Be Your Own Proofreader: 11 Errors to Avoid

Keep your writing polished — and save your proofreader’s red pen — by eliminating these 11 common errors.*

1. it’s vs. its
This often confuses people because we usually add an apostrophe “s” to indicate possession: the boy’s bicycle, the frogs’ legs, the baby’s bottle.

Not with “it,” though. It’s (with apostrophe) always means “it is.”

“Its” (no apostrophe) indicates possession, like his, hers, and its.

So: It’s better for your car if you change its oil every 5,000 miles.

2. you’re vs. your

Similar to it’s and its, misuse of you’re and your shows up far too often.

You’re always means “you are.”

Your indicates possession.

So: You’re welcome to bring your own bottle of wine to the restaurant.

3. that vs. which

Even good writers get confused by this one. (Is it “I like the beer that won the taste test”?  Or “I like the beer which won the taste test”? Or doesn’t it matter?)

It matters. I think people often choose “which” over “that” because they think it sounds fancier or more proper.

Here’s an easy way to remember: If you want to use “which” in this way, you need to add a comma before it. If the sentence still makes sense, “which” is the way to go.

Let’s try it with the earlier example.

“I like the beer, which won the taste test.” probably isn’t what you really mean. By using the comma and which, you are saying you like the beer (in general) and, oh, by the way, it won the taste test. The whole sentence is just awkward.

You probably meant to say you like a specific beer.

So:  I like the beer that won the taste test.

If you remember “which” is used to set something apart in a sentence and call attention to it, you’ll use it correctly.

So: The beer that won the taste test, which was conducted by master brewers, was also my favorite.

4. Overuse of “that”

Speaking of “that,” you can often eliminate it and your sentence will still make perfect sense.

So: I knew that I was wrong about that story, but only because the information that she gave me was wrong.

5. i.e., vs e.g.,

“i.e.,” is short for the Latin term id est, meaning “that is.” It should always have a comma after it. Add a comma before unless you’re using parentheses.

So: The milk was bad, i.e., rancid, so I threw it away.
Or: The milk was bad (i.e., rancid), so I threw it away.

“e.g.,”is short for the Latin term exempli gratia, meaning “for example.” The same comma rules apply.

So: Experiment with different cheeses (e.g., fontina, asiago, gorgonzola) instead of always reaching for the parmesan.

6. One word or two?
Many words you might think are two words or hyphenated are really one.  Here are some examples:

twofold, threefold

On the flip side, words you may think are one word are not:

health care
life cycle
road map

I wish I had an easy way to know which is which. Truth is, I frequently consult the dictionary on this topic.

7. One space after end punctuation

Many of us were taught to type two spaces between sentences and after colons. This is a carry-over from typewriter days, when fonts were not proportionally spaced. Each character took up the same space when typed, so using two spaces between sentences offered a break in the monotony and made for easier reading.

Fonts today are proportionally spaced, meaning a w is not the same width as an i, is not the same width as a 4, and so on. Two spaces are no longer needed.

Don’t believe me? Pick up any book or magazine. It uses only one space between sentences and after colons, and you can read it just fine.

It may take a bit to break yourself of the two-space habit, but it’s not that difficult. I have gone from typing two spaces (since learning to type in high school), to one space (at work 10 years later when I learned it was correct), back to two spaces (to meet my next employer’s incorrect house style), and finally back to one space. (I’ll never switch again.)

8. Apostrophes — using and “aiming”

The computer takes away any effort in typing apostrophes in contractions like can’t and won’t and it’s. Notice the apostrophe looks something like the number 9 on serif fonts like this one, and slants up and to the right on sans serif fonts (like Arial).

This same upward-right slant is the proper apostrophe to use whenever it takes the place of letters or numbers.

So: In the early ’90s, she was working as a waitress in a cocktail bar.
Or: The store encouraged us to “mix ’n’ match” sale items.

In some word processing programs, when you type a date like ’80s or ’90s, the computer will insert a single quotation mark facing the wrong way. Just position your cursor after that quote mark and type an apostrophe; it will be facing the proper way and you can just delete the wrong-facing one.

Oh, and remember not to add an apostrophe before the “s” when writing dates such as the 1880s or 1960s.

So: I was in my early 30s before I realized I had lived in the 1880s in a previous life.

Finally, if your apostrophes and quotation marks are straight up and down, you’re really typing foot and inch marks. Apostrophes and quotes should always be slanted or “curly.”

9. Consistency in using serial commas (or not)

A serial comma is the comma before “and” or “or” in a series.

So: He bought clams, shrimp, and saffron for the paella.

Depending on your “house style,” you may or may not use serial commas. If not, the sentence would be: He bought clams, shrimp and saffron for his paella.

My preference is to use serial commas, but some of my clients don’t. My job is to make sure they are consistent, either with or without. That’s your goal, too.

Note that even if you don’t normally use serial commas, complex sentences sometimes beg for them for easier reading. It’s okay to use them in these cases and eliminate them elsewhere in the same document.

So: His expertise includes a variety of electrical inventions, including those concerning consumer products, medical devices, software, wireless and wireline telephony and circuitry, and digital signal processing.

10. Forgetting a necessary “and”

Do you see anything wrong with this sentence?

We are experts at repairing broken drains, leaky faucets, and installing new plumbing.

It’s actually missing an “and.”

What the writer meant to say was that the company is expert at repairing broken drains and leaky faucets. It’s also expert at installing new plumbing.

So: We are experts at repairing broken drains and leaky faucets, and installing new plumbing.

11. Punctuation inside quotes (or not)

Basically, commas and periods go inside quotation marks, question marks sometimes go inside and sometimes outside, and all other punctuation goes outside.

So: We think our special recipe has just a hint of “magic.”
Is this paint “scarlet,” “ruby,” or “crimson”?
When he said, “Who cares?” I knew it was time to stop shopping.

Three qualities make up the Acme “difference”: know-how, speed, and price.
My favorite TV show is “The Office”; I never miss it.

These are just a few common errors I encounter when proofreading and editing. For an extremely helpful and entertaining refresher on many more aspects of grammar and good writing (and a great reference for your shelf), check out:

Woe Is I: The Grammarphobe’s Guide to Better English in Plain English
by Patricia T. O’Conner

And for a British twist (even Americans will enjoy):

Eats, Shoots & Leaves: The Zero Tolerance Approach to Punctuation
by Lynne Truss

Both are lively enough to read (willingly) on the plane, train, or over lunch and comprehensive enough to become a trusted resource.


Everyone needs an editor.
~Tim Foote
commenting in
Time magazine on the fact that
Hitler’s original title for
Mein Kampf was
Four-and-a-Half Years of Struggle against Lies, Stupidity, and Cowardice

* Note: These tips apply to American English — British English may handle some of them differently.


Leave a comment

Filed under Writing With Style

Writing the Book on Style

Determining what style, what “voice,” your organization will use is one hurdle. Using that voice consistently is another. How do you keep everyone who writes for your organization on the same page? And how do you keep your published materials looking and sounding professional?

One of the most valuable tools any organization can develop is an editorial style manual. In the same way an identity manual guides graphic designers in the proper way to use your company’s logo and lay out various types of publications to support your brand, an editorial style manual guides those who write for you, whether employees or external consultants.  It can cover topics as basic as the rules of grammar or as sophisticated as how to project your organization’s preferred voice, whether formal, conversational, instructional, friendly, wise, experienced, hip, academic, etc. Most manuals land somewhere in between.

The writing world already has a few style manuals that are considered “bibles.” The Chicago Manual of Style and The Associated Press Stylebook are the two most frequently used. Certain professions or academic disciplines follow their own style manuals, such as the APA and MLA manuals.

Your organization will probably choose to follow “Chicago Style” or “AP Style.” The biggest difference between the two (and I’m generalizing here) is that Chicago Style uses a “serial comma” (a comma after “and” and “or” in a series — for example, “Our company produces widgets, whatsits, and thingamajigs.”) and AP Style doesn’t (“Our company produces widgets, whatsits and thingamajigs.”)

AP Style, as you would expect, is a journalistic style used by newspapers and news magazines. If your company uses a PR firm or has writers with a journalism or PR background, they likely use AP Style. Every book you read, along with most special interest magazines and journals, uses Chicago Style.*

You will want to choose a style and stick to it! Then you can build your own manual based on that style. (Note that your PR department may always use AP Style, even if your company chooses Chicago Style for everything else.) You’ll also want to refer to a good dictionary, such as Merriam Webster’s Collegiate Dictionary or the online version.

In many ways, your manual will simply distill the information from Chicago or AP and the dictionary to address the most common areas of confusion for writers.

For example:

  • One word or two or hyphenated? — Healthcare or health care? Fundraising or fund-raising? Nonprofit or non-profit or not-for-profit?
  • Capitalization — Internet or internet? Web site or website? Vice President or vice president?
  • Punctuation — U.S. or US? Colon or semicolon? Whats and hows vs. do’s and don’ts
  • Dates and numbers — May 2 or May 2nd? Ten times or 10 times? 20 percent or 20%? (800) 555-1212 or 1-800-555-1212 or 800.555.1212?
  • Grammar issues — It’s or its? That or which? Comprise vs. Consist vs. Compose
  • Bulleted or numbered lists — Do you use a colon or a period before? Do you end each item with a period, a semicolon, or nothing?
  • Typographic issues — Italics or underlined or bold? Hyphen vs. en-dash vs. em-dash; One space between sentences and after colons, not two
  • Language preferences — OK to say “you” and “your”? Use of gender — he, she, s/he?
  • Company specifics — How to refer to particular divisions or subsidiaries; Language to avoid for legal or cultural reasons
  • Writing tips — Choose active vs. passive style; Vary sentence length; Avoid jargon

Some people may consider these trivial issues. But for many readers, inconsistency and grammar errors are at best a wince-inducer and at worst a sign of carelessness, unprofessionalism, and perhaps poor education.

A style manual needn’t be overly complex or time-consuming to develop or maintain. In fact, it should be a “living” document that you revise as questions arise. Enlist the help of your writers or proofreaders to start one — or simply keep a running list for yourself of how you’ve handled issues like those listed above. Obviously, a large company that generates a lot of written materials will require a more comprehensive style manual than a small nonprofit. One client I work with has an 80-page style manual, another a 7-page manual — both are helpful and effective.

The bottom line: You want your written materials to present your organization in the best possible light. An editorial style manual will help you do just that — simply, economically, and professionally.


I think of myself as a stylist, and stylists can
become notoriously obsessed with the
placing of a comma, the weight of a semicolon.
~ Truman Capote

* My preference is Chicago Style — I believe the millisecond it takes to add the serial comma eliminates any potential confusion when dealing with sentences more complicated than a simple “apples, peaches, and pears” series.

For example:

His expertise includes a variety of electrical inventions, including those concerning consumer products, medical devices, software, wireless and wireline telephony and digital signal processing.

I would rather avoid the second of confusion that arises at the end of that sentence, where “…wireless and wireline telephony and digital signal processing” run together. So if I choose to add a comma after “telephony” to avoid any confusion, why not just add the comma every time and never be confused?

Most law firms I work with use AP Style, which I find fascinating — attorneys are sticklers about clarity, yet favor a style that allows muddiness to creep in. Curious.

Leave a comment

Filed under Writing With Style

Newsletters — Read or Dead? Part III

In Parts I and II, we looked at what newsletters can do for your organization and what makes them successful…or not. To conclude, we’ll look at some of the many newsletter options as well as some alternatives when a newsletter isn’t the best fit.

An all-purpose “here’s what’s going on” newsletter is where many organizations start. It allows you to cover a variety of topics — often any topic — from highlighting particular projects to plugging a new product to publicizing employee happenings, the latest “we’re going green” initiative, or the company picnic. Organizations choosing this type of newsletter often set up ongoing features or departments (for example, a letter from the CEO, “News from the Shop Floor,” “Employee News,” “Ask the Expert,” and the like).

You can cover a lot of ground in a newsletter like this, and readers can take or leave what they like. Depending on your organization, though, you might consider the impact of a more targeted newsletter — targeted in terms of what you write about and who you send it to.

A software company may focus an “insider” newsletter on a particular product and send only to buyers of that product. A non-profit may highlight a particular program and send the newsletter to that program’s donors. A law firm may cover legal issues related to a particular audience — manufacturing clients, for example.

Targeted newsletters can even be internal to your company — one company I worked for published a newsletter just for employees. It was popular, and helpful to maintain the company’s sense of “family.”

One of my clients publishes a variety of internal (online) newsletters covering various aspects of the business, such as project “wins,” successful examples of interdepartmental cooperation on client projects, and explanations of new initiatives or specific market segments. Along with being informative for employees, the newsletters encourage specific, beneficial business practices, such as looking for opportunities to add value for clients by pulling in experts from other parts of the company.

Targeted newsletters can be short — a page or two, or even just one meaty, e-mailed story — and therefore require less effort. Another advantage — reader interest is likely to be high, assuming you target properly.

Even a poorly aimed newsletter occasionally hits the mark. I somehow got on a mailing list for a sales-focused newsletter — more specifically, how to grow your business by focusing on your sales force.  Every two weeks, it shows up in my e-mail. I could have stopped it long ago (since it offers the all-important opt-out option), but I’m rather impressed by it.  When I take the time to skim it (because I’ve written about sales-related topics and some of my clients have sales forces), the articles are consistently well-written and ring true. I admire the company’s ability to publish consistently and send consistent messages — it’s doing everything right. So I keep receiving it, and maybe someday I’ll be able to pass the company’s name along to a client, or refer to something published in the newsletter for a project.

Sometimes, though, your newsletter isn’t the best primary marketing venue for a particular topic. Ask yourself, is it really “news” or is it a meatier story you want to tell? Would someone skim it over morning coffee or lunch at their desk, or does it take more concentration? Is it important enough to deserve its own venue, its own splash, rather than a shared one?

Some stories, for a variety of reasons, are better off told in another way, perhaps a third-party publication (such as an industry journal), a targeted direct mail campaign, a podcast, or a press release. You can always cross-market by mentioning the article, podcast, etc. in the newsletter. We’ll look more at direct mail, published articles, and the like in future WordPlay at Work posts.

The Bottom Line: Are newsletters read or dead? I believe even in today’s information-saturated world, well-conceived, well-executed newsletters still have their place and the potential to be a positive force for your business. Think “current,” think “useful,” think “targeted” — and most of all, think about what matters to your readers. Don’t know? Ask them!


I have no fans. You know what I got? Customers.
~ Mickey Spillane

Leave a comment

Filed under Putting Writing to Work

Newsletters — Read or Dead? Part II

Last time, we looked at what newsletters can do for your business. Now let’s look at what makes them successful…or not.

These qualities are key:

Consistent. The newsletter is published regularly (monthly, bimonthly, quarterly, biannually) and has been through several cycles. Readers have learned to recognize and expect it.

Consistency must be your goal if you’re starting from scratch — commit to seeing it through for at least two years. If you’re anticipating monthly , bimonthly, or even quarterly releases, realize this can be a brutal schedule, depending on the scope of your effort and what else is on your plate. Are you sure you’re up for it? Map out at least a few issues ahead to see if you can sustain it.

Targeted. The publisher knows its audience and what interests it, and tailors the newsletter accordingly. For example, I wrote for a software reseller’s newsletter, targeted to professionals in the IT industry. All of the articles focused on IT-related products and issues. Many other types of newsletters are possible and can be successful. We’ll talk more about those in Part III.

How well do you know your clients and their interests? Consider conducting a pre-launch survey to test potential topics (or even the idea of a newsletter at all) if you’re unsure.

Anticipated. Readers look forward to receiving the newsletter, for whatever reason. Maybe because it provides valuable information they can use on the job; maybe because they’re interested in what else your business is working on; maybe because you include an “Ask the Expert” section or FAQs they like to read.

How do you know readers anticipate it? You ask them, or they’ve told you unsolicited. Again, a survey can be helpful to see what sections or features they value (or would like to see) most.

Timely. It’s called a “news”letter for a reason. I wouldn’t use a newsletter to publish articles that aren’t tied to something current — there are other, better options  if you want to talk about certain topics in general.

What do you want to cover in your newsletter? If it’s “new” or “upcoming” or “hot off the press” or has very recently happened, it’s newsletter-worthy. Otherwise, consider other ways to spread the word. I’ll mention some of these in Part III.

Easy to read. This doesn’t mean the newsletter needs a fancy layout and full-color graphics. Simple use of text formatting can make a newsletter easy to read (like this one, for example).

Even if you intend to handle layout in-house, invest in having a professional graphic designer evaluate your proposed design or design a template for you. Even simple changes in fonts, type size and style, line spacing, and the like can make a significant improvement.

Respectful. By this I mean respectful of readers’ time, offering the ability to opt out of receiving further issues or the choice to receive by e-mail instead of regular mail (if the newsletter is printed at all).

Whether you publish in print or electronically depends on your audience, of course. Are they Web-savvy? Do they have online access at work? Cost is another consideration — is it worth it for you to print?

Appropriate. I regularly receive an oversized, full-color newsletter in the mail from my health insurer, and it never fails to annoy me. It offers no option to discontinue it, or receive it online, and all I can think about is my monthly premiums funding it — twice, because my husband receives the same one and both arrive together (and neither of us gives it more than a cursory glance, if that). Similarly, I just received a full-color magazine of sorts from a charity I supported last year — a less deluxe publication would have seemed a more appropriate use of donors’ funds.

First, be sure a newsletter makes sense given your organization and audience. Then, be sure it sends the right message. Glossy or low-key? Fun or strictly business? Creative? Elegant? Bold? As with all of your marketing materials, the newsletter should express and support your brandand have a clear raison d’être that doesn’t leave readers puzzled, or worse, annoyed.

Next time, in Part III, we’ll finish up by looking at different types of newsletters and some of the other publishing options when a newsletter isn’t quite right.


I try to leave out the parts that people skip.
~ Elmore Leonard


Filed under Putting Writing to Work

Newsletters — Read or Dead? Part I

Over the years, I’ve edited, written for, and proofread dozens of newsletters for my employers and clients. And, like you, I’ve been on the receiving end of newsletters from various organizations. Some of these have been successful; some haven’t. Here’s why.

First, let’s consider what a newsletter can do for your business.

  • Regularly keep you in front of clients.
  • Position you as an expert in your field, highlighting your accomplishments and allowing you to share your expertise with others.
  • Add value to your clients beyond your normal relationship, giving them information or interpretation they might not get elsewhere.
  • Boost client morale by featuring them in articles or inviting them to be guest authors — and by making them feel good they do business with such an accomplished organization.
  • Boost employee morale by touting their accomplishments or giving them by-line opportunities.
  • Educate, inform, entertain (maybe all 3).

Notice I didn’t say, “Make you money.” Although there’s no reason why a newsletter can’t do that, too, by helping you build customer loyalty and attract new customers, I wouldn’t start a newsletter simply as a money-making tool.  (Unless, of course, you intend to sell the newsletter, á la  Kiplinger, The Motley Fool, or the Harvard Health Letter. That’s a whole other ballgame.) Newsletters are generally a marketing tool or an information tool; making money off them is secondary for most organizations.

Newsletters also have the potential to annoy, send the wrong message, and waste time and money.

Next time, we’ll look at what makes newsletters successful…or not.


You can write about anything, and if you write
well enough, even the reader with no intrinsic
interest in the subject will become involved.
~ Tracy Kidder

Leave a comment

Filed under Putting Writing to Work

Plain English or Just Plain?

The Plain English movement has been around in earnest since the 1970s, some say even earlier. It advocates writing in a clear, nontechnical style, free of jargon and long-windedness. It’s a beautiful thing.

Plain English turns this:


Into this:

You should rely only on the information contained in this document or that we have referred you to. We have not authorized anyone to provide you with information that is different.

*Example from A Plain English Handbook: How to Write Clear SEC Disclosure Documents.

What I don’t think Plain English means, though, is that everything you write needs to be, well, plain. Certainly, what you’re writing and for whom should dictate the tone and your word choice: An instruction manual, a complaint letter, a company newsletter story, and an article for a business journal have different requirements. At all times, your writing should be clear and easy for the reader to follow. That doesn’t mean it has to be plain.

You can write clearly without sacrificing style or shying away from words that are out of the ordinary. The English language is rich and varied, with a plethora of words to capture and express precise meanings and subtle nuances. Perhaps most importantly, the words you choose set the tone of your writing and give it life.

It’s fine to choose simple, everyday words if your goal is informality and you feel that approach will resonate with your audience. But in other contexts, don’t be afraid to add an odd word or write more formally, even if it might make readers pause for a moment. They might have to glean a word’s meaning from the context of the sentence, or maybe even look it up. While too much of that gets tiresome, I never object to learning a new word or two as I go along — your readers won’t either.

Think about how refreshing it is to read something that takes a stand. Are employees interested in the new recycling program or has it actually galvanized them as a team? Did the technology change the way the organization works or transform it?

A word can create emphasis  simply because it is less common — it’s obvious you chose it for a reason. The turnaround wasn’t surprising, it was astounding. The extra step didn’t slow the process, it stymied it. Last year wasn’t just a challenging one for the industry, it was abysmal.

Many years ago, I worked at a local historical society whose approach to writing exhibit labels was to write for an 8th-grade reading level. I never understood that practice. It seemed to short-change both the topics and the readers — and felt like talking down to people. The majority of our visitors were adults, not pre-teens.

The Bottom Line: Why not give the audience the benefit of the doubt? Use the broad array of words at your disposal to make even Plain English interesting and engaging.


The difference between the right word and the nearly right word
is the same as that between the lightning and the lightning bug.
~ Mark Twain

Leave a comment

Filed under Writing With Style

The Right Way to Write by Committee

Most of my projects involve some form of “writing by committee.” Despite the bad connotation, it doesn’t have to mean writing that takes forever, is watered down, reads poorly, and ultimately doesn’t do the topic justice.

Unless my client is a one-person shop,  I might have two, five, or a dozen people giving up-front input before I write, reviewing drafts, and providing feedback. Even when I work with a client one-on-one, the graphic designer often weighs in on content issues. Having the benefit of multiple perspectives, different areas of expertise, and various levels of subject matter knowledge can lead to a stronger finished product…if you follow a few ground rules.

Every committee needs a Chair — appoint one. Divergent and conflicting opinions and feedback are common when multiple reviewers are involved. To keep the project moving — and keep the peace — one person needs to have final say. That may be the person with the most subject matter knowledge, the most seniority, the most marketing experience, or the most stake in the project.  The important thing is to have someone responsible for making the call (who isn’t afraid to make it).

Set and keep deadlines. More people involved means more opportunity for individual schedules to get in the way of the project schedule. Make it clear that people need to provide their input on time, not only to keep the project moving, but also to avoid having last-minute feedback undo work that’s already been done.

Don’t sweat the small stuff. No, it’s really not all small stuff, but some of it is. Someone doesn’t want to use contractions, another prefers to have this paragraph come before that one, one person out of five doesn’t understand a sentence or like a wording choice. Issues like these are best left to your writer to manage. We’re used to dealing with tone, grammar, style, content structure, and the like, and will be able to make the right call.  If it turns out to be politically necessary to accept certain feedback, just let us know — we’re used to rolling with that reality, too, and can help ensure the need to be PC doesn’t result in bad writing.

Agree to disagree. Writing, like art, is subjective. One person’s Treasure Island is another person’s so-so book about pirates. Someone is probably not going to like some of your choices. That’s fine, as long as the majority of reviewers think the writing is effective and the project is on track. Unless, of course, the unhappy “someone” has the power to pull the plug. In that case…

Head off the eleventh-hour veto. Projects often take on a life of their own. The team gets busy, works hard, and produces a draft, then another, then a “final.” Then it goes to the power-that-be for sign-off. Waiting to get a thumbs-up at this late stage is risky — I’ve seen projects derailed and a lot of effort wasted because someone at the top is surprised by the way something turned out.  Better practice is to avoid a late-stage veto by getting buy-in up front and maybe along the way as well. A quick conversation to discuss an outline, share a first draft, or confirm a change of direction can go a long way to avoiding problems later on. Sure, the boss is busy — that’s why he or she delegates to you — but most bosses I know hate wasted effort (and time and money) more than they hate the occasional “just wanted to check in” interruption.

Keep the momentum going. Getting the words down on paper is a big step, but not the last step. This is where the graphic designer comes in, takes the raw text,  and creates a layout. For those on the team who don’t create marketing materials all the time, this is also where the Word doc finally starts to make sense. Writing and design go hand-in-hand. It’s important to keep your writer involved at this stage — we had a vision for the content structure from the beginning and need to be able to work with the designer to ensure the design supports the information. Whether the full committee stays involved at this stage is your call — designing by committee is as tricky as writing by committee. But surely many of the same ground rules apply — the Chair manages feedback, the designer has final say on design issues, the power-that-be needs to be on board before the design is final.

Celebrate the birth. When you have the finished product in hand (or in PDF, as is often the case these days), acknowledge the committee’s contributions and thank them for their help. It’s a simple way to set a positive tone for the next project — and it’s always the right thing to do. Oh, and one last thing. Before you archive the project folder, jot down any lessons learned — was there a glitch that caused delays, a process that could have gone better, a procedure that worked really well? Set yourself up now for a smoother collaboration next time.


No passion in the world is equal to
the passion to alter someone else’s draft.
~ H. G. Wells

Leave a comment

Filed under Getting It Done