The recent solar eclipse prompted me to do a bit of symbolic thinking about smaller, less important things getting in the way of larger, more important things.
In the early days of my teaching business presentations, my mentors stressed the importance of watching out for little presentation details, such as using the hands for precise gesturing or counting the number of times each presenter said “um” or “ya know.” Therefore, I emphasized these matters in my classes, and my students would then concentrate on using more gestures and controlling their normal speech patterns as they gave their presentations. Unfortunately, the students’ gestures were often awkward and unnatural—suggesting that even more emphasis was needed. It was a vicious cycle.
Finally, after a few years, I realized that I may have been doing more harm than good in giving feedback of this type. I concluded that if my students were concentrating on these secondary matters while giving their presentations, they were thinking about the wrong things. The hand gestures and filler words were eclipsing the more important message and audience issues that should have been their primary focus.
So what should we be thinking about as we present? First, we should constantly think about the purpose of our presentation—what we are trying to achieve by giving the presentation. This can be brought into sharp focus with an action statement like, “As a result of my presentation, I want the audience to . . .” This might include what we want them to understand, or feel, or do. Every informative and persuasive element should align with the central purpose of the message. Each element should move the audience from where they were when we started the presentation to where we want them to be when the presentation ends. Further, nothing should either distract or detract from that purpose.
Second, we should think about connecting with the audience. If we have performed a careful audience and context analysis during the planning phase, we’ll understand the audience demographics and psychographics. We’ll know of their challenges and concerns. We’ll know what parts of our presentation will be readily accepted and which ones might not. And we’ll continuously focus on building and strengthening the audience members’ connection with us and with the content we are presenting.
Third, we should constantly analyze the audience feedback as we present. Because most of this feedback comes in nonverbal form, we should assess the audience energy level, receptivity level, eye contact, facial expressions, and general responsiveness. We should then take impromptu corrective action when audience feedback tells us that the message isn’t getting across as well as it should.
Finally, we should remain aware of the element of time, making sure we pace our presentation so we don’t speak too long. As appropriate, we should omit some of the less important planned information, without negatively affecting overall message clarity, impact, or coherence. Less-important content should never push aside more important content.
So what about the “ums,” the “ya knows,” and the awkward gestures that I once thought were so important to teach? My experience has taught me that as students prepare content they are excited about, rehearse thoroughly so they are comfortable with the subject matter, and focus on connecting with the audience, these language and gesture issues mostly take care of themselves. The appropriate voice energy and gestures occur automatically. Better yet, they are normal and natural, not forced and awkward.
With this change of focus, the less-important secondary elements of presenting no longer eclipse that which is most important—the message and the audience!
If you’re wanting to improve your business writing skills, you should know that three levels of learning are required to be most effective. Learning that is focused on just one of the three levels will be helpful, of course, but a comprehensive learning plan will be most effective. Think of it in terms of improving your game of golf. Studying the rules of the game will certainly help, but that alone won’t do anything for your long drives. (See this link for a PowerPoint presentation I gave at a recent conference about the ideas I presented in this blog.)
Learning Level 1—Rules
The first level focuses on the rules of writing, including basic sentence structure, punctuation, spelling, grammar rules, and so forth. While writing rules may shift slowly over time and vary slightly from situation to situation, rules are generally quite “black and white,” where something is either right or wrong (e.g., the correct spelling is “receive,” not “recieve”). If you want a good review of sentence basics, visit https://goo.gl/34xyTn. There, in Appendix A, you’ll find many of most frequently used and abused rules of business writing. For example, do you know when to use a semicolon? Many people don’t know; however, you can learn a few basic rules to confidently use semicolons in your writing.
Learning Level 2—Principles, Patterns, and Procedures
At the second level, learn important principles, patterns, and procedures pertaining to writing. Unlike level-1 rules that tell whether something is right or wrong, level-2 principles are more like guidelines. For example, the principle of conciseness pertains to word economy—messages should be conveyed without an excess of words. There’s obviously no right and wrong here, because a message may be mostly concise, but not as concise as it could be. Several patterns and procedures are explained in some of our other blogs. We’ve given some of them names to help you remember, such as CLOUD for writing effective paragraphs, OABC for document organization, HATS for document design, and DOCS for document revision. Learning and applying these patterns and principles can greatly strengthen your ability to write well.
Learning Level 3—Application and Adaptation
The highest level of learning comes at the application level. At first you might think that learning stops when application starts. Not true. You also need to learn how to apply everything you learned in levels 1 and 2. Level 3 is where creativity, judgment, and wisdom are learned. Obviously, application and adaptation skills are difficult to learn in a classroom setting, which is one reason why teachers often use case studies, client projects, and service learning to supplement classroom instruction. In fact, level-3 learning continues well into our careers and usually involves years of trial and error. It draws on everything we learned about rules, principles, procedures, and patterns, but it also requires that we learn how to analyze the unique characteristics of each situation and then design a creative solution to fit each situation.
If you’re feeling so confident in your writing that you think you don’t need a refresher, think again! Despite our years of professional experience, we can all improve at all three levels. Even Vince Lombardi, the great football coach, went back to the fundamentals with his experienced football players on the first day of practice. “Gentlemen,” he would say, “this is a football.” He wanted to make sure his players were prepared at all three levels, from the fundamentals to the intricacies of complicated plays. Likewise, by knowing all three levels of business writing, you can be prepared for all kinds of situations on the field of your professional work.
 David Maraniss, When Pride Still Mattered: A Life of Vince Lombardi (New York: Simon & Schuster, 1999), 274.
Do you feel that your slide presentations look disorganized and unprofessional? Maybe your basic slide layout needs a facelift! Layout refers to the way you arrange your text and graphic elements on the slide.
Obviously, you want your slides to look clean and well organized, not chaotic and cluttered. PowerPoint, Keynote, and other slideshow software provide various templates, but they often result in boring slides with too many bullet lists. Instead of using these templates, create your own layout. Here are four suggestions to help.
1. Use a Grid
Divide your slide into a four-part grid, as shown in Figure 1:
Organize the body area into a grid, consisting of one or more vertical columns, with appropriate space above, below, and between columns. Figure 1 shows an example of a four-column grid for the body. With this layout, you can have one very wide column, two equal wider columns, four equal narrow columns, or an unequal three-and-one column arrangement. In Figure 1, the first body text spans all four columns; the remaining bullet list and graphic span two columns each. Regardless of the layout, always appropriately align the text and graphic items. Items can be top, bottom, left, right, or center aligned, as appropriate. For example, the side-by-side boxes in Figure 1 are aligned both top and bottom. They are also right and left aligned with the heading “Excessive Audit Violations.”
The important point is to develop a grid that works for you and to use it to achieve visual consistency among all of your slides. A grid gives your slide presentation a well-organized, professional appearance. (To make sure the gridlines don’t show on your final slides, use the gridlines feature of your software, rather than drawing your own.)
2. Use a Running Agenda
Display a running agenda (outline) of your presentation content (in Figure 1, see the agenda in the dark blue bar on the left side of the slide). A running agenda produces two benefits. First, it shows your overall information architecture, which your audience can use for mentally organizing what you present to them. Second, a running agenda helps the audience remember the big picture, even when you take a deep dive into the details of your presentation. Without a running agenda, listeners can easily get mentally lost, not knowing how the details tie in with the overall information.
The running agenda can be on the left side of your slides, as shown in Figure 1, or across the bottom. Always include a pointer or other visual indicator to show where you are in the presentation. For instance, while talking about “Analysis” information in your presentation, change the color of “Analysis” in the agenda, and/or place a small arrow beside it (see Figure 1). When you move from the “Analysis” section to the “Conclusion” section, change the color of “Analysis” back to the normal color and highlight “Conclusion.” Also move the arrow to the appropriate point beside “Conclusion.”
A running agenda is especially useful for informative presentations, such as training or briefing presentations. Be sure to repeat the agenda on every slide, or at least on the first slide of each major segment of your presentation, to remind the audience of the big picture.
3. Have a Distinct Front Door
Make sure each slide has an obvious front door—a clear point of entry. The front door should be a visually dominant object or text item that you want your audience to notice first. Because people’s eyes naturally go to the top of a slide, generally place your front-door item in that area.
For many slides, your front-door item will be the slide’s title, displayed in a large font to make it stand out. For example, you could make a slide title highly visible by using a 44-point, bolded Arial font, while using a smaller, less visually emphasized font for the rest of the text on the slide. The large title would attract the audience’s attention and serve as the entry point (front door) of the slide. For other slides, the front door could be a large photograph or another eye-catching visual.
4. Have a Clear Pathway
After entering the front door of a slide, your audience should be able to see an obvious pathway through the body of the slide, generally following a natural reading trail from top to bottom and left to right (except for languages written from right to left). For example, with a two-column layout, this path might run from top to bottom in the left column and then top to bottom in the right column.
Regardless of a slide’s specific pattern, the path should be visually obvious. As needed, include numbers, arrows, or other visual markers to make pathway clear. For instance, if six text boxes are arranged in a two-by-three pattern, use arrows or numbers (1, 2, 3, 4, 5, 6) to designate whether to read the boxes in top-to-bottom-left-to-right or left-to-right-top-to-bottom sequence (see Figure 2).
As you work with slide layout, feel free to alter the layout as appropriate. For instance, use three columns in your body area grid (see Figure 2), rather than using four as shown in Figure 1. To help decide how to lay out your slide content, ask yourself, “Given the information I want to display, what is the best way to organize it on a slide?” You might also ask your colleagues for their input. Two heads are often better than one.
As you create your next slide presentation, apply the four steps presented above. Initially, your layout might take a bit of time to set up. But as you persist, your slides will become more organized, both logically and visually, thus enhancing both the logos and ethos of your presentation. Give it a try and let us know how it works for you.
The current election contest between Trump and Clinton serves to remind us of the importance of developing trust in our relationships. Public-opinion polls show that both Clinton’s and Trump’s trust ratings are below 50 percent. News media report that some voters are feeling compelled to choose the lesser of two evils, rather than the better of two good options.
The causes of this erosion of trust highlight the importance of one of Aristotle’s three time-proven modes of rhetoric—ethos. Ethos reminds us that the message content intertwines with who and what the speakers are themselves. Ethos requires that the audience must trust not just the speakers’ knowledge, skills, and abilities, but also the speakers’ genuineness, integrity, and honesty.
Examine your own ethos within your organization and between you and your clients. What can you do to earn and build other people’s level of trust in you? Here are a few suggestions.
Consider three additional ideas that can help build trust when you use social media:
According to George MacDonald, “To be trusted is a greater compliment than being loved.” Therefore, always seek to develop high trust in your relationships. Further, seek never to lose the trust you have earned, because trust is much easier to gain than to regain once it is lost.
Apply these suggestions in your own workplace and personal life. You’ll find that the resulting increased ethos will give you additional persuasive power as you seek to influence others.
Most of our blogs have focused on topics related to business writing, but with the presidential debates occupying so much of our news these days, it seems appropriate to address a few factors related to oral persuasion. As the pundits argue about who won the first presidential debate, remember that the most important point is not who won that debate, but rather who will win the election in November. The first debate was simply one step along the way. Nevertheless, the outcome of future debates, and the entire election, might hang on the principles described in this month’s blog.
A number of forces are at work when you attempt to persuade an audience. Graber (2003, 182) has identified four factors that affect your ability to persuade and influence others:
1. You must have relevant information.
2. You must have social capital (respect and credibility).
3. You must have good persuasion skills.
4. The audience must be open to persuasion.
Let’s examine Graber’s four persuasion factors as they relate to the message, the messenger, and the audience.
The message element addresses the first of Graber’s factors—the need to have relevant information. To select relevant information, take time to complete a thorough PACS planning process. Identify the purpose(s) of your presentation, analyze your audience, analyze the context in which you’ll be presenting, and develop a strategy. (Follow this link for more information about PACS: https://goo.gl/Hdsyfl.)
When you are persuading, your relevant information should strengthen your own position and weaken the position of your opposition. Also, because humans are thinking and feeling creatures, your relevant information should include both logical arguments (Aristotle’s concept of logos) and emotional arguments (Aristotle’s concept of pathos).
The relevant information you choose to share may also be either positively or negatively oriented, appealing to what the audience will gain by accepting your proposal or what they will lose if they don’t. People respond to both gain and pain appeals, those that help them achieve worthwhile gain or ease their pain. You may focus on a variety of pains and gains, including financial, emotional, political, physical, and more. Regarding pain appeals, however, there’s a big difference between a mosquito bite and a shark bite—people can put up with pain from a mosquito bite, but not a shark bite. Therefore, choose carefully the pain points you emphasize.
To summarize, as you select relevant information for your message, consider all of the following options
As a messenger you need social capital, or respect and credibility (Graber’s second condition and part of Aristotle’s concept of ethos). You need to gain people’s trust—to connect with the audience and win their hearts. People gain the trust of others when they embrace goodness in a variety of ways:
1 Telling the truth.
2. Fulfilling their responsibilities; completing what they say they will do.
3. Making good decisions and doing high-quality work.
4. Working for the good of the team or organization, not for their own selfish interests.
5. Acting in a socially appropriate manner, and always keeping their emotions under control.
For some audience members, our presidential candidates have multiple strikes against them even before they walk onto the debate stage! In spite of this baggage, during the debates they can help repair their damaged reputations by telling the truth, acting in a socially appropriate manner, keeping their emotions under control, and working for the good of the country—not for their own selfish interests.
As a messenger, you also need good persuasion skills, Graber’s third condition. Of course, you must have well-planned, relevant information (the what), but you must also present your case in such a way that the information actually persuades (the how). Here are a few examples:
Graber’s fourth condition for achieving persuasion states that the audience must be open to persuasion.
When persuading in your own organization, first understand the mood of your audience regarding your proposal. Often, it might be best to present your ideas to individuals one on one. Then, after you know the feelings of individuals, meet with the larger group to achieve full buy-in.
For Clinton and Trump, the large majority of the nationwide audience is not highly persuadable at this point in the campaign. Their minds are already made up (although each candidate needs to continue to reinforce that commitment). Therefore, in the remaining debates, candidates must concentrate on the persuadable portion of the audience.
As you watch the remaining presidential debates, keep in mind the foregoing message, messenger, and audience elements and see how well Trump and Clinton perform. Further, begin to apply these guidelines and principles in your own persuasive presentations. See if they help you improve your own win-loss record.
Graber, Doris. 2003. The Power of Communication: Managing Information in Public Organizations. Washington, D.C.: CQ Press.
Throughout a normal day, you write to or talk with many people about many different situations. You can usually rely on your intuition to guide you in how to approach each situation, but a knowledge of different tactics can give you added confidence as you select the best approach.
When deciding on the approach to take in your creating messages, you have two general options—direct or indirect. In other words, you can either get right to the point at the beginning of your message, or you can delay the main point until later in the message. Review the following guidelines to help decide which option to follow.
Use the direct approach for good-news or routine messages. For instance, if your sales team has met its goals for the current year, give them the good news in the opening sentence: “Good news—we have just met our sales goals for the year, and we still have over two months still left to go!” Or if you need to call a routine meeting with your sales staff, give them the main point of the message, followed by appropriate details:
“We will be holding a one-hour staff meeting next Wednesday at 9 a.m. in the west conference room. The purpose of the meeting is to review progress on all current development projects and to establish goals for the next quarter. Therefore, please come prepared to. . . .”
Compare the foregoing direct approach with this one, which uses an indirect approach. I think you’ll see that the direct approach is much better.
“Each quarter we find it beneficial to review progress on all current development projects and to establish goals for the subsequent quarter. The time for our second-quarter review has arrived; therefore, please plan to attend a meeting next Wednesday at 9 a.m. in the west conference room.”
Placing the main idea at, or near, the beginning gives meaning and purpose to everything that follows. Delaying the main idea leaves the message receiver wondering where the message is going.
Unless you have another pressing reason for using an indirect approach, use the direct approach—when there’s good news to share, when you have relatively routine information to transmit, or when you have important information that you don’t want your readers to miss. Direct should be your go-to approach in the majority of situations.
Use an indirect approach for situations when you need to first prepare your audience for the main point of your message. For instance, if you are writing to an outside consulting group to terminate their service, first explain the reasons for the termination, and then announce the termination.
"We have appreciated your efforts during the last six months to help us improve the quality of our customer service. During this time we have closely monitored our online customer reviews. We have found that, in spite of the new procedures, our ratings have not improved. As a result of this continuing problem, we have decided to pursue an alternate approach and to use the services of a different consulting group, effective July 1. We regret having to make this change, but our customer-service problem is a top priority that needs a solution."
In another situation, if you need to persuade a subordinate to accept a management assignment that would require her to move to Denver, you might approach it this way:
“We’ve been experiencing sagging sales in our Denver region. The downward trend began two years ago, and each quarter since then has continued this negative pattern. We are now down 18 percent from where we were two years ago. We need someone from the home office to move to Denver for the next couple of years and manage operations there so we can get things moving in a positive direction. We would like you to be that person.”
Placing the main idea first would result in the following:
“We want you to move to Denver and manage that region for the next couple of years. We’ve been experiencing sagging sales in our Denver region. The downward trend began two years ago, and each quarter since then has continued this negative pattern. We are now down 18 percent from where we were two years ago. We need someone from the home office to move to Denver for the next couple of years and manage operations there so we can get things moving in a positive direction.”
Placing the key point of the message in the first sentence would obviously be a major shock to the receiver. A few sentences are needed to prepare the reader for the main point in the message.
In summary, whether you have to give bad news in a written message, or in a face-to-face setting, use the indirect approach—facts first, bad news afterward. This approach is most appropriate for giving significant bad news (the direct approach may be acceptable for minor bad news) and for persuasive situations when the receiver needs to be convinced.
One final note—these guidelines are most appropriate for most audiences in the western hemisphere. Asian audiences, in contrast, are generally more indirect in their communication practices. Therefore, be sure to analyze your audience (see the PACS planning model in a previous blog) before deciding on a final strategy.
Communication is the means by which managers manage. As a result, communication is the most vital management skill. Put the guidelines of this blog to practice in your own communication, and you’ll find yourself writing and speaking with greater confidence and power.
Whether working on an internal report, blog post, or manuscript of an oral presentation, you may find that you need to include information written by another author. This blog explains how to integrate that information smoothly into your writing.
The building blocks for smooth integration include (1) understanding the difference between quoting, paraphrasing, and summarizing and (2) following the three-step process of introducing, inserting, and interpreting.
Quoting, Paraphrasing, and Summarizing
Writers and speakers use three general techniques when integrating sources into their communication: quoting, paraphrasing, and summarizing.
Quoting involves using exact words or phrases from another person’s unique material. As writers integrate quotations into their own writing, they should enclose the quotations in quotation marks and cite the source of the material. Here is an example quote:
“Effective communication skills are critical in business. Across all organizations people exchange millions of texts, emails, telephone calls, letter, proposals, and reports each day.”
Paraphrasing conveys the content of the other original author’s unique material, but the writer uses his or her own words. As writers integrate paraphrases into their own writing, they don’t need to enclose the material inside in quotation marks, but they should cite the source of the material. Here is an example paraphrase of the previous quotation:
The ability to communicate is extremely important in the business world. In all companies, employees engage in communication in various forms, including on phones, on computers, and in print.
Summarizing is similar to paraphrasing except that summary generally condenses the original author’s material into its main points. As writers integrate summaries into their own writing, they don’t need to enclose the material inside quotation marks, but they should cite the source of the material, as follows:
Business professionals need to know how to communicate because they engage in many types of communication every day on the job.
In some cases, a writer might need to utilize more than one of these three options for integrating outside material. For example, a writer might choose to summarize a four-page report into a single paragraph, but include a key quotation to emphasize a certain finding from the report.
The following chart summarizes the main points from the previous paragraphs:
Introducing, Inserting, and Interpreting
Building on the knowledge of quoting, paraphrasing, and summarizing, you need to know how to effectively integrate quotes, paraphrases, and summaries into your business message. Here are three steps that can help.
Introducing: Lead your audience into your quote, summary, or paraphrase by providing a context for the outside material. Here is one example of an introduction:
Contrary to popular opinion, one author suggests that…
Inserting: Once you introduce the outside material, insert the appropriate quotation, paraphrase, or summary (be sure to insert quotation marks when using an exact quote.) Building on the previous example, the following example inserts a summary and the citation in APA (American Psychological Association) format:
Contrary to popular opinion, one author suggests that business professionals need to know how to communicate because they engage in many types of communication every day on the job (Baker, 2013, p. 2).
Interpreting: Once you introduce and insert the outside material and its citation, interpret the outside material for your audience. In other words, help your audience understand why you included the material in your communication. Building on the previous examples, this example interprets a summary:
Contrary to popular opinion, one author suggests that business professionals need to know how to communicate because they engage in many types of communication every day on the job (Baker, 2013, p. 2). With such frequent opportunities to communicate, employees must know how to communicate professionally.
The next time you need to integrate outside material in your business communication, I invite you to include quotes, paraphrases, or summaries and then to integrate the material, using some form of the introduce, insert, interpret process. Feel free to be flexible, such as including quotations in your paraphrases or interpreting before you insert. Effective integration of outside material can add credibility and power to your work, making you a more effective communicator.
Baker, W.H. (2013). Writing and speaking for business. Provo, UT: BYU Academic Publishing.
You need to communicate with another person, but you’re a bit fuzzy about how you’re going to approach the situation and what you’re going to say. If only there were a clear pathway to help you prepare!
The following four-step PACS plan (Purpose, Audience, Context, Strategy) might be just the thing you need.
Step 1. Purpose
First, clearly identify your purpose. Usually, your purpose will be one or more of the following—to inform, to persuade, or to enhance a relationship. Within each of these generic purposes, state precisely what you want the outcome to be.
Step 2. Audience Analysis
With your purpose in mind, analyze your audience, remembering that your message might have both primary and secondary audiences. Consider the audiences’ demographic (e.g., profession, age, education, gender), psychographic (e.g., interests, beliefs, attitudes, preferences), and knowledge (e.g., general and technical) factors. Think about their wants and needs. Consider that there may be both driving and restraining forces battling for and against you in their minds. For instance, they might want to learn more about your product, but their busy schedule and their current financial constraints might be exerting a powerful negative force that is working against you.
Step 3. Context Analysis
In addition to analyzing the audience, analyze the context in which your communication will occur. First understand the unique attributes of the industry in which the audience works—whether banking, electronics, healthcare, or other. Learn also about major competitors in the industry. Second, consider relevant factors in the audience’s organization—its purpose, products, procedures, and problems. Finally, consider the unique situational factors—your previous interactions with the audience, the level of trust that exists between you and the audience, time pressures, technical challenges, and so forth.
Step 4. Strategy
Finally, based on the results of the first three PAC steps, develop a communication strategy. Creatively plan how you can navigate through the context and audience challenges to achieve your overall purpose. First, develop a channel strategy—considering the relative pros and cons of available channels, determine whether to make a phone call, write an email, send a text, or talk over lunch. Second, determine your psychological strategy—your overall approach (direct or indirect), your appeal (logical and/or emotional), and your tactic (positive and/or negative).
For example, assume that your purpose is to get Sydney, a sales manager you met at a recent convention, to allow you to explain and demonstrate your sales-enhancement software—ultimately to convince her to buy your product. From your audience and context analysis, you know that her organization is lagging in the industry and needs to increase sales. However, you also realize that she doesn’t know much about your product or about you as a person.
Therefore, you decide that your main strategy will be to capitalize on the pressure Sydney is feeling to increase sales. Using a relatively direct approach, you will demonstrate your product and provide client testimonials and research data that validate the effectiveness of your product. Using both positive and negative tactics, you will emphasize the benefits of adopting your product, as well as the hazards of delayed action. As needed, you will also present a side-by-side comparison of your product and that of your main competitor. But first, you’ll strengthen your relationship by making a phone call to invite Sydney to lunch where you can learn more about her needs. During lunch, you will propose the idea of an onsite product demonstration.
You’re now ready to pick up your phone and make the call, knowing clearly your purpose, and understanding as much as possible your audience and the context of the interaction. PACS planning has helped you feel confident and prepared.
The next time you need to communicate, I invite you to plan with PACS. Remember the old adage—if you fail to plan, you plan to fail!
Today’s world is much more visually oriented than it was in previous generations. Granted, we still consume a lot of text, but more and more messages include a mixture of visuals and text, such as ads, blogs, procedures, business cards, websites, or slides. What guidelines should you follow to ensure good layout and design in messages like these? To answer this question, let’s assume that we want to create an ad that contains the following graphic and text:
Five time-tested principles will help you in this process—contrast, alignment, repetition, balance, and spacing. You can remember these principles with the acronym CARBS, but I’ll apply them in the following sequence: balance, spacing, repetition, contrast, and alignment.
Text and visuals on a page should be visually balanced, whether symmetrically or asymmetrically. Symmetrical balance produces a page that looks evenly balanced, with the left and right sides being mirror images of each other. With asymmetrical balance, the left and right sides are not visually the same. Nevertheless, in some cases there may still be balance, such as two small items on the right to counter-balance one large item on the left. To the human eye, symmetrical layout looks more formal, but less interesting; asymmetrical layout looks less formal, but more visually interesting.
Because we hope to achieve a visually interesting and less-formal ad for our tire store, we might arrange the elements in an unbalanced, or asymmetrical, layout, as follows.
To address the spacing principle, first break your graphics and text into chunks. Then, decrease the space between items within chunks (such as spacing within a paragraph), and increase space between chunks (such as between a photograph and a neighboring paragraph). The white space around each chunk serves as a frame or border, dividing one chunk from another. In some cases, you might want to create an actual border around a chunk.
For our tire-store ad, we have seven chunks, so we’ll add extra space around each of these chunks.
To achieve good design, establish a visual theme. A theme is established mainly by repeating one or more elements or attributes. For example, for our tire-store ad, we will use the color red as a repeating element of the ad. In addition, we will use the Calibri font for most of the text in the ad. If the ad were larger, we could also use a large image of a tire as the front door of the ad and then repeat smaller images of the tire as bullets for a list of text items.
Contrast is the key to attracting attention. Contrast can be achieved in countless ways, such as using a different size or color. To use contrast effectively, decide what textual or graphic elements you want to draw attention to. Then make them different from everything around them. For instance, use a different font, or make the font larger, bolder, or more colorful; or use reverse text (white text on black background). You could also include an eye-catching graphic image that stands out from its neighboring text. In our ad, we will use different fonts for the company name and for the company slogan, “Serving you for over 50 years.” We will also use reverse type for one line of text near the bottom of the ad. Further, we’ll use a smiling-tire visual to provide contrast to the text.
Good alignment requires that every item on a page or slide be lined up with something. Nothing should be just floating in space without a visual anchor. For instance, most text should generally be left aligned—that is, aligned on the left margin, with the right end of the text lines not aligned (called ragged right). For a more formal look, you can use both left and right alignment (fully justified text), but remember that left-aligned paragraphs, with ragged right endings, are generally easier to read than fully justified paragraphs.
Graphic elements should also be aligned with other text or graphic elements on the page or screen. For example, align the left edge of a picture with the left edge of text that precedes or follows the picture, or align the middle of a picture with the middle of a column of text that follows it. An alternate form of alignment is curvilinear. For instance, if you are writing a blog about playing the guitar, you could place a picture of a guitar on the left margin and then align the left edge of neighboring text to follow the curved body of the guitar. Left and centered alignments are used in the following tire ad. Notice how good alignment improves the visual impression of the ad.
As you apply the various CARBS design principles, keep in mind the overall principle of simplicity. Remember, you are designing, not decorating. Know when enough is enough. Further, make sure all the design treatments harmonize well with each other and help achieve the purpose of the message.
Finally, remember that the CARBS principles are just that—principles, not rules. Therefore, if you want to violate a principle to achieve a strategic purpose, go ahead. For example, you might choose to violate the alignment principle to achieve greater contrast. However, be sure you have a good reason for doing so—be sure the violation works and doesn’t look like a mistake.
Try applying these CARBS principles in your own documents. You’ll find that they will work for you, just as they have done for thousands of others.
Scenario: A colleague emails and asks, “Would you have time to go through this document and give me some feedback? It’s a really critical document that I’m sending to our new client, and I want to make sure it is perfect.” You have a moment then, so you read through the document, make a comment about a sentence that isn’t totally clear, add a missing comma, and then realize that you don’t have much else to say. Because of the document’s importance, you hope you haven’t missed something really important. You wish you could be more sure of how to give a quality review of written materials.
If you’ve ever found yourself in a similar situation, continue reading. This blog will give you a powerful four-step process called DOCS (Design, Organization, Content, and Sentences).
D is for Design. Before you read a document, first check its visual appeal. Does it look easy to read, with appropriate typography, generous white space, and headings to make it skimmable? Or does it look dense, with long paragraphs and long passages of text with limited white space and no headings? Checking the design is like checking the curb appeal of a home you’re thinking of buying. If it doesn’t look good from the road, you’ll just keep on driving. The same thing applies to written documents—if they don’t look easy to read, the audience might also “keep on driving.” (See our HATS post for more detail about document design.)
O is for Organization. To check the organization, examine the opening paragraph or two. Is the purpose made clear? Does the beginning of the document contain an agenda that previews the structure or content of the message? After checking the beginning for a clear purpose and agenda, skim the architecture of the entire document. Do the sequence and hierarchy make the content easy for you to process mentally? Does the message follow a clear, well designed blueprint or outline? (See our OABC post for more detail about organizing your messages.)
C is for Content. After checking the design and organization, take time to read the full document. Put yourself in the audience’s context, and ask yourself whether the document will achieve its intended purpose. Is the message clear, complete, correct, considerate, and convincing? If not, identify what is missing, such as clearer explanations, more examples, or clearer analysis. Are the individual paragraphs concise and well crafted, with appropriate topic sentences and a coherent flow of information? (See our CLOUD post for more detail about revising paragraphs.)
S is for Sentences. Finally, get down to the nitty gritty of editing and proofreading individual sentences. Make sure each sentence has a clear structure, proper punctuation, and correct grammar. Also make any wording changes match the vocabulary of the audience. (See our SPELL post for more detail about revising sentences.)
These main DOCS factors are captured in the following checklist:
Next time any of your colleagues ask you to critique their writing, remember DOCS. This four-step approach to document review will help ensure that your feedback is methodical, comprehensive, and effective. Further, try it on your own writing. You’ll find that DOCS will boost your confidence in your ability to write, review, and revise.
We're Bill Baker and Matt Baker, and we hope these posts will help you more effectively teach business communication. If you like what you read, please consider reviewing our business communication textbook.