The essential thing to remember in working up to the climax is to make it a climax; to keep up the reader's interest, to insert a hook that will get the man's order before his desire has time to cool off. Your proposition is not a fireless cooker that will keep his interest warm for a long time after the heat of your letter has been removed—and it will be just that much harder to warm him up the second time. Insert the hook that will get the order NOW, for there will never be quite such a favorable time again.
"STYLE" In Letter Writing—
And How To Acquire It
PART III—STYLE—MAKING THE LETTER READABLE—CHAPTER 8
SPECIFIC STATEMENTS and CONCRETE FACTS are the substance of a business letter. But whether that letter is read or not, or whether those statements and facts are FORCEFUL and EFFECTIVE, is dependent upon the manner in which they are presented to the reader—upon the "style." What "style" is, and how it may be acquired and put to practical use in business correspondence, is described in this chapter
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Letter writing is a craft—selecting and arranging words in sentences to convey a thought clearly and concisely. While letters take the place of spoken language, they lack the animation and the personal magnetism of the speaker—a handicap that must be overcome by finding words and arranging them in sentences in such a way that they will attract attention quickly, explain a proposition fully, make a distinct impression upon the reader and move him to reply. Out of the millions of messages that daily choke the mails, only a small per cent rise above the dead level of colorless, anemic correspondence.
The great majority of business letters are not forcible; they are not productive. They have no style. The meat is served without a dressing. The letters bulge with solid facts, stale statements and indigestible arguments—the relishes are lacking. Either the writers do not realize that effectiveness comes only with an attractive style or they do not know how a crisp and invigorating style can be cultivated. Style has nothing to do with the subject matter of a letter. Its only concern is in the language used—in the words and sentences which describe, explain and persuade, and there is no subject so commonplace, no proposition so prosaic that the letter cannot be made readable and interesting when a stylist takes up his pen.
In choosing words the average writer looks at them instead of into them, and just as there are messages between the lines of a letter, just so are there half-revealed, half-suggested thoughts between the letters of words—the suggestiveness to which Hawthorne referred as "the unaccountable spell that lurks in a syllable." There is character and personality in words, and Shakespeare left a message to twentieth-century correspondents when he advised them to "find the eager words—faint words—tired words—weak words—strong words—sick words—successful words." The ten-talent business writer is the man who knows these words, recognizes their possibilities and their limitations and chooses them with the skill of an artist in mixing the colors for his canvas.
To be clear, to be forceful, to be attractive—these are the essentials of style. To secure these elements, the writer must make use of carefully selected words and apt figures of speech. Neglect them and a letter is lost in the mass; its identity is lacking, it fails to grip attention or carry home the idea one wishes to convey.
An insipid style, is responsible for much of the ineffectiveness in business letters. Few men will take the time to decipher a proposition that is obscured by ambiguous words and involved phrases. Unless it is obviously to a man's advantage to read such a letter it is dropped into the waste basket, taking with it the message that might have found an interested prospect if it had been expressed clearly, logically, forcibly.