Writers need to unearth the real point behind a story

The important fact was not who attended the education conference.

It was that there would be no school on Thursday. Every student had the same information. Most treated importance as a property of prestigious nouns: governor, anthropologist, college president, Sacramento. The teacher looked through the facts towards the reader and found the consequence that changed breakfast.

Bad writing often comes from reporting the work done instead of the thing discovered. “We conducted seventeen interviews across four segments” may be accurate and utterly irrelevant. The audience wants to know that customers cannot complete checkout. Giving every fact equal weight is often defended as thoroughness. It is usually a refusal to choose disguised as professional care. Method matters later, when proof is required. It rarely deserves the lead merely because it consumed the writer’s week. This is also a strategy problem. People drown the point in facts when they have not decided what the point is. Rearranging every detail into a shorter sentence cannot rescue that absence. Compression is not prioritisation.

Ask what changes for the reader after learning the story. What will they repeat at dinner? Which fact makes the others worth reading? The answer may be embarrassingly plain, which is why experts often bury it beneath professional-looking debris. There will be no school next Thursday. Everything else can queue behind it.

Behavioural principles

Behavioural ideas at play in this post

Short, plain-English explanations of the principles behind this post, with links to related books and examples in the archive.