Business writing process prewriting From Wikipedia, the free encyclopedia In terms of the 3 × 3 writing process, prewriting belongs to phase one of the writing process. Prewriting focuses on how to properly convey the information in a message by analyzing its purpose, anticipating the audiences reaction and adapting the content of the message to that audience. Examples of methods that may assist you in your pre-writing phase include: free-writing, planning, research, outlining, storyboarding orclustering. Business writing is different from other types of writing because it needs to be purposeful, economical and reader-oriented. It is important for business writers to focus on expressing their ideas rather than impressing the intended audience. The goal is to get the message across in a clear and simple manner. The 3 × 3 writing process is divided into three different phases. This chapter focuses on Phase 1 which involves analyzing, anticipating and adapting. Phase 2 requires research, organization and composition. Finally, Phase 3 includes revising, proofreading and evaluating. In the case of short messages, writing can be done relatively quickly by spending a small amount of time on each phase. However, for longer documents, it is better to spend a good amount of time working through each phase of the writing process. It is also possible to rearrange the steps in the process and even repeat some steps if necessary. The writing process is recursive rather than linear so the writer is free to revise the text at any point. Business writing often involves collaborating with others, such as when working in teams. Generally, team members get together in the beginning, during Phase 1, to exchange ideas. During Phase 2, each member can work separately to do some writing. Once thats done, members can meet again for Phase 3 to revise the document as a team. Analyze[edit] Analyzing, which is the first step of the prewriting process, focuses on both detecting the main goals of the business message and choosing the most effective way to express the information to the audience. Finding out the main goals of business writing requires considering and summarizing the needs of the audience, would all be conveyed by: email, instant message, business letters, memos, reports, etc. Only when the information presented through the writing matches the demands of the audience will it attract the audiences attention. Generally, most business writing can be devoted to informing and persuading the audience. However, it is just as necessary to establish a good relationship with the audience. Choosing the most appropriate way of conveying information is fairly significant for improving efficiency of expression. Delivering a message in the proper way depends on a few factors. It is helpful to note the importance of the message, the feedback needed and the cost of the method of delivery. Anticipate[edit] Anticipating includes profiling the audience and learning to adjust the message according to its recipients. Profiling the audience helps the writer establish the proper tone and language of the message. It also helps with choosing the right method to deliver the message. Another benefit of profiling the audience is identifying the possibility of a secondary audience. More information might be needed if the message is also intended for a secondary audience. Adapt[edit] Adapting involves using certain techniques to tailor the message to the intended audience. When writing a message, it is essential to pay attention to the tone because it is a good indicator of how the reader will feel while reading the message. Words that are chosen improperly can contribute to an overall negative tone and can make the message sound unpleasant. Therefore, it is a good idea to choose words that will have a positive impact on the tone of the message. One technique involves putting the focus of the message on the receiver. This can be achieved by using second-person pronouns throughout the text and it shows that the writer has empathy towards the reader. Another technique involves using bias-free language which means the message should be free from gender, race, age and disability bias so as to not offend anyone. It is also recommended to use a professional yet friendly tone to make the writer sound professional and approachable at the same time. It is a good idea to use positive words and avoid words that have negative connotations. Finally, it is in the writers best interest to be polite, use simple language and words that are precise. It is the responsibility of the writer to use language that is ethical for the purpose of avoiding litigation. When writing messages about stocks or financial services, it is important to follow the laws that protect investors. Also, regarding safety information, it is essential to write warnings on dangerous products as clearly and succinctly as possible. Messages that are used in sales and marketing should not have any false or misleading information. The messages should not be written in a way that will deceive customers. The use of proper language is also helpful regarding employee evaluation. In letters of recommendation, it is best to use positive language and stick to information that is related to the job. References[edit] • Guffey, Mary Ellen. Business Communication: Process and Product. First Custom Edition. Nelson Education Ltd. 2012, Canada. literary writing verb 1. Literary writing is defined as creating new creative work, such as poems or novels, and compilations or volumes of creative work. Composing a novel is an example of literary writing. YourDictionary definition and usage example. Copyright © 2014 by LoveToKnow Corp The term literary writing calls to mind works by writers such as Shakespeare, Milton, or Wordsworth; definitive examples of all that the term implies. We instinctively associate the term with characteristics such as artistic merit, creative genius, and the expression of mankinds noblest qualities. In this essay I will explore some of the characteristics of this kind of writing. Literary works are primarily distinguishable from other pieces of writing by their creative, or artistic intent. A piece of literature differs from a specialised treatises on astronomy, political economy, philosophy, or even history, in part because it appeals, not to a particular class of readers only, but to men and women; and in part because, while the object of the treatise is simply to impart knowledge, one ideal end of the piece of literature, whether it also imparts knowledge or not, is to yield aesthetic satisfaction by the manner of which it handles its theme. [1] The writer of this passage emphasises the distinction between writing of didactic purpose and literary writing which has that other, aesthetic, dimension. In fundamental terms literature is an expression of life through the medium of language [2], but language used more profoundly than when used simply to convey information. The following two extracts, for example, both describing one partners response to marital problems, are different in both their form and their intent: Many critics date the crumbling of their marriage back to that unfortunate episode, but David was delighted when he heard that Lynne had produced a daughter from her marriage to an American doctor. And Her writing hand stopped. She sat still for a moment; then she slowly turned in her chair and rested her elbow on its curved back. Her face, disfigured by her emotion, was not a pretty sight as she stared at my legs and said . . [3] The first piece, from a newspaper, gives a typical tabloid account of a broken marriage. It plainly states the position of the two parties involved, (but with an attitude akin to gossip). The tone of the second piece is less factual and more descriptive. Here the writer is sets out to depict a particular scene, that of a woman distressed by the discovery of some unsavoury information concerning her husband, and employs such devices as the use of emotive words, such as disfigured, the gradual increase of dramatic tension, slowly turned in her chair, and then in the last line a humorous deflation of this tension, her face . . . was not a pretty sight. The author shows a mixture of intentions here, the structure and the use of language showing a different approach and purpose to the first pieces straightforward account of the everyday world. In contrast to such a plain factual account - Literature is a vital record of what men have seen in life; what they have experienced of it, what they have thought and felt about those aspects of it which have the most immediate and enduring interest for all of us. [4] So literary writing, having creative and artistic intent, is more carefully structured and uses words for the rhetorical effect of their flow, their sound, and their emotive and descriptive qualities. Literary writers can also employ tone, rhyme, rhythm, irony, dialogue and its variations such as dialects and slang, and a host of other devices in the construction of a particular prose work, poem, or play. All fiction is a kind of magic and trickery, a confidence trick, trying to make people believe something is true that isnt. And the novelist, in a particular, is trying to convince the reader that he is seeing society as a whole. [5] Literary writing is, in essence, a response, a subjective personal view which the writer expresses through his themes, ideas, thoughts, reminiscences, using his armoury of words to try to evoke, or provoke, a response in his reader. . . . it is not only a question of the artist looking into himself but also the of his looking into others with the experience he has of himself. He writes with sympathy because he feels that the other man is like him. [6] In Welsh Hill Country, R. S. Thomas conveys his response to a landscape: Too far for you to see The fluke and the foot-rot and the fat maggot Gnawing the skin from the small bones, The sheep are grazing at Bwlch-y-Fedwen, Arranged romantically in the usual manner On a bleak background of bald stone. [7] Here the powerful evocation of desolation, of the stark brutality, even indifference, of the countryside is captured by Thomas through a pointed use of language which also conveys his grim mood. In contrast, Keats To Autumn conveys a soft, sensuous depiction of this season which captured his imagination: Season of mists and mellow fruitfulness Close bosom-friend of the maturing sun; Conspiring with him how to load and bless With fruit the vines that round the thatch-eaves run; [8] Both these extracts show a creative, imaginative response to a particular scene, and show contrasting ways in which a poet can use diction to capture his mood and provoke a reaction in the reader. Devices such as rhyme, rhythm, alliteration, and assonance combine to form a structure of mood, a structure recognisably literary. . . . apart from the precise mixture of certainty and hesitation in the poets mind, one of the sovereign gestures of art is to make the ideal real, and to project a dim impersonal awareness onto a structure of definite invention. [9] Literature is a process of communication, it helps us to understand life. [10] Perhaps we should also consider the motivation of the writer as a factor which distinguishes literary from other forms of writing. The writers motivation is the energy that pulls together the strands of his creativity in the shaping of the finished work. Ernest Hemingway gives his reasons for writing: From things that had happened and from things as they exist and from all things that you know and all those you cannot know, you make something through your invention that is not a representation but a whole new thing truer than anything true and alive, and if you make it well enough, you give it immortality. That is why you write and for no other reason that you know of. [11] Georges Simenon puts forward the idea of therapeutic value, a search for self: I think that if a man has the urge to be an artist, it is because he needs to find himself. Every writer has to find himself through his characters, through all his writing. [12] Philip Larkin gives his reasons for writing poems as a need to preserve things I have seen/thought/felt (if I may so indicate a composite and complex experience) both for myself and for others. Here, in The Whitsun Weddings, his motive was to capture his response to a view seen from a train: As if out on the end of an event Waving goodbye To something that survived it. Struck, I leant More promptly out next time, more curiously, And saw it all again in different terms: The fathers with broad belts under their suits And seamy foreheads; mothers loud and fat; An uncle shouting smut; and then the perms, [13] The main impetus behind Edward Thomass No One So Much as You, is to describe his experience of love: No one so much as you Loves this my clay, Or would lament as you Its dying day [14] While the motive behind Andrew Youngs, On the Prospect of Death, is self-evident. If it should come to this You cannot wake me with a kiss Think I but sleep too late Or once again keep a cold angry state [15] Personal motivation is an essential characteristic of literary writing. It is the engine behind creativity, and the last two extracts provide examples of some of the great themes which occur again and again, not only in literary writing, but in all the arts; love, death, war, and peace. Such themes, it seems, provide perennial inspiration for artists. So perhaps an inventory of literary writers motives should include the overflowing of their passions, their desire for self-expression, an abiding fascination with humanity in all its variety, the need to come to grips with relationships as they really are in the world as it really is, the striving after an ideal world which can exist only in the imagination, and, perhaps at the heart of it all, the need to form, shape, things of beauty. The artist needs to resolve conflicts within himself, to reach an understanding, to search for some credible meaning of to life, to death, to everything. He is always reaching, fumbling toward some sort of truth; an artistic creative truth, a truth that resides in the individual artist and needs to be grasped, made real, made understandable. Perhaps in some cases the artists motivation could be seen as a need to create other worlds, in the way that Milton and Tolkien created other worlds, in order that they can project real conflicts onto another plane. The many different genres of the novel constitute a particular challenge to the concept of literary writing. Detective novels, and science fiction novels, for example, are creative, imaginative, depictions of life. We might question their seriousness as literature, or whether they can achieve the high ideals of art, but then we might equally well question the meaning of seriousness, and the high ideals of art. Popular novels may not deal with lifes great conflicts, or search for truth and beauty, and they may deal with the seamier side of life, or escape into the fantastic, but can they still be considered literature? Do they still make an important contribution to our understanding of the world, as real literature does? Obviously literary works such as Tolstoys War and Peace and Prousts Remembrance of Things Past take as a nucleus an event, an aspect of life and construct a world around that core. They are works about real people, engaged in the real business of living. They convey knowledge, understanding, experience and are hence considered important. Yet they have in common with the detective and science fiction novel that they are books, consisting of words that have been used to express something, words that may or may not be read, and may or may not succeed in conveying an understanding of the world they depict. In my view it comes down to subjective value judgements. I believe literature is a broad church which ought to be able to deal with any subject, and that ultimately it is individual readers, or readers en masse, who decide on the value of any particular work and on whether or not it deserves a place in the annals of literary history. Writers aim to show us the world, but no single writer can do this, and literature should encompass numerous different kinds of writer because each is trying to show us something which cannot be shown as a whole. Each, whether a Tolstoy or a Raymond Chandler, can only give us his own small fragment of understanding. Ultimately it is those works which endure that should be considered literature, those which have succeeded in holding firm a fragment of life, to be seen, to be read, to be understood. Perhaps we should let a writer have the last word on summing up the writers art: The aim of every artist is to arrest motion, which is life, by artificial means and hold it fixed, so that a hundred years later, when a stranger looks at it, it moves again since it is life. Since man is mortal, the only immortality possible for him is to leave something behind him that is immortal since it will always move. This is the artists way of scribbling Kilroy was here on the wall of the final and irrevocable oblivion through which he must someday pass. [16] In conclusion, literary writing does embody certain distinguishing characteristics. It is a self-conscious, imaginative mode of writing which uses words not just to convey information, but as an art form. Ultimately it is a response to life. Personally, passages of outstanding literary writing such as the following, convince me that words are the highest form of expression available to mankind: CLAUDIO: Ay, but to die, and go we know not where; To lie in cold obstruction, and to rot; This sensible warm motion to become A kneaded clod; and the delighted spirit To bathe in fiery floods or to reside In thrilling region of thick-ribbed ice; To be imprisond in the viewless winds, And blown with restless violence round about The pendent world; [17] References 1. Hudson, W. H. p.10 2. Hudson, W. H. p. 10 3. Nabokov, V. p.95 4. Hudson p.10 5. Angus Wilson, in Dick, K. 6. Geroges Simenon, in Dick, K. 7. Thomas, R.S. Poems 8. Hayward, J. p. 296 9. John Middleton Murray. Preface to the poems of Walter de la Mare 10. Reeves, J. p.16 11. Dick, K. p. 196 12. Dick, K. p.38 13. Allot, K. 14. Allot, K. p. 63 15. Allot, K. p. 83 16. Faulkner, William, in Dick, K. p.33 17. Shakespeare, Measure for Measure Bibliography Allot, Kenneth (Ed) The Penguin Book of Contemporary Verse. Penguin 1980 Dick, Kay. (Ed) Interviews from Paris Review. Penguin 1972 Hayward, John. (Ed) Penguin Book of Verse. Penguin 1981 Hudson, William Henry. An Introduction to the Study of Literature. Harrap 1963 Nabokov, Vladimir. Lolita. Penguin 1982 Reeves, James. The Critical Sense. Heinemann 1957 Shakespeare, William. Measure for Measure
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