Web usability guru Jakob Nielsen observes that most people only skim read web pages and just 11% of people will actually read a whole web page word for word to the end. So how do we work around this?
There are many reasons why people don’t like to sit at a screen absorbing content hour on end. They are too busy, they find it uncomfortable, they get eye-strain - and much more. Communicators need to learn the tricks of the trade to retain their screen audience.
Here are the main points we need to apply:
- edit as tightly as possible
- carefully select phrases and words
- format, style and use layout to aid readability
- consider using visuals rather than words
Writing for the web is still an underrated art. It needs much more self-discipline than print - and it calls for:
- greater attention to text layout
- a good grounding in the principles of effective navigation
- an appreciation of ‘web usability’ parameters
The closest comparison we can make is to advertising copywriting. For the last few decades advertising agencies have proven their worth by persuading consumers to switch to different products and services. The top professionals command impressive salaries.
We are now beginning to see the recognition of the work of the new media writers, and can expect these editing skills to match their advertising counterparts.
an art or a science?
Is web writing an art or science? Probably both, but even experienced web writers and designers are still discovering what works best on screen.
We are now beginning to see the recognition of the work of the new media writers, and can expect these editing skills to match their advertising counterparts.
I have found that when you pass on the secrets of improving screen writing and ask a class of students to tackle the same practical exercise, you find everyone improves readability of the text you provide, but in different ways.
Each individual’s approach can become a recognisable trademark - and some solutions are better than others.
We all need to keep in tune with the latest university and commercial research, and establish not only what works on screen but what doesn't. Then we can build our own repertoire of tricks of the trade that can be usefully applied to new material.