Distinctiveness is essential across your personal brand - from your image and design to your ideas and presentation, But distinctiverness is equally important to your writing. Yet most of the writing we see around us is bland and generic. So, here, Ken Carroll, a language teacher/entrereneur of some 25 years offers two powerful writing techniques, ways to avoid the convention and the cliche, and make your writing stand out. Whether you write web copy or marketing content, business reports, or blog posts, the presentation reveals how your writing can be different and distinctive.

1. How toHow toHow toHow to makemakemakemake youryouryouryour
writingwritingwritingwriting
distinctivedistinctivedistinctivedistinctivedistinctivedistinctivedistinctivedistinctive
Ken Carroll

2. DistinctivenessDistinctivenessDistinctivenessDistinctiveness is essential
across all aspectsall aspectsall aspectsall aspects of your
personal brandbrandbrandbrand: From your
design and image, to yourto yourto yourto your ideas,
and the way youand the way youand the way youand the way you approach your
content...

3. ...andandandand totototo
your writingyour writingyour writingyour writing

4. Your writing stylewriting stylewriting stylewriting style and qualityqualityqualityquality
are key elements of your
personal (or corporate) brand.
They reveal your charactercharactercharactercharacter,They reveal your charactercharactercharactercharacter,
who you truly are.

5. Yet most of the writingwritingwritingwriting
we see around us lackslackslackslacks
distinctiveness.
The ideasideasideasideas, theThe ideasideasideasideas, the
perspectivesperspectivesperspectivesperspectives, the
wordingwordingwordingwording, the conceptionconceptionconceptionconception
of the writing often
lack differentiatorslack differentiatorslack differentiatorslack differentiators.

6. ResultResultResultResult:
The writers sound like
everyoneeveryone else.else.else.else.

7. There are two causes:
Reliance on cReliance on cReliance on cReliance on conventionntionntionntion
Reliance on clichlichlichliché

8. CCCConvennvennvennventionsCCCConvennvennvennventions

9. Convention is everywhereverywhereverywhereverywhere. We
swim inswim inswim inswim in it. Most of it goes
unnoticed, but not without
effect: The dismaldismaldismaldismal, me-tooeffect: The dismaldismaldismaldismal, me-too
samenesssamenesssamenesssameness that we see in so
much of what gwhat gwhat gwhat gets written.

10. Anything you do on your websitewebsitewebsitewebsite, in
your reportsreportsreportsreports, on your pdfspdfspdfspdfs, eeee----
booksbooksbooksbooks, and so on, can fall into the
convention trap – visualconvention trap – visual
convention, conventions of the
genre, and so on.

11. Too many blog postsToo many blog postsToo many blog postsToo many blog posts (and the
blogs themselves)blogs themselves)blogs themselves)blogs themselves) look, feel,
and sound generic.generic.generic.generic.
They workThey workThey workThey work from the samesamesamesame
conventionsconventionsconventionsconventions.

12. The same is true for reports,
pdfs, e-books – for every
kind of informationinformationinformationinformation
productproductproductproduct: Few verbal, visual,Few verbal, visual,Few verbal, visual,Few verbal, visual,productproductproductproduct: Few verbal, visual,Few verbal, visual,Few verbal, visual,Few verbal, visual,
or formattingformattingformattingformatting
differentdifferentdifferentdifferentiators are the
norm.

13. Foooor examplmplmplmple:
When you use graphicsgraphicsgraphicsgraphics, piiiics, or
quotationsquotationsquotationsquotations that add nothing
to the content...That’sThat’sThat’sThat’sto the content...That’sThat’sThat’sThat’s
conventionconventionconventionconvention.

14. When you use a photophotophotophoto of a
handshakehandshakehandshakehandshake or a globe in your
report - and especially when you
use a handshake superimposedhandshake superimposedhandshake superimposedhandshake superimposeduse a handshake superimposedhandshake superimposedhandshake superimposedhandshake superimposed
over a globeover a globeover a globeover a globe...conventientientiention.
Please, noPlease, noPlease, noPlease, no.

15. When you trade other people’sother people’sother people’sother people’s
ideideideideas, write only posts withposts withposts withposts with
lists, or apologize for notlists, or apologize for notlists, or apologize for notlists, or apologize for not
having blogged recentlyhaving blogged recentlyhaving blogged recentlyhaving blogged recently...having blogged recentlyhaving blogged recentlyhaving blogged recentlyhaving blogged recently...
NNNNeedless, nauseauseauseauseating
conventionentionentionention...

16. In other words, when you
mindlesslymindlesslymindlesslymindlessly accept the standards
and the clichéd normsclichéd normsclichéd normsclichéd norms of writing
in our time, then you’re in the
land of conventionconventionconventionconvention.land of conventionconventionconventionconvention.

17. And it may be time to evacuate.
Because with convention, the
genericgenericgenericgeneric looklooklooklook/feelfeelfeelfeel/ soundsoundsoundsound will
be the result - regardless ofbe the result - regardless of
how good the ideasideasideasideas, the
informationinformationinformationinformation, the insightsinsightsinsightsinsights.

18. Mof the peoeoeoeople who trade intrade intrade intrade in
convention are unawareunawareunawareunaware of
it... For most of us, flatflatflatflatit... For most of us, flatflatflatflat
and conventionaland conventionaland conventionaland conventional is our
defaultdefaultdefaultdefault.

19. Unless you do something
about it, your work will
give off the impression
of samenesssamenesssamenesssameness, of beingof samenesssamenesssamenesssameness, of being
conventionalconventionalconventionalconventional.

20. And conventionAnd conventionAnd conventionAnd convention makes it
almost impossibleimpossibleimpossibleimpossible totototo
deliverdeliverdeliverdeliver the content in andeliverdeliverdeliverdeliver the content in an
interestinginterestinginterestinginteresting or engaginngaginngaginngaging
way.

21. ItItItIt guarantees that your
workworkworkwork will not stand out and
will not be as widely readwidely readwidely readwidely readwill not be as widely readwidely readwidely readwidely read
as it should be.

22. CCCClichlichlichlichéééé

23. The verbalverbalverbalverbal equivalent
of the conventionntionntionntion, isisisis
thethethethe clichichichiché.thethethethe clichichichiché.

24. “Never use a metaphormetaphormetaphormetaphor, similesimilesimilesimile, or
other figure of speechfigure of speechfigure of speechfigure of speech which
you are used to seeingused to seeingused to seeingused to seeing in
print.”print.”
George OrwellOrwellOrwellOrwell

25. When you’re epicepicepicepic, and awesomeawesomeawesomeawesome,
and thinking outside the boxthinking outside the boxthinking outside the boxthinking outside the box,
or opening the kimonoopening the kimonoopening the kimonoopening the kimono, when your
eyes glaze overeyes glaze overeyes glaze overeyes glaze over or when you, atatatat
the end of the daythe end of the daythe end of the daythe end of the day, go the extrago the extrago the extrago the extrathe end of the daythe end of the daythe end of the daythe end of the day, go the extrago the extrago the extrago the extra
mile,mile,mile,mile, or you’re a rockstarrockstarrockstarrockstar writer
in the making ...

26. Then you're indulindulindulindulging in
needlesdlesdlesdless and damaamaamaamaging
cliché...

27. AvoidingAvoidingAvoidingAvoiding the
conventionsconventionsconventionsconventions and the
clichésclichésclichésclichésclichésclichésclichésclichés

28. I admitadmitadmitadmit that it’s tempting to doto doto doto do
what everyone else is doing.
It’s easy to use clichéeasy to use clichéeasy to use clichéeasy to use cliché.

29. And clichés savesavesavesave youyouyouyou having
to think....think....think....think....

30. ButButButBut
they’rethey’rethey’rethey’re
alsoalsoalsoalso
deadlydeadlydeadlydeadly.

31. ... Because thethethethey can
submerge yousubmerge yousubmerge yousubmerge you in a seaseaseasea of
sasasasameness and mediocrity.sasasasameness and mediocrity.
So...So...So...So...

32. Instead,Instead,Instead,Instead,
learnlearnlearnlearn
fromfromfromfrom
thethethethe
artists...artists...artists...artists...

33. ArtistsArtistsArtistsArtists develop a
distrustdistrustdistrustdistrust of the
commonplacecommonplacecommonplacecommonplace, ancommonplacecommonplacecommonplacecommonplace, an
instinctive reflexinstinctive reflexinstinctive reflexinstinctive reflex
against what has
been done beforebeen done beforebeen done beforebeen done before

34. SeeingSeeingSeeingSeeing andandandand rejectingrejectingrejectingrejecting
convention is halfhalfhalfhalf of the
battle of creativitycreativitycreativitycreativitybattle of creativitycreativitycreativitycreativity

35. Example Kurt Schwitters
His ‘sound poemsound poemsound poemsound poem’His ‘sound poemsound poemsound poemsound poem’
“UrsonateUrsonateUrsonateUrsonate”

36. ‘Brand Schwitters’
is distinctive, surprising,
unexpected.unexpected.
He did poetry likelikelikelike
nononono----one elseone elseone elseone else

37. So look criticallylook criticallylook criticallylook critically at your
brand – your website, your
reports, anywhere you write.
Look at the designdesigndesigndesign, the ideasthe ideasthe ideasthe ideas,Look at the designdesigndesigndesign, the ideasthe ideasthe ideasthe ideas,
the formatsthe formatsthe formatsthe formats and the wordingwordingwordingwording.

38. Look forLook forLook forLook for the stock ideasstock ideasstock ideasstock ideas,
thethethethe stock phrases,stock phrases,stock phrases,stock phrases,
the stock photosstock photosstock photosstock photos,
thethethethe clichés of theclichés of theclichés of theclichés of thethethethethe clichés of theclichés of theclichés of theclichés of the
genregenregenregenre that everyoneeveryoneeveryoneeveryone
else is doing.

39. SeeSeeSeeSee and identifyidentifyidentifyidentify the
conventions and the cliché
of every kievery kievery kievery kind.of every kievery kievery kievery kind.

40. ThenThenThenThen killillillill themmmm.
BBBBeeee mererererciless.BBBBeeee mererererciless.

41. But I want to make special notespecial notespecial notespecial note
of dealing with vdealing with vdealing with vdealing with verbalerbalerbalerbal clichés.
The reason for this is
importantimportantimportantimportant...

42. BecauseBecauseBecauseBecause the solutiolutiolutiolution lies
in goodoodoodood
word choiceword choiceword choiceword choiceword choiceword choiceword choiceword choice

43. Good wordGood wordGood wordGood word choice isn't just an
alternativealternativealternativealternative totototo cliché...cliché...cliché...cliché...

44. Good word choiceword choiceword choiceword choice is essenssenssenssential
to the vigorvigorvigorvigor, the accuraccuraccuraccuracy, and
the distinctivenctivenctivenctiveness of anyanyanyany
writingwritingwritingwriting.writingwritingwritingwriting.

45. Don’tn’tn’tn’t reacacacach for the cliché that
kind of represenresenresenresents youououour
thoughghghght.
Stopopopop.Stopopopop.
Thinhinhinhink.
Choohoohoohoose.

46. ReplaceReplaceReplaceReplace clichéclichéclichécliché with thoughtful,
accurate, and specific
alternatives that conveyconveyconveyconvey youryouryouryour
true meaningtrue meaningtrue meaningtrue meaning.true meaningtrue meaningtrue meaningtrue meaning.

47. AAAAsksksksk yourselfelfelfelf one of the mostone of the mostone of the mostone of the most
poweoweoweowerful questiontiontiontions in writintintinting
productductductductiv y:productductductductivitititity:

48. “Whatatatat exactlactlactlactly am I tryinryinryinrying to
sayyyy hereereereere?”sayyyy hereereereere?”

49. Good word choice holds truetruetruetrue for allallallall
forms of writingforms of writingforms of writingforms of writing.
RegardlessRegardless of what you write, you
must find ways to sound like yousound like yousound like yousound like you
and no-one else.

50. “... Great theater begins with
great talkersgreat talkersgreat talkersgreat talkers and... great
talkers... never sound likenever sound likenever sound likenever sound like
anyone else.anyone else.anyone else.anyone else.”anyone else.anyone else.anyone else.anyone else.”
Edmudmudmudmund WhWhWhWhiteeee

51. Every charactercharactercharactercharacter in a play,
movie, or novel must be
distinctive. He/she should notshould notshould notshould not
sound like anyone elsound like anyone elsound like anyone elsound like anyone else.
The writerwriterwriterwriter has to achieve this
distinctiveness explicitly.
Word choiceord choiceord choiceord choice is one way.

52. But cliché is also the biggestbiggestbiggestbiggest
blockblockblockblock to developing your owndeveloping your owndeveloping your owndeveloping your own
voicevoicevoicevoice.

53. Because instead oinstead oinstead oinstead of thinkingthinkingthinkingthinking
throughthroughthroughthrough what you wantyou wantyou wantyou want totototo
saysaysaysay, you slap a prepreprepre----saysaysaysay, you slap a prepreprepre----
fabricated meaningfabricated meaningfabricated meaningfabricated meaning on.

54. That's not your voiceThat's not your voiceThat's not your voiceThat's not your voice.
It’s somsomsomsomeonenenene else’s.It’s somsomsomsomeonenenene else’s.

55. So, good writiSo, good writiSo, good writiSo, good writing is rarely a
matter of the first wordsthe first wordsthe first wordsthe first words
that come into your head.that come into your head.

56. SSSSo, thinininink. Find fresherfresherfresherfresher ways,
more interestinginterestinginterestinginteresting, and
specificspecificspecificspecific ways to say whatspecificspecificspecificspecific ways to say what
you wanwanwanwant to say.

57. Develoeloeloelop the hthe hthe hthe habit of gooooooood
wordrdrdrd chohohohoiceeee

58. So herrrre’s the sthe sthe sthe strategy inininin brief:
Shunununun the conventintintintion and the cliciciciché.
Thinknknknk throrororough your pyour pyour pyour precise
meaning and choose the words
that speak most accuraccuraccuraccurately and
powerfullrfullrfullrfully to yourururur meaneaneaneaning.

59. So, tSo, tSo, tSo, thoshoshoshoseeee are te te te twoooo
wayswayswaysways totototo make yourmake yourmake yourmake your
mmmmwritingwritingwritingwriting mmmmoreoreoreore
distidistidistidistinctiveveveve