USA: +1(669)289-8683 
Sign in
- Please read the attachtments. They are what I learned this week. They are not long. The reflection asks you to write about what you learned and how you will use it to change your life and career. Read ahead for the full instructions. How to Write a Reflection Writing a reflection is multifaceted. The writer needs to do so much before writing, and in the moment of the writing (and editing), the author must stay on track to his/her focus while giving plenty of detail for the reader to FEEL the message. It’s as much about thinking and thinking about thinking as it is to feeling. Reflection is a combination of cognition, emotion, and body sensations. Here is an approach to help you reflect well. Not only will you learn the information, but the process of reflection actually boosts the brain’s ability to make decisions.1. Using a quiet mind and a quiet environment, be quiet and listen to your houghts. Reflection is quiet.2. Step One is Critical Thinking: Ask questions like…What did I learn that I expected? What did I learn that I didn’t expect?How am I changed?What will I do with this information?How will I influence others with this information?3. Step Two: Examine your own thinking. How was I thinking that? What was I thinking? Why? What were my biases, assumptions, etc?4. Step Four (We skip gathering information.): After confidence to your learning based on the content covered, decide a writing core – a focus.5. Write in first person. Write with depth – no surface only comments. Write with specificity. What exactly did you learn and what will you do with that new you? Activity: Reflection WritingThe purpose of this assignment is for you to report on your learning to your instructor. Task: You are to write a 200 word memo to your instructor in memo format. Task Definitive: Detail on an aspect(s) of the unit that personally affected you. It is a reflection. The question you are answering is ‘How does thinking show up in expression? What has changed your thinking and how will you use it in your career and in your life?” Reflection Writings:Your reflective writings are to be a beautifully-written fully-thought-out organized message to your audience. You are to use memo format.At it’s very minimum, it is to be three paragraphs – an introduction, a body, and a conclusion. Be sure you use business writing style!It is to be attractive on the page as well.
An Organized Approach
Business Communication, MGT309
University of North Carolina at Greensboro
Welcome to ‘An Organized Approach.’
In my teaching career, I see lots of students and review about 4000 papers a year. The number one problem I see is the organization of a message. As a rule, we simply want to jump ahead and tell our story. Well, my job now is to teach you to slow down and do a little prior thinking before execution and in thinking ahead, you’ll be a better communicator.
Here are some principles to keep in mind:
People tend to think others think like them. They don’t; each of us in unique and has had many differing experiences. These experiences create people who think different from anyone else. So….how does this affect communication? With this understanding, as you write and talk – think ahead….what might I need to say to help this person understand? You might need to state the obvious. Think like them before delivering your message.
Reminders:
Audience –centeredness is the most important concept in communication. Think of it this way…let’s say you had a baby sister who just turned 16 and she needed to drive to somewhere unfamiliar to her. How would you tell here to get there? You would pick a landmark that she knows and start there, right? That is audience-centeredness. Start where the audience is.
Secondly, in your communications, examine your purpose. What is it that you want? Do you want to be heard? Do you want them to take action? Are you working to entertain? Be clear on your intention, so you can construct your message in a way that fits the need.
1
Stop. Think First.
Know your topic – then narrow the focus.
Create an attention-getter .
List the points you want/need to make.
Walk away and think.
Write the introduction.
Write the contents paragraph/section.
Rewrite the introduction till it’s great then add the conclusion.
Walk away.
Read it again – tweak and proofread.
The Approach
Use Planning Worksheet.
Stop – don’t start writing without knowing what and how you need to get there. Just like you get a map or use a GPS system, use the planning worksheet to gather what you need before you write. Then write.
Until learned this better way, I use to dump out everything I knew on the subject. Wrote as fast as I could being afraid I would forget something. And after I wrote all that I could think of, I worked to organize it. Bad mistake. It took forever to try to create
sense of the information.
The better approach is to
1. Know your topic – then narrow the focus. Get an angle.
2. Work for an attention-getter – an opener that bring the reader/listener present. Be sure it’s on topic.
3. List the points you want/need to make.
Walk away and think.
4. Write the introduction
5. Write the contents by paragraph/by section. You can now write parts at a time. This is easier on your life.
6. Rewrite the introduction till it’s great and write the conclusion.
Walk away.
7. Read it again – tweak and proofread.
8
2
4 Pre-Delivery Decisions
In putting together your messages, we need to think about four particular decisions. Let’s talk about each of them in our next set of slides.
3
Decision 1: Direct or Indirect
Direct Approach – telling the purpose in the first sentence.
Decision 1: Part 1 – This is the first type of decision we can make is the Direct approach. Most business communication is in the direct approach. Tell the intention, the purpose, up front. Think about a handshake – the handshake started as a gesture of goodwill to show that you did not have a weapon. The direct approach tells the audience what your intentions are – it puts the question to rest and creates emotional safety and relationship. Remember, business is relationships.
Notice the triangle. The most important information is placed at the top and the importance of information decreases – this is a familiar style in journalism and in websites. See chapter 15.
Importantly, the direct approach is not permission to be edgy or too forward in word choices (emotion-tone). This is not permission to just say what you want to say without audience consideration – far from it. It just means stating your purpose up front.
4
Decision 1: Direct or Indirect
Indirect Approach – telling the purpose in a progressive nested construction. The reader is typically not welcoming the message.
Decision 1 – Part 2 is the Indirect approach. The indirect approach is a message construction in that you expect the audience does not want to hear your message; therefore, you need to ease into the message. You offer a buffer, an introduction that builds connection first. Then you deliver evidence, etc. then you tell the bad news nested in the center of the message. You complete ‘the sandwich’ by goodwill statements to close the message.
Notice the two triangles meeting at the center, (inverted). That’s the way we want to think; weigh less emphasis to the bad news to avoid creating strong emotional energy on bad news. The pictures illustrates the limited emphasis on the negative information – which is placed in the center of the message.
5
Decision 2 – Frame
Patterns Description
Sequential Step-by-step order (not related to time)
Chronological
Cause and Effect Consecutive order related to time
If this, then that
Spatial Describes physical objects, areas, etc.
Division/Classification Parts and groups of parts by category
Decreasing order of importance Most important to least important
Increasing order of importance Least important to most important
General to specific
Specific to general Overview to details
Details to overview
Comparison Item to item
Decision 2 is Frame. Listed here an in your text are 10 ways to frame a message. Review these and choose the one that best fits the audience, rather the best way your audience are likely to receive your message. I have found the closer you organize this to the audience’s understanding the better the interaction.
6
Decision 3 – E-motion
(the energy of motion)
Think about the emotional feel of the message.
Formal or informal (casual or conversational)
Distant or intimate
Colorful or not colorful
Forceful or passive
Personal or impersonal
Decision 3 is Emotion. Emotion in business is typically not mentioned out loud, other than logic and analytics. But I am here to tell you that emotion is one of the most important components in communication. You have to know what you are feeling, what the audience is feeling in order to deliver an appropriate message. (A great way to advancing your emotional intelligence is to do the Emotional Inventory Exercise frequently – till you do mega-cognition of your emotions without the external support.)
What do you want the reader to feel – that choice emotion helps you choose your words as you write or speak.
Do you want the formal feel or the informal feel? In business, we typically choose the conversational fee.
Do you want a distant feel or an intimate feel? Intimate means personal only.
Do you want a colorful passionate enthusiastic feel or do you want little emotion?
Do you want push strong energy or do you want calm quiet energy?
Do you personal or impersonal?
7
Decision 4 – Visuals
Pictures are understood 600 times faster than words. What pictures, graphs, charts, etc. can you use to best deliver your message?
Decision 4 is Visuals. Humans think in pictures. 30% of our brain (and thinking) is dedicated to vision. So, that means, we need to use language that helps others receive the intended message. Words that help build pictures in other’s brains are called Emotional Word Pictures (EWP). For example, think ‘horse.’ What does your horse look like? Is it brown or black or spotted? Is it tall – a thoroughbred or a Clydesdale? Or…perhaps…the letters H…O…R…S…E come to your mind? If you are in the 99% of us, your mind pictured a horse.
In additional to EWP’s, ask yourself ‘Is there a way to aid my message by adding visuals – pictures, graphs, charts. Business employs lots of venues for message delivery (not just an essay or formal research paper.)
8
Recap & Reflect
What have you learned about organization?
Okay…. Now we have a something to think about. Reflect on what we learned so far….Reflection is a process that speeds up learning…ask yourself…what have I learned? Say it out loud.
May be you learned to slow down, think about the audience before you write, then think about what to write? What visuals to use? May be rest our brain, think about the decisions you have to make, before you come back and act on those decisions? Well, I look forward to working with you in your goal to organize your messages.
9
EmiiI!I BY RICHARD BIE.RCK
Find the Right Tone for
Your Business Writing
The tone for every memo; e-mali, or report is determined
by the interplay between energy and formality.
MANY WRITERS aaonizc over word.. choice, syntax. and structure. But
getting the words down on paper does-
nt mean the job of writing is done. One
ofihe most important steps in writing is
matching the tone of the piece to the
occasicn=-and the audience.
Tone in writing is an elusive quality
that determine, whether readers are
put art or turned on, whether ihev
laugh with you or at you, whether you
come across as boor or a seer. Outlin-
ing a well-reasoned solution to a COI11-
plex problem v ou ‘t bring readers to
your way of thinking unless the writing
connects with them on a visceral level.
Inappropriate tone leaves readers with
11 bad mental afrertasre. Appropriate
tune allows [he reader to concentrate
on content without any background
I1l ise.
Most successful businesspeople have a
keen sense of what’s appropriate when
talking to others. But many fail to apply
this judgment to their writing-c–whether
in e-mails. memoranda. letters. or pro-
posals, Often. their writing is far ton
sl iff and formal or tOO relaxed and col-
loquial. Just as often. writers produce
pieces that are too upbeat. for situations
requiring more gravity. or too grave for
circumstances .alling for more energy.
For an appropriate (one ill every circum-
stance, you need to carefully monitor
two auributes->- ~nergy level and degree
of formality.
Measure the energy conveyed in a piece
of writing by asking. “How hot or cool
should [his memo be’? The extremes of
the prose thermometer reveal [he range
,)1’available choices. Here arc examples
of both polarities.
Hot
Anvone 11·110 hasu ‘I had their head ill the
.sand latetv knows about the big prob-
lems we’re having ill the marketplace.
Taking aim (If the weaker items 011 our
product line, (1 horde of well-trained
competitors is infiicting mortal wounds.
As u result, we are hemorrhaging rev-
euucs. HUII’du I\’C stanch the bleeding?
Dump (Jill’ weakest products and chon-
nel our energy into the stronger ones.
That mean.’ IF!’ must pound 0/.11 a POlV-
erjul niarketing plan to drive home {he
advantages (~rour product: to the pub-
lie. We IIWS; brainstorm ASAP to come
lip with {/ STrategy tltat has teeth. ~r\\’e
fumble this one. \I’e all nuiv soon be
standing in (Ill unemplovment line.
Cool
By noli’. most of us are probably aware
of rile critical challenges we’re facing
ill the marketplace. Competitors are
cut t in g into 0111′ ma rker share a n d
diminishing 0111′ revenues. The only
solution 11/((1′ be (0 fOlXo SOIJW o] our
less successful products so IhUE \l’e //’IaI’
concentrate-on the more successful. To
do this. we’d have [0 streamline 0111′
marketing efforts TO communicate value
to consumers. This will require plan-
ning sessions 10 deveh p ((11 effective
strategy. I recommend that 1Fe proceed
with ((1/ dcliberat« speed to develop a
viable approach. The consequences of
jailing to uiove quickl» and incisivelv
could indeed be dire.
Though these two passages convey the
same content. and have the same
inrcllt-to motivate the reader to act-
ihey vary greatly in tone. The hot pas-
sage draws on hyperbole (the ostrich
HARVARD MANAGEMENT COMMUNICATION I.ETTER ~ 10
image), strong adjectives (e.g., “mor-
tal”) and combat metaphor. to commu-
nicate urgency. Strong verbs and vivid
(at limes. even surgical) images are
used to incite the reader.
The cool passage is less alarming and,
hence. conveys less urgency It relies
more on readers to discern the serious-
ness of the situation by reading between
the lines it bit. While the tone of the hot
passage tone is an alarmist call to action.
that of the.cool one is less likely to cause
a panic. for it avoids emotionalism .
The second attribute to measure is for-
mality. As with the energy level, the for-
mality of a memo depends on the
occasion. the recipient’s predilections,
and the chara tel’ of the company.
You need to know what L, right for your
situation, In a venerable insurance com-
pany. for example. it’s almost always
better to stay well within the formal
range of the spectrum. Conversely, if
your company i a snowboard manufac-
turer, this kind of formality may only
bring derision and consign your memo
to the circular file,
Some examples:
Informal
YOLI ‘ve already got the 4-]-/ Of! what
1’1/1 goillg to say: QUI’ salesfigures reek.
Competitors are putting (he hurt on us
ill a serious way, and it’s siphoning
money (jilt of .1’0/.1I’ pocket and mine. The
only 11’ay OUI o] this mess may be to
trash. The losers in our product line and
pump the winners. We’re history unless
we grease our marketing skids and per-
suade {he public that usine our products
will produce euphoric: moments. We
mUST brainstorm ASAP to come lip with
a strategy that rocks. If we don ‘I, \Ve all
may soon be asking; “You want fries
with that? .,
Formal
Onlv rite myopic could now be unaware
o] our unfortunate position regarding
market share. Our sales figures have
reached (( nadir: and our C(}I1IPfliIOI’S
are getting the best 1.:( IiS, much In the
detriment of our pocketbooks. Perhaps
tile oniv solution is {(J forgo the less
profitable of our offerings. and jC)CUS
0111′ attention (111 our more successful
products. Crucial ro a recovery will be a
we {/ -crafted IIW rk e t ing pro g ram
designed In h ei ght cu c on su m e r
demand. Failing to devise such a strut-
egv may make all other concerns moot.
The informal passage is dominated by
everyday colloquialisms. Instead of
more lofty metaphors. it uses the slang
of popular culture. Thirty years from
now, readers would have a bard time
understanding its meaning. Yet now,
this LOne can connect with certain kinds
of audiences.
By contrast. the formal passage seeks
no such personal connection and avoids
common parlance. It distances the
writer from his or her audience. While
some readers might view this tone as
being condescending, others would
regard it as being appropriate for a spe-
cilic business context.
In many W:IYS, youIl find that. the deci-
sions surrounding energy and formality
overlap. Informal compositions often
tend to be hOI or at lensi warm, but nor
always. Formal writing is typically
cool. but it can sometimes include warm
elements such as metaphor or short sen-
tences that convey strong action.
Seldom do even professional writers
achieve the appropriate tone on the f rst
draft. II take’ a refined sensibility and
careful honing. Even then. you may nor
be sure that you’ve struck the right tone.
To make sure. ask S0111e people whose
judgment YOll respect [0 give it a test
read and get their reaction. Do they
think if” too energetic or hyperbolic for
the audienceand. the occasion’! Or is it
too frosty? Similarly. do they think the
writing is too distant or too familiar?
What are the offending wor ds or
phrases? How can they be changed (a
do the job at hand? Using test readers is
hardly rocket science, but those willing
to go 10 this trouble invariably produce
more effective writing.
writing remains a solitary sport, and
you are ultimately responsible for
developing tile right content-as well
as striking the right [one. CJ
Using lest renders may seem like a lot of
trouble. But for writers committed III
producing effective. impressive prose,
this practice is less time-consuming
rhan continuing [0 toil futilely in isola-
tion. Test readers can help you get back
on course before you’ve strayed too lar.
=-Richard Bierck is a business writer
based in Prince-IOn, NJ His worl:
has appeared ill U.S. News & World
RCPOt1, B loornberg Personal
Finance. and Parade. He C(l1I be
reached ((I /imc/@hb.ljI./W/”I'{lI-d.edll
And bexides. it’s good to share the
agony of writing. In the end. however,
Rrprint e (0]09D
—-.—.——— ..•.—-
10 order if feprlfil of (his J!iicle, (ali SOQ-668·670S or 611·7a3·i47’~.
.——:-o—-~—‘——- ..-!
BY NICK MORGAN!
i
Use Behavioral Science to Give Better Speeches
A RECENT ARTIl.I.E in our sister publication. Harvard BusinessReview. dis- .. cussed how the insights of behavioral science could lead to better cus-
tomer service (J unc 200!). Three of those insights in particular also yield
better presentations.
FiRST, the research shows we tend to remember best what we experience
last. Accordingly, the authors recommend, “finish strong.” The received wis-
dom in publi .speaking says that you end by “telling them what you’ve said.”
In fact. most speech occasions end with a Q & A session. Both of these end-
ings are relatively weak. The repetition involved in it summary might rein-
terce learning-if anyone were listening. But most audience members are
highly attuned to the cadences of presentations. and when they hear a sum-
mary. they check out. You’ve probably done it yourself: you start r 1 (quietly)
pack up your belongings. If you’re at a conference, you surreptitiously check
to sec where you’re supposed to go next. Maybe you g.el OUI your Palm and
stun looking over your schedule for the rest or the week. But you don i listen.
[0 short. it’s a weak ending.
I
I
I
i
What about Q & A? It’s a weak way to end, ion. Tt’:> a freewheeling format.
You can’! control it. You have no idea whether the questions asked will be rcl- .!
evant or even intelligible. I
I
I
I
I
So. t(l end strongly, save a bit of your speech for the cluse-the best bit. EnJ
with a stirring call to action. or a favorite story that makes a compelling point.
Then leave the stage with all eyes ()11 you.
SECOND) the research sh iws UWt it works best to get the bad news out of the
way early. People like improvemeru.Ifyou have something bad to say-some
weak quarterly results. for example-gel it out (1[ the way at the beginning of
the speech. Then move onto telling the audience how your team is going to fix
U1C problem=- ir prevent it next rime.
FIN,U.L v. the research shows people like a choice. because it gives them
some control. How does this translate into the public speaking realm? Easy:
rnvolve your listeners whenever it’s appropriate. Ask them what they think,
Get them to design responses to your chal lcnges. Give them actions to under-
take. In each case, you’re usi ng your audience’s psychological needs to craft
better presen tali ons. U
I
i
J
SEPTEMBER 2001 • 1 1
‘Language is a Verb.’
Words influence; we feel them. Words change the world. We’ve walked on the moon inspired by John F. Kennedy; we’ve felt determined to bring three astronauts home to Earth inspired by Gene Kranz’s words, ‘Failure is not an option.’ and we live in a more culturally united nation fueled from Dr. Martin Luther King’s dream. Words impact our thinking and our behavior. Because of this strong impact, I say ‘Language is a verb.’ Through the action of combining words with intention, we create change in ourselves and in others.
Words create mental images. And the more vivid language, the quicker we understand the message. For example, feel the words ‘walk.’ ‘pace.’ and ‘strut.’ For me the word ‘walk’ feels positive and consistent and forwarding. The word ‘pace’ feels negative and nervous and uncomfortable. And the word ‘strut’ means an over-confidence and passion. Perhaps they feel he same to you, perhaps they don’t. Be, we do feel them. Words represent meaning.
In language, we do need to remember that the message spoken is not always the message heard. We filter our understanding through our life experiences, our personalities, and our thoughts. Perception is reality.
So, now it’s time for you to practice your language use to affect positive change in others. Here’s a list to build your language leadership tool.
ENHANCE SELF-AWARENESS
1. Listen to your self-talk. You talk to others the same way you talk to yourself. In order to encourage others, you need to be practicing positive self-talk. Examine your thought patterns; how positive or negative is your thinking? For one week, keep a count of your negative thoughts. If you need to increase your positivity, and most of us do, put some routines in place to re-frame the negative thoughts to powerful positive ones. Know that changing your base thought patterns requires consistency, commitment and patience mixed with relationship support.
2. Listen to others’ word choices. We reveal ourselves in the way we combine our words. Listen for the patterns.
Intentionally choose your words and be a person who enhances the lives of other people.
MGT 309 Business Communications
Walk the Little Girl Across The Street”
As a college instructor of Business Communications, I say “walk the little girl across the street” in nearly every class. Why you ask? The answer is simple, business writers must write with order to connect with the reader and connect in a hurry. Our world today is fast; information is everywhere – we are inundated with it. We want our information fast and easy. The flow of a message is to be strategic and smart. So, the question is ‘how does a business writer craft a well-organized, in-smooth-flow, smart message. The following details how.
Step 1: Think first. Here are the questions to ask. (No writing yet.)
1. What is my purpose? Or asked another way, what do I want the reader to takeaway with them – What do I want them to do? Your job here is to be clear on your outcome objective. Know what you want!
Once you are sure you know what you want, then turn your attention to the reader.
Step 2: Contemplate the listener. (Still no writing the document yet.)
1. Know who is listening. Examine your audience. Think about the listener. Each of us has a unique filter to which we process the world. Our personal filters are created from our parents, from our culture, from our experiences, and from our many relationships. . Here is a list of questions to ask.
· What does your audience know on the subject?
· How does your audience feel about the topic?
· The best way to connect is by which medium – e-mail, memo, letter, booklet, postcard, phone-call, etc.
· What does he/she want regarding this message or need?
· What ideas do you have about them to get their attention – what is the fit?
At this point, you should know your wants and needs and your listener’s wants and needs.
This information is a base-line to persuasive communication.
Step 3: Narrow your focus.
1. You have a limited about of time and space to convey your message. Be sure you narrow your focus appropriate as to relay the ‘correct’ amount of information. This decision links to step 1 – what is your purpose.
Step 4: Confirm the mentions. (Okay, now you can start with a list.)
1. Make a list of the points you need to make.
2. After you listed all that you can think of (or gather and list), categorize them. Eliminate items that do not link to your narrowed focus (Save them for another time.)
After you define your purpose, know your audience, narrow your focus and pick your points, it’s time to construct the flow.
Step 5: Choose your presentation. Just like our flesh attaches to our skeleton, the meat to our message attaches to its structure. Without structure, we falter.
6. Decide on the Direct or Indirect approach.
We have two overarching approaches – the direct approach and the indirect approach. The direct approach is for listeners who are receptive to your message and the indirect approach is for those who are resistant to what you have to say. In the direct approach, you state upfront your intention. In the indirect approach, you build your evidence and support then present the perceived unfavorable information.
7. Decide on organization.
Strategize through the multitudes of structures. Here’s a table that details several patterns. Think process – what step leads to the next step that leads to the next step and on and on.
Patterns
Description
Sequential
Consecutive order (not related to time)
ChronologicalCause and Effect
Consecutive order related to timeIf this, then that
Spatial
Top to bottom, front to back, etc.
Division/Classification
Parts and groups of parts by category
Decreasing order of importance
Most important to least important
Increasing order of importance
Least important to most important
General to specific
Overview to details
Comparison
Item to item
Academic ( indirect)
Introduction, body points detailing analysis, conclusion with recommendation
8. Decide on supporting visuals.
What pictures can you use to deliver your message? Remember pictures are understood 600 times faster than words. However, the approach to the visual might reveal itself later, too, so no worries if you don’t know just yet.
At this point, you are now ready to write. You know your direction, how to connect to your reader, your scope and flow. Oh, one last mention.
In your writing, an important tactic in flow is excellence in paragraphing. Just as a document needs structure, paragraphs need structure. The best frame for business is to start each paragraph with a topic sentence – tell the reader what you are going to talk about. Then talk about it – give details. Be sure to link thought-to-thought and not leave out the obvious. Remember, transitions are needed between sentences, between paragraphs and between the connection in focus.
Ready to write? Then bring this visual to mind. You are holding hands with a little five-year old girl who feels a little timid. She doesn’t know where she is or how she is going to get there. She is trusting you to lead her. So, before you step off the curb, you inform her that you will start walking on the green light. She now feels comforted – she knows her next step forward. Continue your communications as you cross.
Happy organizing.
Copyright ©2001. All Rights Reserved.
Copyright ©2001. All Rights Reserved.
Copyright ©2001. All Rights Reserved.
Copyright ©2001. All Rights Reserved.
Copyright ©2001. All Rights Reserved.
Copyright ©2001. All Rights Reserved.
Copyright ©2001. All Rights Reserved.
Copyright ©2001. All Rights Reserved.
Copyright ©2001. All Rights Reserved.
Copyright ©2001. All Rights Reserved.
Copyright ©2001. All Rights Reserved.
