Audience Fit
Audience Fit
Tone encompasses the way in which words are strung together to create meaning and evoke a particular attitude or feeling. Tone is where style affects purpose. Writing has a sound, a flavor. Word choice (diction) and the way a sentence is arranged (syntax) not only shape the meaning and intent of a text, but also affect how a reader takes it in.
Tone is less about what is being said, and more about how it is being said. What effect does the writing have on the reader? Tones vary immensely. Will the writing be assertive or self-deprecating? Joyous or sad? A piece of writing can be cool, professional, and impersonal, or it can be warm, casual, and personal. The first type might be suitable for an academic essay and the latter for a letter or blog post. Sentences can be long, flowing, and lyrical, or they can be short, crisp, and acerbic. The choices are infinite, and each choice will help shape the writing and its impact on the reader.
It is necessary, when editing for tone, to think about and understand the audience. Who is going to be reading this piece of writing? Is the tone appropriate for the audience? A bubbly and happy-go-lucky tone might be perfect in a personal email, but in an engineering dissertation? Well, it will most likely be less effective. Understanding the audience will help you to effectively shape a piece of writing.
Once you understand the audience, you can make editorial changes in the tone that make the writing more suitable for the intended audience. Is the word choice too advanced for a young audience? Simpler words can be selected to replace complex, Latin-derived words. Is the tone too rambling and digressive for an academic essay? Shorter, more concise sentences can be constructed to quickly pinpoint key meanings in the text. Is the language too flat and dull for a piece of fiction? More expressive and emotive language can be found to add life and personality to the writer's voice. Effective writing often has to do with the suitability of tone.
There are many kinds of audiences. The tricky thing is that no audience is entirely homogenous, and no writing can make everyone happy. Even if you manage to target something to an extremely specific audience, there's no guarantee that everyone will embrace your work.
While you can't please all the people all the time, there is a general set of criteria most of the reading audience will use to evaluate the text. Let's look at some of these general principles and try to strengthen your ability to identify target audiences. After all, correctly identifying and targeting the central audience for a piece of writing can help make the largest number of people—and the right people—happy.
To start us off, an initial distinction needs to be made. Is the text for an academic or nonacademic audience?
Academic writing has a number of conventions of its own, and knowing the idiosyncrasies of the various writing styles in academic circles will help hone your ability to edit academic writing efficiently and accurately. You can identify idiosyncrasies by considering the audience.
Teacher
The primary audience for academic work written by students is typically a teacher or professor. When editing, consider how every teacher has different expectations. What does this specific teacher want? If the teacher is the audience, and the goal is to satisfy this audience, it is helpful to know what he or she is looking for.
Most instructors will provide a handout devoted to the requirements of an essay, but there are a few requirements that nearly all instructors will give to students.
Write as though your audience is intelligent and understands most general topics but is unfamiliar with the specific subject of the text you are preparing. Following this simple principle will ensure that the text provides ample explanation when specific terms or ideas are used, and it will ensure that the writer will not provide too much exposition. This will demonstrate to the audience (the instructor) that the writer knows how to address a topic confidently without over-explanation.
If the document at hand is not a personal essay, use as much impersonal language as possible. This may seem obvious, but many people would be astonished at how often students use personal language and observations in a supposedly objective document. Using impersonal language will demonstrate to the audience that the writer's knowledge of the subject is driven by an objective set of facts about the subject and that there is no emotional (and thus intellectually dangerous) attachment to one side of the discussion that will preclude objectivity.
If the document at hand is a personal essay, make doubly sure your text is organized. This may seem quite obvious as well, but many students feel as though personal writing somehow has no form. They often feel like they can scatter their thoughts over a series of pages and that it will be accepted as "good" personal writing. But this is not the case. Even successful writers of memoirs, memoirs that use non-conventional time jumps and non-conventional language, spend years developing their craft. If something seems disorganized but still functions as a cohesive whole, the author has probably practiced his or her craft exhaustively to be able to write such a narrative.
An organized text, whether personal or impersonal, will always be easier for an audience to understand and synthesize. And a well-organized text will demonstrate to your audience that you have a firm grip on the subject you are writing about and demonstrate that you are confident in your knowledge of the subject.
Field of study
Often the audience is not a specific person, but rather a group of potential readers in a field of study. Understanding the interests and wants of this audience can help shape the writing, as can following the conventions within the particular field of study.
What is typical and expected within this field? Consider other literature on the subject you are working with. Make sure not to underestimate, or overestimate, the audience.
Other writing will fall under non-academic writing. This is a huge category, encompassing many forms and many audiences, defined more by what it isn't than what it is. But much like academic writing, reviewing the subject you are working with will greatly help you narrow the target audience. Consider genre.
Let's say you are working with a science-fiction novel. While you cannot be guaranteed that all science-fiction fans will enjoy the work, you can ensure that a large percentage of them will if you follow the conventions of the genre. Science fiction is differentiated from fantasy because it is grounded in the idea that at some point in the future, we will develop science to an extent that, right now, seems magical. But it cannot literally be magical. If you are editing a futuristic science-fiction thriller and dragons and wizards make an appearance, you may need to suggest a change to the story lest the audience rebel.
The process of editing to the genre can be practiced with all types of non-academic writing. Further analysis will be necessary to pinpoint the specifics of the audience. But whether you are editing a memoir or a historical piece of nonfiction about the Irish population in Oklahoma, if you are editing writing for a non-academic audience, the text must be tailored in the same manner.
The reading level of the expected audience is important. If the reading level is misjudged, the writing will likely not be effective. If the reading level of the audience is far above the writing level, the audience will likely feel that the writer is talking down to them, treating them as if they are less intelligent than they are, and this can be offensive.
If the reading level of the audience is well below that of the writing level, however, the result is simply confusion and incomprehension. And if readers don't understand, they certainly won't be satisfied.
An article written for children will be quite different than an article written for professional editors. "See Spot run" will engage small children but will likely annoy editors. "The Doberman had a weird sort of perambulation, all knees and slobber," however, might tickle the fancy of an editor or a reader of adult fiction, but it would likely be met with blank looks by most children. It is helpful to consider both diction and syntax in terms of the audience's reading level. Consider the following.
Are the chosen words appropriate?
Will they be understood?
Will they be engaging?
Are the sentences suitable for the audience?
Are the sentences too long or too short?
Are the sentences too complex or too simple?
Another thing to consider is whether the intended readers will be reading in their first language or not. English as a Second Language (ESL) readers will have their own concerns. Clarity is all-important. They may, for instance, have a very high understanding of the subject content, but struggle with the language that explains it. Consider the following.
Is the language simple and direct?
Is the language literal?
Are there any colloquial expressions, complex metaphors, idioms, and convoluted syntax that an ESL reader may not understand?
Does it stick to the point?
Writers and editors should be cognizant of the audience's level of knowledge concerning the subject at hand. The reader's knowledge level will shape how the writing speaks to them. An expert should not be lectured about the basics of their own field. At the same time, difficult jargon and terminology should not be used if the audience has no understanding of, or experience with, the subject. There are three basic ways of dividing audiences according to their level of knowledge, each relating to how the information will be used. These general categories are:
General knowledge and interest
Users
Experts and practitioners
Let's look at each of these in a little more detail.
General knowledge and general interest readers don't necessarily need the information, nor are they experts on the subject. They are reading because of personal curiosity, interest, or engagement. They need a clear introduction to the topic, and jargon, terminology, and complex ideas requiring previous knowledge should be kept to a minimum. The focus should be on engagement:
Why are these readers reading?
Why are they interested?
What do they want from this reading experience?
What will keep them reading?
Focus on capturing the reader's interest and avoid overwhelming them.
Users need the information being provided. The focus is less on being entertained or engaged and more on utility. They likely will not appreciate digressions and imprecision. They need particular information and would like it provided with clarity and organization. The focus should be on providing the necessary information to those who need it.
These types of documents tend to be hyper-organized. They provide extensive tables of contents, glossaries, and indexes. Diagrams have ample explanation and are properly referenced. Bibliographies provide exact references to information for further analysis. All the possible information may not appear in the text, but the reader should have no problems finding where additional information might be found.
Experts and practitioners are those who already have extensive knowledge on the subject or within the particular field. They will likely want to be treated as knowledgeable. Reviewing the basics and ideas that seem obvious to those with extensive experience will seem redundant and burdensome, and this will alienate the audience. This audience wants a deepening of their already extensive knowledge, with fresh insights or information that supports their needs, whether personal or professional. The focus should be on complexity, subtlety, and newness. Jargon can be used more liberally (though still with some kind of context or definition), and the text can engage deeply with complex aspects of the topic; there will be little fear of the audience wandering away to find something of lesser depth.
Sometimes the context of the reading, and the format it will be read in, can influence choices in the writing and editing stages.
Circumstances: Are there any specific circumstances under which the work will be read? For example, if it’s a paper that will be read at a conference, aspects such as the audience’s knowledge and expectations, a length requirement for the piece, its suitability for oral presentation, and the need for new insights must be taken into account, and adjustments made accordingly.
Genre/form/format of material: The genre, form, and format of the writing can also affect writing and editorial decisions because they can affect how the reader receives the words. Will they be read in a book? A newspaper? An online blog or article? A letter? Heard in a live reading? Consider the end product and how it can affect the reception of the writing. Are changes necessary to support the reading format?
When editing for tone, it is important to keep in mind the purposes of both the writer and the reader. The tone of the writing should reflect the writer's intent, as well as cater to the needs of the reader. When the tone is at odds with these two goals, the writing will be ineffective.
An editor should always consider what the writer is trying to do.
Are they preaching or teaching?
Are they looking to entertain?
Are they trying to be funny?
The tone should be analyzed with this in mind as well.
Does the tone reflect the writer's goals for the work?
If not, how can the tone be changed to better reflect the intent?
Every piece of writing is trying to create an effect, and the tone of the writing will play a large part in how well that effect is received. For example, if the writing is trying to evoke sadness, a happy and bubbly tone may not be appropriate; it will weaken the impact of the content and be jarring for the reader. Tone and content unity is important. Indeed, tone can become an integral part of the content and not merely a vehicle for it.
The purpose of the reader is also important.
Why are they reading?
Are they getting what they want?
If not, what can be done to change this?
Is the purpose of the audience at odds with the purpose of the writer?
How can they be brought together?
For example, if a reader comes to a humor blog expecting to read something funny and is instead met with an angry rant, well, they might be upset and disinclined to read more.
What sort of editorial changes can be made to mitigate this effect?
Changes in tone can affect readers. Poor choices will disturb readers, but good choices can help an audience appreciate what they are reading. Tone will affect how readers approach the writing, and this can be used to welcome and engage them.
It is important to have a clear understanding of the audience. Sometimes we make assumptions about an audience, and these may not be accurate. It is important to consider the audience carefully, and then question our assumptions. Are they accurate? What does this audience expect? What will appeal to them?
Many audiences will come to a piece of writing with expectations. These expectations will be based on the genre, form, and format of the writing, as well as the subject and (perhaps) the author. Failing to meet numerous expectations may put off the audience. An audience that expects a poignant tribute and instead finds crass jokes may be offended. These expectations may be geared toward the content or style, or both.
Do they have certain story or information expectations?
Are these needs met?
If needs are not met, how can they be met?
At the same time, the audience might have style expectations. Do they expect a simple, straightforward style, or a complex and expressive style? Failing to meet expectations can greatly affect the reception of a piece of writing. At the same time, going against expectations can sometimes help create something unique and vibrant. The key is to evaluate how best to reach, and appeal to, a particular audience.
Audience satisfaction often comes down to the appeal of the writing. But what makes a piece of writing appealing?
Appeal is the result of a combination of everything we've just covered. Does the material speak to the audience at the right level? Does it provide the information they need? Does the document do what it set out to do? Is its context and format appropriate? If the writing does all of this, the work will definitely be appealing.
When establishing tone, the first thing that an editor needs to do is identify the audience.
Are they academic or non-academic?
What is their reading level?
What is their knowledge level on the subject?
Next, the editor must consider the purpose of both the author and the audience.
Why is the author writing?
Why is the audience reading?
What expectations does the audience have?
How does the document appeal to the audience?
Asking these questions will get you well on your way to establishing the tone of a document.
Last Updated: 09/29/2022