Letter Writing
How to Get Results
ESTHER SELSDON

CONTENTS

Cover

Title Page

INTRODUCTION

CHAPTER 1: Before you Begin – The Purpose

Why write?

The pen

Pen or mouse?

Choosing your materials

Writing tools

CHAPTER 2: Getting Started – The Basics

Is it clear?

How to top and tail a letter

Paragraphs

Layout

Titles

CHAPTER 3: Grammar & Punctuation

Why study grammar?

Punctuation

Spelling

Abbreviations

Tips on style

CHAPTER 4: Personal Letters

Presentation

Apologies

Writing to children

Condolences & congratulations

Fan mail

General friendship & thank you letters

Love letters

Polite requests & rude letters

CHAPTER 5: Business Letters

Presentation

Junk mail

Sample business letters

CHAPTER 6: Technical Matters

Headings

Presenting facts

Memos

CHAPTER 7: Employment Correspondence

Job applications

References

Rejections

Letters of resignation

Complimenting an employee

Reprimands

Dismissals

CHAPTER 8: Communicating with the Media

Requesting media coverage

Declining media coverage

Letters to the editor

Personal letter

Specific articles

General grievance letter

CHAPTER 9: Legal Matters

Libel

Your rights

Copyright

Without prejudice

Communication with solicitors

Threatening legal action

CHAPTER 10: The Electronic Age

Email

World wide web

Faxes

CHAPTER 11: Filing Correspondence

Filing

Keeping copies

Security & Data Protection Act, 1984

Creating an archive

CHAPTER 12: Postage

Envelopes

Types of postage

Poste restante

Forwarding mail

Small packets

Private mail systems

Appendices

Copyright

About the Publisher

INTRODUCTION

Despite the invention of the telephone and the apparent casualness of many of our 21st-century arrangements, the written word is still the politest, most permanent means of communication and still the only really satisfactory way to deal with legal and professional correspondence. This makes letter-writing sound horribly responsible and, to many people, putting even the simplest of thoughts on paper to good effect does seem like a daunting task. But it needn’t be. There are basic rules of good grammar, style and approach that can be broken down into their component parts for anyone to learn and follow. This book lists those rules and helps to break down those parts and, in the process, makes the acquisition of good letter-writing skills a more entertaining exercise.

But this is the 21st century and we are now in the modern age of communication. Explanatory chapters on joining the email and internet age are included because it is a rapidly changing world out there and you never know when you might need to employ some of these constantly evolving e-trends. In the same vein, other chapters include sample pro-forma letters that deal with those everyday situations for which you might need to write a precise, businesslike letter but don’t quite know where to start. Of course, the reader can, and should, customise and adapt these model letters to suit their own style and their own needs but a helping hand might just save time.

We all need to write. Whether this be to a lawyer, to a friend or even to someone we don’t happen to like that much, a well-expressed letter may make a small but crucial difference. Stronger, more powerful correspondence can eliminate further unnecessary business correspondence or, even more impressively, might make social correspondence a more regular, more entertaining affair. It’s worth a go. Give it a try.

WHAT THE ICONS MEAN

The Web Tip icon alerts you to where relevant website addresses appear in the text. If you are browsing through the book or specifically looking for website information, these icons will take you straight there.

WEB TIP

Helpful tips throughout have been highlighted in tinted panels.

Write a letter by hand rather than using a word processor if you want it to be more personal or intimate.

1
BEFORE YOU BEGIN
THE PURPOSE

• WHY WRITE?

• THE PEN

• PEN OR MOUSE?

• CHOOSING YOUR MATERIALS

• WRITING TOOLS

WITWOUD: Madam, do you pin up

Your hair with all your letters?

MILLAMANT: Only with those in verse, Mr

Witwoud. I never pin up my hair with prose.

William Congreve, The Way of the World (1700)

Why not telephone? Before you set pen to paper or mouse to mat, ask yourself why you need to write a letter. Think about your reason for writing. Do you want, or need, to make a permanent statement and, if you do, and your letter is put in a box and filed, would you be embarrassed to see that very same letter turn up again in twenty-five years’ time? These are the first questions to ask yourself when you think about whether you should be writing a letter at all.

Generally speaking, we write because the process of putting words to paper is more effective than speech. It demands the sole attention of the recipient while being read and can be more intimate than speech; it is certainly more durable.

WHY WRITE?

Hundreds of letters are opened every morning. You will want your particular missive to be the one that is clearest on the page and therefore read first, and you will want it to be understood immediately and acted upon without delay.

Ask yourself:

• Do I know what my message is?

• If yes, then is my message necessary?

• If yes, then is the recipient my friend?

• If yes, then would a telephone call be more appropriate?

• If no, then is this mainly a social or a professional communication?

• If professional, then am I trying to make an impression?

• If yes, then will I be embarrassed to be reminded that this letter exists in a year’s time?

• If no, then continue.

THE PEN

The modern fountain pen was invented by Lewis Edson Waterman in 1883 and technology hasn’t looked back since. Waterman created a special device which managed to slow down the ink feed to the nib and thereby reduced the chances of any extra ink leaking from the pen. The age-old habit, familiar to cinema-goers all over the world, of dipping a quill into an ink pot was instantly eliminated. Writing became faster – and faster still in 1943 when Laszlo Biro, a Hungarian inventor, patented his quick-drying, ball-point pen. Since Biro’s new invention did not leak at high altitude and could even be used underwater, it was offered as a writing tool to US and UK forces during the Second World War. It was an immediate hit. But the revolution had only just begun.

The world’s first ‘proper’ computer was built in 1948. It was called the Manchester Mark I and stored and processed any information fed into it very quickly by use of an electronic transistor.

In 1958 Texas Instruments, an American firm, produced the first integrated circuit or silicon chip. All the electrical components in the computer were now combined into one slice of silicon, a type of quartz which was grown artificially and cut into very thin slices. Up to 500 chips could be made from each of these slices and each of these chips could contain, in turn, up to 500 photographic copies of the design of the electrical circuit. In layman’s terms, silicon chips are minute and contain a lot of information. The silicon chip enabled the arrival, in 1982, of the word-processor as a mainstream writing tool. Nowadays, things are even easier. Computer programmes have been developed which introduce the concept of formula letters, facilitate the addressing of envelopes and introduce the idea of instant mass mailing.

Write a letter by hand rather than using a word processor if you want it to be more personal or intimate.

We now have a whole spectrum of ways to convey our message. The crucial part is deciding which is the right one for you. Just because a word-processing programme exists, this doesn’t mean that you necessarily have to use it. The decision is yours.

Main types of communication:

• handwriting

• word-processed letter

• fax

• email

Ask yourself:

• Is this letter to a friend?

• Is it urgent?

• Is it complicated?

• Is it personal?

• Does it involve figures and charts?

• Should you have written it yesterday?

• In what form would you want to receive this information?

PEN OR MOUSE?

Of any courteous letters, now: There are so few.

Ben Jonson (1616)

Once you have come to grips with the idea that your letter may exist for ever, and yet have still decided to take the plunge, then your next step must be to decide on the most suitable medium for your communication. Is the correspondence friendly, is it an apology and how much information needs to be imparted?

Writing is a slow business. We think much more quickly than we write and pen and ink merely add to the laboriousness of the process. If you wish to convey the idea that you have poured precious, loving care into your correspondence, then old-fashioned penmanship would be the most suitable choice.

Handwritten letters, in other words, demonstrate the fact that the person who sent them cares.

A printed letter can be impersonal but will always be legible.

The main negative aspect of a handwritten letter, mundane though it might be, is that a lot of people’s handwriting is not very pretty. There’s really little point putting in the extra time if no one will be able to read your letter anyway. Be honest with yourself. Is your handwriting easily legible? You already know what you are trying to say. Bear in mind that your reader might have to guess.

Word-processing is the composition of a document using a personal computer. Clearly, when a lot of facts are involved a word-processed letter will always be more effective, but for, say, a bereavement note it might be totally inappropriate. The process of computing can sometimes make the task of letter writing seem very industrial and rather formal but the results are sure to look modern, clear and businesslike.

On the plus side, with today’s printers, you can choose a particular font or paper size or graphic design in order to make your word-processed letter look softer or more casual. In any event, the printed letter is now so ubiquitous that a typewritten letter is unlikely to send out any particular signals. There are, today, very few occasions when even a social correspondent would be shocked to receive a letter in a printed format – although, of course, it is still more flattering to receive a handwritten communication.

Handwritten | Word-processed
Wedding congratulations | Letter to bank
Bereavement | CV
Love letters | Letters featuring
Birth congratulations | graphs or facts
| Explanatory letters

There is one pitfall to this apparent ease of communication, however, which many computer users fail to see. Just because it looks good instantaneously, doesn’t mean it’s necessarily right. The words flow fast – communication speeds are beginning to catch up with the speed of thought – but that doesn’t make them lovely. It is very easy to miss a mistake on a screen and it is very easy to believe that your letter is as stylish in content as it is in appearance. Just remember that it may not be …

Word-processed letters, in other words, demonstrate the fact that the person who sent them is a professional.

CHOOSING YOUR MATERIALS

Once again, think about the kind of impression you are trying to convey. Do you wish to be seen as a formal or a casual correspondent, and should the tone of your letter be friendly, brusque or merely factual? Once you have decided whether your letter is personal, business or other correspondence, you can choose which material is best suited to convey your desired tone.

Ask yourself:

• what are you trying to achieve by writing?

• do you like the recipient?

• is that a relevant question?

If the answer to the last question is ‘no’, then you should definitely be word-processing.

PAPER

HEADED OR UNHEADED? The letters that you send are an expression of your personality. They signify to the world outside how you would like to be seen and they do this before you have even reached the end of your first sentence. The wrong stationery may, therefore, create entirely the wrong impression before the contents of your letter have even been considered. Given this factor, it’s probably a good idea to make the correct stationery selection at the very beginning of the process. You’re just giving yourself all the advantages you can.

ILLUSTRATION 1 Headed paper can be kept simple and needn’t be expensive

Historically, it was considered correct to have headed paper for business correspondence and plain paper for personal. Things have moved on. Nowadays it is imperative to have headed paper for business letters and unusual not to have it for personal correspondence. Headed paper makes life easier for the recipient. If he or she feels the urge to reply straight away then he or she won’t have to go digging around in old files and address books in order to get the required information. The necessary information, by the way, includes an accurate postcode as well as a telephone number (with full area code) and, if possible, an email address. It is not really necessary, and possibly inelegant, to include your name, as this will be at the bottom of your letter in any event.

The right kind of stationery, especially headed paper, can make all the difference.

It may also be considered slightly suspect to write a personal letter on unheaded paper. If you have the recipient’s correct address and you must do, since you are writing to them, then why shouldn’t they have all your particulars? Mutuality breeds trust.

Unheaded paper may be suitable for friends whom you know well. It may also be suitable for covering letters accompanying other materials or for very brief notes to almost anyone, but, generally speaking, when in doubt, and if at all possible, stick to headed. It looks more attractive.

Headed paper, though, doesn’t necessarily have to be fancy embossed stationery ordered from an upmarket stationery firm. For simple business correspondence, and certainly for friends, it is perfectly acceptable simply to print your headed paper at home on your own printer. However, professionally printed paper, unless you have all the latest technology, is normally smarter. In this particular case, it seems, you pay for what you get. Appearance may not make any difference to the end result of your correspondence, but, on the other hand, it may. Again, it’s best to use all the advantages you can.

Keep the design simple and the print bold and make sure that the words are large enough to read easily.

PAPER TYPES

Use the best-quality paper that you feel you can afford. Bond paper is paper that will not tear or crease easily. It is specially designed for letter writing and is recommended for all business, and social, communications. As a general rule, thick paper is good paper and 100g is an adequate weight to choose.

Try not to use flimsy paper unless you are writing a letter to be posted to or from abroad.

Bank paper is a thin paper that is generally used for file copies. It is not recommended for the actual letter that you intend to post. You should try to avoid using any flimsy or particularly thin paper: it’s quite difficult to handle and it looks a bit cheapskate. The recipient may be worried that it might tear. It is also, quite often, difficult to thread banktype paper successfully through a printer since the pages may cause the machine to jam as they go through.

If you are abroad, however, and writing to friends at home, then it would make sense to use thin paper, or even airmail paper, since this will cost less to post.

If you care about the environment, you may wish to use recycled stationery. This might be considered slightly startling in some business circles but certainly shouldn’t be. Recycled stationery is becoming more and more common and is easily purchased in most decent stationery shops.

PAPER SIZES

Paper these days comes in a variety of standardised sizes – all of which are referred to as ‘A’ sizes. From both the manufacturer’s and the customer’s point of view, this is handy, since everyone knows what everyone else is talking about, and it is easy to calculate since each A size is exactly half the area of the previous one, in a descending scale from A0 to A7. An A2 sheet folded in half will, therefore, produce two A3 sheets. One A3 sheet will produce two A4 sheets and so on.

The most frequently used sizes, these days, are A3, A4 and A5, and most professional correspondence will be on A4 paper since filing systems are organised specifically around this size. Most shop-purchased single-sheet writing paper comes in standard A4 size, largely because of this factor.

A3 It would be very unusual to write a letter on A3 paper. It would be almost impossible to fold out and read, let alone stuff into an envelope. It is more generally suitable for writing with accompanying drawings, page layouts and large spreadsheets.

A4 This is the standard size for letters. You can expect any regular business letter that you might send or receive to be printed on A4 paper. It creates a businesslike, clean look and is extremely handy to print out since it will fit perfectly into your printer hopper without having to make possibly complex adjustments. It is what people expect both for themselves and for their filing systems. Business correspondence should be typed on one side only, using continuation sheets for the second and subsequent pages.

A5 This notelet size tends to arise more frequently in card than in flexible paper format. It might be suitable for a very brief note or if your business letter is very short and will cause a sheet of A4 paper to appear slightly bald. If this might be the case, consider investing in some A5 paper which has a distinctive, old-fashioned appearance and may be more appropriate.

COLOUR

It is simply a matter of common sense that you should use a colour of paper which is appropriate for the occasion. Canary yellow is unlikely to be correct for a letter of bereavement while pink for a CV might be jolly but is unlikely to get you the job. A single colour is almost always preferable and certainly more elegant than sheets of paper covered with spots and stars. White paper will merely define you as ‘standard’ and this could be a good thing. Cream is slightly more sophisticated but, possibly, too delicate for a bold business letter demanding attention. Cream suggests an extra layer of refinement and sophistication. Is this the impression you are trying to convey?

Other colours range from the bold to the bizarre. If you are writing to a designer, for example, then you may wish to appear design-led, but pause to think about whether this image might be more effectively displayed with a small but potent logo in the bottom corner of the page, for example. Try to achieve the perfect balance between creativity with flair and coming across as pretentious or simply too loud and attention-seeking.

Never use lined paper – it looks as if you are still learning the alphabet.

Marbled paper, particularly the hand-painted varieties from certain Tuscan villages, can be stunning, but bear in mind that they may not make the clearest backgrounds for print. Always check you can read the text before plumping for this option. Embossed and edged papers are very fancy and probably inappropriate unless you’re inviting guests to a very grand event like a wedding. In any other circumstances, using such decorative flourishes might simply be seen as flashy.

POSTCARDS

Apart from when they are on holiday, many people no longer use postcards as a method of communication, although they are, on certain occasions, the perfect medium on which to write a letter. Though this probably isn’t a huge factor, they may save you money on an envelope, and writing on both sides of a blank postcard can create space for quite a long message, even though it might be one that still feels very casual. For any brief message, a postcard is ideal, although clearly not when this message contains confidential or personal information. They are particularly suitable when sending ‘thank-you’ notes for gifts or for a dinner invitation, since you don’t need to say the same thing several different ways just to fill the page.

ILLUSTRATION 2 Typical postcard layout. Keep your message brief

When choosing a postcard, think about both the message you want to convey and the personality of the recipient. A comic illustration may be good for your college friend but singularly inappropriate for your aunt or one of your work colleagues. Plain postcards, these days, tend to be enclosed inside envelopes anyway, so, if you are considering one of these, you might just as well use A5 headed cards. Postcards with subdued works of art tend to be suitable for just about anybody. If you want to appear sophisticated, always choose this more general variety rather than the type that displays a saucy image of a seaside pier.

WRITING TOOLS

There is a very wide range of writing tools from which to choose. Ball-point, fountain pen or felt tip are all possible. You need to make a decision about which might be the appropriate one for your particular requirements (and which might suit your handwriting and your message).

The short history of pen technology (above) may help to shed some light on how they all emerged but will not necessarily help you to choose. Imagine what effect is created when the most beautifully written letter in Britain is covered with a series of ink smudges and strange, psychopathic blotches. All credibility will be destroyed. On top of which, no one will be able to read the contents and people will not take you seriously. Your letter will almost certainly end up in the bin.

FOUNTAIN PEN

Many traditionalists, and many aesthetes, still think of the fountain pen as the classic means with which to write a handwritten letter. It looks amazingly elegant; you can choose the colour of your ink and it allows for the full potential sensuality of writing. The most effective love letters tend to be written in fountain pen.

Do not attempt to use a fountain pen if you don’t think your handwriting is up to it.

Most people use black or blue ink but any coloured ink will do. Pale blue is not too wacky but makes a personal statement and tends to look slightly more feminine than dark blue. Many literary men have preferred to use brown ink since it is, similarly, slightly more personal in appearance but not too brazen. Bear in mind, if choosing a pale colour, that it must still be legible on the page and that yellows tend to fade from view even before arriving at the recipient’s door. Also bear in mind that fountain pens can scratch the paper if you are not careful, and this is clearly not a good thing.

BIRO

Biros are a step down from fountain pens in sophistication but they have their own advantages. For one thing, they do not, generally, smudge. They may not require quite the concentration or hand control that fountain pens do and they are not as wet. A biro is certainly an appropriate tool with which to write a postcard or a casual memo or note to a colleague. It is also, of course, much easier to transport than a fountain pen, since it will not automatically require extra paraphernalia like cartridges and bottles and, on a practical note, is relatively unlikely to leak into your coat pocket.

A fountain pen may give your writing more character than a biro, but a biro is far more convenient and practical.

Most biros tend to be filled with black or blue ink. Similar rules about colour apply as for the pen. Other colours might be fine if your recipient works in the world of art or fashion. Otherwise, they might find bright orange both illegible and a bit eccentric.

FELT TIP

Felt tip is really best saved for the clear marking of envelopes. Most felt-tip nibs are quite broad and difficult to wield and they tend to remind people of their primary school. But they are excellent for writing on difficult surfaces, like a Jiffy bag.

TYPEFACES

Typeface is the word for the style of print that you are using on the page. There are many different kinds of typeface and each might appeal to a different kind of customer. Generally speaking, the two most common typefaces for business communication are Arial and Times New Roman. Arial is a bold, round sort of typeface without excessive adornment. Times New Roman tends to look slightly more serious since it is thinner and longer and the letters have all their formal curlicues, base lines and the n, for example, has its back hook at the top of the first stroke. This cross-line finishing off the stroke of a letter is called a serif. Characters without cross-lines (as in an Arial typeface) are referred to as ‘sans-serif’, from the French, meaning ‘without a serif’.

EXERCISE

1 Compare these typefaces.

2 Decide which one you like the best and consider why.

3 Consider which you find easiest to read.

4 Compare each text extract, which is the opening paragraph of a novel by Dickens, with its designated typeface and decide whether the two could be said to match in style.

5 Think briefly about your friends and decide which typeface you might use to write to each of them.

HELVETICA

My father’s family name being Pirrip, and my Christian name Philip, my infant tongue could make of both names nothing longer or more explicit than Pip. So I called myself Pip, and came to be called Pip.

Charles Dickens, ‘Great Expectations’ (1860)

This is a piece of prose supposedly describing someone’s childhood nickname. The written style is simple and the typeface is sans-serif and quite childlike in appearance. There is quite an appropriate match between style and content.

IMPACT

It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair. Charles Dickens, A Tale of Two Cities (1859)

This is quite an epic opening to a novel. It is a declaration of a whole state of being and written in a distinctly Victorian style. The typeface looks quite modern, which is at odds with the period style of the writing, and lacks authority. The typeface is therefore at variance with the text both in feel and in appearance.

BRITANNIC BOLD

In these times of ours, though concerning the exact year there is no need to be precise, a boat of dirty and disreputable appearance, with two figures in it, floated on the Thames, between Southwark Bridge which is of iron, and London Bridge which is of stone, as an autumn evening closing in.

Charles Dickens, ‘Our Mutual Friend’ (1865)

This is a perfectly straightforward piece of descriptive prose with a touch of mystery to it. The typeface has certain old-fashioned characteristics – most notably on the ‘g’ – and, although it captures a little of the air of mystery about the piece, it’s not really clear enough to sustain a narrative of any length.

GOUDY TEXT

In the year 1775, there stood upon the borders of Epping Forest, at a distance of about twelve Miles from London – measuring from the Standard in Cornhill, or rather from the spot on or near to which the Standard used to be in days of yore – a house of public entertainment called the Maypole; which fact was demonstrated to all such travellers as could neither read nor write (and at that time a vast number both of travellers and stay-at-homes were in this condition) by the emblem reared on the roadside over against the house.

Charles Dickens, ‘Barnaby Rudge’ (1841)

This is an opening which immediately conjures up a picture of ‘days of yore’. Apart from the fact that the typeface is quite difficult to read, its high decorative values make it look quite antique. It is not a bad match, but not a perfect one either.

DOLMEN

As no lady or gentleman, with any claims to polite breeding, can possibly sympathise with the Chuzzlewit Family without being first assured of the extreme antiquity of the race, it is a great satisfaction to know that it undoubtedly descended in a direct line from Adam and Eve; and was, in the very earliest times, closely connected with the agricultural interest.

Charles Dickens, ‘Martin Chuzzlewit’ (1843)

The sentence is, again, quite a portentous one but in a rather more modest way. The author is clearly suggesting that the Chuzzlewits consider themselves to be a very distinguished family and he is slightly ridiculing them for this. The typeface is, for one thing, rather difficult to read. There is nothing in the text to suggest that this is an appropriate typeface.

There are no right answers: it is a question of personal taste, tact and common sense.

IS A LETTER NECESSARY?

Once again, and before you finally start writing, spend another few moments considering whether your letter really needs to be written at all. If it is a thank-you note or an apology, would it be more appropriate to telephone and speak to the recipient in person? Is it an issue that has already been aired at such length in conversation that a letter would merely add insult to injury? If the letter involves a highly confidential or delicate business matter, is the idea of committing your message to paper really the best way to proceed? If the facts might imminently result in a law suit, would it be better to consult a solicitor before putting pen to paper? Think about tact, tone and confidentiality. This may seem like repetitive advice but, in the long run, it could save you a lot of time and trouble.

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