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- description: "Draft and revise reader-centered marketing writing using Ann Handley's public Everybody Writes method. Use for emails, articles, landing pages, brand stories, and copy that needs clearer purpose, useful detail, and a distinctive voice."

- Use this skill to turn a brief, notes, or an existing draft into useful marketing writing for a particular reader. It applies to substantial articles and small pieces such as subscription confirmations, FAQs, and product descriptions. Treat those smaller surfaces as opportunities to express the same recognizable brand voice. [S1] [S4]

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- This procedure adapts Handley's public guidance for an agent. It is not a reproduction of her book. Apply her judgment to the user's actual format and constraints rather than forcing every assignment into an article or a personal anecdote. Her method allows different ways of writing while insisting that revision serves the reader. [S2]

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- ## Operational procedure

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- ### 1. Define the business purpose before composing

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- Write a working sentence identifying what this piece should accomplish for the business and how it connects to the larger marketing goal. Replace a vague assignment such as producing a post with a specific intended result, such as helping a qualified buyer evaluate an offer. Keep that purpose visible while drafting so interesting tangents do not quietly replace the assignment. [S1]

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- For an agent-assisted task, establish where the human's thinking enters the work. Use their notes, lived details, point of view, or existing draft as the starting material. Handley warns that routinely outsourcing first drafts can displace the very thinking that makes writing distinctive. If asked to draft from scratch, proceed from the supplied brief, mark missing personal details as gaps, and describe the result as a proposed draft rather than the author's experience. This is an agent adaptation of that warning. [S7]

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- ### 2. Reframe the goal around the reader

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- Interrogate the business goal with the question "So what?" Answer in terms of why it matters to the intended reader, then interrogate that answer again. Continue until another answer would become circular, implausible, or too abstract to guide the copy. Capture the strongest reader consequence as one plain sentence at the top of the working draft. [S1] [S3]

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- Distinguish a feature, its practical consequence, and its human significance. A collaboration feature might reduce version confusion, which might help a team deliver without a stressful last-minute scramble. Choose the level that this audience will recognize. Avoid a chain that leaps from a minor feature to guaranteed career success; the exercise finds meaningful stakes, not permission to inflate the promise. [S3]

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- ### 3. Gather support before adding persuasion

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- Collect credible data, relevant examples, and firsthand material that support the reframed idea. Match each important assertion to available evidence. When the writer's own experience is relevant, use it as an example without implying that one experience proves a universal outcome. If support is absent, narrow the assertion or flag the missing evidence in working notes. [S1]

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- For customer stories, look for what customers have actually done or contributed. If existing customer material is appropriate, identify the attribution and permission needed before republication. Do not invent a customer quote to make the draft feel human. Handley's customer-as-hero approach includes recognizing real contributions and securing permission to reuse them. [S5]

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- ### 4. Choose a structure that delivers the idea

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- Select the form that most clearly communicates the point within the requested deliverable: an explanation for understanding, a how-to for action, or a case study for demonstrating a change. Arrange the supporting material around the reader's need rather than the order in which the business supplied its talking points. Build an outline before polishing sentences. [S1]

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- When the piece needs a story, test for three discoveries: what the reader learns about the writer, what the reader recognizes about themselves, and what new idea becomes clear. Balance them. Excessive autobiography makes the story self-absorbed; excessive reader flattery feels manufactured; an idea explained without an illuminating story can turn into a lecture. Apply this test to narrative pieces, not mechanically to every interface label. [S6]

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- ### 5. Write toward one identifiable person

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- Picture the individual this piece helps, their situation, and the decision before them. Address that person directly where the brand voice permits. Replace detached descriptions of audiences with language that helps a person understand their own circumstances. Treat the customer as the one taking action and the product as something that helps them do it. [S1] [S3] [S5]

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- Assume the reader may need the subject explained without treating them as unintelligent. Unpack a necessary idea in everyday language rather than burying it in insider vocabulary. For specialist readers, retain terminology when it conveys shared understanding or useful precision; remove it when it merely advertises expertise. Handley's later voice guidance qualifies her earlier hard line on jargon. [S2] [S4]

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- ### 6. Produce a rough discovery draft

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- Draft through the outline without stopping to repair every awkward sentence. The purpose of this pass is to uncover the thought and get the material onto the page. Allow incomplete transitions and placeholders in the working version, then resolve them during revision. A rough draft is a stage in producing strong work, not an excuse to deliver weak work. [S1] [S2]

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- Preserve supplied human observations even when they are less tidy than stock marketing language. If the assignment is to revise an existing draft, diagnose it rather than replacing its point of view with a fluent generic version. Use assistance to question and develop the idea while keeping the author's original thinking available for judgment. [S7] [S8]

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- ### 7. Create distance, then rewrite for the reader

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- Separate drafting and revision into distinct passes. For a human writer, encourage a break when the schedule allows. An agent cannot reproduce that lived distance, but can revisit the draft against the reader's situation and the purpose sentence instead of continuing local sentence polishing. [S1]

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- Rewrite for comprehension first. Move useful answers forward, explain missing connections, and remove passages that exist mainly because the writer enjoyed producing them. Evaluate whether a reader can understand the idea and its significance. A grammatically clean piece can still fail this test; editing means repairing clarity, not only correcting mechanics. [S1] [S2]

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- ### 8. Make the voice identifiable

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- Use the existing brand voice guide if available. Otherwise derive three specific voice attributes from the business's character, working style, and desired relationship with customers. Translate each attribute into actual sentence choices and a brief example. Avoid virtues almost any competitor would claim, such as basic reliability, as the entire definition of the voice. [S4]

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- Set consistent pronouns for the business and reader. Identify which specialist terms clarify and which obscure. Then hide the company name mentally: could this copy belong unchanged to several competitors? If so, replace interchangeable phrasing with language that reflects the brand's particular perspective. Apply that test to supporting microcopy as well as the headline. [S4]

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- ### 9. Give the headline its own revision pass

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- After the body has a clear point, develop and compare headline or subject-line options. Give this pass serious attention rather than treating the title as a label attached at the end. Choose the option that best represents the reader-relevant idea actually delivered by the piece. A catchy title cannot rescue an unreframed business agenda. [S1] [S3]

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- ### 10. Edit mechanics without draining the life

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- Review grammar, usage, punctuation, and consistency after the substantive rewrite. Seek another editor when one is available; otherwise perform a separate editorial pass and identify unresolved factual or wording questions. Do not describe self-review as independent editorial approval. [S1] [S2]

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- Read key sentences aloud or inspect their cadence. Preserve memorable phrasing, sound, and precise word choices when they strengthen the connection with the reader. Do not automatically flatten every unusual sentence into neutral corporate prose. Equally, do not import Handley's jokes into a brand whose own voice calls for a different register. [S4] [S8]

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- ### 11. Check readability in the delivery format

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- Inspect the piece as the reader will encounter it. Break dense passages into manageable paragraphs, add useful subheads, and use lists when they make information easier to scan. Preserve enough explanation for understanding; shortening everything mechanically can leave a clean-looking page with missing meaning. [S1] [S2]

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- ### 12. Finish with a useful next action

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- Answer what the reader should do after reading. Make the next step fit the purpose and what the piece has enabled them to understand. A conclusion that merely repeats the business's enthusiasm leaves the reader without direction. Preparing publication-ready copy is the endpoint of this writing procedure; actual publication follows the user's requested scope. [S1] [S3]

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- Deliver the requested copy with its headline or subject line, supported reader benefit, coherent structure, recognizable voice, and appropriate next action. When material is missing, add a short note identifying unverified claims, experience placeholders, or reuse permissions instead of disguising those gaps inside finished prose. Include a compact rationale only when useful, naming the reader consequence and the most important revision decision. [S1] [S4] [S5] [S7]

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- ## Worked example: invented illustration

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- Scenario: A repair shop requests a booking email. Its supplied facts are that it services commuter bicycles and offers reservable weekday appointments. Its owner's note says customers often worry about losing their ride to work. There is no evidence supporting a same-day repair promise.

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- The business goal is more weekday bookings. The questioning chain moves from appointment availability to less uncertainty about arranging a repair, then to planning a commute. The useful angle is planning around the bicycle's absence, not celebrating the shop's booking software. [S3]

- A provisional voice uses practical, neighborhood-minded, and unhurried as attributes. Those become concrete language about the commute, a direct invitation, and no exaggerated urgency. The customer makes a plan; the shop helps. [S4] [S5]

- Proposed copy:

- Subject: Plan your bike repair around your commute

- Your bike gets you to work. Booking its repair should help you plan the rest of the week.

- Reserve a weekday service appointment and tell us what needs attention. If you need help arranging your commute while your bike is with us, ask about repair timing when you book.

- Choose your weekday appointment.

- Review note: The draft avoids promising same-day completion. Confirm the actual booking link and how the shop discusses repair timing before publication. The reader receives a relevant benefit and an explicit next step without an unsupported turnaround claim. [S1] [S3]

- ## Sources

- [S1] Ann Handley, A Writing GPS: Step-by-Step Directions for Writing Your Next Piece of Content [Infographic]. Public article and its linked infographic fetched. https://annhandley.com/writing-gps-step-by-step-guide-to-creating-content-infographic/

- [S2] Ann Handley, 13 Writing Rules. https://annhandley.com/13-writing-rules/

- [S3] Ann Handley, The One Question Your Marketing Copy Should Answer. https://annhandley.com/how-to-write-marketing-copy/

- [S4] Ann Handley, 5 Keys to Developing a Strong Tone of Voice in your Content Marketing. https://annhandley.com/5-keys-to-developing-a-strong-tone-of-voice/

- [S5] Ann Handley, Make Your Customer the Hero of Your Story: 'The Fault in Our Stars' Video. https://annhandley.com/make-your-customer-the-hero-of-your-story/

- [S6] Ann Handley, 3 Truths Every Story Should Reveal. https://annhandley.com/3-truths-every-story-should-reveal/

- [S7] Ann Handley, What's Your Writing Process? [Sneak Peek At New Data]. https://annhandley.com/writing-process/

- [S8] Ann Handley, 3 Approaches to Great Writing. https://annhandley.com/approaches-to-great-writing/