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8 Chapter 8: Feedback in the Writing Process

“Criticism may not be agreeable, but it is necessary. It fulfills the same function as pain in the human body. It calls attention to an unhealthy state of things.”

—Winston Churchill

“Any fool can criticize, condemn, and complain but it takes character and self control to be understanding and forgiving.”

—Dale Carnegie

“He has a right to criticize, who has a heart to help.”

—Abraham Lincoln

“Speaking is silver, listening is gold.”

—Turkish proverb

Getting Started

Introductory Exercises

  1. Find an article from a news website or a blog and read the comments posted on it, whether in a dedicated comment section or on a social media platform like X, Facebook, or Reddit. Share your results with classmates.
  2. Interview a colleague, coworker, or someone in a business or industry you’re involved or interested in. Ask them how they receive feedback about their work. Share your results with classmates.
  3. Review a document (online or offline) and create at least two different examples of how a reader might respond to the content and presentation. Share your results with classmates.

The feedback loop is your connection to your audience. It’s always there, even if you haven’t noticed it. In today’s business environment, across careers and industries, people are paying serious attention to the power of feedback. How does a viral marketing campaign take off? How does an article spread across Twitter? How do movie reviews—and their long discussion threads—influence your viewing decisions? How do Wikipedia, the Global Business Network, or customer book reviews on Amazon impact us, alter our views, or motivate us to write?

“The feedback loop provides you with an open and direct channel of communication with your community, and that represents a never-available-before opportunity.”[1] The feedback on what you write has never been as direct and interactive as today’s online environment provides, and the need to anticipate, lead, listen, and incorporate lessons learned has never been greater. This chapter examines feedback in its many forms and how it can and will impact what you write—and how you write it.

What you write doesn’t exist in a vacuum, unaffected by the world around it. Your writing may be read by a relatively small group of readers, or by a large target audience who may have only seen a few of your messages. Either way, what you write is part of the communication process, and it makes an impact whether you know it or not.

This chapter recognizes the writing process and its components with an emphasis on feedback. Do you know the difference between indirect and direct feedback? Are you aware of effective strategies to elicit valuable feedback? How do you know if feedback is valid? To what extent—and in what ways—should you adapt and adjust your writing based on feedback? These are central questions in the writing process, and any skilled business writer recognizes the need for improvement based on solid feedback. You may not always enjoy receiving feedback, but you should always give it thought and consideration. Failure to change and adapt has many unfortunate consequences.[2] It’s up to you to seek good information and separate the reliable from the unreliable in your goal of improving your business writing.

Opening Case: The 2.3-Star Universe

At 11:22 p.m. on a Tuesday in early October, Saskia Oduya-Halberstam sat alone in the converted weather station that served as her office at Meridianwood Observatory and Planetarium, staring at a printout of twenty-three Google reviews. Beside the printout sat a cold cup of chamomile tea, an unopened bag of pretzels, and a yellow legal pad where she’d scrawled a single number in heavy pencil and circled it three times: 2.3.

That was the average rating of the observatory’s new $180,000 immersive dome show, The Wanderers’ Return, three weeks into its run. The previous show—a gentle, narrated tour of the Sagittarius Arm that had played on the dome for eleven years—had averaged 4.6 stars over nearly four hundred reviews. Saskia had written copy for both of them.

She was thirty-eight, six years into her job as communications director, and she was the only person on staff at Meridianwood whose job description included the word “writer.” That meant the twenty-four-page souvenir program sitting on the corner of her desk was hers. The press release the Southern Oregon Dispatch had quoted (and then panned) was hers. The website copy was hers. The teacher guide that had drawn four angry emails from elementary-school educators was hers. The launch-week email campaign with its 41 percent open rate was hers. The social posts were hers. And the recommendation she had to hand the board in ten days—whether to extend Wanderers through the school year or shelve it—was also going to be hers.

Meridianwood was a small operation. A forty-seat dome theater, a gift shop the size of a walk-in closet, a twelve-inch refractor in a rotating shed, and a visitor center housed in a 1960s fire lookout that had been trucked down from Tiller Ridge in 1987 and bolted to a concrete pad on the edge of a basalt bluff overlooking the Rogue River. Six full-time employees. Twenty-three volunteers. An annual operating budget of $612,000, of which roughly a third came from ticket sales and gift shop revenue and the rest from a patchwork of grants, memberships, and the bequest of a retired physics professor who had left them his telescope collection in 2004. A 2.3-star average was the kind of thing that didn’t just ding the show. It dinged the whole institution.

And yet.

Saskia flipped to the next page on her clipboard. Ticket revenue for September was up 34 percent over the same month last year. The gift shop had sold 312 copies of the souvenir program she’d written, at $14 each. The email campaign’s click-through rate was the best in Meridianwood’s history. A homeschool co-op had canceled their field trip after attending a preview, but the Rogue Valley Amateur Astronomers had extended their partnership for another two years and wanted to host a members-only screening. The four angry emails from elementary teachers were matched by three effusive emails from middle-school science teachers, one of whom called the show “the best piece of informal astronomy education in the state.”

The data was a mess. The feedback was a mess. And the board meeting was in ten days.

Saskia had been working on the problem since six o’clock, trying to build a framework for her synthesis report. She’d started by spreading everything across her desk in piles. Google reviews in one stack. Survey responses in another. The TV reporter’s write-up next to the four angry teacher emails. A transcript from the homeschool co-op’s post-show debrief tucked under the focus-group notes from the astronomy club. The ticket-revenue spreadsheet anchoring the whole thing with a coffee mug. She’d tried sorting by sentiment. Then by source. Then by whether the feedback came through a direct channel or an indirect one. Around nine-thirty she’d gotten up, walked out to the observing deck, and looked at Jupiter for ten minutes through the refractor, hoping the walk would help. It hadn’t.

What made the pile impossible to sort was not that the feedback was contradictory. Saskia could handle contradictory. What made it impossible was that the feedback was noisy in the technical sense—the signal she needed was buried under a thousand kinds of static. A five-star review that said “changed my life” followed by a one-star review that said “fell asleep, too dark” was not a contradiction. They were two different people having two different experiences of the same forty-five minutes of projected content, and neither of them was lying. The question wasn’t which one was right. The question was what they were each telling her about the show, about her writing, about her audience, and about the decision she had to make in ten days.

Her phone buzzed. An email from Torbjorn Vasquez-Amundo, the observatory’s sixty-one-year-old executive director, a retired astronomer who’d founded Meridianwood in 1998 with the insurance money from a house fire. The subject line read: “Re: Wanderers synthesis.” The body was two sentences. “Saskia—whatever you recommend on the 17th, I’ll support. Just make sure whatever you recommend, you can show your work.”

Show your work. Saskia set the phone down. She thought about Perpetua Adeyinka-Novotny, the twenty-nine-year-old education coordinator, who had forwarded the four angry elementary-teacher emails that morning with a one-line note: “These are loud. Are they representative?” She thought about Halldor Benitez-Kowalski, the technical director, who had told her over Monday’s staff lunch that the dome’s newer motion tracking was genuinely hard to follow for visitors who had never been in an immersive theater before. She thought about Winifred Otsuka-Sandoval, the board chair, a retired civil engineer who in twelve years had never met a decision she couldn’t reduce to a spreadsheet and a question about return on investment. And she thought about Dr. Apostolos Jimenez-Kallberg, the external evaluator the board had hired last year to review Meridianwood’s education programs, whose phone number was in her contacts and whose last voicemail had said only, “Call me before the 17th if you want me to review your draft.”

The 2.3 on the legal pad kept catching her eye. It was such a confidently precise number. Twenty-three reviews, averaged to one decimal place. And yet the more she thought about it, the less that number actually meant. Twenty-three was a tiny sample. Google reviews came from a self-selected slice of visitors—the delighted and the disappointed, mostly, with the contented middle almost entirely silent. The number wasn’t wrong, exactly. It just wasn’t what people would think it was.

She pulled a fresh sheet of paper off the pad and wrote four headings across the top: Indirect, Direct, Internal, External. Then she wrote a second row of headings underneath: Qualitative, Quantitative, Valid, Reliable. Then she looked at the piles on her desk and started, at last, to sort.

By midnight she had four options mapped out on the page. Option 1: recommend shelving Wanderers and bringing back the Sagittarius Arm show, citing the Google reviews and the angry teacher emails as clear signal from the public. Option 2: recommend extending Wanderers through May and leaning on the 34 percent ticket-revenue jump as the only metric that mattered to an organization that lived or died on ticket sales. Option 3: recommend keeping the show but rewriting the script, the souvenir program, and the teacher guide—which meant recommending that she herself rewrite most of the writing she’d just spent six months producing, and it meant telling the board she’d misjudged her audience at least three ways.

And then there was a fourth option, the one she had not yet put on the page, because she wasn’t sure whether it was genius or whether it was the kind of thing that sounded reasonable at midnight and looked foolish at nine a.m. She wrote it down anyway, very small, in the corner of the legal pad, and drew a box around it so she’d find it in the morning.

Then she capped her pencil, turned off the desk lamp, and went out to lock the dome.

Before You Read: Feedback Self-Diagnostic

Spend five minutes with these four questions before you dive into the chapter. Write your answers in a notebook or a doc. You’ll come back to them at the end, and comparing your before-and-after answers is the whole point.

  1. Think of the last time someone gave you critical feedback on something you wrote—a paper, an email, a post. Before you read what they said, where did you expect the feedback to focus? Where did it actually focus? What does that gap tell you about how you read your own writing?
  2. Saskia is looking at twenty-three Google reviews that average 2.3 stars. On a scale of 1 to 10, how much weight should she give that number when she makes her recommendation to the board? Write down your number now, and write one sentence explaining why.
  3. Rank these four feedback sources from most trustworthy to least trustworthy for Saskia’s decision: (a) a 34 percent jump in ticket revenue, (b) four angry emails from elementary-school teachers, (c) a transcript of an astronomy-club focus group that loved the show, (d) a Google review average of 2.3 stars based on 23 reviews. Be ready to defend your ranking.
  4. If someone left a one-sentence comment on something you wrote that said “I don’t understand what this is for”—would you call that useful feedback? Why or why not? Hold on to your answer.

8.1 Diverse Forms of Feedback

Learning Objectives

  1. Describe feedback as an integral, ongoing part of the writing process rather than something that only happens after a document is finished.
  2. Compare and contrast indirect and direct feedback and explain why each matters to a business writer.
  3. Distinguish between internal and external feedback and identify who participates in each.
  4. Catalog the major channels through which feedback reaches a writer—analytics, comments, interviews, surveys, and focus groups—and weigh the strengths and weaknesses of each.
  5. Recognize the difference between a signal and noise in a mixed feedback stream, and start building habits for separating the two.

Just as you know that religion and politics often provoke emotional responses, you also recognize that once you’re aware of someone’s viewpoint, you can choose to avoid certain topics or change how you address them. Awareness of bias and preference, combined with the ability to adapt a message before sending it, increases the probability of reception and successful communication. Until now, we’ve focused on knowing the audience’s expectations and the assignment directions, as well as effective strategies for writing and production. Now, to complete the communication process—to close the writing process—we need to gather and evaluate feedback.

You may receive feedback from peers, colleagues, editors, or supervisors, but actual feedback from the intended audience can be rare. Imagine that you work in the marketing department of an engineering company and have written an article describing a new water pump that operates with little maintenance and less energy consumption than previous models. Your company has also developed an advertising campaign introducing this pump to the market and has added it to their online sales menu. Once your article has been reviewed and posted, a reader in another country researching water pumps in your product range may access it online. That reader will see a banner ad displayed across the header of the web page, with your company’s name prominently displayed in the reader’s native language—even if your article is in English. Ads of this nature are called contextually relevant ads. An example is Google’s Feedback Ad function, which incorporates the site’s content and any related search data to provide information to potential customers. If the reader found your article through the German version of Google, Google.de, the ad will display the Adwords, or text in an advertisement, in German.

As the author, you may never receive direct feedback on your article, but you may receive significant indirect feedback. Google can report the “hits” and links to your website, and your company’s information technology department can tell you about hits from Germany, where they originated, and whether the visitor initiated a sales order for the pump. If the sale was left incomplete, they’ll know when the basket or order was abandoned or became inactive. If the sale was successful, your sales department can provide feedback in the form of overall sales as well as information on specific customers. This in turn allows you an opportunity for postsales communication and additional feedback.

The communication process depends on a series of components that are always present. Remove one or more, and the process disintegrates. You need a source and a receiver, even if those roles alternate and blur. You need a message and a channel—or multiples of each in divergent ratios of signal strength and clarity. You also need context and environment, including both the psychological expectations of the interaction and the physical aspects present. Interference is also part of any communication process. Because interference—internal or external—is always present, you’ve learned as a skilled business writer to understand and anticipate it so you can get your message across to your audience.

The final step in the communication process is feedback. It contributes to the transactional relationship in communication and serves as part of the cycling and recycling of information, content, negotiations, relationships, and meaning between source and receiver. Because feedback is so valuable to a business writer, you’ll welcome it and use strategies to overcome any interfering factors that may compromise reception and limit feedback.

Feedback is a receiver’s response to a source, and it comes in many forms. From the change in the cursor arrow as you pass over a link—a response to the reader’s indication via mouse, touch screen, or similar input device—to a response spoken out loud during a conversation, feedback is always present, even if we fail to capture or attend to the information as it’s displayed. Let’s examine several diverse types of feedback.

Look again at what Saskia is doing at her desk at 11:22 p.m. She’s not fighting with the feedback. She’s sorting it. The headings she writes across the top of the legal pad—Indirect, Direct, Internal, External—are the same four categories you’re about to study in this section. They aren’t an academic framework she’s imposing on a messy situation. They’re a survival tool.

Here’s why sorting works. When she looks at a pile that includes twenty-three Google reviews, four angry teacher emails, a transcript from a focus group, and a ticket-revenue spreadsheet, nothing lines up. The review average feels like it should be comparable to the ticket-revenue number, because both are numbers. But one is direct external feedback from a self-selected slice of visitors, and the other is indirect external feedback about behavior (people buying tickets). They answer different questions. A 2.3-star average answers what did this subset say when they were moved to say something? A 34 percent revenue jump answers what did a much larger group do with their money? Mixing them into a single “feedback” bucket flattens the difference and sends you toward a decision you can’t defend.

When you work through the four feedback types below, keep Saskia’s legal pad in mind. Every piece of feedback you ever receive on a document will fall into one of the categories you’re about to learn. Learning to sort them is how you turn a pile of noise into a pile you can actually read.

Indirect Feedback

If you’ve worked in an office, you may have heard of the grapevine—and may already know that it often carries whines instead of wine. The grapevine is the unofficial, informal communication network within an organization, often characterized by rumor, gossip, and innuendo. The grapevine involves information that is indirect, speculative, and not immediately verifiable. That makes it less than reliable, but understandably attractive and interesting to many.

Similarly, indirect feedback is a response that doesn’t come directly from the receiver or source. The receiver may receive the message and become the source of a response, but they may not communicate that response directly to you, the author. Your ability to track who accesses your web page, what they read, and how long their visit lasts can be a source of feedback that guides your writing. You may also receive comments, emails, or information from individuals within your organization about what customers have told them—another source of indirect feedback. The fact that the information isn’t communicated directly may limit its use or reliability, but it does have value. All forms of feedback have some measure of value.

Direct Feedback

You post an article about your company’s new water pump and when you come back an hour later, there are 162 comments. As you scroll through, you find that ten potential customers are interested in learning more, while the rest debate the specifications and technical abilities of the pump. This direct response to your writing is another form of feedback.

Direct feedback is a response that comes from the receiver. It can be both verbal and nonverbal, and it may involve signs, symbols, words, or sounds that are unclear or difficult to understand. You may send an email to a customer who inquired about your water pump, offering to send a printed brochure and have a local sales representative call to evaluate how suitable your pump would be for the customer’s application. To do so, you’ll need the customer’s mailing address, physical location, and phone number. If the customer replies simply with “Thanks!”—no address, no phone number—how do you interpret this direct feedback? Communication is dynamic and complex, and understanding or predicting it is no easy task. One aspect of the process, however, is predictable: feedback is always part of communication.

Just as nonverbal gestures don’t appear independent of context and often overlap, recycle, and repeat across an interaction, identifying clear and direct feedback can be a significant challenge. In face-to-face communication, yawns and frequent glances at the clock may serve as a clear signal—direct feedback—for lack of interest. But direct feedback for the writer is often less obvious. It’s rare for the article you wrote to be read in your presence with immediate feedback available. Often, feedback reaches the author long after the article is published.

Pro Tip: Triangulate Before You Trust

One of the most useful habits you can build as a business writer is refusing to act on a single piece of feedback. Any single data point—a glowing review, a furious email, a sudden spike in page views—can mislead you. The question you want to ask isn’t what does this one thing tell me? It’s what do three things tell me when I put them side by side?

Triangulation works like this. When you get a strong signal from one source, go find two more sources that ought to confirm or contradict it. If a customer emails you furious about a product description and you want to act on it, go check the page analytics for that product (did views drop after the description went live?) and go check the sales data for the same product (did conversions drop?). If all three point the same way, you’ve got something. If they don’t, you’ve learned something even more valuable: that one customer doesn’t represent the audience, and the email tells you about the customer, not about your writing.

The rule of three isn’t magic. Sometimes two sources is enough, and sometimes five still isn’t. But the discipline of refusing to act on one source forces you to slow down and ask what a piece of feedback actually means—which is the whole point of the exercise.

Internal Feedback

We usually think of feedback as something that can only come from others, but with internal feedback, we can get it from ourselves. Internal feedback is generated by the source in response to the message created by that same source. You, as the author, will be key to the internal feedback process. This may involve reviewing your document before sending or posting it, but it may also involve evaluation from within your organization.

On the surface, it may appear that internal feedback can’t come from anyone other than the author, but that would be inaccurate. Let’s revisit the communication process and the definitions of source and receiver. We can see how each role isn’t defined by just one person or personality, but instead—within the transactional nature of communication—by function. The source creates; the receiver receives. Once the communication interaction is initiated, the roles often alternate, as in an email or text message “conversation” where two people take turns writing.

When you write a document for a target audience—say, a group of farmers who will use the pumps your company produces to move water from source to crop—you write with them in mind as the target receiver. Until they receive the message, the review process is internal to your organization, and feedback comes from individuals and departments other than the intended receiver.

You may have your company’s engineering department confirm the technical specifications you incorporated, or have the sales department confirm a previous customer’s address. In each case, you as the author receive internal feedback about content you produced, and in some ways, each department contributes to the message before delivery.

Internal feedback starts with you. Your review of what you write is critical. You are the first and last line of responsibility for your writing. As the author, it’s your responsibility to ensure your content is

  • correct,
  • clear,
  • concise,
  • ethical.

When considering whether the writing in a document is correct, interpret correctness broadly. The writing needs to be appropriate for the context of audience expectations and assignment directions. Some writing may be technically correct—even polished—and still be incorrect for the audience or the assignment. Attention to what you know about your reading audience (e.g., their reading levels and educational background) can help address whether what you’ve written is correct for its designated audience and purpose.

Correctness also involves accuracy: questions of true, false, and somewhere in between. A skilled business writer verifies all sources for accuracy and sleeps well knowing that no critic can say the writing is inaccurate. If you allow less than factual information into your writing, you open the door to accusations of false information that could be interpreted as fraud with legal ramifications. Keep notes on where and when you accessed websites, where you found the information you cite or include, and be prepared to back up your statements with a review of your sources.

Writing correctly also means providing current, up-to-date information. Most business documents emphasize time-sensitivity. It doesn’t make sense to rely on sales figures from two years ago when you can use sales figures from last year. Neither does citing old articles, outdated materials, and sources that may or may not apply to the given discussion. Information that isn’t current can serve useful purposes, but often requires explanation of why it’s relevant, with particular attention to current context.

Business writing also needs to be clear; otherwise it will fail to inform or persuade readers. Unclear writing leads to misunderstandings that consume time and effort to undo. An old saying in military communications is “Whatever can be misunderstood, will be misunderstood.” To give yourself valuable internal feedback about clarity, try to pretend you know nothing more about the subject than your least informed reader does. Can you follow the information provided? Are your points supported?

In the business environment, time is money, and bloated writing wastes time. The advice from William Strunk Jr. and E. B. White’s best-selling style guide to “omit needless words” is always worth keeping in mind.[3]

Finally, a skilled business writer understands they don’t stand alone. Ethical consideration of the words you write, what they represent, and their possible consequences is part of your responsibility as a business writer. You offer information to a reading audience, and if your credibility is lost, future interactions are far less likely to occur. Customer relationship management requires consideration of the interaction’s context, and all communication occurs within community context, whether that relationship is readily apparent or not. Brand management reinforces associations and a relationship with the product or services that would be negatively compromised should the article—and by association, author and company—be found less than truthful. Advertising may promote features, but false advertising leads to litigation. The writer represents a business or organization, but also represents a family and a community. For a family or community to function, there has to be trust amid the interdependence.

Common Mistake: Counting the Loudest Voices

When you pull up the comments section on a website, the first thing you notice is volume. The longest comment wins your attention. The angriest one sticks. The one that shows up three times—reposted, quoted, argued over—starts to feel like the consensus view. It isn’t. It’s just loud.

This is the trap Perpetua is warning Saskia about when she forwards the four elementary-teacher emails with “These are loud. Are they representative?” The four emails are real, they’re direct, they’re internal (from people who saw the show), and they’re valid in the sense that the teachers genuinely felt what they said they felt. But four angry teachers out of how many? Meridianwood had served 437 school-group students during the three weeks those teachers were writing about. The four emails represent less than one percent of the school-group audience and only a fraction of the adult chaperones who might have had something to say.

That doesn’t mean the emails are worthless. It means the emails tell you what a vocal minority thinks—which is useful information, but a completely different question from what the audience thinks. Treat volume as a question, not an answer. When one category of response is loud, ask yourself whether you’re hearing from a representative sample or from the people most motivated to speak up. The silent majority is silent. You have to go find them.

External Feedback

How do you know what you wrote was read and understood? How do you know communication interaction has occurred? Writing, reading, and action based on the exchange of symbolic information reflect the communication process. Assessing feedback from the receiver is part of a writer’s responsibility. Increasingly, web-based documents allow for interaction and enhanced feedback, but you’ll still produce documents that may exist as hard copies. Your documents may travel to places you don’t expect and can’t predict. Feedback comes in many forms, and here we focus on answering that essential question, assessing interaction, and gathering information from it. External feedback involves a response from the receiver. Receivers, in turn, become information sources themselves. Attention to the channel they use (how they communicate feedback), as well as nonverbal aspects like time (when they send it), can serve you on this and future documents.

Hard Copy Documents and External Feedback

Let’s start with traditional, stand-alone hard copy documents before discussing electronic documents, including web-based publications. Your business or organization may communicate in written forms across time zones and languages via electronic communication, but some documents are still produced on paper. Offline technologies like copy machines and printers are still tools you’ll use in the normal course of business.

Letters are a common way of introducing information to clients and customers, and you may be tasked to produce a document that’s printed and distributed via “snail mail”—the traditional postal service. Snail mail is a term reflecting the time delay associated with physical production, packaging, and delivery of a document. Legal documents are still largely in hard copy print form. So too are documents addressing the needs of customers and clients who don’t—or prefer not to—access information electronically.

Age is one characteristic of an audience that may be tempting to focus on when considering who may need to receive a hard copy letter, but you may be surprised. In a 2009 study of U.S. Internet use, the Pew Research Center found that between 2008 and 2009, broadband Internet use by senior citizens increased from 20 percent to 30 percent, and broadband use by baby boomers (born 1945–1963) increased from 50 percent to 61 percent.[4]

Socioeconomic status is a better characteristic to focus on when considering hard copy documents. Lack of access to a computer and the Internet is a reality for most of the world’s population. It’s often stated that half the world’s population will never make a phone call in their lifetime, and even though references for the claim are widespread and diverse, the idea that some people lack access to a phone is striking for many Westerners. While cell phones increasingly allow poor and rural populations to skip investment in landline networks, and wireless Internet is a leapfrog technology that changes everything, cell phones and computers are still prohibitively expensive for many.

Let’s say you work for a major bank on the West Coast of the United States. You’ve been assigned to write a letter offering a refinance option to a select, previously screened audience composed of individuals who share several common characteristics: high-wage earners with exceptional credit scores. How will you best get their attention? If you sent an email, it might get deleted as spam—an unwanted message that often lacks credibility and may even be dangerous. The audience is small, and you have a budget for hard copy production that includes mailing costs. If the potential customer receives the letter from your department delivered by an overnight courier like FedEx, they may be more likely to receive your message.

In 2005, Wells Fargo Bank did exactly that. They mailed a letter of introduction outlining a refinance opportunity at no cost to the consumer, targeting a group identified as high profit and low risk. The channels selected—print-based documents on letterhead with a mode of delivery sure to get attention—were designed to prompt a response. The letter introduced the program, highlighted the features, and discussed why these customers were among a select group to whom this offer was being extended.[5]

In the letter, the bank specifically solicited a customer response—a form of feedback—via email and/or phone to establish dialogue. You could measure feedback in terms of response rate; in terms of data verification on income, outstanding debt, and current home appraisal values; and in terms of channel and how customers chose to respond. All these forms of feedback have value to the author.

Hard copy documents can be challenging when it comes to feedback, but that doesn’t mean involving them in the feedback process is impossible. Even in the late 1990s, most business documents were print-based. From sales reports to product development reports, they were printed, copied, bound, and distributed—all at considerable cost.

If one purpose of your letter is to persuade the client or customer to reply by email or phone, one way to assess feedback is the response rate—the number of replies in relation to the number of letters sent. Suppose your report on a new product is prepared for internal use and targets a specific division within your company. In that case, their questions about the document may serve as feedback. If your memo produces more questions than the one it was intended to address in terms of policy, the negative feedback may highlight the need for revision. In each case, hard copy documents are often assessed through oral and written feedback.

External Feedback in a Virtual Environment

Rather than focus on dust collecting on documents once produced, perhaps read, and sometimes forgotten, let’s examine document feedback from the interactive world that gathers no dust. One challenge when the Web was young involved accurately assessing audience. Why is that relevant to a business writer? Because you produce content for a specific audience with a specific purpose, and the degree to which it succeeds relates to its value. Imagine producing a pilot television program with all the best characters, excellent dialogue, and big-name stars—only to see the pilot flop. If you had all the right elements, how could it fail? It failed to attract an audience. Television often uses ratings—measurements of estimated viewer numbers—to measure success. Nielsen is the leading market research company associated with television ratings and online content. Programs that get past a pilot or first season do so because they have good ratings and are ranked above competing programs. All programs compete within a time slot or across a genre. Those that are highly ranked—those that reach the largest number of viewers—can command higher budgets and often receive more advertising dollars. Those that reach few people are often canceled and replaced with other programs that have great characters, solid writing, and hopeful stars as the cycle continues.

Business writers experience a similar process of competition, ratings, feedback, and renewal within online publishing. You want your content to be read. Just as companies developed ways to measure television program viewers—leading to rankings that influenced which programs survived and which were canceled—the Web has a system for keeping track of what gets read and by whom. You may have heard the term “page views” or “hits” to measure how many times a web page is seen. While a high number of page views can be a good thing, they don’t always reflect true engagement. A more effective measure of a document’s success is “unique visits,” which counts how many individual people visit your site, or “conversion rate,” which measures how many visitors take a desired action, like signing up for a newsletter or making a purchase.

First, let’s examine what a hit is. When a browser receives a file from a web server, it counts as a hit. Your document may be kept on your company’s web server—a computer dedicated to serving online requests for information via the Internet. The web server receives a request from the user and sends the files associated with the page; every web page contains several files, including graphics, images, and text. Each file request and receipt between server and browser counts as a hit, regardless of how many files each page contains. So if you created an online sales catalog with twenty images per page, twenty boxed text descriptions, and all the files for indicating color, size, and quantity, your document could have quite a few hits with just one page request and only one viewer.

Does a large number of hits on your document mean it was successful? Not necessarily. Hits or page views have largely been discredited as a reliable measure of a document’s effectiveness, popularity, or audience size. In fact, “hits” is sometimes humorously called an acronym for how idiots track success.

Page views count how many times a web page is viewed, regardless of the number of files it contains. Each time a user or reader views the page, it counts as one page view.

Nielsen Online and Source.com are two companies that provide web traffic rating services, and Google has also developed services to help advertisers target specific audiences. They commonly track the number of unique visits a reader makes to a website and use cookies—small, time-encoded files that identify specific users—to generate data.

Another way to see whether a document has been read online is to present part of the article with a “reveal full article” button after a couple of paragraphs. If someone wants to read the entire article, they need to click the button to display the remainder. Because this feature can annoy readers, many content providers also display a “turn off reveal full article” button as an alternative.

Jon Kleinberg’s HITS (hyperlink-induced topic search) algorithm has become a popular and more effective way to rate web pages.[6] HITS ranks documents by the links within the document, presuming that a good document incorporates and references (provides links to) other web documents while also being frequently cited by other documents. Hubs—documents with many links—are related to authority pages, or frequently cited documents. This relationship of hubs and authority is mutually reinforcing; if you imagine a Web universe of one hundred pages, the one with the most links and most frequent references wins.

As a business writer, you’ll naturally want to incorporate authoritative sources and relevant content. But you’ll also want to attract and engage your audience, positioning your document as a hub and authority within that universe. Feedback in the form of links and references may be one way to assess your online document.

User-Generated Feedback

Moving beyond web tracking aspects of feedback measurement, let’s examine user-generated responses to your document. Say you’ve reviewed the posts left by unique users in the comments section of your article. This serves a similar purpose to letters to the editor in traditional media. In newspapers, magazines, and other offline print media, an edition is produced with a collection of content and then delivered to an audience. The audience includes subscriber-based members with common interests, as well as those who read a magazine casually while waiting in the doctor’s office. If an article generated interest, enjoyment, or outrage—or demanded correction—people would write letters in response. Select responses would be published in the next edition. There’s a time delay associated with this system that reflects the preparation, production, and distribution cycle of the medium. If the magazine is published monthly, it takes a full month for user feedback to appear in print—letters commenting on an article in the March issue would appear in the “Letters” section of the May issue.

With online media, the speed of this feedback loop has greatly increased. Public relations announcements, product reviews, and performance data are often made available internally or externally via electronic communication. If you spot a factual error in an article released internally, you may be able to respond within minutes with an email and attachment correcting the data. Similarly, if the document is released externally, expect quick feedback from outside your organization. Audience members may debate your description of the water pump, openly question its effectiveness in relation to its specifications, or post positive comments. Customer comments, like letters to the editor, can be a valuable source of feedback.

Customer reviews and similar forms of user-generated content are increasingly common across the Internet. Written communication is often the preferred format; from tweets to blogs and commentary pages, to threaded theme-based forums, person-to-person exchange is increasingly common. Still, as a business writer, you’ll note that even with the explosion of opinion content, the tendency for online writers to cite a web page with a link can and does promote interaction.

It may sound strange to ask this, but is all communication interaction good? Let’s examine examples and see if we can arrive at an answer.

You may have heard that one angry customer can influence several future customers, but negative customer reviews in the online information age can make a disproportionate impact in a relatively short time. While the online environment can be fast and effective in terms of distribution and immediate feedback, it can also be quite ineffective, depending on the context. “Putting ads in front of Facebook users is like hanging out at a party and interrupting conversations to hawk merchandise,” according to Newsweek journalist Daniel Lyons.[7] Relationships between users, sometimes called social graphs, reflect the dynamic process of communication and hold value, but translating that value into sales can be a significant challenge.

Overall, your goal as a business writer is to meet audience and employer expectations in a clear and concise way. Getting your content to a hub position and including authoritative references is a great way to make your content more relevant. Trying to facilitate endless discussions may be engaging and generate feedback, but it may not translate into success. Facebook serves as a reminder that you want to provide solid content and attend to feedback. People who use Google already have something in mind when they search; if your content provides what readers are looking for, you may see your page views and effectiveness increase.

Interviews

Interviews provide an author with the opportunity to ask questions of—and receive responses from—audience members. Since interviews take considerable time and can’t easily be scaled up for large numbers of readers, they’re most often conducted with a small, limited audience. An interview involves an interviewer, an interviewee, and a series of questions. It can be an employment interview or an informational interview in preparation of document production, but here we’re looking for feedback. As a business writer, you may choose to schedule time with a supervisor to ask a couple of questions about how your document could be improved. You may also schedule time with the client or potential customer and try to learn more. You may interact across a wide range of channels, from face-to-face to email, and learn more about how your document was received. Take care not to interrupt the interviewee, even if there’s a long pause—some of the best information comes when people feel the need to fill the silence. Be patient and understanding, and thank them for participating. Relationships are built over time, and the relationship you build through a customer interview may have a positive impact on your next writing project.

Surveys

At some point, you may have answered your phone to find a stranger on the other end asking you to take part in a survey for a polling organization like Gallup, Pew, or Roper. You may have also received a consumer survey in the mail, with a paper form to fill out and return in a postage-paid envelope. Online surveys are also increasingly popular. For example, SurveyMonkey.com is an online survey tool that allows people to respond to a set of questions. This type of reader feedback can be valuable, particularly if some questions are open-ended. Closed questions require a simple yes or no, making them easier to tabulate as “votes,” but open-ended questions give respondents complete freedom to write their thoughts. As such, they promote the expression of new and creative ideas and can lead to valuable insights for you, the writer.

Surveys can take place in person, as we discussed in an interview format—common when taking a census. For example, the U.S. government employs people for a short time to go door to door for a census count. Your organization may lack comparable resources and may choose to mail out surveys on paper with postage-paid response envelopes or may reduce cost and increase speed by asking respondents to complete the survey online.

Focus Groups

Focus groups involve a representative sample of individuals brought together to represent a larger group or audience. If you know your target audience and the range of characteristics they represent, you look for participants who can represent more than one of those characteristics. As we’ve discussed in an interview setting, the interaction involves a question-and-answer format, but may also introduce other ways to facilitate interaction. If your company is looking to launch a new product, you may introduce that product to this select audience to gauge their reaction. As a business writer, what they say and express may help you write your promotional materials. For feedback, you may assemble a group of individuals who use your product or service, then ask them a series of questions in a group setting. The responses may have bearing on your current and future documents.

Normally, we’d think of focus groups in a physical setting, but modern technology allows innovative adaptations. Forums, live webcasts, and other virtual gatherings allow groups to come together across time and distance to discuss specific topics. A web camera, a microphone, and an Internet connection are all it takes. There are numerous software programs and online platforms for bringing individuals together. Anticipate that focus groups will increasingly gather via computer-mediated technologies as the costs of bringing people together for traditional meetings increase.

Try It: Map Your Feedback Channels

Pick a piece of writing you’ve published or shared in the last year—a paper, a blog post, a project report, an email campaign, anything with an audience larger than one. Get out a piece of paper and draw a two-by-two grid. Label the rows Internal and External. Label the columns Direct and Indirect.

Now fill in every piece of feedback you can remember receiving. Put each one in exactly one quadrant. Your own second read-through before you hit publish? Internal direct. A comment from your editor? Internal direct. A colleague mentioning in the hallway that someone else liked it? Internal indirect. A comment on the post itself? External direct. Analytics showing where readers came from and how long they stayed? External indirect.

When you’re done, look at the distribution. Most writers discover two things: (1) most of their feedback clusters in one or two quadrants and the other quadrants are nearly empty, and (2) the quadrants they’ve been ignoring contain information they didn’t know they had. If your External Indirect quadrant is empty and your document lives online, you’re leaving data on the table. If your Internal Direct quadrant is empty, you don’t have a review process—you have a publishing habit. Either way, the map tells you where to go looking next.

The categories we’ve walked through in this section—indirect and direct, internal and external, and the specific channels of hard copy, virtual, user-generated, interview, survey, and focus group—aren’t meant to live as a memorization exercise. They’re meant to live as a sorting tool. When feedback arrives, your first job is to ask where it belongs in the map. A Google review is external, direct, and user-generated. A quarterly sales report is internal, indirect, and quantitative. Each one tells you something different, and each one lies to you in a different way. The map is how you keep track of which lies you’re hearing from which direction. Once you’ve sorted, you can start asking the question that actually matters: what am I going to do about it?

Key Takeaways

Feedback may be indirect or direct, internal or external, and may be mediated electronically in many different ways.

Exercises

  1. Design a market survey that asks your friends at least three questions about their attitudes, preferences, or choices. Prepare and present your results, noting the number of respondents and any characteristics like age or level of education.
  2. How does the online world affect the process of feedback on written documents? Does it improve feedback, or lead to self-censorship? Discuss your thoughts with classmates.
  3. In your opinion, are traditional print publications still viable with daily, weekly, or monthly publication cycles? Why or why not?
  4. Research online survey programs and review two competitors. Compare the features and apparent ease of use. Which would you recommend and why? Report your results and compare with classmates.

8.2 Qualitative and Quantitative Research

Learning Objectives

  1. Compare and contrast the feedback that can be obtained with qualitative and quantitative research.
  2. Define validity and explain how to assess it in feedback you receive and in research you cite.
  3. Define reliability, including inter-rater reliability, and explain why it matters for decisions based on feedback.
  4. Explain what “statistically significant” actually means and describe how it differs from “important” or “convincing.”
  5. Identify situations in your own writing life where qualitative feedback is more useful than quantitative feedback, and vice versa.

Perhaps you’ve heard the term “market research” or have taken a class on statistics. Whether your understanding of gathering credible, reliable information is emerging or developed, a general awareness of research is essential for business writing. Many businesses use research as a preproduct, postproduct, and service development method for obtaining feedback. Understanding research feedback can influence your writing as you learn more about your target audience. Ralph Rosnow and Robert Rosenthal offer a solid introductory discussion of basic research terms in their text Beginning Behavioral Research: A Conceptual Primer that serves our discussion well.[8]

We can divide research into two basic categories:

  1. Qualitative research focuses on quality in the sense of “what is it like?” or “how does it feel?”
  2. Quantitative research focuses on quantity in the sense of “how many customers?” or “what percentage?”

Let’s examine the advantages and disadvantages of each kind.

Obtaining Feedback with Qualitative Research

Qualitative research involves investigative methods that cross subjects and academic disciplines to gain in-depth information. If quantitative research explores “what,” qualitative research explores “how” and “why.” From interviews to focus groups, many face-to-face strategies for gathering information are qualitative in nature.

You have five senses, and you may be able to distinguish between sweet and salty foods, but can you describe what you taste and smell? Let’s say you work for a vineyard and have been tasked to write a paragraph describing a new wine. Could you? Capturing fine data points and representing them in words and symbols can be a significant challenge for researchers. When testing the wine with a focus group, you might want information on how it’s perceived, and responses may be varied and unusual. What do you do with the information you gather? You may identify trends among varied responses and create groups indicating a woody or earthy flavor. Still, numbers fail to capture the nuances of flavor and body.

Some information—like the way consumers characterize a wine’s taste—is a challenge to obtain, and qualitative research often serves well here. Where quantitative research is effective with large audiences, qualitative research allows for in-depth interpersonal interviews that produce rich and meaningful results. The information may not be as reliable, and your ability to produce the same results over time may be limited, but humans are emotional, irrational, and unpredictable. They’re also, each in their own way, unique. As you increase the level of abstraction, all humans may eventually come to look similar, even the same. We all share some characteristics, such as the use of language or the composition of our bodies. But look more closely and you see the diverse range of languages, and learn that not everyone has 206 bones in an adult body. Between these two views, we find the range of information that quantitative and qualitative research attempt to address.

Suppose we want to determine who has a greater lifetime risk of developing heart disease—a man or a woman? If we’re talking about an individual man and an individual woman, our answer might differ from what it would be if we were talking about men and women in general. A survey may work well to capture data about men versus women broadly, but a face-to-face interview with a man and a woman allows for interaction, follow-up questions, and a much better picture of the question: between this individual woman and this individual man, who is more likely to be at risk? The risk and protective factors we learn from broad research projects involving thousands of subjects have value, but sometimes a broad brushstroke fails to capture the fine data needed or desired.

Imagine you’re involved in direct observation of buying behavior by reviewing security camera videos that clearly show your company’s product in relation to other products on the shelf. You may find—particularly after a review of the literature—that product placement makes a significant impact on purchase decisions. You may also be involved to some extent in the setting. Serving as a participant observer means you’re part of the process, involved in action, and not separated from the interaction. You look at the sales experience through the eyes of a participant and view others through the eyes of an observer. You may find that interviews and focus groups teach you more about your audience, but you may also learn from others who have conducted similar interviews.

As a business writer, you should be familiar with qualitative research and its relative strengths and weaknesses. You may use some of its techniques to gather information about your audience, cite research that involves qualitative methods, and use its strategies with an audience after document, product, or service delivery.

Case Connection: The Astronomy Club Versus the Homeschoolers

Two focus groups saw The Wanderers’ Return in the first three weeks. The Rogue Valley Amateur Astronomers—twenty-two members, average age about fifty-five, serious hobbyists with their own telescopes—loved it. Their post-show debrief ran ninety minutes and produced four pages of Saskia’s notes, most of it praise, with two specific requests (more information on the comet’s hyperbolic orbit, and a recommended reading list on cometary dynamics). The Cascade Homeschool Co-op—eleven parents and fourteen children aged six to fourteen—hated it. Their debrief ran forty minutes, included two families walking out partway, and produced two pages of notes, most of it along the lines of “my kid was scared” and “the narration was over our heads.”

Saskia’s temptation, at midnight, was to compare the two groups the way you’d compare two sports teams. Astronomy club: 1. Homeschoolers: 0. But that’s not what qualitative research gives you, and it’s not what the data actually says. Qualitative feedback isn’t a vote count. It’s a texture. The astronomy club told Saskia the show works beautifully for a particular slice of audience—one with prior knowledge and a hunger for astronomical depth. The homeschoolers told her the show fails for a different slice of audience—one with mixed ages and less prior knowledge. Neither group is wrong. Neither group is more representative. They’re telling Saskia something far more useful than a score: they’re telling her the audience isn’t one audience. It’s at least two audiences, and the current show serves one of them and leaves the other cold.

That’s a finding you can build a decision on. It’s also a finding that would have been invisible if Saskia had only looked at the Google reviews.

Obtaining Feedback with Quantitative Research

Quantitative research involves investigation and analysis of data and relationships between data that numbers can represent. It’s often used to test a hypothesis and normally involves large volumes of data. Where a qualitative research project might involve a dozen interviews, a quantitative one would involve hundreds or thousands. Since each interview carries a cost—and a thousand or ten thousand interviews may exceed your organization’s research budget—a more cost-effective alternative must be found. By limiting the number of questions and the ways in which participants can respond, data can be gathered at lower cost, often with a higher level of statistical validity.

In qualitative research, you may ask an open-ended question like “What does the wine taste like?” In quantitative research, you may limit the response options: “Does the wine taste (a) woody, (b) fruity, or (c) both?” You may find that 90 percent of respondents indicate answer (c); you can represent it with numbers and a graph, but it may not serve your investigation the way you planned.

Research methodologies examine and evaluate the methods used in investigation or soliciting feedback. They address and improve poorly worded questions and help the investigator match the research goal to the method. Quantitative research serves us well when we ask, “Does vitamin C, taken at a dosage of 500 mg daily for five years, lower the incidence of the common cold?” We could track a thousand participants who provide intake prescreening information, confirm daily compliance, and participate in periodic interviews. We also know that part of our group is taking a placebo (sugar pill) as part of the requirements of a double-blind study. At the end of the term, we have numbers that may indicate the degree to which vitamin C affects illness incidence.

Advertisers often research to learn more about preferences and attitudes—two areas not easily captured. Sometimes preference studies use Likert scales, which give respondents a preset scale to rate their answers. An example of a Likert item might be: “Please indicate to what degree you agree or disagree with this statement: I enjoy drinking brand X wine. Do you (1) strongly agree, (2) agree, (3) neither agree nor disagree, (4) disagree, or (5) strongly disagree?”

There’s a tendency for some attitudinal and preferential research that may be more accurately described as qualitative to be presented in numerical terms. For example, you’ve probably heard the claim that “four out of five dentists prefer brand X,” when in itself, the number or representation of preference is meaningless. As an astute business writer, you’ll understand pre (before) and post (after) document, product, or service research investigations and distinguish between the two main approaches.

Pro Tip: The Repeat Test

Here’s a quick check you can run on any piece of quantitative feedback that lands on your desk. Ask yourself: if I ran the exact same test next week with a fresh group of respondents from the same population, would I expect to see roughly the same result?

If yes, the number probably reflects something real about your audience and you can use it. If no, the number reflects the moment, the mood, or the specific group you happened to catch—and it’s not quite what you think it is. The repeat test is a quick-and-dirty proxy for reliability, and it’s especially useful when you’re about to cite a survey result in a report to a boss or a board. If you can’t say “yeah, I’d bet money this number would hold up,” you should either get more data or hedge your claim.

The test isn’t infallible. Some results are unreliable in a way that’s genuinely useful—a spike in complaints the week your new product launched, for example, is telling you something real even if it wouldn’t repeat. But for most of the numbers you’ll encounter, the repeat test is a good first filter. It forces you to ask whether your data is telling you about your audience or about the accident of who happened to answer the phone that afternoon.

What Is Validity?

How do you know the results presented in a study or article have value? How do you know they’re valid? Validity involves the strength of conclusions, inferences, or assertions. Thomas Cook and Dan Campbell indicate that validity is often the best available approximation of the truth or falseness of an inference, proposition, or conclusion.[9] Readers want to know your information has value and that there’s confidence in its points, supporting information, and conclusions. They want to know you’re right and not making false statements.

One way to address validity is to cite all your sources clearly. As a writer, you can certainly include information from authorities in the field when the attribution is relevant and the citation is clear. Giving credit where credit is due makes your information more valuable, and by referencing sources clearly, you enable readers to assess the validity of your information.

Does all feedback have validity? Just as there are many threats to validity in research applications, you can’t always be sure that feedback is accurate or truthful. Have students ever evaluated professors negatively because of the required work in the course? Of course. Similarly, some readers may have issues with the topic or your organization. Their feedback post may be less than supportive, even openly hostile. Assess the validity of the feedback, respond with professionalism at all times, and learn to let go of negative messages that offer little opportunity to improve understanding.

What Is Reliability?

Reliability is the consistency of your measurements. The degree to which an instrument gives the same measurement each time with the same subjects, in the same context, is a measure of its reliability. For example, if you took your temperature three times within fifteen minutes and your thermometer gave a different reading each time—say, 98.6, 96.6, and 100.2—you’d conclude that your thermometer was unreliable.

How does this apply to feedback in business writing? Let’s say you have three sales agents who will complete follow-up interactions with three customers after you’ve sent a report to each customer on their purchases to date with suggestions for additional products and services. All three sales agents have the same information about products and services, but will they perform the same? Of course not. Each one, even if trained to stay on script and follow specific protocols, won’t be identical in approach and delivery. Each customer is also different, so the context is different in each case. As business professionals, we need to learn about our environment and adapt to it. This requires feedback and attention to information in many forms. We need to assess the strength or weakness of information, its reliability or validity, and be prepared to act on it. Successful businesses—and by extension successful business communicators—recognize that communication is a two-way process in which we need to listen, learn, and respond to feedback. We need to meet and exceed customer expectations.

Inter-rater reliability involves the degree to which each evaluator evaluates the same in similar contexts. Consider a college essay to better understand this concept. Let’s say you write an essay on customer relationship management and submit it to your business communication instructor. At the same time, you submit the same essay to your English professor and your marketing professor. Will all three professors evaluate your essay the same? Of course not. They’ll each have their own expectations and respective disciplines that influence what they value and how they evaluate. Still, if your essay is thoroughly researched, logically organized, and carefully written, each professor may give it a better-than-average grade. If this is the case, inter-rater reliability would indicate that you did a good job on the essay.

What Is Statistically Significant?

This research term is often used and commonly misunderstood. Not every research finding is statistically significant, and many that are considered significant are only slightly more likely than pure chance. Statistically significant findings are those with a high level of reliability—if the same test is applied in the same context to the same subjects, the results come out the same time and time again.[10] You may see a confidence level of +/– (plus or minus) three percentage points as a common statement of reliability and confidence in a poll. It means that if the poll were repeated, there’s confidence that results would be within three points above or below the original percentages. When statements of statistical significance are made, you’ll know that a difference or relationship was established with confidence by the study. That confidence gives the results credibility.

Reflection Write: Your Confidence Interval

Take ten minutes and write about this question: What’s the smallest sample size at which you personally start believing a claim about your own audience?

Think back to the last time you changed something you were writing based on feedback. How many responses did you have in front of you when you made the change? One? Three? Ten? A hundred? Was the number big enough to justify the change, or were you acting on a single loud voice and calling it a pattern? Be honest with yourself. Most writers act on samples of one or two and call it audience research.

Now write a second paragraph: What number of responses would it take to make you change a claim you felt strongly about? Is it the same number as the first paragraph, or bigger? If it’s bigger, why? The gap between the two numbers—the number that convinces you of things you already suspected versus the number that convinces you of things you don’t want to believe—tells you where your biases live. Writers who can name their own confidence intervals can read feedback more honestly. Writers who can’t will keep hearing whatever they were already expecting to hear.

All of this—qualitative versus quantitative, validity, reliability, statistical significance—is really one skill wearing four different hats. The skill is reading feedback carefully enough to know what it’s actually telling you. A qualitative focus group tells you the texture of how a specific handful of people responded. A quantitative survey tells you the rough shape of how a larger group responded. Validity tells you whether the thing being measured is the thing you think is being measured. Reliability tells you whether you’d get the same measurement if you looked again. Statistical significance tells you whether a difference is big enough to be worth caring about. None of the four hats, by itself, is enough to make a decision. All four together start to give you something you can act on.

Key Takeaways

Research can be qualitative or quantitative, and it is important to assess the validity, reliability, and statistical significance of research findings.

Exercises

  1. Visit the website of a major polling organization such as Gallup, Pew, Roper, or Zogby. What can you learn about how the organization conducts polls? How valid, reliable, and statistically significant are the results, and how do you know? Discuss your findings with classmates.
  2. Find an example where information is presented to support a claim, but you perceive it to be less than valid or reliable. Share your observations and review the results of classmates’ similar efforts.

8.3 Feedback as an Opportunity

Learning Objectives

  1. Describe the five types of feedback identified by Carl Rogers.
  2. Identify each of Rogers’s five types in feedback you receive on your own writing.
  3. Explain why even hostile or poorly phrased feedback can be a useful opportunity for a business writer.
  4. Practice responding professionally to each of the five types without collapsing into defensiveness or flattery.

Writing is a communicative act. It reflects the communication process and represents each of its components in many ways. Yet because many people tend to think of writing as one-way communication, feedback can be particularly challenging for a writer to assess. The best praise for your work may be the sound of silence—of the document having fulfilled its purpose without error, misinterpretation, or complaint. Your praise may come as increased referrals, sales leads, or outright sales, but you may not learn of the feedback unless you seek it out. And that’s what this section is about: seeking out feedback because it’s an opportunity—an opportunity to engage with your audience, stimulate your thinking, and ultimately improve your writing.

You ask a colleague, “How was your weekend?” and he glances at the floor. Did he hear you? Was his nonverbal response one of resignation that the weekend didn’t go well, or is he just checking to make sure his shoes are tied? Feedback, like all parts of the communication model, can be complex and puzzling. Do you ask again? Do you leave him alone? It’s hard to know what an action means independent of context, and even harder without more information. Feedback often serves the role of additional information, allowing the source to adapt, adjust, modify, delete, omit, or introduce new messages across diverse channels to facilitate communication. One point of reference within the information or response we define as feedback may, in itself, be almost meaningless—but taken together with related information, it can indicate a highly complex response, even predict future responses.

Carl Rogers, the famous humanistic psychologist, divides feedback into five categories:

  1. Evaluative
  2. Interpretive
  3. Supportive
  4. Probing
  5. Understanding

These five types of feedback vary in frequency and effectiveness.[11][12] This framework highlights aspects of feedback that serve as opportunities for the business writer, who recognizes feedback as an essential part of writing and communication. Let’s examine the five types of feedback, as presented by Rogers, in their order of frequency.[13][14]

Evaluative Feedback

This type of feedback is the most common. Evaluative feedback often involves judgment of the writer and their ethos (or credibility). We look for credibility clues when we examine the letterhead, feel the stationery, or read the message and note the professional language, correct grammar, and lack of spelling errors. Conversely, if the writer’s credibility is undermined by errors, perceived as inappropriately informal, or presents questionable claims, the reader’s view of the writer will be negative. The reader is less likely to read or respond to a message from a source judged to lack credibility.

In an interpersonal context, evaluative feedback may be communicated as lack of eye contact, frequent glances at a cell phone, or an overt act to avoid communication, such as walking away from the speaker. In written communication, we don’t have the opportunity to watch the reader “walk away.” As a business writer, your ethos is an important part of the message.

In interpersonal interaction, behavioral evaluations are one type of evaluative feedback. A behavioral evaluation assesses the action and not the actor, but the business writer lacks this context. You don’t always know when or where your content will be read and evaluated, so it’s in your best interest to be consistently professional. Fact checking, elimination of errors, and a professional image should be habits, not efforts of will. They should be an automatic part of your writing process.

Interpretive Feedback

During a conversation, you may not be completely sure you heard correctly. Hence, it’s often a good idea to paraphrase or restate what you heard as a way of requesting confirmation or clarification. You may also understand what was said but restate the main point as a way of communicating attention. Listening is hard to assess in any conversation, and interpretive feedback allows the speaker to hear a clear demonstration of feedback confirming that the message was understood or needs correction. Interpretive feedback requests confirmation or clarification of a message and is often expressed as a question.

In hard copy documents, we normally lack this feedback loop, but online documents increasingly allow for this exchange. You may find a “Comments” button at the end of an online article. When you click on it, a text box appears, providing a space and medium for reader feedback to the author—an opportunity to respond with opinions, interpretations, and questions sparked by the article. This form of feedback is increasingly common on social media feeds like Facebook or X, as well as in dedicated comment sections on blogs and news sites.

Case Connection: Decoding the 2.3 Stars

When Saskia finally sits down with the twenty-three Google reviews at her desk, she doesn’t read them as a stack of complaints. She sorts them through Rogers’s five categories and starts to see the pile differently.

Five of the reviews are purely evaluative: “one star, don’t bother,” “terrible show.” They tell her something happened, but they don’t tell her what. Seven are interpretive: “I think this was supposed to be about comets?” and “Was the long section about orbital mechanics really necessary?” These are questions—readers asking whether they understood the thing Saskia was trying to communicate. Four are supportive, including the effusive “changed my life” reviewer, and while they’re lovely to read, they don’t give Saskia anything to act on. Three are probing: “Would love more information on how often this comet returns” and “Can you add a pre-show talk for beginners?” These are gifts. Somebody is telling her exactly what the show is missing. And four of the reviews are what Rogers would call understanding—readers who clearly felt the show’s emotional arc landed and wanted to say so, sometimes at length.

The 2.3 average, in other words, isn’t a verdict. It’s a collection of at least five different conversations happening at different levels of engagement. Some of those conversations are useless to Saskia. Some are worth their weight in gold. Rogers’s typology is the tool that lets her tell the difference.

Supportive Feedback

You come in second in a marathon to which you’ve dedicated the better part of a year in training. It was a challenging race and you’re full of mixed emotions. The hug from your partner communicates support and meets your need in ways that transcend language and the exchange of symbolic meaning. In an interpersonal context, it’s easy to identify, describe, and even predict many representations of supportive feedback—but in other communication contexts, it can prove a significant challenge.

You may encourage yourself as you mentally prepare for the race, and may receive backslaps and hugs after—but when you write about your experience, how do you experience supportive feedback? In the same way you receive evaluative or interpretive feedback via comments or on social media, you may receive supportive feedback. Supportive feedback communicates encouragement in response to a message.

Ethical Consideration: When Supportive Feedback Is the Wrong Answer

You’ve just reviewed a colleague’s draft. It’s not very good. The argument is muddy, the evidence is thin, and the tone wobbles between apology and bluster. Your colleague is a friend. She’s been working on this for weeks. She’s about to present it to a board that will almost certainly see exactly what you’re seeing. What do you say?

The easy answer—the kind your nervous system suggests—is supportive feedback. “Nice work! I can tell you put a lot into this.” That answer protects the friendship for an afternoon and sends her into a board meeting unarmed. The ethical answer is harder. It involves saying, with care and specificity, the things she needs to hear before the stakes get higher. “Here’s the part I thought worked. Here’s the part I stumbled on. Here’s what I’d try if it were my draft.”

Rogers’s framework is descriptive—he’s cataloging the kinds of feedback humans actually give each other, not ranking them. But in a professional setting, supportive feedback can become a form of cowardice dressed up as kindness. The trick is to be genuinely supportive of the person (you believe in her, you want her to succeed, you respect her enough to tell her the truth) while being honestly critical of the work. Those two things aren’t in tension once you’ve practiced them. Defaulting to pure encouragement—especially when someone has asked for real feedback—is what Rogers would call supportive, but it’s also what most of us would call letting a friend down. Decide which audience the feedback is serving. If it’s the writer’s ego, say something else.

Probing Feedback

As you’ve read an article, have you ever wanted to learn more? Increasingly, embedded links allow a reader to explore related themes and content that give depth and breadth, but require the reader to be self-directed. Probing feedback communicates targeted requests for specific information. As an author, you’ve crafted the message and defined what’s included and what’s beyond the scope of your document—but not every reader may agree with your framework. Some may perceive that a related idea is essential and specifically request additional information as a way of indicating it should be included. Rather than responding defensively to requests for specific information and interpreting them as challenges to your authority as author, see them for what they are: probing feedback. They’re opportunities that you should respond to positively, viewing each as an opportunity to interact, clarify, and promote your position, product, or service.

Keeping a positive attitude is an important part of writing in general and feedback in particular. Not everyone is as skilled with words as you are, so their probing feedback may appear less than diplomatic on the surface—it may even come across as rude, ignorant, or unprofessional. But it will be to your advantage to see through the poor packaging of their feedback for the essential request and respond in a positive, professional fashion.

Understanding Feedback

Rogers discussed the innate tendency for humans to desire to be understood.[15][16] We may express frustration associated with a project at work. As we express ourselves to those we choose to share with, we seek not only information or solutions, but also acceptance and respect. We may not even want a solution or need any information—we may want to be heard. Understanding feedback communicates sympathy and empathy for the source of the message.

As a business writer, you want your writing to be understood. When you receive feedback, it may not always be supportive or encouraging. Feedback isn’t always constructive, but it’s always productive. Even if feedback fails to demonstrate understanding or support for your cause or point, it demonstrates interest in the topic.

As a skilled communicator, you can recognize the types of feedback you’re likely to receive from readers and can recognize that readers may also desire feedback. Sometimes an author may communicate respect and understanding in a follow-up message. By providing clarification, you can develop the relationship with the reader. Being professional involves keeping your goals in mind, and to achieve success, you’ll need a positive relationship with your readers.

Real-World Application: Responding to Rogers in the Wild

You’re the communications coordinator for a small community health clinic. You’ve just published a blog post explaining the clinic’s new walk-in hours for flu shots. Within twenty-four hours, five comments appear. Let’s walk through how you’d respond to each one using Rogers’s framework.

Comment 1 (Evaluative): “Great info, thanks.” Nothing to do here except note the positive reception. Maybe hit the like button if the platform offers one. Don’t overreact—a simple acknowledgment respects the reader’s brief message without inflating it.

Comment 2 (Interpretive): “Wait—does this mean I don’t need an appointment?” This is a gift. The reader is telling you that your post wasn’t perfectly clear on exactly the point that mattered most. Respond with a short, direct answer (“Correct—no appointment needed for walk-in flu shots during the listed hours”), and then go back and update the post itself so the next reader doesn’t have the same question.

Comment 3 (Supportive): “So glad you’re doing this. The clinic is a gem.” Thank the commenter warmly but briefly, and resist the urge to write a long reply. Supportive feedback is pleasant, but it doesn’t require a matching monologue from you.

Comment 4 (Probing): “Do you accept Medicaid for the flu shot?” Another gift. This is information your post should have included. Answer the question directly, and then go add that information to the post.

Comment 5 (Understanding): “My mother is 84 and homebound. It means a lot that clinics still think about people like her.” This isn’t asking for information. It’s asking to be heard. The right response is a short, human acknowledgment: “Thank you for sharing this—please reach out at [number] if we can help arrange a visit for your mother.” Don’t turn it into a policy answer. Turn it into a moment of actual recognition.

Five comments, five different responses, all professional, all on-brand, none of them longer than three sentences. That’s what Rogers’s framework gets you when you use it as a reading tool. It tells you what each person needs from you—and, just as importantly, what each person doesn’t need from you.

Rogers’s five categories overlap. A single comment can be probing and evaluative at the same time, or supportive with a hidden interpretive question tucked inside. The point isn’t to assign a letter grade to each piece of feedback. The point is to slow down long enough to notice what the reader is actually asking for. Some readers want information. Some want correction. Some want to be acknowledged. Some want to register a grievance. And some—the rarest and most valuable kind—want to make your writing better. The business writer who can tell them apart and respond appropriately to each has turned feedback from an ordeal into a resource.

Key Takeaways

Feedback may be evaluative, interpretive, supportive, probing, or understanding, and it is always an opportunity for growth.

Exercises

  1. Select a piece of writing such as an article from a website, newspaper, or magazine. Write at least one sentence of feedback in each of the five types described in this section. Do you find one type of feedback easier to give than another? If you were the author, how would you feel receiving this feedback? Discuss your thoughts with classmates.
  2. Review a website, article, or similar presentation of information. Focus on strengths and weaknesses from your perception and write a brief analysis and review. Post your results and compare with classmates.
  3. Find a blog or online article with comments posted after the document. Choose one example of feedback from the comments and share it with classmates. Note any trends or themes that present themselves as you explore the comments.
  4. Create a blog and post an opinion or editorial article. What kinds of feedback do you get from your readers? Compare and contrast your experiences with those of classmates.

Closing Case Analysis: Back to the 2.3-Star Universe

Saskia woke up at six a.m. on the Wednesday after her late night and made coffee in the dark. The legal pad was on the kitchen table where she’d dropped it when she came in the night before. The fourth option she’d drawn a box around was still legible. She read it twice, drank half a cup of coffee, and decided it wasn’t stupid. Then she sat down with a fresh mug and started building the synthesis report that was due to the board in nine days.

The first thing she did was sort her evidence into the four categories from Section 8.1. She put ticket revenue, website analytics, email open rates, and gift shop sales into external indirect, because those were responses to her writing that came from the audience without going through her directly. She put Google reviews, the TV reporter’s piece, the four angry teacher emails, the three supportive middle-school teacher emails, and the comment threads on the Meridianwood Facebook page into external direct—messages aimed at her or at the organization. She put her own Monday-morning re-reads of the souvenir program, plus Halldor’s technical-director observations about the dome’s motion-tracking, plus Perpetua’s note about the angry teacher emails into internal direct. And she put a new category she invented for herself—things she’d noticed at the dome without anybody saying anything out loud, like the fact that three of the families who’d walked out at the homeschool co-op preview had specifically walked out during the eleven-minute orbital-mechanics sequence—into internal indirect, since she was the receiver of her own observation but nobody had communicated it to her directly.

The sort itself was revelation enough to change her thinking. Three weeks of feedback, when she put it on the page in the right piles, told a much clearer story than the 2.3-star number had suggested. The external indirect pile was strongly positive. Ticket sales up, click-throughs up, gift-shop program sales strong. The external direct pile was bimodal—a small number of enthusiastic people and a small number of furious people, with almost nothing in between. The internal direct pile was consistent, careful, and mildly concerned: Halldor saying the motion tracking was hard for first-timers, Perpetua asking whether the angry teachers were representative, her own re-read noticing that the souvenir program opened with three paragraphs of orbital-mechanics exposition before anyone would have known why they should care. The internal indirect pile was small but devastatingly precise: three families walked out during eleven specific minutes.

Next, Saskia applied the framework from Section 8.2. Was the 2.3-star average valid? Only weakly. It was measuring self-selected Google reviewers, not visitors. Was it reliable? Possibly—twenty-three reviews weren’t a lot, but the distribution was consistent enough that the average probably wouldn’t swing wildly with another twenty-three. But reliability without validity is just a precise measurement of the wrong thing. Was the 34 percent ticket revenue jump valid? Mostly yes—it measured actual visitor behavior, not opinions. Was it reliable? Harder to say in a single month, since one good month could be weather, news cycles, or a slow quarter the year before. She made a note to pull the two previous months and the three following weeks before the board meeting to see whether the pattern held.

The focus-group data was qualitative, not quantitative, and Saskia resisted the urge to turn the two groups into a box score. The astronomy club liked the show because the show was already optimized for people like the astronomy club. The homeschool co-op disliked the show because the show was not optimized for multi-age family groups. Neither data point told her about the median visitor; each told her about a known, predictable slice of audience. Put together, they told her something Saskia hadn’t fully admitted to herself before: Meridianwood didn’t have one audience. It had at least three. Serious hobbyists, middle-school-aged students on field trips, and general visitors (often families with young children, often walk-ins). The old Sagittarius Arm show had accidentally worked reasonably well for all three because it was so mild. The Wanderers’ Return had been designed for the hobbyist audience without Saskia (or Torbjorn, or anyone else) quite realizing it.

That insight reframed every category of feedback. The four angry elementary-teacher emails were probing feedback in Rogers’s sense—telling her exactly what the show was missing, which was a version appropriate for younger audiences. The astronomy club’s effusive focus group was evaluative plus understanding—they were saying the show was good and that they felt seen by it. The homeschool co-op’s walkouts were interpretive feedback in its purest form: the audience had literally stopped trying to interpret the show. The Google reviews were a mix, as you’d expect, and the bimodal distribution now made sense. Visitors who happened to match the hobbyist profile gave five stars. Visitors who didn’t gave one star. The silent middle—the people who liked the show fine but didn’t feel moved to review it—were invisible in the Google data but visible in the ticket-revenue data.

On Thursday afternoon, Saskia called Dr. Jimenez-Kallberg and read him her draft synthesis. He listened for twenty minutes, then said two things that changed her final recommendation. The first was: “You’re telling me your show has one audience but you’re selling it to three. That’s not a show problem. That’s a scheduling problem.” The second was: “Don’t bury Option 4. That’s your recommendation.”

Option 4—the one she’d drawn a box around at midnight and nearly talked herself out of—was this: run The Wanderers’ Return three evenings a week for the hobbyist audience that loved it, run a shortened, reworked version titled Comet Returns for Saturday family matinees and school groups, and bring back the Sagittarius Arm show for the slower weekday afternoons when the typical visitor was a general walk-in. Three versions of the same content, scheduled to match three different audience slices. Saskia would have to rewrite the souvenir program (split into two versions, one full and one short), rewrite the teacher guide from scratch at a fourth-grade reading level, rewrite the website scheduling page, and draft a new press release explaining the change as an expansion rather than a retreat. That was a lot of writing for nine days. It was also, she realized, the only recommendation that didn’t require her to pretend the feedback was telling her something simpler than it actually was.

She wrote the board report on Friday and Saturday. She framed her recommendation around the evidence by category. She explicitly cited validity and reliability concerns with the 2.3-star number and explicitly declined to treat it as the headline data point. She called out the focus groups as qualitative and the ticket revenue as quantitative, and explained what each was and wasn’t good at measuring. She used Rogers’s five feedback types (without naming Rogers—she didn’t want the board chasing a psychology framework) to reframe the angry teacher emails as probing feedback and to reframe her own internal observations as the category of feedback that had turned out to be most predictive. She thanked Perpetua in the acknowledgments for asking the question about representativeness.

On Monday the 15th, two days before the board meeting, she sent the draft to Torbjorn. He replied within an hour: “This is the most useful document I’ve read all year. Go present it.”

The board meeting on the 17th ran three hours. Winifred Otsuka-Sandoval, the engineer board chair, asked twelve questions, most of them about the ticket-revenue trend line and the cost of producing three scheduling tracks. Saskia had rehearsed answers to all twelve. The board approved Option 4 unanimously. The Wanderers’ Return kept its three-evenings-a-week slot. The shortened Comet Returns premiered on the first Saturday in November and hit a 4.3-star average over its first forty reviews. The Sagittarius Arm show came out of storage and ran Tuesday and Thursday afternoons, to mostly empty houses—but the mostly-empty houses included the exact kind of quiet, older, general-audience visitor who had been Meridianwood’s backbone for a decade. The rewritten teacher guide got thank-you emails from two of the four elementary teachers who had originally written to complain.

Six months later, Saskia was asked to present at the Western Alliance of Small Planetariums conference on her synthesis method. Her talk was titled “The 2.3-Star Trap: What Three Weeks of Mixed Feedback Taught Us About Our Audience.” The first slide was a photo of her legal pad from the Tuesday night in October, with the four-category sort and the fourth-option box still visible. The second slide said: Feedback isn’t an answer. It’s a question you have to sort before you can hear it.

Case Discussion Questions

  1. Saskia resists treating the 2.3-star Google review average as her headline data point. Why? What categories of feedback from Section 8.1 does the review average fall into, and what are its specific weaknesses as a measure of audience response?
  2. Perpetua’s one-line question—”These are loud. Are they representative?”—becomes a turning point in Saskia’s analysis. Why is that question more valuable than a detailed reaction to the teacher emails would have been? What habit of mind does it model?
  3. The two focus groups (astronomy club and homeschool co-op) reach opposite conclusions about the show. How does Saskia avoid treating this as a contradiction? What does she learn by refusing to pick a winner?
  4. Saskia’s “internal indirect” category—her own observations at the dome without anyone saying anything out loud—turns out to be one of her most useful feedback piles. Why is this kind of quiet, unsolicited observation so easy to overlook, and what could you do to capture it more systematically in your own writing practice?
  5. Dr. Jimenez-Kallberg tells Saskia: “You’re telling me your show has one audience but you’re selling it to three. That’s not a show problem. That’s a scheduling problem.” Why is this reframing so decisive? What does it suggest about how a writer should listen to feedback that points in contradictory directions?
  6. Saskia’s final recommendation (Option 4) is more work than any of the three options she’d considered at midnight. Why does she recommend it anyway? What does her decision suggest about the relationship between good feedback synthesis and easy answers?

End-of-Chapter Review Questions

Use these questions to check your understanding of the chapter’s core concepts. Write your answers in complete sentences and bring them to class for discussion.

Review Questions

  1. Define indirect feedback and give an example that isn’t from the chapter.
  2. Define direct feedback and give an example that isn’t from the chapter.
  3. What are the four criteria every skilled business writer should use when giving themselves internal feedback on their own writing?
  4. What’s the difference between a “hit” and a “unique visit,” and why does the distinction matter to a business writer assessing feedback on an online document?
  5. Explain Jon Kleinberg’s HITS algorithm in one or two sentences. What is a “hub”? What is an “authority”?
  6. When is an interview a more appropriate feedback-gathering method than a survey? When is a survey more appropriate than an interview?
  7. Compare and contrast qualitative and quantitative research. What’s each one good at measuring that the other can’t easily capture?
  8. Define validity and reliability in your own words. Can a measurement be reliable without being valid? Can it be valid without being reliable?
  9. What does it mean for a research finding to be “statistically significant”? What does it not mean?
  10. List Carl Rogers’s five types of feedback in order of frequency (most common to least common), and give a one-sentence example of each.
  11. Why is probing feedback often described as the most valuable type of feedback for a business writer, even when it’s rudely phrased?
  12. Explain the difference between feedback that is “supportive” in Rogers’s sense and feedback that is genuinely useful. Under what conditions can supportive feedback be a form of professional cowardice?

Key Terms Matching Exercise

Match each key term from the chapter with its definition. Answers appear at the end of the exercise.

Match the Term to the Definition

Terms

  1. Indirect feedback
  2. Direct feedback
  3. Internal feedback
  4. External feedback
  5. Grapevine
  6. Contextually relevant ad
  7. Hit
  8. Page view
  9. Unique visit
  10. HITS algorithm
  11. Hub
  12. Authority page
  13. Qualitative research
  14. Quantitative research
  15. Validity
  16. Reliability
  17. Inter-rater reliability
  18. Statistical significance
  19. Probing feedback

Definitions

  1. The degree to which an instrument or measurement gives the same result when applied under the same conditions.
  2. The strength of conclusions, inferences, or assertions; how well a measurement captures what it claims to capture.
  3. A response that doesn’t come directly from the receiver to the author but reaches the author through intermediaries, analytics, or observed behavior.
  4. A response that comes directly from the receiver to the author, whether verbal or nonverbal, clear or ambiguous.
  5. Feedback generated by the source in response to their own message, including self-review and review from within the author’s organization.
  6. A response from the receiver outside the source’s organization, often mediated by a channel like a comment thread, review site, or email.
  7. The unofficial, informal communication network within an organization, often carrying rumor and gossip.
  8. A statement that a difference or relationship found in data is unlikely to be due to chance alone, given the sample size and variability.
  9. An online advertisement that uses the content of the page and the reader’s search data to present information tailored to that specific reader.
  10. A single file request and receipt between a web server and a browser; an inflated and unreliable measure of audience size.
  11. A count of how many times a specific web page is displayed, regardless of how many files it contains.
  12. A count of how many distinct people (not repeated visits) access a website over a given period.
  13. Jon Kleinberg’s method of ranking web pages by the links within them and the frequency with which they are cited.
  14. A web page containing many outbound links to related documents, part of Kleinberg’s ranking framework.
  15. A frequently cited web page that has established credibility through the number and quality of pages linking to it.
  16. Investigation that emphasizes “quality”—how something feels, how it is experienced, what meanings participants attach to it—typically through small samples and open-ended methods.
  17. Investigation that emphasizes “quantity”—how many, how often, to what degree—typically through large samples and numerical data.
  18. The degree to which different evaluators, rating the same thing in similar conditions, reach similar conclusions.
  19. Feedback that takes the form of a targeted request for specific additional information and that, despite sometimes rude phrasing, is among the most valuable types a writer can receive.

Answer Key: 1-C, 2-D, 3-E, 4-F, 5-G, 6-I, 7-J, 8-K, 9-L, 10-M, 11-N, 12-O, 13-P, 14-Q, 15-B, 16-A, 17-R, 18-H, 19-S

Application Exercises

These exercises give you a chance to put the chapter’s concepts into practice on your own writing.

Application Exercises

  1. The Four-Category Sort. Choose a piece of your own writing that has been out in the world for at least two weeks and has received feedback from at least five sources. Create a four-category sort (External Direct, External Indirect, Internal Direct, Internal Indirect) and place every piece of feedback you can recall into exactly one category. Write a 400-word reflection on what the distribution tells you. Which category is overrepresented? Which is empty? What would you do differently on your next writing project to rebalance the map?
  2. The Rogers Translation. Find a blog post, product page, or news article with at least ten comments. Classify each comment according to Rogers’s five types. For any comment that seems to fit more than one category, explain which type is primary and why. Then write a short, professional response to each of the five most substantive comments, modeling the approach from the “Real-World Application” call-out. Swap responses with a classmate and critique each other’s tone and tact.
  3. The Reliability-Validity Audit. Find a published claim (in a press release, marketing page, news article, or academic summary) that cites a numerical finding as evidence. Write a 500-word analysis answering: Is this finding valid? Is it reliable? How do you know? What would you need to see to change your assessment? What would a skeptical reader question first, and how well does the source anticipate that skepticism? Compare your analysis with classmates and discuss how often published claims rest on measurements that are precise but weakly valid.

Discussion Questions

Use these questions for classroom discussion, small-group work, or a discussion-board post.

Discussion Questions

  1. The chapter argues that a five-star review and a one-star review of the same document aren’t really a contradiction—they’re two different audiences speaking. Do you agree? When, if ever, is it right to treat wildly divergent feedback as a sign that the document itself is the problem rather than the audience mix?
  2. Supportive feedback is the easiest kind to give and the easiest kind to receive. The “Ethical Consideration” call-out argues that it can also be a form of cowardice. Where do you draw the line between kindness and avoidance when reviewing a peer’s work? What’s your personal default mode, and what would it take to shift it?
  3. Online review platforms (Google, Yelp, Amazon) have changed how organizations receive feedback by making it public, immediate, and searchable. Has this changed what counts as “good” feedback for a business writer? Are we better or worse off than we were in the era of mailed letters to the editor? Defend your answer with at least one specific example.

Extended Project: The Feedback Synthesis Report

Extended Project: Write Your Own Synthesis

This is the chapter’s capstone exercise. Modeled directly on what Saskia does in the closing case, the project asks you to build a real feedback synthesis report on a piece of your own writing.

Step 1: Pick the document. Choose something you’ve written and released in the last six months. It can be a blog post, a project report, a marketing page, a school essay, a newsletter, a social post that got real engagement—anything with at least five distinct pieces of feedback attached to it. If you don’t have anything that fits, write and release something now and collect feedback for two weeks before starting the project.

Step 2: Gather the evidence. Collect every piece of feedback you can find: comments, emails, DMs, hallway remarks, analytics, conversion numbers, social media mentions, things people said to you at a coffee shop. Put each one in its own line item with a source, a date, and a verbatim quote (or numerical value). Don’t judge anything yet—just catalog.

Step 3: Sort. Apply the Section 8.1 four-category sort (External Direct, External Indirect, Internal Direct, Internal Indirect) to every line item. For quantitative items, note whether they’re valid, reliable, both, or neither, using the Section 8.2 framework. For qualitative items, note whether they feel representative or whether they look like a self-selected slice of audience. For each piece of direct human feedback, classify it under Rogers’s five types.

Step 4: Draft the synthesis. Write a 1,500–2,000 word report structured in three parts. Part 1: The Evidence. Summarize what you found in each of the four categories and each of Rogers’s five types. Part 2: The Interpretation. Explain what the sorted feedback actually tells you—where it converges, where it diverges, and what the divergences mean. Part 3: The Recommendation. State what you would do differently on your next version of this document, and explain your reasoning in terms of the feedback categories. Be explicit about which pieces of feedback you’re weighting heavily, which you’re setting aside, and why.

Step 5: Reflection (500–700 words). After you’ve written the synthesis, write a separate reflection addressing these questions: Which category of feedback turned out to be most useful, and which was most misleading? Did any single piece of feedback change your mind about the document? Did the sorting process surface anything you had been ignoring or minimizing? Were you tempted to weight supportive feedback more heavily than it deserved? Were you tempted to weight negative feedback more heavily than it deserved? What habit from this exercise do you want to carry into the next piece of writing you release?

Deliverable: Submit the synthesis report and the reflection as a single document. You’ll know you’ve nailed it when the synthesis could survive being read by a skeptical stranger—someone who’s never seen the document, has no stake in the outcome, and wants to know whether you can show your work.

Self-Assessment: Return to Before You Read

Self-Assessment

Pull out the answers you wrote at the start of this chapter for the Before You Read diagnostic. Now work through the same four questions again, and compare.

  1. Your first question asked about the gap between where you expected critical feedback to focus and where it actually focused. Having read the chapter, what would you add to your original answer? Does Rogers’s typology help you name the gap? Does the internal/external, direct/indirect map help you see whether you were getting the kind of feedback you thought you were?
  2. You assigned a 1-to-10 weight to Saskia’s 2.3-star Google review average. Has your number moved? If yes, by how much, and why? If no, what specifically convinced you that your original weight was correct?
  3. You ranked four feedback sources from most to least trustworthy. Would you keep the same ranking now? What would change? Be specific about which concepts in the chapter drove any re-ranking you did.
  4. You were asked whether a one-sentence comment saying “I don’t understand what this is for” is useful feedback. Does your answer hold up? Where would you place that comment in Rogers’s five types? What would you do with it if it appeared on something you had written?

The goal isn’t to make your before-and-after answers identical or to grade yourself on how much you changed your mind. The goal is to notice which concepts in this chapter had purchase for you and which still feel abstract. The ones that feel abstract are the ones you’ll need to practice on your own writing before they become genuinely useful. That’s what the Extended Project is for.

8.4 Additional Resources

Online Writing Laboratory (OWL) at Purdue has a comprehensive guide to the writing process. http://owl.english.purdue.edu

The newsletter Managing Work Relations offers an article on the grapevine and workplace gossip. http://www.workrelationships.com/site/newsletter/issue1.htm

Visit this About.com page for an informative article for managers on how to deliver feedback to subordinates. http://humanresources.about.com/cs/communication/ht/Feedbackimpact.htm

Read an inspiring story about feedback on this Helium.com page. http://www.helium.com/items/1231747-communication-skills-providing-feedback-that-has-an-impact

Read more about how to accept and benefit from feedback in this e-zine article. http://ezinearticles.com/?Workplace-Communication—Accepting-Feedback&id=2147532

Study Guides and Strategies presents an article on how to benefit from feedback when working with a tutor. http://www.studygs.net/feedback.htm

AllBusiness presents an article on the five main methods of market research. http://www.allbusiness.com/marketing/market-research/1287-1.html

Free Management Library presents an in-depth article on market research. http://managementhelp.org/mrktng/mk_rsrch/mk_rsrch.htm

Explore the home page of SurveyMonkey and learn about some of the decisions that need to be made in designing a survey. http://www.surveymonkey.com

Read an article on how to organize a focus group by Carter McNamara, MBA, PhD. http://managementhelp.org/evaluatn/focusgrp.htm

Writers often receive feedback by having their documents edited. Read about what an editor does on the home page of KOK Edit. http://www.kokedit.com

ChangingMinds.org discusses Rogers’s five feedback types with examples. http://changingminds.org/techniques/conversation/reflecting/rogers_feedback.htm

The Nielsen Norman Group publishes extensive research and practical guidance on how users actually read and respond to online content, useful for anyone assessing user-generated feedback on web documents. https://www.nngroup.com/articles/

Harvard Business Review’s collection of articles on giving and receiving feedback offers practical frameworks that complement Rogers’s typology, with particular attention to workplace dynamics. https://hbr.org/topic/subject/feedback


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