The Educational Ecosystem Plays A Role In Writing Challenges

Ever wonder why high school students struggle with college writing assignments and college students seem ill prepared for business writing as they enter the workforce? Me too, even if the answer turned out not to be much of a mystery. It's surprisingly simple.

Most people struggle with writing assignments during those transitional periods (between high school to college or college and careers) because they are neither prepared nor practiced for the style, form, and function they need to succeed. It's not their fault. Most are only taught how to write for one specific ecosystem.

In high school, this means sharing and supporting opinions, providing summations, and remixing content from a variety of sources. Most of it is in a short-format essay form, under five pages, sometimes conveyed in first person, and rarely seen anywhere beyond high school with the possible exception of personal blog posts.

College demands something different. Students are more often asked to define problems and propose solutions, conduct analysis and criticize arguments, and provide some evidence of original thought that is tied to quantitative and qualitative evidence. The papers they write are significantly longer.

After graduation, the specifications change again. There is greater pressure placed on writers in the workforce to write shorter format objective-oriented communication that considers industry standards, corporate filters, and greater sensitively to the needs of an audience — a consideration that is not always present in college papers. Even more challenging, for those who enter communication, recent graduates must navigate an entirely different set of organizational models, attention-grabbing introductions, and recapping conclusions that meet an objective and have a call to action.

Educational ecosystems play a role in undermining effective communication. 

Every year, I tell students who enroll in any editing or writing class I teach about the various pupfish that populate the least likely places in Nevada. One of them, the Devils Hole pupfish, for example, only lives in Devils Hole, a geothermal pool located within a limestone cavern.

It's the smallest population of desert pupfish species in the world and it is amazingly specialized to only live in this one location. As long as they are there (and there are no substantial environmental changes), they thrive. When they are removed, not surprisingly, they die.

When it comes to writing, students are very much like pupfish. We teach them to adapt to writing for  a specific educational ecosystem for four years and then marvel at their inability to conform to a new one. We don't do this one time. We do it twice or more, without ever revealing the process behind it.

If we did, then more students would be keener on the diversity of style, structure, and form while also adhering to the consistent application of editing rules and proofreading practices. By teaching students a variety of styles, structures, and formats, they will become better practiced in the presentation of the material and, in some cases, might have more fun doing it.

What do I mean by that? What if ...

1. History students had to write an infomercial on joining the Roman Empire?

2. The next report on Sylvia Plath was written in poetic form mirroring The Bell Jar?

3. Rather than an opinion essay, students wrote a short story conveying the opinion like a moral?

4. We skip the standard problem/solution paper in favor of a presentation deck that does the same?

5. Students chose two historic figures with differing viewpoints and compose dialogue between them in the form of a podcast?

My long-time friend and colleague Ike Pigott has a fondness for saying "good writing educates and great writing elevates." He's right, which is why it is so unfortunate that great writing is becoming so scarce that people don't even know to look for it anymore. They'd rather skip a sentence for the pic.

Or maybe not. Maybe writing is just like baseball in that it relies on youth sports. The more people who have had at least some play time are much more likely to appreciate it for a lifetime. I'd like to think so because pictures tend not to stick with us as much as words that ignite our imaginations.

It's one of the primary reasons that on Friday afternoon (June 12), I'll be investing a few hours to help students and working professionals brush up on some skill sets. Editing & Proofreading Your Work at the University of Nevada, Las Vegas is a long-standing half-day program designed to help people understand the essentials of style, usage, punctuation, and other mechanics. Hope to see you.

Your Primary Objective As A PR Writer Is To Be Understood

All writers share a common objective, regardless of their mission, medium, or industry. They all strive to convey a message that makes sense. And yet, very few of them really do.

Sure, some might nowadays argue that mission critical is to get clicks/eyeballs, generate leads, or miraculously prove their worth with direct sales. But while all of that sounds fine and good, such convoluted communication missions often get in the way of good business by scarifying clarity.

The truth is that it’s often those goals that get content into trouble. In an effort to attract more attention, sound like a subject matter expert, and push more sales, they say the wrong things, complicate their meaning, and destroy trust by selling too hard. In most cases, all these writers needed to do was one thing: to be better understood.

It works. You win anytime you can deliver the right message to the right audience in such a way that they readily understand it, remember it, and respond to it. Clarity comes first.

Five benchmarks for better clarity in writing.

Be Readable. While anyone with an intense interest in a subject will read the worst writing (when there are limited sources), people generally ignore content that demands too much effort.

Be Conversational. While style ought to suit the medium and the organization, the most widely read content on the Internet tends to be human, fun, and informative. It reads like we talk.

Be Spontaneous. Much like music, movie, and media industries have discovered, formulas have a short shelf life before readers find them to be stale, uninteresting, and something to avoid.

Be Descriptive. Definitions can be useful, but descriptions are easier to understand and remember. They tend to touch our emotions in ways that definitions seldom do.

Be Focused. One point is always more powerful than 50. When you consider people are bombarded with more than 100,000 messages every day, having them remember even one is quite an accomplishment. Choose that point wisely.

Some of this might read like common sense, but most experienced writers will tell you that believing in these five benchmarks is far easier than executing them. All of us are guilty of cluttering our best content with clever writing, filler to flesh out the word count, or some lofty objectives that make clients happier than their customers at one time or another.

We might even pat ourselves on the back for a job that feels well done when we turn in or click publish. It might not even be until weeks or months later that we’ll stumble across the old content and mutter that for all the accolades we missed the mark. All people really want is a few paragraphs of honest prose that they can understand and appreciate for its value, significance, and directness as something they can apply to their everyday life or, at least, help them in making better decisions.

Even in this case, it all comes back to one thing. Clarity is the content that people remember.

Five Qualities That Set Successful Commercial Writers Apart

Not everything poured into the content marketing boom has been beneficial for professional writers. While the boom created increased demand, it was also responsible for the influx of amateur writers and marginally proficient executives (assigned writing duties) who inadvertently cheapened the craft while simultaneously flooding the market with barely legible content.

This isn't a criticism or complaint. It's a fact. There are more people who call themselves writers than ever before and those people are competing for an average rate that is about half of what it was ten years ago. It's more than the market can bear, but that might finally be good news.

As organizations learn that all content is not created equal, more of them will be looking beyond the price point for qualities that set successful writers apart. Here are five. Do you have them?

Five qualities for top writers.

• Invest In First Impressions. David Ogilvy once said that if a print advertisement cost one dollar to produce, then you better spend 80 cents on the headline. This thinking extends to the first sentence too, especially long-form content like articles, brochures, and white papers.

The premise is sound. If you don't capture them with the headline, they won't read it. If you lose people with the first sentence then you've already lost. There isn't any better place to make a great first impression than first line of written content.

• Think Visually. Great writers aren't content with copy alone. It's often their ability to pair strong visual content — which attracts attention across all demographics — with strong words — messages that can be understood by everyone and have an emotional appeal to a specific few — that determines the success of their content.

Even when the message has no visual components, think visually anyway. The reasons bullets, breakout paragraphs, and pullout quotes work is that they lend a visual structure to the prose. Consider it.

• Understand People. Experienced commercial writers know there are three kinds of research. There is market research, big data research and people research. The latter is the most important even if most organizations give it the least amount of attention.

Spend time listening to people. It might be online chats or focus groups or lifestyle interviews or even by visiting a location to observe people at the point of contact, but the end game is always the same. Before writing for an audience, find out their perceptions, motivations, and attitudes.

• Plan Strategically. Creativity has always been an admired trait among copywriters, but being clever alone won't pay the bills. The best writers think strategically, always checking their work to ensure they haven't lost sight of the principal benefit, key public or primary objective.

Generating awareness is a given. You need to focus on the fine points such as generating a favorable emotional disposition, implanting information about key features and benefits, and building brand familiarity, recognition, and recall (among other things) in conjunction with awareness.

• Love The Craft. Great commercial writers have to love the craft so much that they have to possess a passion for writing while voluntarily compromising their sense of self-expression. It's not easy. Not everyone can do it.

You have to write creatively within confined parameters, accounting for everything from the organizational voice to the arbitrary opinions of every stakeholder in the process — clients and creative directors to editors and other random and sometimes unqualified critics who are provided a sneak peak at your work. Suffice to say that some of your best work will never be published.

Do you want to develop these qualities?

If you have an interest in being a better writer or if you would like to brush up on your skills, I teach a half-day Editing & Proofreading Your Work session at the University of Nevada, Las Vegas (UNLV) a few times a year. The next session will be held from 9 a.m. to noon on Saturday, January 31. It would be great to see you there.

For something even more challenging, I will also teach Writing For Public Relations this spring. The 10-week course has an emphasis on public relations, but anyone who has ever taken it has come out a better writer on the other side of it. All classes run from 7 p.m. to 9 p.m. with first class held Thursday, February 12. Assignments range from articles and press releases to advertisements and online content.

For more topics on writing here, visit the labels "writing" and "words." Many other topics touch on writing too. If you want to catch everything, about once a week, subscribe with a couple of clicks.

How To Stand Out In The Content Marketing Crowd

Maybe it is because marketers have turned more than one quarter of their budgets over to content marketing and as many as 62 percent of all companies outsource content creation, but it seems to be true. More people consider themselves writers today than any other time in history. Someone has to produce the 27 million new pieces of content that are shared each day. It might as well be writers.

Sure, some of them might be designers or public relations professionals or photographers or business owners first, but writing tends to be treated as a verb more than a noun. In fact, even those writers who do embrace it as a noun mostly do so with trepidation. I can't count the number of times that I've heard writers sum themselves up by saying "Oh, I'm just a writer" as if such a thing exists.

I don't really think so. No matter what people call themselves, there are people who write and then there are writers. And no, the distinction isn't only tied to proficiency. It's also tied to sense of purpose.

People who write see the task at hand as something that needs to get done. Writers see it as an opportunity to express an idea and hone their craft. A few don't even have a choice. They must write.

But this post isn't about that minority as much as another. There are some people who write who want to become writers. The only problem for them is that they don't look in the right places. They will never learn how to write a compelling blog post by reading blog posts about writing blog posts. You have to look beyond the medium of content creation to find anything worthwhile. Learn from great writers.

Five thoughts about writing from great writers and what they mean.

1. "If you want to be the writer that you confront 30 years later without shame, then learn to ignore your readers." — Harlan Ellison

Ellison knows that his readers are terrific people and mean well enough. But he also knows that once your readers start to know what they like from you, they will demand it over and over again. If you simply deliver what they think they want, then you will look back and discover you've written the same book a dozen times over or, in the case of content creation, the same post.

People often ask why some of the best content creators come and go. It's very much what Ellison said. If you want to be successful, you'll  have to surrender to writing the same thing over and over. Few people can stomach it, which is why some of the best writers drift over time.

2. "For me, the criterion [of being a great writer] is that the author has created a total world in which his people move credibly." — James Michener

When Michener said it, he referenced works like Vanity Fair by William Makepeace Thackeray and Huck Finn by Mark Twain. But then he went on to define it as being able to give your writing its own little cosmos. Doing so gives your writing the sense that it really exists in the real world and gives people the opportunity to accept it.

When content creators talk about doing the same thing in an article or post, they often refer to authenticity. There are bloggers who do it especially well. When you read their work, you almost immediately know it is them because they've lace little bits of themselves into the writing.

3. "My advice to writers who want to write columns is to learn to think, learn about history, learn about economics, learn subjects." — Ellen Goodman 

Goodman went on to describe that journalists writing columns (and we can add bloggers and content creators to her list today) can divide much of what they write into two kinds of stories. There are stories that tell you want happened and stories that tell you what it means. So in order to transcend the experience, you have to know your subject, you have to have a view, and you have to care.

Most content today seems to be written much like Goodman describes. Some writers do something or respond to what other people have done and then write about it. Some writers look for something deeper than the surface observations and add significant depth to the content or perhaps add innovation and clarity to the another field. A few overlap.

4. "There is a terrible tendency in this country to consume art and culture, to try to package it in the same way that all our other familiar products are packaged, and that can be terribly distorting to the work, to the art and culture." — Jay McInerney 

The more a writer allows himself to become processed by the machine, the more their work suffers for it. McInerney warns writers away from becoming too distracted by publicity or critics or anyone. The only thing that really counts, he says, is the writing — the ability to convey a thought, idea, or tangible experience to someone else in such a way that it matters to them.

This is true among commercial writers too. While copywriters, public relations professionals, and even modern journalists are pressured to produce content within the tight confines of what the client or agency expects, what might produce an outcome, or what generates traffic, it's always best to push all that aside while writing the draft. All those other mandatories — packaging that ranges from word counts to headline structures — can wait until later.

5. "If you get too predictable and too symmetrical, you lull your readers into — not a literal sleep — but you put their brain to sleep." — Tom Robbins

According to Robbins, the primary purpose of imagery is never to entertain but to awaken the reader to his or her own sense of wonder. If you become too predictable, the rhythm of the language will eventually languish and lose its angelic  intensity. When that happens, the words begin to lose their emotional impact even if the readers continue to read. You have to find a way to wake them up and engage them.

This is the primary reason you'll see marketers and even some others proclaim their preference for shorter and shorter works. The problem is almost never the length. It's almost always in the rhythm and in the beat. You have to change it up. Wake them up.

Do you really think SEO alone will make one piece of content beat 27 million others?

The writing tips above were pulled, in part, from On Being A Writer, a book that was gifted to me very early in my career. It's out of print now, but readily available as an after-market purchase. I don't know if I would call it the best book on writing there ever was, but it does compile 31 interviews with great writers and poets. Their advice is timeless, even if the book is almost history.

The point of it, I suppose, it that if someone who writes really wants to become a writer, then it's more than worthwhile to look beyond the task and more toward the craft. Learn to be a writer by considering the insights of people like Ellison, Michener, Goodman, McInerney, and Robbins. They all say similar things for a reason. There is an art to the craft that transcends all those other nifty tidbits. And you will find them almost anywhere link bait doesn't exist. Good night and good luck.

Five Popular Content Writing Tips That Are Dead Wrong

With the proliferation of technology, some people assume that writing proficiency is increasing and not diminishing. This isn't the case. One recent OECD study shows that despite having higher than average educational attainment, adults in the United States are below average in basic literacy.

How low? The United States ranked 16th out of 23 countries in literacy proficiency, with one in six adults scoring below level 2 (illiterate) on the literacy scale. Perhaps more troubling, college graduates demonstrate comparatively miserable scores. This means that degrees are beginning to create a meaningless expectation that graduates possess basic skill sets.

"Moreover, the relationship between parents’ education and skills proficiency varies across generations," the study says. "In Korea and the United States, for example, the relationship between socio-economic background and skills proficiency is much weaker among younger adults than among older adults."

While some might not be surprised to see the study cite a decline in literacy, education is not at fault exclusively. Despite employers wanting employees with strong written and verbal communication skills, more and more professionals promote content tips that reinforce the idea that writing is less important than it was in previous decades. Here are five myths that demonstrate it.

1. Everything is trending toward less words so write less. While writing tight and economy of language are important objectives for all writers, writing "less" is always superseded by the idea that content needs to be as long as it takes to effectively communicate a point. More can be memorable.

Never mind what big brands do. Copywriters have long known that big brands have the advantage of product familiarity. It's easy for Coca-Cola to show a big picture of a polar bear and a can of coke and have people understand it. Coca-Cola literally leverages a lifetime of marketing about Coke, its taste, and its product distinction. They don't write "less." They wrote "more" in a very, very big way.

If you tried to launch a new brand of soda the same way, it would likely fail. New voices in social media and content marketing face the same challenge. Well-known names writing about social media can say something in a few sentences. Newcomers and less familiar voices have to provide proof.

2. Adding exciting words to marketing copy will jazz it up. The biggest division between advertising copywriters and less experienced marketing content writers is seen in their word choices. Many marketers think that people respond to "greatest," "most exciting," and "best ever." They don't.

People respond best to facts because they convey memorable bits of information while empty claims lack conviction. You can write that a car has "zoom" and possibly attract attention (even if it is cliche), but if you don't back it up with facts — 0-50 mph in 60 seconds — people will easily draw their own conclusions. They might even conclude that all your hype is really hyperbole.

The truth is that empty claims are as boring as cliches. They are also harder to remember because they blend into the background like other generalities. A restaurant that sells delicious chicken is much more forgettable than a restaurant that sells crispy fried chicken, oven-roasted chicken, or free-range chicken. While all of them could be delicious, facts help people make purchasing decisions.

3. Writing catchy copy takes almost no time at all. Real writers know that packing conviction into a few short graphs or a headline demands discipline. It requires editing skills, proofreading skills, cutting, rewriting, and then more cutting and more rewriting. Writing tight takes more time, not less.

If you ever study automotive marketing, you'll find that the best manufacturers tell different parts of a big story across several mediums. Television commercials and some print advertisements are often nothing more than invitations to the rest of the message. The bulk of the marketing message comes later, perhaps in a brochure or on a website where it makes sense to provide details for people who are actively purchasing a car.

The point? Looks can be deceiving. One ad with a 3-5 word headline has an entire novel of strategy, psychology, and content behind it. Very few good writers just jot down whatever comes to mind. For most, even if some spark did originate in the shower, the hard work happens before and after the fact.

4. Persuasion and believability comes from good writing alone. There is some truth to it, but not really. Even when writing is beautifully conceived and perfectly written, it still needs some help. This is especially true for advertising copy and marketing content because people know it is biased.

When facts alone are not enough, content writers can employ several dozen approaches to elevate content credibility. These can include any number of customer testimonials, third-party endorsements or research studies, independent case studies, organization success stories, performance tests, key performance indicators, objective measurements, and even guarantees (provided they aren't cliche).

Even marketing content writers can boost their credibility by providing links to other stories and sources. It demonstrates that the opinions, thoughts, and conclusions weren't generated in a closet but within a greater and informed context. Let readers know you've done some homework.

5. One medium will rule them all and in the darkness bind them. There is increasing chatter that visual communication is outpacing written communication on the net. It's true and untrue at the same time. Images can boost both attraction and retention but the notion that images beat words is fiction.

Good copywriters (and perhaps all writers) have always known not to think in terms of words alone. Most are taught or teach themselves to think about communication as a mixed medium and in multiple dimensions. Pictures, symbols, shapes, layouts, and different components like audio and video can all contribute something to whatever needs to be communicated.

The idea is to think visually, no matter what role writing plays as part of the communication. Ask good educators. They know it too. Teaching that includes audio, visual, and written communication creates powerful connections and increased retention. So don't expect writing to lose its luster anytime soon. It will only become more important.

The solution for a better educated work force is to stop making excuses. 

The current education system isn't exclusively to blame. All five of these "tips" indirectly contribute to the greater myth that the written word is an inferior form of communication. It's not. The written word in one of the most accurate and flexible means of communication ever conceived and we're living in an era where we can access more of it than ever before in human history.

As communication professionals, we ought to do everything we can to support the written word rather than dumbing down marketing communication to cover for the abundance of bad writing being produced on daily basis. It seems to me that overtly short content, marketing fluff, rushed content, unsupported claims, and pretty pictures aren't a solution to combat illiteracy but a contribution to it.

These topics and how to make a positive impression with clear, concise, and grammatically-correct personal or business writing will be part of a half-day program, Editing & Proofreading Your Work, on June 6 at the University of Nevada, Las Vegas. In addition to discussing current trends, the class focuses on common mistakes that writers make and how to assess your individual writing skills.

You Have To Be In It To Win It.

As surprising at it will seem to many graphic designers, most communication professionals are unfamiliar with Sean Adams. They don't know he is a partner at AdamsMorioka in Beverly Hills.

They don't know he has been recognized by every major design competition and publication, ranging from Communication Arts to Graphis. They don't know he has had a solo exhibition at the San Francisco Museum of Art or that he teaches at the Art Center College of Design. And they don't know that he is president ex officio and past national board member of AIGA, assuming they have ever heard of AIGA.

They do, however, know some of AdamsMorioka clients. They include the Academy of Motion Picture Arts and Sciences, Adobe, Gap, Frank Gehry Partners, Nickelodeon, Sundance, Target, USC, and The Walt Disney Company to name a few. And on any given day, his work influences people not only in his profession, but also in the products, services, and experiences they choose to purchase.

So why don't more people know him or follow him on Twitter? 

The reason is three-fold. First, the greater field of marketing and communication is so expansive and siloed that it is not uncommon for leaders inside different niches to never meet or even know of each other. Second, the number of people you 'know' isn't nearly as important as which ones. And third, this prevailing notion that social media is an indicator of influence is a lie.

There are much better ways leave a sustainable impact in a profession and blaze a trail that some people will undoubtedly recognize as a legacy that will inspire others. Adams has done that. And after hearing him speak a few weeks ago at a Mohawk Paper - AIGA Las Vegas sponsored event, it's exceptionally clear that he will continue to do so.

The wealth of information he shared about his career path, design philosophy, and business approach  was only matched by his ability to connect with the audience. It's also the mark of a good teacher.

It's also the mark of a professional who understood early on that in order to succeed in your career — particularly if it is anywhere close to marketing and communication (social media, public relations, design, etc.) — you have to be in it to win it. For Adams, that meant immersing himself in his profession as a leader in organizations like AIGA and at colleges like Art Center College of Design.

It was through those organizations that Adams was able to immerse himself in his profession to learn, lead, and influence design. It's very similar to what I encourage students to do every year too.

The three most important sectors in which to become involved.

Years ago, I used to suggest that students, interns, and employees become involved in at least one professional and one civic organization. But at minimum, I no longer believe two is really enough to remain competitive. Three is a better number because many answers can be found outside the field.

1. Profession. Becoming involved in the profession is the easiest way to remain immersed in the profession. And there is no shortage of professional organizations in the field of marketing and communication, ranging from the American Marketing Association and American Advertising Federation to the International Association of Business Communicators and Public Relations Society of America. AIGA, by the way, is one of the oldest. It's celebrating 100 years this year.

Joining any one or two of these organizations (or related niche organizations) provides an opportunity to develop a professional network, discuss trends, and sometimes forecast changes to come. Don't stop at becoming a member. Become immersed by serving as a volunteer.

2. Industry. Since communication doesn't happen in a vacuum, it's also important to join an organization that isn't related to your profession but is related to your field. While many students seemed surprised to learn that some of their future peers join communication-related organizations but not organizations within their own industry, people in the field sometimes forget.

If you are working in communication for a bank, it's important to become involved in finance-related associations. The same holds true for emergency medical, hospitality, technology, or whatever. And for those that work at an agency or firm? They ought to survey a cross section of their clients and become involved in whichever industries seem prevalent.

3. Community. Last but not least, professionals who excel tend to give back to the communities where they live, work, and play. This almost always includes becoming involved with at least one nonprofit organization or civic agency that benefits their community. It's especially worthwhile for communication professionals too. There is no shortage of nonprofits that could use the help.

To be clear, any commitment ought to be in addition to the corporate philanthropy encouraged by the company. It's one thing to volunteer your time and talent to your office place, but quite another to make a personal commitment to an organization regardless of where you work. Pick something important to you and make a difference.

Good companies support professional and community involvement.

Every now and again, I meet people who tell me that their employers won't support it. If you find that to be the case, then you might be working for the wrong company. Savvy organizations know that the best professionals tend to be those who are involved and not isolated. Flex time is not negotiable.

By becoming involved in at least one organization in each sector, you will find out very quickly that influence isn't built by online scoring systems as much as the relationships you make offline first. Or, as Sean Adams said during his speech a few weeks ago: You have to be in it to win it.

Writing Is A Process That Starts Long Before The First Word.

Three minutes. That is the average amount of time a student will invest in research before they start writing a paper. Professionals aren't much better. Many follow the familiar guidelines that they learned in school, writing short essays, journal entries, or field notes.

It almost makes sense, but only because 60 percent of all student assignments consist of short essays, journal entries, or field notes. Unless they take specialized classes like copywriting, journalism or creative writing, they aren't exposed to the variety of communication mediums at their disposal.

That is, they aren't exposed to them until they need them — anything and everything from technical manuals and blog content to speeches and mixed media presentations. And more than that, they need to invest significantly more time into research, especially if they think they know the subject.

How much more time? While different sources will provide different guidelines, I usually provide students with the guideline of up to 40 percent of the total estimated project time of two hours per written page. It sounds like a ton of time, but it's really not when you stop and think about it.

Epictetus said it best: First learn the meaning of what you say, and then speak. That requires considerable more thought than simply searching for sources of affirmation. Epictetus, by the way, was a Greek sage and Stoic philosopher whose work still influences people today.

Writing is a process that requires more than one discipline. 

When students and professionals treat writing as a process, it helps curb the notion that corners can be cut or that it is ever complete until the authors agree that a final proof will be the final proof. At least that is the way it ought to be. In a world where 98 percent of all employers now rank written and verbal communication skills as highly desirable attributes in employees (higher than a positive attitude or being a team player), everyone ought to take more care about the craft at hand.

The deck helps break out the nut and bolts of writing into six different disciplines: research, form, writing, editing, proofreading, and presentation. It was created for a private session presentation designed to help bring professionals up to speed on the importance and execution of good writing.


If I were asked to boil the presentation down into a single line, I might say that great writing requires great thinking because thinking is behind each discipline. You have to ask the right questions.

1. Research. What do you need to know, who do you need to ask, and where should you invest your research time?

2. Form. What organizational structure will best present the material and how will the chosen medium limit or expand your options?

3. Writing. How will the content connect to the people we want to reach and what is required to have a maximum impact with minimal means?

4. Editing. What is missing from the first draft in terms of organization, evidence, and ensuring that the people who read our message might understand us?

5. Proofreading. Did we make sure to include all the elements of modern writing to ensure that we've clearly communicated something?

6. Presentation. And last but not least, does the content we've crafted look appealing to the eye, making it easier to digest and remember?

When you consider everything that may go into communication, there isn't any end to what you might consider to make it more powerful or impactful. And sometimes it might even remind you that despite the acceleration of communication — the speed of delivery and quantity that is produced — one single piece of quality writing can be the most potent and influential thing on the planet.

In about two weeks, Writing For Public Relations will begin at the University of Nevada, Las Vegas. This 10-week course covers much of what is included in the private session presentation deck above, except we will look at it all through the lens of a public relations practitioner, applying it to anything and everything from the news release to the crisis communication plan. But even if you cannot attend, I hope you will find the deck above will make you think first before writing.

Your Writing Is Almost Never As Good As You Think.

According to the National Assessment of Educational Progress (NAEP), slightly more than one quarter of all students, grades 8 and 12, are proficient writers. The majority achieve a basic level.

Basic almost sounds acceptable until you read the definition. It is considered partial mastery and allows for spelling, grammar, usage, capitalization, and punctuation errors even if these mistakes impede the meaning of the work. Consider it poor writing, passible if the reader makes an effort.

The NAEP also asked students if writing was one of their favorite subjects. About half of the students agreed, likely believing they are proficient writers. As many university professors can attest, the average student is more confident in their ability to write than their assignments indicate. It's a false confidence that many will take with them into adulthood.

Many people think they are good writers, and some people really are good. But most aren't good writers as much as they are "better" writers. Better than what? Better than those who write poorly. How can you tell if you are a good writer? Start by asking yourself some honest questions.

Ten questions that will help you assess your writing for improvement.

1. Do you use a thesaurus to find to avoid word duplication? If you do, stop it. The only reason to use a thesaurus is to find a more accurate word. All too often, writers who lean too heavily on their thesaurus create new problems with improper substitutions. A synonym is similar and not the same.

2. Do you pay attention to where words land in relation to others? Good. Misplaced modifiers cause more writing errors than almost any other style and usage error. (e.g., While driving down the street, a tree began to fall toward the car.) Read every sentence as if it stands alone to improve it.

3. Do you understand the difference between affect and effect? Affect and effect are two of several dozen words that people misuse and confuse. There are dozens of others: who and whom, immigrant and emigrant, jibe and jive, adverse and averse, etc. If you don't know the difference, know when to look them up.

4. Do you punch up words to make your writing more exciting? I hope not. While some marketers like to drop in words like "stunning," "exciting," or "best ever," unsubstantiated superlatives are equally likely to drive customers away. Worse, too much hype can ensure a negative experience.

5. Do you know the difference between active and passive writing? Even good writers sometimes confuse passive writing with writing in the past tense. The difference between active writing and passive writing is whether the subject is doing something or an object is having something done to it.

6. Do you look for words that will make your writing sound smarter? I hope not. Smart writing doesn't require fancy words. It requires accuracy and economy of language. So you don't have to write "he stated" when you mean "he said." Said and says is fine almost 95 percent of the time.

7. Have you double checked your work for redundancies? The reason writing tight becomes the mantra of great writers is because they know that time is valuable. No one wants to waste it by having to circle around, briefly summarize, or repeat it again. Not even for $5 million dollars.

8. Do you assume that every writer develops their own style? They do to a degree, but that ought not be your first thought about style. Style simply means putting your content in an acceptable form. This post, for instance, is a conversational style that pays homage to the AP Style Guide. But there are many more forms than this one.

9. Are you such a great writer that you can bang out an article? While there are a few people in the profession who can do it, great writers wouldn't dream of it. They recognize that writing is a process, requiring at least three steps: writing, editing, and proofreading. All three are different.

10. Does your content lay around like a rug? The great show vs. tell debate deserves its own post. Suffice to say that writers who like tell vs. show have confused showing with being unnecessarily descriptive. It's not the same. Showing is about substantiation, accuracy and vividness. It's about knowing whether to write "angry man" or "he fumed," "luxurious sheets" or "Egyptian cotton."

How did those questions turn out for you?

If some of those questions stumped you or if you would like to brush up on your writing, I teach a half-day Editing & Proofreading Your Work session at the University of Nevada, Las Vegas every now and again. The next class is scheduled for Friday, January 24. It would be great to see you there if you can make it. It is especially good for students planning to take Writing For Public Relations in February.

If you can't make it, there are other options. I develop customized sessions, programs, and curriculum for select organizations upon request (schedule pending). Or, if you're an aspiring writer or independent professional, drop me a note and suggest a topic. I'll be happy to explore the subject in two directions.

Writing Content: What Happens When PR Inherits The News?

When newspapers first began to appear in America, there wasn't much to them. Even in Philadelphia before 1730, there were only two news sheets being published there. One of them mostly published definitions from the dictionaries and nothing else.

When Benjamin Franklin took it over, he did away with all of it. He envisioned something else, and almost none of it had to do with news. Franklin made his newspaper a vehicle for instruction on moral virtues that often masqueraded as satire and mischief. General news was not on anybody's mind.

In fact, American newspapers wouldn't even pay much attention to general news until after 1750. And its use to spur and spurn politics would occur a few decades later, right in time for the American Revolution. And with politics, a tradition for including local items of interest took hold, one that isn't much more than 200 years old.

Where is all the news going and need we be concerned? 

When Bruce Spotleson, group publisher for Greenspun Media and an editor-at-large for the Las Vegas Sun, spoke as a guest in Writing For Public Relations at the University of Nevada, Las Vegas, he raised several powerful and poignant points. Much like I wrote last week, he doesn't see print going away.

Niche publications are particularly strong. Special interest content can still find subscribers. But what he does see slipping is the notion that newspapers are important to a community. And this makes me wonder, what then?

After all, they alone publish local items of interest and record. They alone publish in-depth news stories that act as a community spotlight. They alone have the opportunity to make a last stand in favor of objective journalism, at least those that haven't already rolled over into the ranks of affirmation media.

And along with that, as Spotleson pointed out, the public has grown increasingly unaware of local news and community interest. Some of them don't know whether their police department is good or bad, beyond any personal experience or biased opinion. Many of them are too busy too keep up on government accountability beyond their front yards. Most, if pressed, wouldn't even be able to hazard a guess what the leading local headline might be today.

Spotleson knows. He's asked. Even people who are applying for a job, he said, tend to have the same answer. They haven't gotten to it yet. And in all likelihood, they never will get to it. They're too busy.

Unless it's a national headline, breaking news, or entertainment, people tend to skip the middle ground. They know what is happening from their front door to the sidewalk or their self-selected tribe, which means the group of people they pick on social networks.

The rest of it, unless it touches them directly, tends to be a question mark. The issue is compounded in transient communities too. In such communities, people are much more interested in their hometowns than towns where they own a home. And if these trends tend to hold, news will eventually be gone.

Television news won't fare much better. Unless they find a niche, it's all just more noise on the Web.

Public relations isn't free anymore. It's all about paid content. 

In the wake of unsupported community news, all that will be left is a steady stream of public relations perspectives. Take a recent NV Energy story as an example. Although only a few people are aware of the story, the lack of any reporting arm would only leave several dozen biased voices in its wake.

On one side, there is the utility. On the other, the gaming industry. There are dozens more, including government, consumer advocates, and the public (despite their apparent absence). Without a newspaper to organize the issue, the public would either be largely left in the dark or perhaps exploited by public relations, not with malice but with each representative's own preconceptions as the story shows.

And who would win in such a world? My guess would be the one with the better and heavily budgeted communication plan, especially if they have properly leveraged social media. Except that win isn't free.

While public relations as an industry has been clamoring to take over content marketing and social media, it will come with another cost. As outlets for free exposure continue to diminish, companies and special interests will have no choice but to ramp up direct-to-public communication programs so each interest can publish the "news" as it sees fit. Right. They will publish all the news fit paid to print.

While some might guess the result will be similar to the ever-increasing price to enter politics (with state senate races starting as six and seven digits), I'm not even asking whether it will be this good, bad or indifferent. I'm asking something else. Are public relations professionals even ready to get what they wished for and are we, as the public, ready for it too?

Rethinking Print: And How To Leap Beyond It

Now that most people are attempting to master the digital space, it's clearly time to think beyond it. That was the primary impression left by Dale Sprague, president of Canyon Creative in Las Vegas, while speaking to my Writing For Public Relations class at the University of Nevada, Las Vegas, last Thursday.

When Sprague, a designer and creative director who invested the majority of his career in print, product design, and packaging, said that print had largely become a support medium for digital marketing, the reaction was immediate and dramatic. Not only had everything advertising agencies been cautioned about for by people like me for a decade come to fruition, but it was time time to rethink what's next.

Everything you think you know about marketing is about to change. 

The changes ahead won't be confined to a medium, but message delivery in entirety. Much like Patrick Collings recently wrote, brands that fail to innovate will fill graveyards. Their names won't be remembered either. Instead, their tombstones will be decorated with the cliches that killed them.

You can see these changes taking place all around you. Signage has lost ground to environmental graphics. Branded giftware and novelty items are being supplanted with branded product innovation (actual products designed for marketing purposes, some of which are produced by 3-D printers). Glass is quietly becoming a new marketing canvas (projected holograms along with it). And print?

Print isn't as dead as people think. Much like public relations professionals always had to find new ways to reach journalists as news releases transitioned from mail to fax to email to social, marketers are best served when they start to ask themselves the right question.

Specifically, the right question isn't "where is everybody spending their marketing dollars?" The right question is "where aren't people spending their marketing dollars so my organization doesn't have to compete?" Ergo, the social-digital space has to be part of the marketing mix but it's also a very competitive, crowded, and cluttered place. It creates a market where a handwritten thank you counts.

Even online, people are finding that it's not enough to be everywhere because you put your content everywhere. Marketers need to be everywhere because they are part of what a public considers relevant. Ergo, real marketers aren't content trying to infuse their presence into a trending topic. They are the trending topics because they do things. They are top of mind because they made an impression.

Where does print stack up in a world that seems digital?

Print works were it always worked best. It is a high-touch medium that was temporarily downgraded because of the economics of junk mail with blow-in scrap paper and cluttered messages.

Before mail was loaded down with mainstream marketing, it primarily consisted of individual notes and invitations, niche newsletters that felt exclusive, and something thoughtfully sent through the mail because it might actually have value and you might keep it. It will in the future too, with specialty papers that capitalize on the one sense that consumers miss in digital — touch — and a message more memorable than a business card, even those that don't already have chips embedded in them.

Print won't be alone, of course. All of it will change and some of it for the better as marketers buy up space not because they want to fill it with 8-point bullet points and 140 characters of gratuitous interruption but clearly defined messaging with plenty of white/negative/neutral space to frame it.

What does that mean? Every year, when I teach any class, I make note of how the number of impressions has continued to increase before a message even has a chance to penetrate the consciousness of someone who is already receiving a novel-sized amount of information every day. What used to be three impressions now exceeds 300 — that means you need 300 impressions before something sticks.

But, you see, that isn't always the case. We've crossed a clutter threshold that makes some messages stick the one time, the first time. Ergo, if you show someone a Mona Lisa (the real one, not a facsimile),  they will never forget it. And maybe that is how we should see print and advertising going forward.

Print doesn't haven't to be a support piece to digital. Like any message delivery system, it only needs to break through the clutter of a message saturated world. Or, in other words, a message that feels immediate (purpose driven), individual (personal), and important (value driven) delivered by the most appropriate means given the context.

That is what print will look like. And marketing will too. You can wait for it to happen or you can leap ahead and start implementing these ideas today.

Speaking Frankly: Five PR Topics From A Banker

Paul Stowell, senior vice president and marketing manager for City National Bank, will be the first to say he isn't a banker because his public relations experience is malleable to any industry. And yet, there isn't much he doesn't know about the banking industry. He makes it his business to know. 

Like many seasoned public relations and marketing professionals, he rightly believes that it is one of the most important lessons that a communication professional can learn. It's not enough to become an expert in the field of public relations or marketing, professionals have to understand the industry where their organizations operate.

This was one of several tips he shared with a handful of students in my Writing For Public Relations class  at the University of Nevada, Las Vegas, last Thursday. And while he gave them many more than five tips, these were among the ones that seemed to stand out the most. 

Five words worth focus for communicators, from a senior vice president in banking.

1. Awareness. Stowell doesn't pull punches. He quickly pointed out that being in the banking industry isn't always easy since 2008. Bankers, as a profession, have a lower likability than lawyers nowadays.

Not all of it is deserved. Politicians and critics frequently demonize and vilify the industry, even when it isn't warranted. Not all banks were part of the subprime mortgage crisis that contributed to the recession, including City National Bank. These banks weren't in the mortgage business and have since emerged from the crisis safer and stronger than ever. 

That doesn't mean City National Bank was exempted from the consequences of a crisis caused by others. As the crisis wore on, investors, customers, and journalists had questions. Stowell stressed that maintaining a conservative approach wasn't enough. The bank had to continually be aware and track public reaction to the industry and communicate how it was different from other banks. 

2. Relationships. One of the most important aspects of public relations and marketing continues to be relationships, even though Stowell sees relationships eroding under the weight of social media. No, he doesn't see social media as evil. On the contrary, he advises anyone who wants to enter any communication field to know it inside and out. 

At the same time, Stowell says that many students sacrifice too much one-on-one quality for the promise of quantity that social media provides. Not all of their personal or presentation skill sets are as strong as they need to be, he said. They tend to sacrifice real relationships too often. 

Stowell says they need a more balanced approach, taking the time to make in-person impacts both internally (with executives who will teach you the industry) and outside of the industry (journalists, customers, and investors) who want to trust the professional they are talking to as much as the organization.

3. Active. With journalists facing more time famine than ever before, public relations practitioners need to consider how to make the journalist's job easier, not harder. In addition to establishing a strong and worthwhile relationship, Stowell suggests that the best news stories aren't passive, but active. 

Companies that do things naturally make news. For example, in his industry, banks that host economic forecast panels and share that information are much more likely to earn media attention. Even if the focus isn't on the bank, journalists appreciate organizations that look beyond themselves. 

The same holds true within the community. Organizations that are involved within the communities in which they operate tend to outperform those that do not — not because of the bottom line but because the bottom line is that it is the right thing to do. For City National Bank, they work diligently ramping up support for education and literary.

4. Contrast. Although implied throughout all of the lessons, Stowell places an emphasis on finding contrast points that immediately identify an organization as different. Financial stability, relationship focus, and customer satisfaction are consistently listed among the top three for City National Bank (which earned it numerous Greenwich Excellence Awards over the years).

The reason is simple enough. If potential customers perceive several organizations as virtually the same in the marketplace, then there isn't a compelling reason to choose one over the other. Stowell says this is one of the reasons that many companies that attempt to follow the leaders or simply do what other companies do eventually fail because the point of contrast people will remember is who did it first.

Considering his point, communicators have a two-fold challenge. They have to identify what the company does consistently different and well and then effectively communicate it. Ergo, you have to walk the walk and talk the talk, not one or the other.

5. Measurement. It almost goes without saying, despite the number of the public relations professionals who seem to refute it. Communication is measurable and it must be measured. 

"When a story runs in the paper one day and the bank receives seven calls to open new business accounts, it's a measurement," says Stowell. "Everything is measurable and you have to measure or you risk being unable to prove the value of public relations to the organization."

The point hit home for many of the students. Many public relations firms attempt to place value on exposure whereas the real measurement is the result of the outcome. Sometimes those outcomes are measured in direct response. Other times they are measured in public or customer sentiment.

Combined, these five topics provide a direct contrast to what many marketing and public relations professionals tend to talk about online. And, if anything, these topics tend to be the conversations that executive management have when making marketing budget decisions. Are you on the same page?

Reconciling Definitions: PR Is Not A Communication Process

It didn't hit me until I tried to teach it, but the most recent definition of public relations offered by the Public Relations Society of America is wrong. It isn't a little bit wrong. It's a whole lot wrong.

It's wrong because public relations is not a strategic communication process. There is much more to it than that. Even my students crinkled their brows when the full force of comparison was offered for consideration. And then I gave them a working definition I've been crafting  for some time.

Why The PRSA definition feels different from the First World Assembly. 

The public relations definition works to streamline and simplify what eventually becomes a determent. Specifically, it pigeonholes public relations into precisely what many executives criticize it for — public relations is a whole lot of talk as if talk alone creates mutually beneficial relationships. I don't think so.

"Public relations is a strategic communication process that builds mutually beneficial relationships between organizations and their publics." — PRSA, 2012

By taking even a portion of what was decided at the First World Assembly of Public Relations in 1978,  we find something more tangible. Specifically, the First World Assembly model did not rely on communication alone. It hinted at something else practitioners could do — take real action. 

"Public relations is the art and science of analyzing trends, predicting their consequence, counseling organizational leaders, and implementing programs of action which will serve both the organization and public interest." — First World Assembly, 1978

Whether you like this definition or not (there are dozens of definitions out there), what I submit is that it is much more tangible than a communication process. It hints at programs instead of processes. 

In considering the full scope of what I will be teaching this semester, it seems to fit. You can see for yourself by taking a look at the deck. It includes the definition I have been working on, but I want to break that definition into its very own section as a concluding thought. 

Writing For Public Relations, 2013 from Rich Becker, Copywrite, Ink.

As you might have noticed, the definition I have been working on from time to time is included. And whether or not you like the definition, it's the thinking behind it that I submit for consideration. 

"Public relations is the art and science of developing and managing immediate to long-term programs that strengthen the relationships between the organization and various publics; researching trends within the environment where the organization or those publics exist; determining the impact that those trends or other events may have on the organization and those publics; and providing for an open communication exchange that ensures mutually beneficial and measurable outcomes for the organization and those publics." — Richard Becker, 2013 

Yes, I know. I receive "no votes" for making it too long to print on a lapel pen, a travesty given I take pride in writing tight as a copywriter. But then again, this is tight. Even if someone argues I hardly need to keep mentioning "the organization and/or those publics" again and again, it's so incredibly important. 

Why? I'm happy to share with you. I consider it the fun part. 

Public relations is really about taking groups that might consider themselves "us" and "them" and turning the whole thing into a "we" that can get something useful done. The job requires much more than persuasion. It requires much more than manipulation. It's requires much more than lies and spin. 

The most successful public relations campaigns in history have always hinged on whether the organization and publics are willing to work together, and the extent to which they work together. If they don't work together, the campaign fails. If they do work together, the campaign succeeds. 

Years ago, one of the very first public relations campaigns I worked on did exactly that (and we didn't even call it a public relations campaign). The agency I was working with had to develop a plan to manage an open exchange of communication for a program that was in everyone's best interest. 

Specifically, houses would sometimes float away every time Southern Nevada flooded (a trend). So this project (simplified) consisted of seven primary groups, three organizations and four primary publics that wanted to stop houses from floating away during floods. 

It might sound like a no brainer, but there are always consequences when prevailing thought to stop houses from possibly floating away might impact the environment, change property values, disrupt views, cause inconveniences during construction, cost taxpayer money, etc. This is the kind of stuff that can transform a "we" problem into an "us" vs. "them" vs. "them" vs. "them" overnight. 

While I won't go into the specifics of the plan from start to finish today, we can suffice to say that everything we did — from hosting open, two-way communication town halls to recapping everything into a customized residential newsletter — was designed to ensure all seven groups shared a common mission to protect the public from flood waters literally washing their homes away. 

We accomplished this not by jamming the ideas of lead organizations down the throats of residents impacted. We did this by nurturing open communication that had direct impacts and influences on the actual construction of a solution. Public relations didn't talk about it. We effectively transformed how everything would be done and what the flood control detention basins would look like while ensuring that the entire program maintained a "we" against dangerous flood waters vibe. That's public relations.

Disregarding Lessons: Last Lectures And Final Essays

Like many people who work in communication last November, I read the last words of Linds Redding, a New Zealand-based art director who worked at BBDO and Saatchi & Saatchi. He died at 52.

Given I was scheduling initial doctors' visits to solve some bodily wonkiness after quietly turning 45 when I first read his essay, his words really sent me reeling. They seemed all too right ... that the creative side of advertising is largely a scam by holding semi-talented "'creative' people hostage ransom to their own self-image, precarious sense of self-worth, and fragile — if occasionally out of control — ego." That is an accurate description of the field, which is why none of it was all that important to him.

As it turns out, it was only advertising. Redding said he didn't do much of anything. 

Thinking of it from his perspective, I thought the same thing. I have a shelf loaded up with glass and acrylic statues that mostly make me feel empty inside. There's about 100; 250 if I count all the paper.

But I won't do what Redding did and steal away the excitement of any kids entering the field. The reason for early recognition and peer review can be important (enough so that the topic probably deserves its own space another time). No, the good and bad of industry awards hasn't changed. I did.

In fact, I've changed so much that by the time the holidays had rolled around I had forgotten Redding's post until Hugh MacLeod picked up on those last words again. They were pointed at by long-time friend Valeria Maltoni, who was also thinking about it. She even shared one of MacLeod's points:

"What is heartbreaking about his story (Bri­tish adver­ti­sing veteran Linds Red­ding who died prematurely of cancer) is it reminds me of something that has always haunted and terrified me since I first entered the working world: the idea of getting to the inevitable end of your life, and in spite of all that talent, passion and energy spent working insane hours for decades, you don’t have a meaningful and lasting body of work to be proud of, money or no money."

I've had that mulling around in my melon since January. Maltoni did too it seems. She recently wondered about her body of work too, some two million words written for her blog. Mostly, the concept revolves around the idea  that our respective body of works must mean something or make a difference to someone.

Mostly, I agreed with them for a few weeks. Except today. Now, I'm a bit miffed by it all.

Does it really matter what industry we work in if we want to make a difference? Do we need to find affirmation that somehow we have a created a meaningful or lasting body of work? Does the butterfly have to know that its wing flap changed the world a million years ago?

Nothing really matters, but every second counts. 

My grandmother wasn't a writer. She never saw her 60th birthday. But she did have a "body of work." She raised five children and, for a good part of my life, one grandchild. She touched other people and their lives too, even if she did spend more than a decade fighting cancer. Her work is as good as any book or blog or body of work that someone might find on Wikipedia. But most people never will.

You see, a funny thing happens to some people when they can see that their life clock is finite. They make a choice to find regret or resolution. My grandmother was the latter kind of person, and I know what she might have told Redding. Your work mattered. Sure, it might have "only pushed some product around," but sometimes you have to think beyond what you can see.

Presumably, his creative work increased sales for a few dozen companies that employed more people, paid for more health care, inspired more dreams, and somehow made life a little more enjoyable. As a result, many of them all raised families, paid taxes, gave to charity, and made a difference Redding never knew. That's advertising. And it's one of the most brutal businesses any creative can aspire to be part of because outside of self-congratulatory awards programs, no one is ever going to know your name.

I'm a little bit more fortunate than Redding in that I've seen outcomes that have left an anonymous legacy beyond advertising for businesses, ranging from thousands of people helped through dozens of nonprofit campaigns to permanent policy changes in local, state, and federal government. But at the same time, I appreciate his point about time agency folks sometimes ask their families to sacrifice.

So, here's my tip about it. It's not the quantity of time or number of eyeballs that will matter, but the efficiency and impact of every second invested. Let me put it another way and make it easier.

Randy Pausch did an amazing thing when he wrote his last lecture. But I suggest taking it a step further. Make everything your last anything and it will matter more than you ever imagined.

That is what I'm going to aspire to do from now on. While I don't know that my upcoming class will be the last time I teach Writing For Public Relations at UNLV, I'm going to treat it like it might be. While I don't know if my next post will be my last, I can treat it like it might be. While I don't know if the next time I play a game with my kids that it will be the last game we play, I can treat it like it might be.

If you put 110 percent into everything you do, from something mundane like brushing your teeth or having a conversation in the checkout line with a stranger to writing an advertisement for a client or giving a lecture to a room with five students to 50 students, then it isn't possible to waste your time. On the contrary, the only time that can be wasted is when you swat something away like a nuisance. Then you might be right. It's a waste of time. But only because you made it a waste before you ever started.

Developing A Professional Image: Experimental Class Ahead

A few months ago, I found myself in a semi-heated discussion with an image consultant (a.k.a. personal branding guru). There isn't any transcript of the conversation because it didn't happen online. It happened offline, where many conversations about what I write here sometimes occur.

The catalyst for the call was a post — Branding: Why I Stopped Worrying About Being Batman — and why I did such a great disservice the emergent field of image consulting and personal branding. The entire post, she said, was borderline hypocritical given that I had once hired an image consultant.

Out of context, she had a point. Within context, not so much.

I hired an image consultant a few years ago because I knew there is some truth to Color Seasons. Different skin colors and complexions look better with different colors and horrendous with others. And while I know a few things about design and fashion, I had no clue what colors worked for me.

So, I found someone better at this stuff than me to help figure it out. And for several hours, she held up a hundred colors in order to give me a palette to test against the next time I went shopping, which is pretty rare (and half the time I forget the palette anyway). But I drew the line on everything else.

The reason is simple enough. I have a difficult time reconciling the dress for success concept of personal branding, especially as it has permeated social networks with some personal branding folks telling people that their social network pics provide the first impression of who you are to the world.

This worry over first impressions doesn't end with fashion. It seems to encompass everything: what we write, like, share, read, see, comment about, respond to, how we respond, when we respond, and a long list of more indicators online and offline. It's not much different than those "tells" people warn you about — offline tips like shining your shoes or only salting food after you taste it.

Sure, I suppose I could argue that some personal branding concepts work to some degree, but one has to be careful. Not all, but many personal branding consultants forget that real "branding" is not about style. It's about substance. It's about self-awareness. It's about authenticity. And it's about you.

I believe this so strongly that when the University of Nevada, Las Vegas, asked if I could teach an experimental seminar that could help people with their professional development in order to gain a competitive advantage in the job market (or as account executives and salespeople), I said absolutely.

Projecting A Professional Image at the University Of Nevada, Las Vegas. 

The 3-hour class will be held from 6 p.m. to 9 p.m. on Jan. 31. The focus is on developing an authentic professional image for a competitive job market and economic marketplace, including the challenge that many people have with reconciling their so-called personal and professional separations, online, offline, wherever. Anyone attending can expect something different than the standard fare.

You see, it seems to me that you can wrap up any product in fancy packaging, but that doesn't make it effective in the environment where it will be used. This is the cornerstone of my Fragile Brand Theory, which suggests that brand failures or reputation crashes do not happen because of the nature of people, places, or things. They happen because persons, places, or things pretend to be something else.

This is why some executives give speeches wearing nothing more than pajamas and others put on expensive suits for the most casual of meetings. The notion that we must dress for success is somewhat of a misnomer. It's the substance, not the style, that drives reputation. Style merely helps convey it.

The class will help sort it out, including that style doesn't just say something about an individual. It says something about how we hope to connect with the anticipated audience. Ergo, construction workers tend to clam up on a construction site if you try to interview them in a suit and wedding guests would find someone wearing pajamas a bit too disruptive for an event celebrating someone else.

Right. Canned packaging disrupts as much as looking unkept. So this class starts where it counts.

• How an authentic professional image differs from personal branding
• How to develop messages that can set yourself apart from competitors
• How to maintain authenticity and empathy in differing environments
• How to reconcile who you are on social networks, without faking it
• How to feel good about who you are and add substance to the offering

Registration for the experimental class can be found here. I call it experimental because this one-time session will be used to gauge interest in a future 3-part workshop, with take home assignments and exercises. After the class concludes, at least one presentation deck will be published within a post.