Accepting Feedback:

Situation Critical
We'll all likely get "lots of criticism in our lifetime," says Hunter Nuttall, so we should know how to deal with it. Writing for motivation and self-improvement site Pick he!rain.com, Nuttall e"plores " he #rt of aking $riticism" and suggests starting %y checking "the critic's motives" and not taking the %ait if critics "&ust want to provoke a reaction." 'espond to vague complaints %y asking "what you can do %etter." o %e truly helpful, he notes, critics "need to come up with specifics." #nd "(f the critic doesn't know the whole story, talk to them a%out it." Nuttall recommends saying something like, "You know, I hear what you're saying, and I'd really like to be able to do it that way. But the last time I tried something like that, it didn't work because _________. How can I get around that?" )inally, don't get defensive. "(f someone tells you something you can improve, they've done you a favor." *o thank them. While "all criticism hurts," acknowledges +udith *ills in the Psychology oday article "$riticism, aking the Hit," the first rule - especially when you're on the receiving end of negative feed%ack in the professional world - is to "sit %ack and take it in." .se the active listening tactic of "rephrasing the criticism. /irroring under the fire of critical assault re0uires calm focus, %ut it works like magic to make the %oss stop %row%eating you." his also lets you move "on to what you think and how you can use the negative information to your own advantage." hen give "yourself a ma"imum of 12 hours to sulk" and ask "yourself three key 0uestions, What part of this is true3 Have ( ever heard this %efore3 What would ( have to give up if ( changed3" *he notes, " he answers won't necessarily come easily, %ut your thinking will %e directed toward professional development4" #nd *ills suggests remem%ering "criticism's secret compliment, (t comes most readily when you are moving up." (n his !ollege "tudent #ournal piece "$onstructive $riticism, # ool for (mprovement," 5en Petress emphasi6es, "#ll suggestions do not have to %e followed7 however, when the critic is a thoughtful, representative mem%er of your eventual audience, it is wise to give added weight to implicit messages that your premise, intention, or strategy may %e flawed." #nd he adds, "(f one asks for criticism, that re0uest needs to %e honestly sought and graciously received." 8 /ore

How to 9valuate #nother Person's Writing Whether people simply value your feed%ack or you're "a manager reviewing your staff's work," chances are you've %een asked to review and evaluate another person's writing, says +ames !ell. (n the $% article " alkin' '!out Writing, How to :iscuss a $olleague's Writing While Preserving ;our Working 'elationship and $areer" < =:. >olume, ?@. (ssue, A2. Pu%lication :ate, :ecem%er 2BB2. Page Num%er, ?1C. D 2BB2 #merican *ociety for raining = :evelopment, (nc.7 D 2BBE Fale FroupG, he notes that it is possi%le "to offer effective feed%ack without stepping too hard on the writer's toes." Here are a few of !ell's useful guidelines, $larify the goal. # re0uest to review writing can come in many forms. *ome e"amples, Would you take a look at this3 What should ( put in this section3 (s this what you wanted3 !efore you offer feed%ack, you must determine your purpose. (n all cases, you pro%a%ly want the writing to communicate effectively, adhere to company standards, and uphold a positive image of the company. !ut which goal do you want to emphasi6e, editing the te"t or improving the writer3 (f you focus on correcting the te"t, the document will improve %ut the writer pro%a%ly won't. He may not understand the corrections, %e overwhelmed %y the num%er and variety of errors, and learn, a%ove all else, that you're a good writer and should do all future editing. (f, however, your o%&ective is to help the person %ecome a %etter writer, then you have a much more interesting %ut difficult &o% to do. We'll assume the latter purpose. /eet. /eet with the writer at least %riefly. Written comments are impersonal, open to misunderstanding, and leave little opportunity for the writer to clarify her meaning. ;ou can re0uest the document %efore you meet, or, if it's short, read it on the spot. !ell also provides many good suggestions for lowering any an"iety the writer may %e feeling along with a five-step approach for facilitating a productive meeting to discuss the writing. Working 'elationship and $areer." 8 /ore o check out this information at " alkin' '!out Writing, How to :iscuss a $olleague's Writing While Preserving ;our

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.se two-sided printing to save paper. .se software like the He"mark ool%ar to print only the We% pages you need. *hare printers in the home or office through wireless networking technology. Hook for the longest availa%le printer warranty to e"tend its life cycle. (mprove printer efficiency %y switching the device off after use. Print in draft mode to reduce the amount of ink used. .se4high-yield cartridges for a higher yield of ink or toner, resulting in fewer cartridges to manufacture and recycle.

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The Art of Taking Criticism

February 4th, 2009 by Hunter Nuttall

There are lots of people on this planet, and they all have their opinions. That means that all of us should expect to receive lots of criticism in our lifetime. Friends, family, co or!ers, nei"hbors, random stran"ers#they all have somethin" to say $%ust as e often do ourselves&. 'nd if you have any !ind of online presence, you can expect to receive much more criticism, as everyone comes out under the veil of anonymity. There(s no avoidin" this, so e need to be prepared to ta!e criticism in a ay that(s "oin" to be best for everyone. Here are some tips for doin" %ust that. 1. Check the critics motives )ome critics are not honestly tryin" to help, but %ust ant to provo!e a reaction. *f someone attac!s you ith a nonsensical anonymous comment online, they(re not seriously interested in havin" a real discussion. +ou ouldn(t ta!e the bait if a loud drun! anted to tell you hat(s ron" ith you, because there(s nothin" to be "ained by ar"uin". ,ith that in mind, henever you sense that someone is critici-in" you ithout havin" the intention of helpin", don(t lose your temper. *"nore them if you can, or %ust "ive a .uic! response to indicate that you(re not "oin" to bother tryin". Then "et on ith your life. 2. If the critic just gives a vague complaint, ask what you can o !etter )ometimes people ill say somethin" li!e /you(re a ful,0 ithout explainin" hy or su""estin" hat you can do better. 1ven if e "ive them the benefit of the doubt in assumin" that they(re tryin" to offer constructive criticism, they need to be much more specific for any "ood to come of it.

)o %ust as! hat you can do better. The nice thin" about this is that it(s very easy to as! for details, and then the ball(s in their court. The burden is on them to come up ith specifics. *f they can(t come up ith anythin", it(s easy to disre"ard their criticism. ". If the critic gives helpful a vice, say thanks *f someone(s tryin" to help you, there(s no need to be defensive. *f someone tells you somethin" you can improve, they(ve done you a favor. 2ecause ithout them, you mi"ht have continued to ma!e the same mista!es for years ithout reali-in" it. +ou don(t need to try to explain hy it(s not your fault. 3ust accept responsibility for it. 2e "rateful that the other person decided to brin" a problem to your attention instead of sayin" nothin". 4emember that they(re tryin" to help you. )o don(t "et upset, %ust say /than! you.0 #. If the critic oesnt know the whole story, talk to them a!out it ' lot of times, the situation may be more complex than it appears. 5eople mi"ht see hat appears to be an obvious solution, ithout reali-in" that there are dra bac!s to that approach. *f somebody %ust ants to "ive you a tip, you can say /67, than!s0 and move on. 2ut sometimes, especially if the other person !no s you ell, it(s helpful to tal! about it. +ou can say, You know, I hear what youre saying, and Id really like to be able to do it that way. But the last time I tried something like that, it didnt work because _________. How can I get around that? 'ssumin" this is somebody ho(s illin" to ta!e the time to tal! it out ith you, this sho s that you really appreciate their opinion. Not to mention that you can "et some "reat insi"hts. $ne last tip Finally, hen you(re the one "ivin" advice, be sure to remember ho it feels to be on the receivin" end8 *f you thin! you can help someone, offer your advice, but proceed ith caution. 7eep in mind that hat(s ri"ht for you mi"ht not be ri"ht for them, and that there mi"ht be other sides of the story you(re not considerin". 'nd be a are that the other person mi"ht be more defensive than you(d expect them to be, especially if they(ve had to deal ith many critics hose intentions eren(t as "ood as yours. 9a!e a point of ta!in" criticism ell, and you(ll be able to deflect pointless attac!s hile ma!in" the most of "ood advice.

About the writer: Hunter uttall wants you to sto! sucking and li"e a li#e o# abundance. $isit his site to learn how to im!ro"e your li#e and your income. 5ublished on %sychology &oday $http:;; Home < =riticism: Ta!in" the Hit .psycholo"ytoday.com&

Criticism% Taking the &it

2y admin =reated 'ul () (**+ , )(-**am *n the privacy of our hearts, there are only t o possible ays to receive criticism: badly or orse. 2ut in the public arena of the or!place, e learn to ice over those in%ured feelin"s ith a smile. 'nd in the space bet een that private ince and the public smile there is somethin" to be "ained. *t>s called professional "ro th?if you can "et yourself there. )tart by ma!in" sure that you are, indeed, able to pull off the public smile, no matter hat the provocation. This smile does not mean respondin" ith a "oofy "rin to a boss> open criti.ue of your mar!etin" flop. Nor does public smile su""est that you should loo! happy hen your cold@call record or your expense fi"ures are unfairly challen"ed. 'll criticism hurts and much of it is un%ustified. 6n the face of it, that>s nothin" to smile about. 9aintainin" a public smile means adherin" strictly to 4ule Number 6ne hen facin" criticism, namely, sit back and take it in. )ave your defense?your explanation, your clarification, your %ustification, even your le"itimate outra"e?for later, hen it mi"ht do you some "ood. 's you>ll see, your best first defense a"ainst criticism is no defense at all. 5ublic smile also means that hen the ne"ative feedbac! is formally presented, you at least appear to listen. $'ctual listenin" is even better.& The sin"le best techni.ue for communicatin" listenin" is to mirror bac! hat your mana"er said by rephrasin" the criticism. 9irrorin" under the fire of critical assault re.uires calm focus, but it or!s li!e ma"ic to ma!e the boss stop bro beatin" you. For example, The 2oss: A+our presentations are too detailed. 3ust "ive me the elevator version and focus on the bi" business drivers.A +ou: A+ou ant me to do a better %ob of ma!in" brief presentations ith a bi"@picture focus.A *f you can ta!e listenin" one step further to validate hat you>ve heard, say so. +ou: A* see hat you mean. * do "et lon"@ inded and cau"ht up in the eeds.A 9ost of your boss>

irritation ith you ill vanish hen you let him !no you heard hat he said and you !no hat he means. The fact is, thou"h, you may hear hat is said but not "et it at all. The criti.ue may seem distorted, misinformed or %ust mean. *f so, then sit bac! and put on the public smile any ay. 4emember, mirroring is not necessarily agreeing ith the criticism. *t>s %ust not actively disa"reein" at this moment, hen an ar"ument ith your supervisor ill only ma!e him more invested in provin" his point. 5eople tend to han" on to a ne"ative opinion forever if they don>t feel heard, but once they do, they feel relieved and bac! off. +our supervisor ill li!ely let "o of the an"er, frustration or any other feelin"s that mi"ht be fuelin" his criticism once he feels you>ve received the information. +ou, thou"h, are no at ris! of han"in" on to your hurt, an"er or anxiety ay too lon". The real difficulty ith ma!in" use of criticism is that most of us divert our attention from hat as said and "et stuc! on how the messa"e as delivered or on our relationship ith the person ho said it. Those thou"hts and feelin"s are not of much use to us, but they are certainly rivetin". This mana"er is someone ho has %ud"ed us or hurt us or someone e>d hoped to impress hom e>ve disappointed. ,e orry about the relationship, feel embarrassed, disli!ed or outra"ed. ,e focus on the impact of the ne"ative observation? ill it affect the next promotion, the annual bonus or even the %ob itselfB ,e ste over a boss> obvious biases, compete ith office favorites ho receive free passes for the very fla s for hich e have been chastised. 'nd e suffer ay out of proportion to the boss> ne"ative observation because on some level it is as if e have disappointed Cad or let do n 9om, and e are as self@loathin" or infuriated as the day e brou"ht home the bad report card. )ome emotional focus on the boss ho delivered a hurtful assessment or on the real %ob impact of a critical revie is, of course, unavoidable. *n the case of serious disa"reement, you ill need to follo hatever corporate "rievance procedures apply to your situation. 2ut most of the time your tas! is somethin" more internal. +ou need to stop focusin" on the messen"er, stop frettin" over the %ob threat and ta!e a clear@eyed loo! at yourself. The alchemy that turns the bitter dross of ne"ative feedbac! into the "old of professional development is purely from ithin. That>s hy it>s so important to move beyond the .uestion of hat your boss thin!s and on to hat you thin! and ho you can use the ne"ative information to your o n advanta"e. 'nd you canD smart professionals do. 2ut first they have to "et past the hurt, an"ry feelin"s. Eive yourself a maximum of F2 hours to sul!. +ou can complain to your mate, thin! mean thou"hts about your mana"er $but never express them aloud& or do hatever else you do hen your feelin"s are hurt. Then start thin!in" more rationally. To use the ne"ative feedbac! productively, as! yourself three !ey .uestions: ,hat part of this is trueB

Have * ever heard this beforeB ,hat ould * have to "ive up if * chan"edB The ans ers on>t necessarily come easily, but your thin!in" ill be directed to ard professional development, and that>s hat>s in this self@searchin" process for you. 9a!e your move past hurt and an"er easier by rememberin" criticism>s secret compliment: *t comes most readily hen you are movin" up. )tay in one safe %ob and the chances are that if they haven>t fired you, they li!e hat you do. 's you move out and up, your role shifts, and you matter more. The more you matter, the more mana"ers ill try to polish your assets and file your rou"h ed"es. *f you learn to ta!e the buffin" ith a smile and thou"htful effort, over time you ill shine.

Give as Good as You Get

*t>s not only difficult to "et ne"ative feedbac!, nobody li!es to "ive it either $ ell, a fe insecure sadists aside&. This is the case across the spectrum of po er. ,e are universally reluctant to tri""er the hurt feelin"s, an"ry defenses or counter attac!s that criticism so fre.uently arouses. 6f course, you !no you need to avoid the hall ay rants and s eepin" "enerali-ations that ma!e ne"ative feedbac! more humiliatin" and less useful. 2eyond these basics, here are some "uidelines for this tric!y communication: G. 5air every ne"ative ith a positive: A+ou are an ama-in" problem solver, but you aren>t follo in" up ith the paper or!.A 2. Eive feedbac! on observable behavior only, don>t speculate on internal attitudes. H. 2e excruciatin"ly specific about both the problem and the expected solution: A,hen you do I, it creates problem +. Next time, try this instead... A 4. 1xtend yourself to maintain the relationship. 'fter criticism, people ithdra . =ounter that by ma!in" friendly conversation. J. 4emember, re ard is the most po erful chan"e a"ent. Eo li"htly over hat>s ron" and be heavy@handed ith hat>s or!in" or ill or! in the future. Hi"hli"hts: Ne"ative feedbac! is usually a si"n of movin" up. 'uthor: 3udith )ills KGL Eettin" ne"ative feedbac! never feels "ood, but you can learn to use it to your o n advanta"e. 2esides, it>s usually a si"n that you>re movin" up. =opyri"ht +ear:

200F ,ord =ount: GG9F 9a"a-ine *ssue: 3uly 200M K2L 5ublication Cate: 3uly G, 200M 1ditors 5ic!: 01ditors 5ic! 1xclude From 9ost 5opular: *ncluded in most popular )yndicate: 'vailable for syndication 5rimary ,eb9C I5E: GMMH: depression Ceprecated Title 'bbrev: =riticism 5T I9N Filename: pto@200M0F2G@000002.xml 5T *C: 4GH0

C$'(T)*CTI+, C)ITICI(-% A T$$. /$) I-0)$+,-,'T by 71N 51T41)) =onstructive criticism is defined as helpful su""estions ith socio@emotional implications. ' rationale for the "ivin" of and the reception of constructive criticism are offered. =ritics and critical recipients are encoura"ed to or! as a teamD both responsible, in their o n ay, for ho criticism is received and interpreted. )u""estions for critics on ho to usefully phrase criticism and su""estions for receivers on ho to demonstrate appropriate interpretation of criticism are offered. 'll of us render %ud"ments about others> beliefs, values, and behaviors. )ome of our %ud"ments are ell thou"ht outD yet, others are more spontaneously offered. 't times, %ud"ments are made Knot al ays intentionallyL to belittle or demean receivers. 6ther %ud"ments seem rendered to ma!e critics appear superior or po erful rather than to support or enhance receivers. =onstructive criticism is %ud"ement "iven for the purposes of: $a& offerin" receivers external vie s of their performance to compare ith self oriented vie s of their or!D $b& helpin" the receiver reco"ni-e or interpret ays to improve past performances and;or ays to improve on future attemptsD $c& demonstratin" to receivers that their efforts merit %ud"ment Kas opposed to bein" i"nored or distortedLD $4& sho in" "enuine interest and appreciation for a receiver>s effortD and $J& bein" encoura"in", affirmin", and supportive for the purpose of buildin" confidence. 'n example of this !ind of constructive criticism came from a collea"ue hom *

as!ed to revie a first draft of this essay. 9y collea"ue commented: A... The ideas discussed in the essay seem useful to our students. * ould su""est some further specific examples as "iven Kin a specific essay sectionL.A This su""estion pointed out a potential deficiency hile addin" a perceived positive vie of the or!. ' less constructive criticism of the ritin" could have been phrased: A+ou don>t use enou"h examples.A ,hile the content dimension of constructive criticism is vitally important, context, real or attributed motives for criticism, and timin" also carry considerable ei"ht. =ritics need to carefully consider %ud"ment context. 2y offerin" assessments publicly, in too loud or harsh a voice, in a condescendin" tone, or inappropriately %uxtaposed ith non@related messa"es, critics may diminish, contradict, or obfuscate ell meant criticism. =onstructively offered criticism, to be more li!ely interpreted positively by receivers, must be produced in a voice that conveys "enuineness and sincerity or it li!ely ill fail and be interpreted as insincere and not "enuine. Ni!e all our messa"es, criticism needs to be prudently timed. =riticism "iven tardily, prematurely, or too rapidly can predictably lessen a receiver>s appreciation for the %ud"ment. 9y dissertation advisor as a master critic. He mana"ed to phrase most positive comments by su""estin" they ere personal attributes hile phrasin" or! that needed improvement as or! .ualities rather than author characteristics. He phrased his comments as means to improve both the immediate product Kmy dissertationL and my lon" term ritin" and research s!ills. His criticism as specific KdetailedL rather than "eneral or va"ue. 4ather than su""estin" * Ause fe er prepositional phrases,A he mi"ht comment: AHave you considered the benefit to readers of bein" more direct in your ritin"BA 5erceived shortcomin"s in my or! ere relayed to me privatelyD they ere offered as su""estions rather than demands and ere offered in an encoura"in" tone of voice. ,hen ritten comments ere offered, my advisor inevitably interspersed positive comments amon" the constructive su""estions for chan"e. =ritical phrasin" and style can enhance or hinder critical reception. =ritical provisionalism usually aids in reception. ' statement such as: A*t mi"ht be helpful if you considered ta!in" a "eneral stance here rather than sta!in" out exclusively personal positionsA ould usually be preferred over: A+ou ta!e too many personal positionsD try more "eneral ones.A 7eepin" criticism focused on ideas, values, or behaviors, not on the performer, is stron"ly ur"ed. 3ud"ments of others> personhood usually is not constructive. )o far, this criticism discussion has primarily focused on the critic. 4eceivers, too, must play a complementary role to the critic for criticism to be optimally useful. 4eceivers must resist bein" do"matic, ri"id, or overly e"o involved ith their or!. Co"matism includes characteristics of: imperiousness, stubbornness, and superiority. 4i"idness is manifested by an un illin"ness to chan"e, adapt, or embrace flexibility. )uperiority is seen hen others> %ud"ments are i"nored, dismissed, or evaded based on the receiver>s assumption that the person hose or! is bein" criti.ued !no s better than any critic$s&. Too often, people instantly re%ect an idea, phrasin", or strate"y ithout truly listenin" attentively to the entire comment. )ometimes, critical receivers hear hat they ant to hear or hat they expect to hear rather than hat as, in fact, said. This is hy tone and perceived critical motive are crucial: to allo "reater opportunity to calmly listen

to criticism. )ometimes critical dicourse results in statements li!e: AThis is not hat * ant to doA hen offered su""estions. 'll su""estions do not have to be follo edD ho ever, hen the critic is a thou"htful, representative member of your eventual audience, it is ise to "ive added ei"ht to implicit messa"es that your premise, intention, or strate"y may be fla ed. 4emember, your or! needs to be audience centeredD and hat you ant to do or ho you plan to do it ill be ineffective if they are not consonant ith audience needs, expectations, and abilities. *f one as!s for criticism, that re.uest needs to be honestly sou"ht and "raciously received. 4eceivers are never obli"ed to alter their beliefs, values, or behaviorsD criticism is to be offered, not forced upon receivers. 4eceivers, li!e critics, need to pay attention to the tone, timin", and context of the critical act. =onstructive criticism, in its best sense, is a ay to solicit and provide others ith measures of success, ith ays to improve on past or future performances, and ith affirmation, support, and encoura"ement. Ouality constructive criticism implicitly reco"ni-es orth in receivers> or!D it also builds a positive "ood ill bond hen improvement assistance and support are offeredD and it adds to performers> credibility by demonstratin" illin"ness to adapt, to be flexible, and to be concerned ith audience expectations and needs. =riticism is vital to build a reciprocal, symbiotic, and respectful community. =ritics need to be honest, direct, and civilD receivers need to be flexible, adaptable, and audience centered. ,hen these .ualities are present, idea sharin" is indeed pleasurable and utilitarian. C4. 71N 51T41)) Pniversity of 9aine at 5res.ue *sle @G@ Ouestia 9edia 'merica, *nc. www..uestia.com 0u!lication Information% 'rticle Title: =onstructive =riticism: ' Tool for *mprovement. =ontributors: 7en 5etress @ author. 3ournal Title: =olle"e )tudent 3ournal. Qolume: H4. *ssue: H. 5ublication +ear: 2000. 5a"e Number: 4FJ. =65+4*EHT 2000 5ro%ect *nnovation $'labama&D =65+4*EHT 2002 Eale Eroup

Talkin1 12out 3riting% &ow to 4iscuss a Colleague1s 3riting 3hile 0reserving 5our 3orking )elationship an Career. by 3ames 2ell 5icture this: +ou>re eatin" lunch at your des! and a head po!es into your door ay. *t>s a collea"ue as!in" you to ta!e a loo! at a report he>s ritten before he turns it in to the boss. +ou !no he ants constructive criticism to help him improve the document, but you don>t !no exactly ho to "ive it to him. +ou don>t ant to ris! offendin" him if he doesn>t li!e your su""estions, but you can>t refuse to loo! over the report either. =hances are you>ve been in that situation, hether you>re someone collea"ues trust for feedbac! or a mana"er revie in" your staff>s or!. The .uestion is, ho do you

respond in a ay that helps the person develop as a riter and preserves your or!in" relationshipB 'lthou"h there isn>t one best ay to criti.ue someone>s ritin", there are some "eneral "uidelines. Here>s ho to offer effective feedbac! ithout steppin" too hard on the riter>s toes. =larify the "oal. ' re.uest to revie ritin" can come in many forms. )ome examples: ,ould you ta!e a loo! at thisB ,hat should * put in this sectionB *s this hat you antedB 2efore you offer feedbac!, you must determine your purpose. *n all cases, you probably ant the ritin" to communicate effectively, adhere to company standards, and uphold a positive ima"e of the company. 2ut hich "oal do you ant to emphasi-e: editin" the text or improvin" the riterB *f you focus on correctin" the text, the document ill improve but the riter probably on>t. He may not understand the corrections, be over helmed by the number and variety of errors, and learn, above all else, that you>re a "ood riter and should do all future editin". *f, ho ever, your ob%ective is to help the person become a better riter, then you have a much more interestin" but difficult %ob to do. ,e>ll assume the latter purpose. 9eet. 9eet ith the riter at least briefly. ,ritten comments are impersonal, open to misunderstandin", and leave little opportunity for the riter to clarify her meanin". +ou can re.uest the document before you meet, or, if it>s short, read it on the spot. Try to lessen the riter>s anxiety. He may fear harsh criticism and orry about loo!in" incompetent, especially if you>re his mana"er. Here are some tips to lo er the anxiety. R 5ut the riter in char"e. 's!, ,hat>s the main thin" you>d li!e me to loo! atB That emphasi-es a crucial ritin" s!ill: self@evaluation. *t also conveys that the riter is responsible for the document and shouldn>t expect you to clean it up. *f the riter replies, ANoo! for everythin",A say, A* can>t read for everythin" at once. Co you thin! * should focus on content, or"ani-ation, sentence structure, "rammar and mechanics, or somethin" elseBA That list offers the riter a useful hierarchy of concerns. For instance, there>s no point fixin" "rammar or punctuation errors in a para"raph that ill be deleted hen the riter reconsiders content. R '"ree on hat ill happen. )tate the ob%ective for the meetin" and ho you>ll both achieve it. For example, A*>ll read to see hether you have enou"h support for the purchase re.uests. *f * a"ree that there mi"ht not be enou"h support, e can brainstorm more ideas.A 't the same time, you may ant to say hat you on>t do. For example, A* !no you have the company style manual, so * on>t loo! for formattin" problems. +ou can catch those.A R Tal! less about hat>s ri"ht and ron" and more about hat>s appropriate, acceptable, or inappropriate. For example, in this sentence, 'fter the latest chan"es, e have less assembly@line problems, less should be fe er because problems are countable. Ho ever, it ill be more useful for the riter if you discuss ho the sentence may be acceptable in an email messa"e bet een t o cre bosses but inappropriate for the company>s annual report. R Eive reader@type responses rather than expert %ud"ments. *nstead of sayin", A+ou should move this sentence from the bottom of the para"raph up to the top because it>s your main idea,A say, A,hen * as readin" this para"raph, * didn>t !no here it as

"oin" until the last sentence, hich * thin! is the main idea.A The first comment invo!es either ac.uiescence or ar"ument from the riter. The second comment invites discussion and, ultimately, leaves the decision ith the riter. R Focus on %ust a fe thin"s each pass. 4esist the temptation to dry@clean the paper and ma!e it come out exactly the ay you ant. =orrectin" every technical and stylistic error ill over helm the riter and put you in the position of editor. *nstead, teach your riters to edit their o n or!. R Try to point out somethin" positive about the ritin", ma!in" your praise as lon" and detailed as your most in@depth criticism. The employee ill li!ely repeat that element in his or her next ritin" pro%ect. R Cispel the myth that people either can rite or can>t rite, and if they can rite, then they can rite anythin". =ompetent ritin" can be learned and is a process of "radual improvement. 1nsure that your riters !no that even professional riters must !eep sharpenin" their s!ills. R =reate a climate in hich sharin" ritin" is natural. 's!in" other mana"ers or staff for feedbac! on your ritin" spea!s louder than ords. )tructure the meetin" for success. The follo in" steps facilitate productive tal! about ritin". R )tep G: 's! the riter hat to focus on and hat .uestions she or he has. R )tep 2: 4ead silently. R )tep H: 2riefly ans er the riter>s .uestions. )u""est an ob%ective@@not hat you>ll do but hat the riter ill be able to do by the end of the meetin". Then, state ho the t o of you mi"ht accomplish the ob%ective and as! hether the riter a"rees. 'lthou"h that process may sound cumbersome, it needn>t ta!e lon". Here>s an example: A* a"ree that there>s not enou"h support for the purchase re.uest if it>s "oin" to the vice president. 6ne ay e could address that is by brainstormin". Coes that sound li!e a "ood approach to youBA 4ather than collaboratin" on brainstormin", some riters may prefer to revise based on a model that you create. 6thers mi"ht ant you to as! .uestions to help them "enerate ideas. +ou can tailor your approach accordin" to the riter>s preference. R )tep 4: No that you>ve focused on the riter>s chief concern, address one area you consider crucial. The typical hierarchy of concerns stipulates that once the content is sound, you can address or"ani-ationD once that>s lo"ical, you can address sentence structureD and once sentences are in shape, you can address "rammar, mechanics, and punctuation. R )tep J: =onclude by as!in" hat the riter ill do next. That chec!s her understandin" and clarifies the pro"ress of the document. *f the ritin" has to be perfect technically, you can as! to see it a final time. 'lthou"h you may be a more experienced riter than the person as!in" you to revie , you don>t need to re rite even a small part. Pse these steps to create better riters@@ hich ill serve your and the riter>s purposes better in the lon" run. 3ames 2ell is sole proprietor of 2ell 1ducation and =onsultin" in 2rtish =olumbia, =anadaD %imGGbSyahoo.ca. )end submissions to +our =areer, TTC, GM40 7in" )treet, 2ox G44H, 'lexandria, Q' 22H GH@204HD yourcareerSastd.or".

@G@ Ouestia 9edia 'merica, *nc. www..uestia.com 0u!lication Information% 'rticle Title: Tal!in> >2out ,ritin": Ho to Ciscuss a =ollea"ue>s ,ritin" ,hile 5reservin" +our ,or!in" 4elationship and =areer. =ontributors: 3ames 2ell @ author. 9a"a-ine Title: TUC. Qolume: JM. *ssue: G2. 5ublication Cate: Cecember 2002. 5a"e Number: JFT. =65+4*EHT 2002 'merican )ociety for Trainin" U Cevelopment, *nc.D =65+4*EHT 2004 Eale Eroup