persisted.

Pause. Then finally, “It was okay.”

The story. Now, as any parent worth their salt knows, when there is a pause, there is trouble.

“What happened?” I asked matter-of-factly, cutting right to the core.

My son just looked at me with wary eyes. I could see that he was measuring his words in his mind, struggling to decide just what to say.

“The car broke down.” He ventured in a slightly hesitating voice.

Now I knew immediately that this was just the title of the story, that there was much more to hear. The question remained though: could I coax that story out of him? Worth a try. I had a feeling this was going to be good.

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How Does It Look?

September 22nd, 2011

The design of your communication must be on par with its content

This past June, I was attending my son’s lacrosse tournament. We wanted a down-to-earth place to eat breakfast. The locals recommended a nearby diner. Now you know what a diner looks like: silver façade, booths with plastic seats, counter and stools, coffee machines and blenders and that little window into the kitchen, slightly cramped. You can picture it, right? Sounded perfect, so we went.

We walked in and looked around. Lots of people, but no waitresses. After a few moments, the swinging doors from the kitchen popped open. Out walked an elegantly dressed man, tux and bow tie, replete with cummerbund and gleaming black shoes. He approached, bowed, and said in a proper tone, “Good morning gentlemen. Have you a reservation?” I raised my eyebrows. “Apparently not,” he intoned flatly. “Fortunately,” he said in a brighter tone, “we’ve just had a cancellation. Please, follow me.” Turning crisply, he walked toward an empty booth. After we sat, he pompously handed us each a stylish menu. Then addressed me formally: “Could I interest you in our reserve wine list? A crisp white would prove a fanciful accouterment for this lovely Sunday morn.”

Confused? Well, if this had been reality, we would have been too. When you walk into a diner, you expect things a certain way. But not this way. To put it another way, this diner’s look did not match its content.

A more pertinent perspective. A long, long time ago (in a galaxy far away), I was approached by a software company to work on their documentation. The docs were basic reference and how-to manuals, describing their menu and explaining their function. They were written by an engineer—who also had a penchant toward inserting references to popular cultural philosophies and weaving their ideologies into the text. Interesting since this ersatz writer-engineer took pains to make the context of these fairy tales relevant; most ended up mild rants.

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The Increasing Importance of Tech Comm

July 25th, 2011

Landmark legislation places an even higher value on accurate, complete technical documentation

Seventy-seven million dollars ($77 million)! That is the amount of money SAS AB is seeking in compensation from Bombardier, the Canadian-based aircraft maker, for omissions in Bombardier’s technical maintenance manual for their Q-400 turboprop plane.

Two of SAS AB’s Q-400 planes were involved in emergency crash landings in Denmark and Lithuania, both involving malfunctions in the plane’s landing gear. (No one was seriously injured in the accidents.) As a result, SAS AB grounded their entire fleet.

SAS spokesman Hans Ollongren said, “The incidents were caused by flaws in components not included in the maintenance manual. This is why we feel the responsibility lies with Bombardier.” Ollongren said that SAS has lost about $62 million since the grounding of their fleet of Q-400s. “There are other costs involved, too, related to credibility and our flight safety record,” he continued. SAS wasn’t the only company affected; about 60 of the 160 turboprops in use by airlines worldwide were grounded.

SAS wants to resolve this matter privately between the two companies. Failing that, SAS has every right and intention of litigating against Bombardier. Can they litigate? For flaws in a maintenance manual? In the European Union (EU), in Canada, in some U.S. states, and increasingly around the world, SAS has tort law fully on their side.

Tort law creates liability issues for poor documentation. In 1998, the EU drew up legislation that recognizes technical documentation as part of a product. This is landmark legislation. Now, the documentation and product are inexorably tied together for liability purposes by this tort law. Corporations are legally responsible for customers not knowing how to use their products and for using them incorrectly.

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