Mastering the Audience: The Key to Powerful Writing

Posted on 09/13/2024 Evan Swensen

In Write and Wrong, Marthy Johnson lays bare the secret that eludes many budding writers: understanding your audience is paramount. For those looking to hone their writing skills, this is where it all begins. Whether you’re drafting a letter, crafting a novel, or preparing a marketing pitch, the one question you must always ask is, “Who am I writing to, and why?”

The first step in writing, as Johnson emphasizes, is recognizing that not all audiences are the same. Writing to a friend feels different from writing a business memo, and the words one chooses must reflect that. A personal letter is filled with warmth and conversational language, while a memo is succinct, factual, and direct. In this way, understanding the needs, preferences, and expectations of your audience is akin to possessing a writer’s compass.

Take a realtor’s ad, for example. If you’re trying to sell a house, you wouldn’t simply list facts like, “The cottage measures 1,600 sq.ft. and contains a living room, two bedrooms, kitchen, bath, and a large workshop.” This description provides the necessary information but leaves the reader disengaged.

Compare that to the vivid and emotionally engaging description of the same house: “This well-maintained ranch home contains a living room with breathtaking views of the Chugach Mountains, a spacious master bedroom with a walk-in closet, and an attractive bathroom with blue and white tiled floors and a sunken Jacuzzi.”

Here, you’re not just listing features; you’re inviting readers to imagine themselves in the space, creating an emotional connection.

This example illustrates one of Johnson’s key insights in Write and Wrong: “You need to meet your readers where they are, with language and imagery that appeals to their specific desires and expectations.”

Tone plays a pivotal role in every form of writing. Let’s look at how tone varies between writing to a business client and a family member. In business communication, the writing should be professional, straightforward, and to the point. Johnson notes, “Business reports and letters are best kept short and factual, and both letters and memos should clearly state what, if anything, you want from the reader.” This prevents any ambiguity and allows for efficient communication.

On the other hand, when writing to a family member or friend, your tone shifts. Instead of formality, you rely on warmth, familiarity, and often humor. Consider the tone of a letter to a mother describing the same house mentioned earlier: “Mom, you’ve got to see this house! It’s way out of town, surrounded by a whole acre of beautiful woodland. The best part? There’s a Jacuzzi in the bathroom! They’re listing it at $280,000, but I think we can negotiate them down.”

The change in tone is palpable; it’s personal, exciting, and inviting. Johnson’s point is clear: audience dictates tone, and if you fail to adapt your tone to your reader, your message risks being lost.

Perhaps the most fascinating part of writing is how the rules change depending on your style of writing. Academic writing, for instance, has rigid conventions. In the academic world, adhering to a style guide such as the Publication Manual of the American Psychological Association is essential. Your audience expects precision, evidence-backed claims, and clarity, but this isn’t the time for flowery language or emotional appeals. It’s all about facts and logic.

However, creative writing—fiction or nonfiction—offers much more flexibility. You can use tone, structure, and imagery to achieve your desired effect. As Johnson says, “The rules for creative writing are flexible, but the advice holds: remember your goal and intended effect; consider your audience.”

A novel, for example, doesn’t just inform; it immerses readers in a world, creating a vivid sensory experience. Descriptions are rich, layered with emotions and intricate details that help paint a picture in the reader’s mind. When describing a cottage, a novelist might write, “The cottage sat on a rise in the woodlands fringing the foothills of the Chugach Range, its rough wooden siding blending seamlessly into the emerald forest. The late evening sun bathed the mountains in a bright red glow, and the little house’s windows reverently reflected its brilliance.”

Here, the sensory richness and atmospheric details pull the reader into the setting. This is a world the audience can feel, not just read about.

For those venturing into marketing, understanding your audience becomes even more critical. Johnson discusses how marketing writing isn’t just about selling a product; it’s about selling a feeling. When writers and marketers understand this fundamental principle, their work transforms from mere words on a page to a compelling narrative moving the reader to action.

She uses the example of a business pitch: if you’re writing to potential investors, you want to sound confident, informed, and concise. You must provide enough detail to sell the idea but leave room for the reader to ask questions. On the flip side, if you’re creating a promotional email for customers, the tone should be friendly, and the content should resonate with their emotions and values.

Johnson’s Write and Wrong brilliantly illustrates how knowing your audience and purpose guides every decision you make as a writer. From the smallest letter to the grandest novel, from the stark formality of a business memo to the playful language of a family email, the writer’s job is to craft words that connect.

Every piece of writing is a bridge between the writer and the reader. The moment a writer forgets the importance of their audience is the moment the bridge begins to crumble. The guidance provided in Write and Wrong serves as a timely reminder that the most powerful writing doesn’t just inform—it connects, it persuades, it resonates.

We Don’t Want to Write the Laws; We Want to Publish the Books

Publication Consultants: The Synonym for Book Publishing—https://publicationconsultants.com