Writing Across Communication: An Introduction To Writing

Anyone who has ever been introduced as a writer already knows the most common question that follows. In the thirty some years I've been introduced as one, it has never changed. It's timeless.

"So, you're a writer," they say, in admiration and sometimes skepticism. "What do you write?"

"Words," I would tell them. "And on good days, sentences."

I'd immediately follow up with a litany of audience-tailored examples that could be easily understood before settling on the umbrella concept as a commercial writer (copywriter isn't readily understood by people outside advertising and marketing) and occasional journalist. Later, I turned in the nouns for stylistic adjectives that ranged from strategic and interactive to gripping and zippy. I still do at times. 

Nowadays, I'm more likely to tell people that how we define writing really depends on whom we ask. Whereas Walter Lippman might define it as an opportunity to tell the truth and shame the devil, Stephen King is more likely to say that it's "the truth inside the lie." They're both right for their craft.

Bigger than that, writing is the process by which we translate our desired perception of objective and conceptual realities into a form that others may see, adopt, and act upon. It's one of the ways we exploit our extraordinary cooperative capacity as humans — agreeing or disagreeing that certain ideas, thoughts, and concepts have greater value than the objective, physical world in which we live — even if we don't personally know the person or group of people who put the words together. 

Regardless of what "kind of writer" someone is, the fundamental core of it remains unchanged, which is why I invested some time to design a class that could provide students with an understanding of how writing could be applied across communication — disciplines such a journalism, public relations, content marketing, advertising, and multimodal integration — with tremendous impact.

Writing Across Communication: An Introduction To Writing

This deck serves as an introduction to the class as well as some of the fundamental skills that can be learned by different writing disciplines. It also introduces writers to the changes taking place within the occupation as writers are being asked to specialize and generalize at the same time. So instead of learning how to write from within the silo of one discipline, they can learn from all disciplines: 

• Editors understand organization, structure, and universal ideas. 

• Journalists know how to find and define news and source information. 

• Public relations practitioners serve both organizational and public interest. 

• Crisis communicators possess empathy while managing a crisis and bad news. 

• Content marketers are experts in developing content that has customer value. 

• Copywriters are masters at developing creative stories that speak to people. 

• Writers of the future understand non-linear content, multimodal interaction, and UX design. 

The skill sets for modern writers don't end with journalism and commercial writing. Beyond the four primary approaches to effective communication (journalism, public relations, content marketing, and advertising), writing literature can help someone become more adept at storytelling, learning poetry more masterful at alliteration, and understanding psychology more attuned with the impact we impart on audiences. 

From script to screen and everything in between, getting it all right can be profoundly rewarding. The words and, on good days, sentences written for ourselves or our organizations have the potential to reshape how people see the world in small, almost unnoticeable ways and in grand life-altering ways that have shaped the course of world events. Nothing else is so important. 

What do you think? Where are the writers of tomorrow headed in terms of skill sets and craft? Are they really destined to be replaced in part by automation? And as an aspiring or working writer, would you want to take a class like the one being taught at the University of Nevada, Las Vegas?

Writing Occupations Are Changing. Are You Changing With Them?

As much as 75 percent of marketers may be increasing content creation, but the average job growth rate for occupational writers isn't keeping pace. According to the U.S. Department of Labor, job growth for writers averaged 2 percent, with exception to some specialized fields such as technical writers.

As more and more content is produced, organizations are relying on other occupations to produce material for their communication channels, including blogs and social media, while occupational writers are simultaneously being asked to specialize while overseeing generalized content being produced by their non-occupational peers. Specifically, it's not uncommon for a writer (or communication manager) to be assigned specific projects but also serve as an editor for the organization.

Likewise, other companies are growing content while charging occupational writers with other titles, such as coordinator or manager, and then making them responsible for a broad range of advertising, marketing, and public relations tasks. Interestingly enough, however, the integrated communication specialist track hasn't taken hold as an occupation path even if it has been adopted in practice.

Writers are being asked to review content well beyond their scope. 

Nowadays, it's not uncommon for marketing managers to write news releases or for public information officers to be tasked with writing advertisements. Both tracks ought to expect a heavy load of proofreading, editing, and rewriting too as more employees, managers, and executives write content.

There isn't anything wrong with the shift in work loads, aside from obvious time famine, but it does require professionals self-assess their abilities and continually strengthen their skill sets in areas where they are less familiar. Ergo, most copywriters are not familiar with news release writing and Associated Press Style guidelines, and most journalists or public relations specialists aren't always prepared to relax their desire to write with a certain literalness. (Some even struggle with relaxed blog content.)

The outcome can be found everywhere, as advertisements become boring and marketing puff pieces attempt to masquerade as news. As they do, ironically, outcomes begin to wane with the only solution offered up by some is to double down on the investment. There is only one problem with that. More lackluster communication doesn't produce results with luster. It exposes dullness to more people.

Stop trying to wear different hats and start writing from the inside out. 

One of my biggest issues with clients and so-called brainstormers who want steal everyone else's work is that it never produces anything that elevates the conversation. It's writing from the outside in, and only contributes to the communication overload suffered by more and more consumers today.

They don't need more content. They need the right content, written in a way that meets organizational goals and best suits the medium.

This is also why I transformed Writing For Public Relations at the University of Nevada, Las Vegas into Writing Across Communication. It's a better way to expose writers to different styles, formats, and techniques that used to be associated with specific fields. You see, I believe we have to start  teaching occupational writers how to write differently given we live in a world where copywriters are asked to write blog posts or white papers, public relations specialists are asked to write advertisements and 140-character tweets, and journalists are asked to be adept with social media and broadcast — all the while proofreading and editing everyone else's contributions too.

So rather than teach writers to form professional perspectives, they really need to understand the core communication components of an organization and various processes used in creating effective communication. After fundamentals, they can learn four primary approaches to effective communication: journalism, public relations, content marketing, and advertising.

While many writers likely find they are more suited to one approach over another, diversification also strengthens specialization. Even fiction writers can benefit from learning different writing approaches. Many fiction writers begin as journalists or copywriters before transitioning to the arts.

Hey Writer ... Why Do Think Your Words Are So Special Anyway?

As mind boggling as it seems, we will be exposed to more than a million words today. No, we won't see all of them, but they are there — framing webpages, breaking up social media updates, decorating walls, accompanying us to work on the horizon, and tucking us in when we go to bed.

Even those who didn't pick up a book this year — their lives are overflowing with words. In fact, this overwhelming volume of messages might even explain why the number of book readers has dipped in recent years. With as much content as people consume, voluntarily and involuntarily, it becomes increasingly difficult to fathom why anyone might want to add a few thousand more.

If you write, it ought to make you think too. What makes your words so special?

It doesn't even matter what kind of writer you might be. Literary writers have the seemingly impossible task of targeting voluntary readers to add more words to their lives, which is precisely why most authors never break more than $10,000 per published novel. Content marketers and copywriters have a seemingly impossible task too.

They target otherwise involuntary readers, using interruption, distraction, and attraction as tools of the trade. But even if they are very good at it, even great at it, most of them know that the number of times a reader has to be exposed to a message before it sticks has increased from three times in the 1960s to somewhere around 300 times today.

Even if it does stick, awareness is fragile. One typpppo, intentional or not, and even the best written message suddenly evaporates as our minds are attracted more to mistakes than best intentions.

Sure, some people argue that typos have become okay. They really aren't so okay when you realize they tend to attract more attention than the message.

Sure, we can all appreciate that the quantity of communication (how much we write) and the speed of communication (how fast we are asked to write it) has certainly contributed to the diminishing rate of quality — so much so that forgiveness is given much more readily than it once was. But does that make it right?

It depends, I suppose, on our expectation of outcome. Do we want people to remember our message or our mistake? If you want them to remember your message, then the error acceptance rate is zero.

If you want people to take the time to read your work, then take more time to write it.

In a few weeks, I'll be teaching Editing & Proofreading Your Work at the University of Nevada, Las Vegas. There are several takeaways from the class, including a better measure of how much time — from research to layout revisions — writing projects require (even if very few have such luxury).

It also includes some fundamentals on proofreading (the final polish) the work, start to finish:

1. Read the content out loud, slowly, with special attention paid to alliteration
2. Break up the content with a ruler, allowing you to see a line instead of a page
3. Start from the bottom up and backwards, seeing each word to check spelling
4. Print the content and, if you cannot print it, then change the font size and style
5. Set the work aside for a few hours or a day between writing, editing and proofreading

If you noticed that each of these techniques is tied to tricking your brain to see the content differently, you are right. The phenomenon that makes other people's writing errors stand out is the same phenomenon that makes ours so hard to spot. It's likely related to the Troxler effect, an optical illusion where unchanging stimulus away from a fixation point will fade and disappear.

Becoming a better proofreader of our own work often means changing the stimulus so our brain doesn't fill in details that don't exist after we've fixated on the work. Conversely, readers tend to spot errors much more quickly because the error disrupts the unchanging flow of content and our brains are programmed to see disruption. Never mind that our perception of authorship is the only change.

This isn't the only area where perception affects our writing. The value we place on it is based largely on perception too, unless we invest the time it takes to elevate the reader instead of merely informing them. Why bother? An article of 750 words is .00075 percent of the words someone will see today.

Never Mind The Cliche If Its Omission Is A Crime

Every now and again someone complies a list of words that need to be kicked to the curb because the list builder claims such words are overused, overblown, and otherwise tired. Sometimes they're right.

And other times? They aren't so right, at least not so right for everyone. Some people truly deserve the words that others dismiss as overused or in need of being avoided. Maybe you deserve some too. 

The real crime seldom has to do with a word being cliche, but rather the author or orator using a phrase or opinion that betrays a lack of original thought — power word and omit lists, inclusive. 

"The difficulty of literature is not to write, but to write what you mean." — Robert Louis Stevenson

The problem faced by many authors or orators isn't the word they choose but the way they go about choosing it. Instead of investing time to find the right word, they rely on tips and tricks that follow the pendulum swings between popularity and platitude. So rather than ever finding the right words to describe themselves, all they ever do is describe the trends that surround them. 

What they ought to think about instead is writing straight, honest prose that lends clarity to their meaning. A serial entrepreneur is something who has incubated a string of successful startups. A strategist is someone who envisions something new or at least reframes it in an unconventional way. Some of them might even be called innovative or collaborative, depending on their approach. 

The same can be said for any of the nineteen words called out for being hyperbolic. If they apply to you, continue to stand your ground and use them. But if you only grabbed onto to them because they looked good as part of someone else's message, then heed the warning and take the lesson to heart.

Skip manipulations, cognitive distortions, and pretend qualities that you or your company might profess and focus in on those qualities you really do have. That's all anybody really wants nowadays. They want the truth (or as close as you can come to it) with neither exaggeration nor omission.

Once Upon A Red Rocket: A Short Story For The Holidays

Once Upon A Red Rocket
by Richard Becker

Lizzy Capland outflanked the outstretched hands of the man in the Santa suit and sat down on the bench beside him. She had turned 11 last June, far too old to sit on someone’s lap.

 “Too old to sit on my lap but not too old to see me,” mused Santa from behind the big white curls of his beard. “Well, hello there.”

“Yes sir, I’m too old. I mean, no sir,” said Lizzy. “I’m not here to really see you. I mean…”

Santa drew up an eyebrow, waiting patiently for her explanation.

“Well, I’m here to see you, obviously,” said Lizzy nervously, trying to find the words. “But I’m here to see you for my brother. He’s eight.”

 “Oh, I see,” said Santa Claus. “And what is his name?”

“Johnny,” she said. “Only he likes to be called John now. It makes him feel older.”

“Yes,” Santa said as if remembering something before offering her a wink. “He’s still Johnny to me too.”

“Then you probably know why he couldn’t make it here himself,” she said, breathing out the words in anxious desperation. “He’s terribly, terribly sick. He has leukemia.”

“It’s all right, child,” he said, putting a bear of an arm around her. “It’s all right.”

“Well, no sir. It’s not all right,” she fought back the tears. “But that is why I came to see you. I want to ask you for a Christmas miracle.”

“Oh, my dear, dear girl,” his voice dropping from merry tenor to a whispering baritone. “As much as I wish I could move heaven and earth to heal all children, it is beyond my powers.”

“I know Mr. Claus,” she said, regaining her composure. “I’m not asking for you to heal him.”

“Then what can I do for you?”

“There is only one present on Johnny’s Christmas list this year,” she said.

“Tell me what it is and I’ll do my best.”

“He wants a rocket ship.” “A rocket ship?” said Santa. “I can certainly do that. What kind would he like? A red one that takes his imagination to outer space or a blue one that can blast off because it’s water propelled or maybe something with a remote control?”

“No sir, you don’t understand,” she squirmed. “Johnny doesn’t want a toy rocket ship. He wants a real one.”

“A real one?”

“Yes, sir. We both know you can’t cure him,” said Lizzy. “But maybe you could build him a rocket ship so he can travel to someplace where he wouldn’t have to be sick anymore.”

“Lizzy,” Santa sighed.

“Please, Mr. Claus? You just have to do something for him.”

“You dear, sweet girl,” he said, shoulders slumped. “This isn’t something I can promise …”

“I know,” she said, defeated. “It’s okay. I knew you weren't the real Santa Claus anyway. What would the real Santa be doing in a mall a few weeks before Christmas?”

“What I was going to say, Lizzy, is that it isn’t something I can promise,” he continued. “But if you believe and I mean really, really believe with all your heart … maybe your wish will come true.”

“You really mean that?”

“It’s Christmas, Lizzy. We are celebrating the anniversary of the miracle of miracles.”

“Oh, thank you, Santa!” Lizzy exclaimed, turning to hug him. “I’ll believe. You’ll see. I’ll believe.”

“I have faith in both you and your brother,” said Santa. “In fact, I wouldn’t be at all surprised if the biggest rocket ship you’ve ever seen wasn’t waiting for you and your brother on Christmas Day!”

“Christmas Day? Oh no, that won’t do,” Lizzy said, pulling back. “That won’t do at all.”

“Why not?”

“They don’t know if my brother will make it to Christmas Day,” said Lizzy. “We need it much sooner than that.”

“I see,” Santa sighed again, cupping his chin in thought. “This really is a puzzle.”

“I know,” she said. “It isn’t something you can promise.”

“It doesn’t matter what I can or can’t promise, Lizzy,” said Santa, laying a finger to her heart. “All miracles start from the inside out. Don’t give up on your dreams.”

Lizzy didn’t say a word as she first stood up. The once short line to see Santa Claus had swelled from to two children to nearly twenty, ranging from toddlers being held by enthusiastic mothers and fathers to six-year-old kids with shopping lists spooling out of one hand while using the other to tug at their tired-eyed parents who had become far too practiced in the annual ritual to be engaged.

The length of this line, along with the growing impatience of those waiting, seemed to break Lizzy from her spell. Time was no longer standing still. The rest of the world was waiting.

“You’re not such a bad guy for a mall Santa,” she said. “Merry Christmas.” “Merry Christmas, Lizzy” he said. “Don’t forget. Miracles happen from the inside out.”

She didn’t say anything else nor did she look back over her shoulder as the merry tenor of Santa’s voice returned. He was asking the next kid in line a litany of questions with the same sing-song familiarity of seasons past. For weeks, she had prayed for her brother to be able to visit Santa and hear them too, but those prayers had gone unanswered.

“Did you tell Santa everything you wanted?” asked her mother. “Yes,” said Lizzy, avoiding eye contact.

“So what was at the top of your list?”

“Oh, you know,” said Lizzy. “I really want a gift card to Justice.”

 ***

This was the first part of a longer stand-alone story and I'm sorry I never shared the rest of it here. Nowadays, I'm sharing them somewhere else. You can get updates about them on any social network or subscribe to my quarterly newsletter. Good night, good luck, and Happy Holidays! 

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.

Five Takeaways For Writers From My Comic Con Panel

Meeting up with several dozen aspiring and published writers was a real treat at Comic Con. And true to my word too, I told them to stop aspiring all together as soon as I had the opportunity. Writing isn't an isolated spectator sport. It's as active as your prose should be. Get out there and do it, every day.

Sure, there are some exceptions in history, but most professional writers — including panelists Genese Davis, Maxwell Alexander Drake, PJ Perez, and myself — all agree. And we aren't the only ones. Creative designer Sean Adams said as much last year. You have to be in it to win it, he said. Daily Monster designer Stephen Bucher said it as well, just a few months ago: Starting is harder.

You have get on with the business of doing. And if you can get on with this business every day — even those days you don't feel like it — then you slowly but surely train yourself to be the professional that you always wanted to be, even if you're surprised that it's not all about writing.

Five takeaways for writers that have little and everything to do with writing.

• Connect. While many aspiring writers think of writing as a solitary practice, professional writers see it as a sociable profession. Even those who are introverts at heart recognize the need to live life away from the keyboard and make it a point to meet new people to maximize opportunities that range from friendship and inspiration to collaboration and contract work. Many creative fields are surprisingly small professional niches where everyone knows everyone. Build a network.

• Diversify. When one of the panelists asked the room full of aspiring writers about their passion, almost all of them chose prose — writing fiction that may some day become a published book. The panel saw it differently, with Perez pointing out how commercial work had challenged him to become even more creative by adhering to different styles. I concurred, noting how writers can learn alliteration from poetry, dialogue from radio, and visualization from film.

• Learn. Professional writers never stop learning. In addition to enhancing writing skills (e.g., avoid passive voice), writers must continually immerse themselves in their genre, subject matter, fields and industries, financial affairs, and the publishing world. Classes, workshops, interviews and independent research are all part of the educational mix for most professional writers. Suffice to say that you can't write about what you don't know and you can't submit unless you know where to send it.

• Communicate. When one of the attendees asked how to know whether to accept or reject feedback, Drake suggested thinking of their work as two stories. There is the story in your head and there is the story you put on paper, he said. When your readers don't understand what you've written, you have to ask yourself whether or not what is in your head really made it on the paper. That said, Davis added that feedback is always appreciated as long as the author is able to remain true to their vision.

• Share. Nobody will ever discover your work if you keep it in a shoebox. Digital media makes it easier than ever to share samples, sections, or even scraps (as I call shorter-than-short stories on my Facebook fiction page) with an ever-increasing audience. But even if a writer doesn't want to share their work outright, they can always look for writers groups or other meet-ups where creative people get together. You never know when sharing your work will eventually come full circle.

Few jobs are as rewarding as those that allow you to share some creativity. 

While I never intended to become a writer, I have always been a creative. And once you commit to being a creative, the rest of it will shape up nicely, depending mostly on your career path and a few surprise circumstances that you could never dream up when you started out.

It's true. You never really know until you do it. Maybe you will find a home in film or photography, design or the written word. Or maybe, if you are like me, you will discover you have some talent for all of it, even if one form of expression dominates most of my time than the others. The point is that how you share it will hardly matter as you are doing it, preferably every day. The panel all agreed.

With that, unless someone has some specific questions about becoming a writer, those five tips are among the best that could be pulled from our panel. That and, as always, good night and good luck.

Why I Want To Tell Writers To Stop Aspiring At Comic Con

The title of the panel that I'm participating on at Wizard World Comic Con might be entitled Calling All Aspiring Writers! The New Writer's Survival Guide, but I'll have a different message this time out. I'm going to tell them to stop aspiring all together. Very few aspiring writers ever become writers.

People who write become writers, which is why there are just as many accidental writers as there are writers who had always dreamed of becoming one. You have to aspire to be something more — a freelance journalist, copywriter, communication specialist, author, etc. — that makes more sense.

Most writers develop an affinity for one writing discipline over another and then invest less time into writing and more time into everything else around it. Very few have the time, talent or desire to weave in a bit of everything into their careers. Even closely related styles are surprisingly divergent.

Not many copywriters can write a press release (nor would they want to) and not many public relations practitioners can write advertising copy (no matter how hard they try). Even journalists who write for newspapers or magazines approach the craft differently, with the latter often lending more color, life, and perspective to their stories than the former with crisp graphs filled with facts. Most broadcast journalists admit to being further removed. And authors, especially novelists, have bigger challenges than many other career paths. Most of them have to balance their passion with a paycheck.

This is also one of the reasons I'm especially excited to be part of this panel. 

Genese Davis has assembled a diverse ensemble of writers to share their experiences and expertise to participate in an open-ended conversation that will flow and evolve with the panelists as well as the audience. What is especially interesting about the four of us is that we mostly break the convention of specialization mentioned above in favor of being creatives who happen to write about what they love.

Genese Davis is the author of The Holder's Dominion, a thriller about a young woman who joins a massive popular online game called Edannair to escape the pressures of college and the tragic death of her father. While her plan works at first, one of the game's elite clans has taken to coercing members into taking offline dares.

Along with her novel, Davis is a featured columnist at MMORPG.com, the founder of The Gamer IN You, and an iGR Woman of the Year award recipient for her outstanding efforts in debunking stereotypes related to gaming. All of these experiences helped lay the foundation for her first novel.

Pj Perez is an American editor, writer, and musician best known for his reports on the Las Vegas culture for publications such a Rolling Stone. He has written for dozens of periodicals in Southern Nevada too, including Las Vegas Weekly, CityLife, and Vegas Seven. He currently writes for a variety of Wendoh Media publications and the MGM Resorts M Life magazine.

About six years ago, Perez relaunched his comic book and pop culture website, Pop! Goes the Icon, a boutique publishing label and online publishing house. It specializes in comic books, graphic novels, webcomics, and other forms of graphic literature and pop art.

Maxwell Alexander Drake is an award-winning science fiction/fantasy author and graphic novelist, best known for his fantasy series, The Genesis of Oblivion Saga. The epic series spans six novels that take readers deeper and deeper into a world of their own as the Talic'Hauth and follows the lives of its people over thousands of years.

He also teaches creative writing at schools, libraries, and writer's conferences all around the country. He is frequently a featured speaker at events such as Comic-Con International in San Diego, Gen-Con in Indianapolis, and Origins Game Fair in Columbus.

The accidental career path that afforded me a little bit of everything. 

As the fourth panelist, my place may seem a bit oddball in that my creative writing is only slowly starting to take shape after more than 25 years as a commercial writer — copywriter, journalist, content marketer, executive coach, political campaign strategist, and business communication strategist with award-winning work in everything from script to screen. Most of it happened by doing.

The truth is I never intended to become a writer. Although my first fictional story was serialized in a junior high school newspaper and my first poem appeared in print before that, I never intended to become a writer. I originally majored in psychology, believing art had limited career opportunities.

After studying psychology for a year at Whittier College, I learned the field primarily branched into two paths — listening to people's problems or teaching mice to press bars for cheese. It felt limited.

So I opted out of the program in favor of attending the University of Nevada, Reno with an intent to major in art and minor in psychology. The idea was to bring the two degrees together to begin a career as a graphic artist.

The university had other plans. The Reynolds School of Journalism recruited me into an advertising section of a journalism program that ranked fourth in the nation. They taught me how to channel artistic creativity into words instead of art, nurturing dual skill sets as a copywriter and journalist.

Upon graduation, I followed a girl back to Las Vegas rather than take any number of journalist job leads afforded to me by my mentors. I freelanced with a foot in two fields, writing advertising copy and collateral for agencies and articles for newspapers and magazines. Doing grew into a business.

Within a few years, as most entrepreneurs find out, growing a business is a different cut from freelancing. So while writing remained central to my career (about 15,000 words a week), new responsibilities required new skill sets — business management, creative direction, message development, strategic communication, platform architecture, public policy, and publishing among them. There were so many tasks that needed doing, it started squeezing out the creativity at times.

At one time, there were 40 full-time, part-time, and freelance writers and designers on our books. But after selling my first publication and surviving cancer more recently, I rewrote the business plan. And today, I only work with a handful of select clients while reviving my creative roots by doing.

In fact, there is only one thing more important than doing. You have to stick with the business of living. In other words, much like writing, you have to find an active voice instead of a passive one. Active living is where most writers find the inspiration to turn aspiration into action. Good night and good luck.

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.

Anyone Can Hate A Press Release. You Need Courage To Love It.

If there is a single piece of public relations communication that everyone seems to loathe, then let it be the press release. Journalists hate them because they are often poorly written irrelevant non-news bites. Public relations practitioners hate them because they're boring to write, seldom read, and rarely get the job done. Business people hate them because they are at the heart of many PR nightmares.

It's true. One would be hard pressed to find a piece of short-form communication that has been blamed for more heartburn, headache, and hemorrhages than a press release. Averaging a mere 450 words, there seems to be nothing more vile. They are received with the same appreciation as an STD.

"Did you get what I sent you?" asks the practitioner forced to make the call.

"Yeah, I did. I'm seeing my doctor today," mumbles the journalist before hanging up.

This type of exchange is a far cry from where the press release started. The first modern press release is most often attributed to Ivy Lee, whose agency released information regarding the 1906 Atlantic City train wreck. The idea was to provide a statement to journalists ahead of rumors and conjecture.

From this, the release began its steady evolution at the hands of practitioners who used it brilliantly, not so brilliantly, and sometimes with unscrupulous intent. The most common problems include bad writing, inaccurate information, irrelevant content, and one of the most liberal definitions of what constitutes news in existence today with the some companies believing that a ribbon cutting for a new office water cooler might find some vacant space in a daily. Maybe it will. Don't count on it.

A few years ago, I rounded up the ratio between press releases and news stories on any given day. On any given day, there were 4.3 million press releases distributed to fill 1.4 million news stories, most of which never originated from a press release. The odds weren't great for a press release.

Nowadays, it can be even more challenging. Even when news stories do originate from a press release, the impact is considerably less than it was ten years ago. Most media outlets only have a diluted share of a shrinking readership/viewership, one that is plagued by content overload.

The media have a hard enough time soliciting interest in viable breaking news stories let alone trying to pitch something less ubiquitous like a ribbon cutting for an office water cooler. So why bother?

Why the press release is an underrated workhorse. 

From the perspective of the instructor, there isn't a better medium from which to teach students about public relations writing than a press release, even if I rarely call them that. I've always preferred the term 'news release' because it helps shape the content. News releases aren't about press plugs alone.

Determining News. Some practitioners think that pitches are enough. Sometimes they are. Sometimes they aren't. The difference is in the details. New releases challenge practitioners to determine the most viable news topics, find relevant data, and build a framework for something that can stand alone, be rewritten by the media, or spark a different approach to the story. Many pitches aren't news stories as much as they have the potential to be news stories. The legwork might not be complete.

Writing Stories. News releases don't necessarily feel like the most exciting assignments even if they require more strategic savvy and creative thinking to cut though the clutter. The structure, style, and format tend to be rigid without letting the writer off the hook of making the topic interesting. When you're only allotted about ten 2-3 sentence paragraphs, two of which are likely quotes, it requires considerable research, organization, accuracy, and clarity to get it right. Errors stand out easily.

Understanding Audiences. Public relations practitioners are mostly taught to think in terms of publics — various groups and stakeholders. But in order to write an effective news release they must not only consider whatever publics appear in their communication plan but also the audiences that subscribe to targeted magazines or media outlets and the journalists and editors (sometimes on a scale of one to one) who will ultimately decide whether a story that includes their organization will run.

Developing Relationships. News releases make for great introductions inside the organization while the practitioner researches subject matter experts and outside the organization while working with the media. Never mind the myth about public relations professionals who claim to have connections — any practitioner who takes press releases seriously can develop equally respectful media relationships overnight simply by providing what editors and journalists care about first — news.

The benefits, of course, don't begin and end with the practitioner. The organization benefits too.

Organizational Branding. Some marketing-minded practitioners might attempt to measure the outcome of every single release like an email blast, but the real value comes from the long-term game. The measure of your next ten or twenty or fifty news stories will tell the public (and your publics) about your organization than any single piece of content you produce. Ergo, what people hear about your company over the long haul will often determine what they say about you when it counts.

Content Testing. As mentioned earlier, news releases are an excellent medium to vet potential content. If it comes together in a release, internal content marketers and copywriters can extrapolate information to create content — blog posts that ring with a friendlier conversational tone or a visual exploration of the topic to share someplace like Instagram.

Professional Credibility. Even novice practitioners know that a third-party source, such as a member of the media, can elevate an organization's credibility. This is somewhat true today. But more than that, the press release itself (unless its news tone is abandoned for marketing fluff) has a broader reach than media. Whether published on a website or via wire services, analysts and other professionals pay attention to them too — especially in science, technology, and business.

The point is pretty simple — stop underestimating the news release and treating it like a throwaway plug that deserves about 15 minutes of an intern's time to toss together before firing out to a database of reporters who aren't the lease bit interested. Think of it instead like a content package written to get conversations started — inside and outside the organization. It's a framework for almost everything.

As such, if the news release can do it all when you do it right — achieve a short-term outcome, add to a long-term objective, brand and position, introduce and win over, spark conversation or create controversy, establish relationships inside and outside the company, raise questions and provide answers, establish credibility and record historical relevance, provide context and inspire content, feel official without being the final piece, and demonstrate a propensity (if not a passion) for solid communication — then why not love it? All it takes is a little bit of courage to expect better. 

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.

The Top Five Posts Of 2014 Mostly Focused On Writing

If there was any central topic that seemed to attract more people to Words, Concepts, and Strategies that any other this year, it would be writing. Much like many professionals see social media as being flattened — moving away from being seen as a profession and more toward being seen as a skill set employed equally by marketers, public relations professionals, and communicators — more and more of them want writing to be something that everyone can express as a proficiency.

It's possible, perhaps, as long as organizations don't under value those who have dedicated their careers to the craft. You see, it's one thing to write as proficiently as 25 percent of the population but it's another to write as impassioned as only 3 percent of the population. Still, there is something that everyone can do to improve their writing. Dozens of tips are in the top posts of 2014.

The top five posts of 2014, based on readership.

5. Writing Is A Process That Starts Long Before The First Word. Despite recent trends in an attempt to commoditize it, writing requires hard work. In addition to knowing how to string words together so they have a maximum impact with minimal means, writers must master research techniques, organize for structure, edit for clarity, proofread for accuracy, and package the content for better retention.

In addition to highlighting a few of the challenges young writers face today, the piece includes a presentation deck that was created for a private education session about the subject. Everyone wants to become a better writer, but most aren't prepared to put in the work to make it happen.

4. Your Writing Is Almost Never As Good As You Think. Several studies have shown that there is a disparity between how well people think they can write and how well they can write. Despite what students think, only about one in four are proficient writers and less than three precent are great writers.

This article was accompanied by the top ten questions people can ask to assess their own writing abilities. Highlights include some of the most common problems encountered in various professions, especially communication and marketing, on a daily basis. The piece is interlinked with several other articles that provide additional insight and examples.

3. Why Is Marketing Still Wrong About Social Sharing? On the surface, this story is about marketing and social media, but it bridges into other subjects like psychology and written communication. The short version is that the article explains why the over emphasis on measurement, search, and social platforms isn't necessarily a good investment if it is made at the expense of worthwhile content.

The article goes on to highlight five popular drivers behind the psychology of sharing, which seems to have very little to with how most marketers spend their budgets. The piece cuts both ways in showing how value is better than viral and how much content can become a slave to other factors.

2. The Elephant In The Room Of Banned Books Is Gray. Rather than submitting a top ten books list for banned books week, the post highlights eight articles that tell stories about why books are being challenged in America today. The real purpose of the piece was to help people see that not all books are being challenged for the reasons one might think or that it is exclusive to one group.

Nowadays, books are challenged and "banned" for all sorts of reasons, many of which read like a snapshot of social issues Americans struggled with that this year. For my part, I don't share my own take on the topic but rather present a few questions that may help people see beyond the obvious.

1. Five Popular Content Writing Tips That Are Dead Wrong. The most popular post of the year pinpoints and dismantles five writing tips that are still being promoted around the web. They include the call for short content, spicing up word choices, rushing the deadline, fluffing facts, and transitioning to more pictures and less written content for the next trend in online marketing.

All of those tips are dead wrong. In fact, most of them can be tied to some of the reasons not everyone is excited to take a chance on content. Nobody really wants to click on an eye-catching visual that tricks them into reading a quickly written paragraph that boasts about some unsubstantiated claim being made by a product or service they don't need or want. Do they?

Happy new year and thanks for helping this space be the exception.

It seems to me that they do not. As part of a two-year experiment (and personal reasons), I opted to write significantly fewer posts (about one a week) that frequently sported higher word counts. The result is that while daily traffic dropped, the average number of readers per article is up (as well as overall readership) compared to the days when this space was a short-format daily.

While there are some other trade-offs (such as weaker reader loyalty on throwaway posts), I've found it to be more fulfilling to pick timeless topics as opposed to a couple of graphs on the topic du jour. And I'm happy to know that some folks have found some value in the topics I've taken up this year.

Thanks for reading and happy new year. And if you want to keep up weekly, subscribe here.

Yes, You Are Loved. Happy Holidays.

My favorite holiday story has always been the Little Match Girl by Hans Christian Andersen. It's the story about a young, impoverished girl attempting to sell matches in the street. She is cold and alone, fearful of going home without a single sale as her father would likely beat her.

She eventually shelters herself in a small alley and lights a match to warm herself. In the glow of it and each match struck after, she sees visions of a feast, a Christmas tree, and eventually her grandmother. And it's with this last vision that the girl begins to light match after match — until all the boxes are ablaze — in a desperate attempt to keep her grandmother with her.

As the blaze dies, so does the girl. And her grandmother, no longer a vision, carries her to heaven. 

The story touched me then, as it does today, not in the beauty of a dying child clinging to hopes and dreams or only in the promise of a life ever after. Much of it had to do with living in a household with a grandmother who was dying of cancer. The story became her promise to me that she would always be there and that one day we would be reunited no matter what might happen in this life. 

A Little Match Girl, Revisited

Barefoot in the snow with blue and frozen toes, 

A match girl strikes a fire to ward away the cold. 

And in the sputter of the flame she seems to see

A stove to warm her hands; the comfort of a tree; 

A roast to heal her hunger; and arms of empathy. 

I wrote the untitled poem a few years ago for a Christmas card. And this year, I revisited my copy of the story to illustrate a scene from it. And on the back of the card, a few might notice the 13:7 verse reference. 

Any book will fit the meaning, but especially Corinthians with its gentle reminder that love bears all things, believes all things, hopes all things, endures all things ... love really is all there is and will be.

That is why my grandmother had always impressed this story upon me. She wanted me to know that even after she was gone, her love would carry on with me until the end. There is no greater gift than that.

And yes, you are loved. Happy holidays. Good night and good luck. 

A Little Diversification Doesn't Make Anyone A Dullard

Prevailing wisdom dictates that that professionals are best served by being topic centric. There is some truth to the concept for those who are building a career within a specific industry or central idea. It can be considerably more difficult for writers, especially those who find anything and everything of interest — because we understand there are no boring topics (just boring writers).

So while I have experience teaching people how to develop a professional image, I also stopped worrying about being Batman. Sure, I don't always talk about my other interests in this space, but I do have them. They are eclectic as my library and play lists. And sometimes they pop up as guest posts.

In recent months, I'm very grateful for a handful of sites that have asked me to submit guest content and I think the best way to thank the publishers are to list a few of them here. Give them a gander.

Five picks from a short list of stories that weren't published here.

The Future Of Content, Part 3 with Danny Brown. When marketing professionals think about content, they think in terms that have grown all too familiar. Most of them know its easier to follow in the footsteps of best practices rather than look forward, lead ahead, and innovate the industry.

So when Danny Brown asked me to contribute to his mini-series on content marketing, I wanted to move away from practices and focus in on possibilities. The Future Of Content, Part 3 was a sneak peek into a future that is much more reliant on multimedia content, non-linear data, individualized communication, and interactive technology that some people have taken to calling enchanted objects.

Other people know it better as augmented reality. Marketers ought to think about it now or they'll have to play catch up like they did with every communication innovation since the dawn of time.

Guyside: How To Diet And Exercise Like Your Life Depends On It via Flashfree. Every now and again, it's not uncommon for people to ask me "how are you doing?" It used to be they asked because they wanted to know what's new. Nowadays, their interest is linked to being a cancer survivor.

There is nothing wrong with that. Life deals up all sorts of experiences and you can use them as an opportunity to make yourself stronger if you survive them. This was also one the reasons my friend Liz Scherer invited me to write a set of guest posts for her long-standing blog. Fitness seemed like a logical place to start, given my rapid recovery and work to become a certified personal trainer.

Beyond the obvious tips about fitness, the article is mostly a lesson in doing. It applies to almost anything. Success is a by-product of doing the things you are inspired by or have a passion to do as often as possible until you can eventually do them well.

The Art Of Being Gender Ambidextrous via Tue/Night. The concept of being gender ambidextrous hit me shortly after my friend Amy Vernon told me that the publishers of Tue/Night were looking for a few stories about father-daughter relationships. But it wasn't my idea exclusively.

My daughter was the inspiration. She and sometimes her brother are often the inspiration when I write anything about one-off marketing and communication topics like leadership, psychology, or perception. It's easy to find inspiration in their daily activities because I've always taught them both that the only hurdles in life are what they think. And yes, I include gender on the long list of what doesn't matter.

The crux of it is simple enough. As parents, the biggest responsibility we have to our children is to keep their focus on what they can do instead of what anyone says they cannot do. No hurdles needed.

Guyside: Girls Deserve More Than One Way To Wear A Bow via Flashfree. Shortly after the Gender Ambidextrous piece broke, several people suggested I follow up the story with a second piece. The timing was perfect. I had already filed away an experience that seemed to fit the series.

My daughter didn't think twice when she dressed up as Robin Hood for Halloween, which seemed to mildly put some people off because she hadn't elected to pick any number of bow-wielding heroines. On the flip side, she didn't think twice about being Belle the year prior either. I can only hope she remains so free spirited all of her life — embracing her gender (or not) without ever being made a slave to it.

Freedom doesn't come from choosing between "this and that" or "red and blue." True freedom comes from choices that are only limited by your imagination and colors from every spectrum of the wheel.

Spotlight On Stefan Bucher via AIGA Las Vegas. Although the intent of the piece was to promote the AIGA Centennial Celebration in Las Vegas, there is significantly more value to the story than simply introducing speaker Stefan G. Bucher. Think of it as more of a gateway article to the land of inspiration.

Bucher, if you are unfamiliar with name, filmed himself putting a few drops of ink on a piece of paper and then transforming the random blot into a fully realized illustrated monster. He didn't do it once. He did it for 100 days. So if you need any additional validation for the lesson of doing I mentioned earlier, I submit that you'll likely find it on The Daily Monster.

Bucher is an extremely talented graphic designer and illustrator who has created a career out of remaining true to the principles of design and being a little less willing to compromise. Who knows? With a little luck, maybe you too will find some inspiration from a drop of ink.

What's coming in the months and years ahead for this site and elsewhere?

This space — Words. Concepts. Strategies. — turns 10 years old. And while I don't want to say too much at the moment, anticipate a little more diversification. Sure, communication is an excellent framework for anyone who craves diversity, but communication can feel constrictive at times.

I know I might lose a few people in the process of this gradual change and that's all right. If you fit in that category, look for the headlines that pique your interest. For everyone else, you can always subscribe or come by from time to time at your leisure. I do appreciate it, especially when someone tosses out a topic that they want to see covered. Anything goes. Good night and good luck.

Thanksgiving Is A Good Day To Be Grateful To Be Alive.

"I did a bad thing and have to confess," read the text. "I snuck one cookie. I just had to have one."

"It's all right," I wrote back. "I made a double batch."

"So how is it possible that they're better and better every time you make them?"

It would take too long to answer that question in a text so I joked about not giving up any secrets. In reality, there are no secrets. My recipe has remained unchanged. It's everything else that is different.

I might mix up my Thanksgiving dessert list a little every year, but chocolate chip cookies have become a first string favorite. The same goes for other holidays and gatherings too. People like them.

As a first string favorite, I make them often enough that I've stopped tinkering with the recipe and started tinkering with everything around the recipe — the consistency of the batter before adding flour, the right size of the cookie ball before it is baked, the best temperature of my particular oven and the right rack to put the pan on, and a dozen other details that would bore most people. All of it matters if you want to make a great cookie. And the only way to do it is to practice making it perfect.

This isn't all that different from what I tell my daughter's softball team as one of the coaches. Practice doesn't make perfect. Perfect practice makes perfect. So every time they step up to the plate or set their feet to throw a ball, they strive for perfection  — at warmups, practices, and ball games.

You can't expect to throw someone out at first or pick up a base hit if you slack in practice or goof around during warmups. In fact, it's improper practices that create bad habits and cause poor game performances. And this is so true, it seems, that no practice is better than a bad practice for many players.

The same thing goes for baking cookies too. If you're not willing to strive for a perfect practice, then there isn't any reason to expect better cookies. It's those simple things that make all the difference.

We tend to overlook simple things. But it's the simple things that make for perfect practice. 

In softball, the difference between a hard hit and soft hit can be attributed to something as simple as turning the back foot. With chocolate chip cookies, the difference between good cookies and great ones can be something as subtle as how cold the dough is before you put it in the oven. As a writer, the difference between informing or inspiring is often tied to sentence structure or even word choice.

It applies to anything and everything else too. You can't expect an organized pantry if you fill spaces as opposed to putting things away in their proper places. You can't expect to feel great more days than not if you aren't willing to make physical fitness one of your priorities in life. And you can never truly appreciate anything in life until you learn to be grateful for being alive.

At least that was my takeaway when my family and I celebrated my birthday last week. A friend of mine asked what my big plans might be for my birthday and I told him that I was cleaning out a closet and then cooking dinner — filets, bacon wrapped shrimp, double stuffed potatoes, and peas. He laughed and said that all sounded like a lot of work. Maybe everyone ought to do that for me, he said.

I laughed and joked that I would have to waste a wish when I blew out my candles to make that happen. But no, I don't think so. Birthdays aren't be about being spoiled. That's just icing on the cake.

Sure, five years ago or so I used to think that birthdays were about people spoiling me. Nowadays, I think about birthdays as a day to be grateful to even have a life. And for me, I couldn't think of a better way to celebrate having a life than by making a non-functional closet functional again and cooking an indulgent dinner to share with my family. I consider it a perfect practice for a better life.

Sure, there was a cake to enjoy after dinner. Yes, there were some gifts I really appreciated. But the real lesson learned can boiled down into appreciating that everything about a birthday is pretty amazing if you're grateful to even have one. The rest of it is a bonus, kind of like homemade cookies.

So if you really want to know why my cookies are better every time I make them, the reason is pretty simple. I've stopped chasing outcomes and started working toward perfecting practices. And that, more than anything else, has made me more grateful than ever — for my friends, for my family, for the few people who read this post, and for my very life.

Thank you for that and happy Thanksgiving. Good night and good luck.

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.