A wealth of information has been shared in the DWW series, so for those of you who don’t have the time to read through each post, the summaries are the place to be.

If you’d like to find out more about the writers contributing to this section, go to Introducing the Writers of the DWW Series.

For a quick review, below are the seven questions put to writers:

1. What are the main points that you’d expect / want designers to know before contacting you about a project?
2. When working with designers, what do you see as the top problem areas?
3. How do you work?
4. How should a company or individual in your profession be chosen?
5. At what point should your profession be brought into a project?
6. How do you charge?
7. How can a designer improve their skills in your industry?

Right after the introduction I became a bit skittish and contacted writer, blogger, Liz Strauss for advice (thanks Liz!). With a nudge in place, I moved to the first question.

Designers As Clients

The Question: What are the main points that you’d expect / want designers to know before contacting you about a project?

• Cheryl Stephens: Have a knowledge of designing information pieces.
• Gerald Weinberg: The purpose, how to listen and take initiative, how to balance creativity with the project brief.
• Judy Vorfeld: The target market demographics, information on the products and services, needs of the target market for the products and services, information on the competition, selling comparisons on the products and services in regards to the competition, file types needed, type of writing required (target market, as well as search engines?), strength of calls to action, preferred style guide.
• ME (Liz) Strauss: Prefers designers know her writing style, be ready with questions, and be prepared for a brainstorming partnership.
• Louise Bolotin: The client brief, a draft template of the design from the beginning, a clearly defined budget, approximate word count per page, the number of pages to be set, and enough time allotted for drafts and final versions. that the designer has educated the client on the possibilities. She’d also like direct contact with the client.
• Lynn Gaertner-Johnston: Expects designers to understand the basics of document design (no text widows or rivers, follow the rules of proximity, final text to be readable), have a wonderful visual concept, to pick up on the odd writing mistake and introduce no new errors into the copy, be able to describe deliverables and relevant steps in the process, make realistic time commitments, give clear project briefs and communicate as professionals (in complete sentences).
• Matthew Stibbe: A clear brief.
• Nancy Friedman: What kind of writing is needed.
• Roberta Rosenberg: Understand each medium, know which should take centre state - the design or the copy, knowledge of the clients industry, be serious about the project, know costs re results, and keep to deadlines.
• Roy Jacobsen: When to bring in writers (early is preferred), that good writing is more than spelling and grammar, writers are not commodities, the tone required (formal vs. informal, light vs. serious, consumer vs. business-to-business), demographics of the target audience.
• Roy Peter Clark: The tone, the look and the voice of the project.
• Tom Chandler: Tone, call to action, visuals, knowing the product, target audience, reason for the product, key selling proposition, what and when.
• Tom Mullen: Budget, deadline and turnaround times.

The Problem Areas

The Question: When working with designers, what do you see as the top problem areas?

This was a difficult question for writers to answer because for the most part, they’ve had good experiences with designers. Lucky, they scratched around to share a few issues to think about.

• Cheryl Stephens: Not trying to understand the target reader, and submitting alternate proposals that are too similar.
• Gerald M. Weinberg: Inability to listen and really hear, inability to surface assumptions (his or the client’s) and to do the work to clarify them, designers need to have large egos but should keep them under control, many designers are simply poor communicators, either in writing or face-to-face.
• Judy Vorfeld: Designers want things done fast, and probably don’t understand the various facets that go into writing an effective website.
• ME (Liz) Strauss: Listening, Personal involvement, Trust, Commitment to the Work, Ego. In a mix on both sides, make for a messy relationship in any creative endeavor.
• Louise Bolotin: Focusing only on the design, becoming obsessed with cramming in too much design, not passing on a proper brief from the client, not allowing time to proofread before publication.
• Lynn Gaertner-Johnston: Not returning phone calls emails, not keeping commitments, charging for services that have not been agreed upon in advance.
• Matthew Stibbe: Lack of understanding the writer’s process, the need for interviews and research, time to write well, edit and rework if necessary. Viewing copy as a commodity.
• Nancy Friedman: Not regarding writers as a full partner on the project.
• Roberta Rosenberg: Underestimating the time/cost needed to complete a project, forgetting that the work is not about the artist, sloppy final art — fonts and images missing, items not labeled, PMS colors not identified, no folding dummy, etc., too casual approach to returning calls and emails.
• Tom Chandler: If I have one rant in me, it’s about designers who render headlines and copy unreadable.
• Tom Mullen: Thinking of writers as simply wordsmiths rather than idea generators.

The Process

The Question: How do you work?

• ME (Liz) Strauss: I work in a variety of ways to suit the kind of writing that I’m doing. When I write the “softer” genres, I often hope to work at night or early in the morning. When I write the “more structured” genres — things that require research, detail, and accuracy — I’m a top down writer. I plan my work in pieces or sections, the way a designer might storyboard a multi-piece design. I define my ending point — that closing conclusion that I want to be the end that satisfies the reader. Then I determine what would be the corresponding beginning to echo or reflect that ending. Usually I’m doing this first, because the middle is the hardest part for me.
• Roy Peter Clark: For me, writing is a process, a set of rational steps: the search for an idea; the collection of important stuff; working toward a focus; finding a structure; creating an early draft; revising. I want to involve collaborators as early in the process as possible. I want them to be able to plan and rehearse.
• Tom Chandler: Some days more slowly than others.
• Tom Mullen: Mostly I work remote. I’ll collaborate w/designers, art directors, or I’ll work alone. It just depends on the scope of the assignment.

The Care and Feeding Requirements of Writers, a review of How to work with writers, from Bad Language.

Choosing A Writer

The Question: How should a company or individual in your profession be chosen?

• Cheryl Stephens: Portfolio on website
• ME (Liz) Strauss: Look for curiosity, a positive “can do” attitude, and patient, listening skills.
• Louise Bolotin: Word of mouth recommendations, the phone book. skill and experience, work samples, portfolio, price (but high prices have no guaranties) and a good rapport.
• Nancy Friedman: Experience, talent, word of mouth, with the least being price.
• Roy Peter Clark: Find writers who are curious, passionate, and practical, can meet and beat deadlines, are willing to talk about their process, and who enjoy feedback.
• Tom Chandler: Choose a writer based on goals and voice.
• Tom Mullen: The quality of the portfolio.

When to Hire a Writer

The Question: At what point should writers be brought into a project?

• Cheryl Stephens: At the beginning
• ME (Liz) Strauss: As soon as you can stand to talk to me.
• Nancy Friedman: As early as possible. At the beginning, preferably.
• Roy Peter Clark: Early, early, early. And did I mention: early.
• Tom Chandler: The earlier I get into a project, the more value I can add for a client.
• Tom Mullen: The best work involves all participants from beginning to end.

How Writers Charge

The Question: How do you charge?

• Cheryl Stephens: By project, based on estimating hours
• ME (Liz) Strauss: Flat fee whenever it is possible.
• Louise Bolotin: By the hour, although I’m happy to work within a set budget for a fixed fee.
• Nancy Friedman: On a project basis.
• Roy Peter Clark: As a writer, I have worked on salary. As a consultant. As a freelancer. On book projects, I’ve received advances and earned royalties.
• Tom Chandler: On a project basis. Hourly simply doesn’t make sense to me.
• Tom Mullen: Day rate or project rate

Improving Skills: Writing

The Question: How can a designer improve their skills in your industry?

• ME (Liz) Strauss: Learn to listen, find solutions that get the text and design to work together.
• Roy Peter Clark: Learn how to speak “writing” without an accent. Artists need to learn how to speak across the borders of their discipline.
• Tom Chandler: Writing’s like anything; you get better by reading great writers and writing.
• Tom Mullen: Keep an open mind.

Why Designers Should Be Writers, by Roger C Parker.

Resources for the writing series:

Writing Resources: Part One: Writing Books

Writing Resources: Part Two: Online Writing Guides

Writing Resources: Part Three: Online Writing Courses

Contributing Writers:

Cheryl Stephens | Mentor/Muse
plainlanguage.com | Building Rapport | Building Rapport : CafePress.com

Gerald M. Weinberg | Writer, consultant
Weinberg on Writing | The Secrets of Consulting | gerald weinberg books and leadership courses

Judy Vorfeld | Webmaster Services; Editing and Writing Services
www.EditingAndWritingServices.com | Judy’s Blog

Louise Bolotin | Writer, consultant
PlainText Editorial Consultancy

Lynn | Founder, Business Writing Specialist
Syntax Training: Tools for Better Business Writing | Business Writing Blog

Matthew Stibbe | Writer-in-chief
Articulate Marketing | Bad Language

ME (Liz) Strauss | Writer | Career coach | Strategic planner
Successful Blog | Letting Liz Be | Liz Strauss.com | The Blog Herald | Performancing.com | Write With ME

Nancy Friedman | Chief Wordworker
Wordworking | Away With Words

Roberta Rosenberg | Pres/CEO
MGP DIRECT, INC. | The Copywriting Maven

Roy Jacobsen
Writing Plain and Simple

Roy Peter Clark | America’s writing coach
Poynter Online - Writing Tools | Book: Writing Tools: 50 Essential Strategies for Every Writer

Tom Chandler | copywriting : online/blogging : marketing plans
Chandler Writes. You Profit. | The Copywriter Underground

tom mullen | writer & proprietor
EXIT3A.com | ANONYMOUS, JR

Coming up next in the DWW Series will be photographers. Enjoy!

until the next
Designers WW,
cat

Apologies for the lateness of this post. I was waylaid by a meal of Durian with a non-tasty red wine. Sadly, sans dark chocolate.

I’m going to change the schedule on this part of the series by introducing our writers. Writers who were so kind as to share their experiences and advice. Writers who have busy lives, yet took the time to respond to my questions.

Our writers, in alphabetic order, by first name:

Cheryl Stephens has a treasure trove of writing information at plainlanguage.com. She also has an excellent writing blog, Building Rapport (advocating plain language, clear design, sensitivity to audience concerns, and civility). It was at Building Rapport where I discovered Kenneth W. Davis’s blog, Manage Your Writing. Kenneth has written The McGraw-Hill 36-Hour Course in Business Writing and Communication, a course I recently ordered and intend to review on BoDo. In time, yes, in time …

Gerald M. Weinberg is the author of one of the first books on writing I read from cover to cover. Weinberg on Writing: The Fieldstone Method, breaks the research of the writing process down to manageable chunks. There’s a lot more to the book than that, but for me, that part was invaluable. You can also visit his blog of the same name - Weinberg on Writing. Gerald is an author of many books, so check them out if you have an interest. He also spends time at a second blog, The Secrets of Consulting. In preparation for this writing series, I featured Weinberg on Writing on Designers who Blog.

Judy Vorfeld’s ‘Writing Tips’ were some of the first I bookmarked ages ago when researching for writing resources. You can find her at EditingAndWritingServices.com, or her blog. I especially enjoyed her post, Danger! Exclamation Marks Ahead!!

Liz (ME Strauss) is one of BoDo’s Visiting Authors. Liz comes to my rescue, often, when I’m panicking, or need advice, or both, and more. She’s also an extremely popular blogger / writer / career coach and strategic planner. Liz can be found at Successful Blog, Letting Liz Be, Liz Strauss.com, The Blog Herald and Performancing.com. Liz has a lot to say, and I certainly have a lot of time for Liz. Last year I featured Successful Blog on Designers who Blog. Check it out. If you are a great one for community, drop in at Liz’s Tuesday Mic Night. For a sample, there’s We Talked About Art!

Louise Bolotin’s PlainText Editorial Consultancy tackles one of the hardest chores for me to get my pen around, plain writing. So when I came across Louise Bolotin’s site, I paid attention. Logically, when I needed to get professional advice for this series, I headed straight to Louise - working journalist, editor and copywriter.

If I lived anywhere near Seattle, I’d sign up for one of Lynn Gaertner-Johnston’s Business Writing Courses. As is stands, I’m limited to online courses or studying by books. If you are in the enviable position of more choice, then Lynn’s business writing courses may just be the thing for you. For timely business and business writing advice, check out her Business Writing Blog. In January of this year I featured Lynn’s Business Writing Blog on Designers who Blog. I realise I have a long way to go, but I’m blushing at my recent construction.

Matthew Stibbeis the well known author of Bad Language, a writers blog. As a well known, I’ll point you to my past and recent favs - The Devil’s marketing dictionary: Part One, Part Two, Part Three. And my top of all times, A guide to working with writers.

Nancy Friedman is the Chief Wordworker at Wordworking. I’ve enjoyed poking about Nancy’s blog, Away With Words. Filled with diversity, it’s where I came across Ben Yagoda of Slate Magazine for the first time. Check out his new book, When You Catch an Adjective, Kill It: The Parts of Speech, for Better And/Or Worse. I know I will. Away With Word was featured at Designers who Blog this past January.

Roberta Rosenberg heads MGP DIRECT, INC. It’s her blog I was originally drawn to, The Copywriting Maven (direct response marketing & SEO copywriting tips, techniques and reviews of incredibly useful resources for professional and aspiring marketing copywriters). I’m a book hound so Roberta’s Best BOOKS category was a must bookmark for me.

I’ve been a fan of Roy Jacobsen ever since I started researching for the first writing series at DWB. Roy gives consistent advice at Writing, Clear and Simple (You have a story to tell. Tell it clearly and powerfully.) I was impressed when I read in his about, “You CAN learn to write better. You don’t have to revisit high-school or college composition courses, and you don’t have to slog through hard-to-understand and harder-to-memorize rules about past-participial posessive pronouns. Writing, Clear and Simple is here to help.” Writing, Clear and Simple was featured at DWB back in 2006.

Roy Peter Clark, boy, if I could only get his writing tools inside my head! Roy is the esteemed author of the blog, Poynter Online - Writing Tools, a must read for those intending to improve their writing skills. I reviewed Roy’s Poynter Online - Writing Tools at DWB for the Writing Resolve series

Tom Chandler of The Copywriter Underground is a fun type of writer slash marketeer. Entertaining to read, The Copywriter Underground was also featured at DWB early this year.

Tom Mullen, writer & proprietor of EXIT3A.com has been around my world since early days at Creative Latitude. Whenever I receive an eyeopening marketing email, it’s bound to be from Tom!

To finish, I’d also like to thank Roger C Parker for his loan of Why Designers Should Be Writers, first published on DWB.

Note: there will be another change in the schedule. Due to the aftermath of a family crisis, the DWW series will skip a week.

until the next
Designers WW,
cat

Designers charge by the hour as well as by the project, asking for payments in increments, etc. When I put the same question to writers, amongst everything else (by hour, by project, etc), I even threw in charging by the word. As you’ll see, none came back with that specific answer.

Cheryl

by project, based on estimating hours

Cheryl Stephens | Mentor/Muse
plainlanguage.com | Building Rapport | Building Rapport : CafePress.com

Liz

I prefer to charge by the flat fee whenever it is possible. My thinking on goes like this. I figure what a job would cost to do at the hourly rate the very first time through. If it is a repetitive task, such as several write ups or many answers to questions, I figure by the third unit (I will have hit my stride and the communication “bugs’” will have been ironed out). The reasons I prefer a flat fee is because when you work hourly, a writer tends to get better and faster at the task, so he or she is actually making less money per hour when paid hourly.

In the case here a task is undefined, cannot be defined, I place an hourly fee higher than the hourly rate on which I calculate my flat fee. That’s because the lack of definition means that I will be spending large chunks of time chasing details and following up things that I don’t particularly like doing.

Any writing tasks that I really don’t like to do, I price really high. Then if a client still wants me to do them, I don’t mind.

ME (Liz) Strauss | Writer | Career coach | Strategic planner
Successful Blog | Letting Liz Be | Liz Strauss.com | The Blog Herald | Performancing.com | Write With ME

Louise

I don’t charge for the initial consultation if it’s a new client. If I’m offered the work, I charge by the hour, although I’m happy to work within a set budget for a fixed fee. If that is the case, the client (or the designer, if they are paying the bill) needs to understand that they may get less work from me than they want if the budget is very tight. I usually bill the client directly although I will occasionally arrange to invoice the designer if that is the client’s preference.

Louise Bolotin | Writer, consultant
PlainText Editorial Consultancy

Nancy

On a project basis.

Nancy Friedman | Chief Wordworker
Wordworking | Away With Words

Roy

As a writer, I have worked on salary. As a consultant. As a freelancer. On book projects, I’ve received advances and earned royalties.

Roy Peter Clark | America’s writing coach
Poynter Online - Writing Tools | Book: Writing Tools: 50 Essential Strategies for Every Writer

Tom

On a project basis. Hourly simply doesn’t make sense to me.

Tom Chandler | copywriting : online/blogging : marketing plans
Chandler Writes. You Profit. | The Copywriter Underground

tom

Day rate or project rate

tom mullen | writer & proprietor
EXIT3A.com | ANONYMOUS, JR

The final question in the writers section of the DWW series is How can a designer improve their skills in your industry?

until the next
Designers WW,
cat

I’m lazy. There is just no disputing the fact. You see, I originally planned to write a dedicated post about working with writers, but I caved when Mathew Stibbs from Bad Language swung his post over. Yeah, I’m lazy. And proud of it. Especially in this case, as there’s not much I could do to improve on Mathew’s advice.

Just check out my outline below and see for yourself. Or, better yet, read How to work with writers in its entirety.

How to work with writers (a review)

Selection

Look for writers with:

• A track record of work in a similar format or subject
• The ability to write in different styles
• Decent references
• Professional indemnity insurance

Briefing

A briefing document should explain:

• Outline of contents
• The target audience
• Reason for the project
• Style guidelines
• Word length
• Supplementary contact information
• Additional resources
• Project deadline

Management

Expectations - Clients:

• Meticulous notes and voice recordings
• Independent sources for facts and statistics

Expectations - Writers:

• Reasonable deadlines
• Last minute requests kept to a minimum
• An understanding of how they work
• Positive feedback

Editing and rewriting

Writer releases work after doublechecking:

• Spelling and grammar
• That it meets the brief

Clients check:

• Trademarks
• Job titles
• Times and dates
• Company specific information

Potential problems areas clients should avoid:

• Faulty briefs
• Change of direction mid-project

Unpardonable sins writers should avoid:

• Clichés
• Missed deadlines
• Starting without an agreed brief
• Making the same mistake twice

The piece of information I particularly liked was: “Writers tend to think in terms of deadlines, drafts and word counts and chunk up their time in units of interviews, research, writing and editing.”

How about you?

until the next
Designers WW,
cat

When I asked designers how they should be chosen for a project, the majority chimed in with word of mouth. Other suggestions were: research, RFPs, references, successful projects, portfolios, networking, style and attitude.

To find out if writers were chosen any differently than designers, I asked the same question, “How should a company or individual in your profession be chosen?”

Cheryl

portfolio on website

Cheryl Stephens | Mentor/Muse
plainlanguage.com | Building Rapport | Building Rapport : CafePress.com

Liz

What to look for in a writer is a paradox, but recognizable. Given that all candidates can write, the most important qualities are curiosity, a positive “can do” attitude, and patient, listening skills. Look for curiosity about who you serve, who your market is. Look for patience and a strong desire to understand the idiosyncrasies of your work. Look for someone who doesn’t give up when the work doesn’t go well — writing is hard enough, it’s easy to get angry with the words.

What you want from a writer is someone who gets to know you, who wants to care about what you care about. To put it in a more thinking way, you want a writer who sits with you and looks at your market. Too often a writer will look AT YOU as the market, writing only for YOUR approval. That puts you in a position to do all of the thinking. If the writer is looking at the market with you, you can bounce ideas off each other and together you’ll build a more holistic and cohesive piece.

ME (Liz) Strauss | Writer | Career coach | Strategic planner
Successful Blog | Letting Liz Be | Liz Strauss.com | The Blog Herald | Performancing.com | Write With ME

Louise

I don’t think there are any set rules for this. I’ve been offered work through word of mouth recommendation quite often, but I’ve also been approached because someone found me in the phone book. Designers seeking a copywriter should ideally look for skill and experience first. Qualifications can be useful but many skilled copywriters don’t have them. Asking for a range of work samples or looking at a portfolio is often the best clue as to whether the copywriter is competent. Price is also important, but paying a lot does not necessarily guarantee you are hiring the best. Designers should also seek a copywriter with whom they have a rapport, as they will be working closely together.

Louise Bolotin | Writer, consultant
PlainText Editorial Consultancy

Nancy

Experience, talent, word of mouth-all these factors are important. The least important factor in my opinion is price. I’ve been in this business for twenty years and am not interested in working with designers or clients who don’t appreciate the value of my time.

Nancy Friedman | Chief Wordworker
Wordworking | Away With Words

Roy

No writer will be a perfect collaborator. The fleas come with the dog. But I want to work with writers who are curious, passionate, and practical. I want writers who can meet and beat deadlines, who are willing to talk about their process, who enjoy feedback.

Roy Peter Clark | America’s writing coach
Poynter Online - Writing Tools | Book: Writing Tools: 50 Essential Strategies for Every Writer

Tom

Choose a writer for your project based on your goals. In simple terms, don’t hire a technical writer to deliver killer direct response copy. Or a killer direct response guy when you want a fluffy branding piece. Be smart.

Also, each writer has a specific “voice.” Make sure that voice (and their temperament) is right for the job.

Tom Chandler | copywriting : online/blogging : marketing plans
Chandler Writes. You Profit. | The Copywriter Underground

tom

On the quality of their portfolio.

tom mullen | writer & proprietor
EXIT3A.com | ANONYMOUS, JR

I’ve read a about writers selling on voice, similar to designers selling their talents (at times) on style. Makes sense when you think about it. Not everyone is suitable to every job that comes along.

Following the format for the DWW series, next up will be How Writers Work.

until the next
Designers WW,
cat

In the previous post of the Designers Working With Writers series, our guest writers shared their feelings about working with designers. Two or more creatives clashing on a project can be a recipe for disaster. However, if we understand how each works within their own expertise, then the door is open to finding a solution.

With this in mind, the next question we asked our Writers was:

How do you work?

Liz

I guess you would say that I’m an undisciplined, disciplined writer. This much I know for sure. I’m not a prototype, an archetype, or even regular, but then I’m not sure that I know a writer who is.

I work in a variety of ways to suit the kind of writing that I’m doing and my background has led me to write for every age from preschool through professors of engineering and in every imaginable genre from fiction, poetry, copywriting, how-to, technical, inspirational, and self-help, which could be the result of having written all of the rest.

When I write the “softer” genres, I often hope to work at night or early in the morning. I Like quiet with time for reflecting to do some serious introspection. I think slowly and often listen to music before I begin to let my thoughts come together. When I have a point of view and message, I write as if I’m on a journey from beginning to end. I might edit a bit as I go, but mostly I get the message out. Then I let the piece sit for a short while. When I return to it, I change all of the clumsy words and take out all of the words that I realize don’t need to be there. It’s really quite fun to edit out the unnecessary words and details. And I’m quite lethal.

When I write the “more structured” genres — things that require research, detail, and accuracy — I’m a top down writer. I plan my work in pieces or sections, the way a designer might storyboard a multi-piece design. I define my ending point — that closing conclusion that I want to be the end that satisfies the reader. Then I determine what would be the corresponding beginning to echo or reflect that ending. Usually I’m doing this first, because the middle is the hardest part for me.

If I have a sense of the beginning and the ending, then I can map out what goes in between. First I do that with the broadest brush strokes and quickly. Then I go back to fill in the details. Each time I return to read it, I challenge the details a little harder to make sure that I’ve not left something out.

For that kind of writing I’m highly focused. I often walk around to find the words and to read what I wrote. I rehearse sentences in my head before I write them, because I find putting the words on paper in such detail visually distracts me from what the words mean. So I get the meaning and the words together before I commit them to the text on screen or paper.

Two things are true of every writer, we have to use both ego and self-doubt to write anything worth writing. And no one can help us write. In those ways, writers are like designers.

ME (Liz) Strauss | Writer | Career coach | Strategic planner
Successful Blog | Letting Liz Be | Liz Strauss.com | The Blog Herald | Performancing.com | Write With ME

Roy

For me, writing is a process, a set of rational steps: the search for an idea; the collection of important stuff; working toward a focus; finding a structure; creating an early draft; revising. I want to involve collaborators as early in the process as possible. I want them to be able to plan and rehearse.

Roy Peter Clark | America’s writing coach
Poynter Online - Writing Tools | Book: Writing Tools: 50 Essential Strategies for Every Writer

Tom

Some days more slowly than others.

Tom Chandler | copywriting : online/blogging : marketing plans
Chandler Writes. You Profit. | The Copywriter Underground

tom

Depends on the project. Mostly I work remote, via iSight, to concept/present. I’ll collaborate w/designers, art directors, or I’ll work alone. It just depends on the scope of the assignment.

tom mullen | writer & proprietor
EXIT3A.com | ANONYMOUS, JR

Following the set format for the DWW series, next up will be How to Choose a Writer.

until the next
Designers WW,
jay, taking over from cat for this post

Photo by seangraham

Quotation and apostrophe abuse

Happy Easter everyone. And since it’s been a week for writing (with more to come), I give you two flicker accounts, “Signs” that abuse “Quotation Marks” and Grocer’s Apostrophe.

Until the next
Sunday Stressbuster,
cat

For new business owners, it’s invaluable to know what could, and often does go wrong. Equally valuable is being told industry specific treats.

In the first section of the Designers Working With Series, designers shared their problems with clients.

So for the (hopefully) nip-in-the-bud realities when working with writers, I asked:

When working with designers, what do you see as the top problem areas?

Cheryl

They don’t try to understand my target reader.
They submit alternate proposals that are too similar.

Cheryl Stephens | Mentor/Muse
plainlanguage.com | Building Rapport | Building Rapport : CafePress.com

Gerald

Number one: Ego. A designer needs to have a rather large ego, but needs to keep it under control in service of her client. Many do not do this well. My book, “Becoming a Technical Leader,” deals with this problem, as does my book (with my wife) “General Principles of System Design“.

Number two: Maybe related to number one: Inability to listen and really hear. My book on feedback (with Charlie and Edie Seashore) “What Did You Say?: The Art of Giving and Receiving Feedback” deals with this problem.

Number three: Inability to surface assumptions (his or the client’s) and to do the work to clarify them. My two books with Don Gause, “Are Your Lights On?: How to Know What the Problem Really Is” and “Exploring Requirements: Quality before Design,” deal with this problem.

And, of course, many designers are simply poor communicators, either in writing or face-to-face, and my writing book and my consulting books deal with this problem.

Gerald M. Weinberg | Writer, consultant
Weinberg on Writing | The Secrets of Consulting | gerald weinberg books and leadership courses

Judy

They just want to get things DONE. Fast. Unless they have had to write a website, they probably don’t understand the various facets that go into writing an effective website. Like studying writing, demographic, search engines, visitor trends every day, most days.

There are more things, but at least this gives you an idea. And the following is part of what I send to people who want a new website or a makeover:

1. Why do you want a website?
2. How much business do you expect it to bring in percentage over what you’re bringing in now?
3. What are your target audience demographics? In other words, who do you want to reach? Be as specific as possible (age range, profession, income, interests, etc.).
4. How does your business benefit your target audience?
5. What problems do your prospects have that your business solves?
6. What can your business offer your visitors (what’s in it for them?)
7. List features of your services.
8. Do you perceive your website as a static but attractive online brochure, or do you perceive it as interactive and offering various elements that will make people want to return?
9. Do you have a budget set up for website startup?
10. Describe your business.
11. Do you have a business slogan or “tag line”?
12. What is the approximate number of pages you have or will have?
13. Do you have any content ready that can be used as a basis for your site? Examples: Welcome message, mission/vision statement for your business, company overview, business philosophy, and why visitors should do business with you rather than a competitor.
14. How do people learn about your business now?
15. How much time will you be able to spend online, responding to inquiries, etc.? Once a day? Several times a day?
16. Do you have a company logo?
17. How can you encourage repeat visitors and referrals?
18. Who is you online competition?
19. Describe your ideal client(s).

Judy Vorfeld | Webmaster Services; Editing and Writing Services
www.EditingAndWritingServices.com | Judy’s Blog

Liz

Listening, Personal involvement, Trust, Commitment to the Work, Ego. In a mix on both sides, make for a messy relationship in any creative endeavor.

All of which are fixed by a high trust relationship that is built on communication.

To make the best product, both parties need creative input and deep personal investment, they need to trust each’s commitment to the work, setting aside ego by realizing that what’s on the page or the screen is the work not them. It is at best difficult at moments to do that.

In a great relationship, two ground rules are set –implicitly or explicitly.
They are that:

1. It’s about the work and each person has a right and a duty to say what he or she thinks about the whether the work is going in the right direction without feeling that it will hurt the relationship or that he or she will be thought of as difficult.
2. Both people agree that when someone finds something about the work that isn’t working, if they find a way to solve it that meets the needs of both parties, the work always becomes better than if one person had won out over the other. In other words, working through problems for solutions that meet everyone’s needs gives me the best of two minds on the problem. I want an equal partner who listens and takes on my problems as part of his or her challenge. A client relationship doesn’t work for me. A prima donna makes me very unhappy. A designer who sees me as someone who comes from a place of personal taste make me what to sit him or her down to read my resume. :)

Designers need to know that they are as easily swayed by their own personal tastes and quirks as editors and publishers. They also need to know that I speak for my market, not for my personal taste. I ask for different things depending on who my readers will be.

I need feedback and partnership to get to the vision. I don’t like to make work for anyone.

ME (Liz) Strauss | Writer | Career coach | Strategic planner
Successful Blog | Letting Liz Be | Liz Strauss.com | The Blog Herald | Performancing.com | Write With ME

Louise

The biggest problem is when designers focus only on the design. The copy is equally important - design and words need to be in harmony with each other. If the designer forgets this, it makes working together very difficult and also means that the project may not be 100% successful. Sometimes designers need to be willing to accept advice or criticism from a copywriter and be prepared to modify the design. Another problem is that designers can occasionally become obsessed with cramming in too much design, especially fancy stuff like Flash, and be unwilling to recognise that less is often more.

The main problems are not passing on a proper brief from the client (do web pages need to be search-engine optimised, for example? If yes, I need to use key words), and not allowing me any time to proofread before publication (because the copy I send will be perfect when it leaves me and errors always creep in at the design end when being laid out) - this last point is very important as the projects I work on with designers rarely involve bringing in an additional proofreader.

I’m not sure how helpful these responses are going to be as I very rarely work FOR the designer as opposed to WITH the designer. Usually, I’m hired separately by the client and invoice separately, but obviously I need to have close and regular contact with the designer as I can’t work in a vacuum. I can’t say I’ve encountered any major problems to date - so far, I’ve been lucky enough to work with designers who understand that the copy is as important as the design. Usually, the problems lie with the client being uncontactable at a crucial point or unclear about what they want.

Louise Bolotin | Writer, consultant
PlainText Editorial Consultancy

Lynn

I have had the good fortune to work with wonderful designers. For me, the key is recognizing when there is a fit and when there isn’t. If people can tell at the beginning that their business styles, aesthetics, or budgets don’t match, they should not work together and should not feel guilty about it.

It would be a problem if designers did not return phone calls or reply to email, did not keep their commitments, or did charge for services that had not been agreed upon in advance. I am glad to say that has not been my experience.

Here is the answer to the question you did not ask:

Having a good design is the difference between having a lackluster presentation and earning instant admiration. Before any words make an impression, the design does. I am grateful every day that I work with excellent, happy designers. I count them among my most valuable partners.

Lynn Gaertner-Johnston | Founder, Business Writing Specialist
Syntax Training: Tools for Better Business Writing | Business Writing Blog

Matthew

Briefing aside, the biggest issue with web and print designers is that they view copy as a commodity. They don’t seem to understand the writer’s process, the need for interviews and research, time to write well, edit and rework if necessary. They just see a bunch of ‘lorem ipsum’ and say to themselves “writer to insert copy here.” A bit more mutual understanding would help everyone. Not all designers are like this of course!

Matthew Stibbe | Writer-in-chief
Articulate Marketing | Bad Language

Nancy

Not being regarded as a full partner on the project. (I must say this happens rarely; I’m fortunate to work with some very experienced, knowledgeable, and sensitive designers.)

Nancy Friedman | Chief Wordworker
Wordworking | Away With Words

Roberta

Underestimating the time/cost needed to complete a project

• Forgetting that the work, while still very much a creative enterprise, is not about the artist — it’s all about meeting the objective of the promotion. In short, it’s business.
• Sloppy final art — fonts and images missing, items not labeled, PMS colors not identified, no folding dummy, etc.
• Too casual approach to returning calls and emails

Roberta Rosenberg | Pres/CEO
MGP DIRECT, INC. | The Copywriting Maven

Roy

Writers can be assholes. They act as if the designer is there to service the writer. The writer can be a narcissist and forget that the designer needs to be brought into the conversation. The designer needs time, so it’s imperative that the writer meet deadlines and provide as much advanced information as possible.

Roy Peter Clark | America’s writing coach
Poynter Online - Writing Tools | Book: Writing Tools: 50 Essential Strategies for Every Writer

Tom

If I have one rant in me, it’s about designers who render headlines and copy unreadable.

We’re trying to sell something, and setting a headline in four different sizes or copy in heavily leaded 7 point type might impress design students, but if the average person can’t read it, we’ve failed.

The testing doesn’t lie; your average person can’t (or won’t) read type that’s set outside a fairly narrow set of parameters. Don’t get too cute.

Tom Chandler | copywriting : online/blogging : marketing plans
Chandler Writes. You Profit. | The Copywriter Underground

tom

Thinking of writers as simply wordsmiths rather than idea generators. Writers think visually/idea first and words second.

tom mullen | writer & proprietor
EXIT3A.com | ANONYMOUS, JR

Following the set format for the DWW series, next up will be How Writers Work: The Process

until the next
Designers WW,
cat