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Business E-mail: Guidelines for Users

Mary Munter Dartmouth College, Hanover, New Hampshire

Priscilla S. Rogers University of Michigan, Ann Arbor

Jone Rymer Wayne State University, Detroit, Michigan

ALTHOUGH E-MAIL is an essential communicationj~ ALTHOUGH E-MAIL is an essential communication medium in business today, many businesspeople and business stu- dents take it casually and fail to realize its full potential. It’s easy to assume that since e-mail can be produced quickly and easily, readers can comprehend e-mail messages quickly and easily too. Yet overly speedy e-mail writing can result in much slower e-mail reading and even miscommunication. Moreover, e-mail merits considerable attention because it comprises much of management work today-e.g., &dquo;I no longer meet with my team, I e-mail them.&dquo; Overall, e-mail is work, important work, which requires time and know-how to use effectively. The purpose of these guidelines is to help you become more

effective and efficient in the use of e-mail. Since e-mail practices are changing, however, these guidelines are not meant to be hard-

Editor’s note. For comments on the spelling of e-maif in this article, please see the Editorial on pp. 7 and 8 of this issue.

Authors’ note. These guidelines were composed to be shared with our ABC and other colleagues and used as a class handout. We three authors collaborated equally on this document and have listed our names in alphabetical order. Our collaboration process was somewhat unusual. Instead of working together at the same time, we wrote separately at different times on different documents: Jone Rymer wrote the first handout, followed by Priscilla Rogers’s handout, followed by the collaborative guidelines here, followed by a two-page section of a text- book by Mary Munter. Therefore, portions of this article have been published previously. All quotations appear by permission.

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and-fast rules. Instead, they should facilitate your choices when communicating in this rapidly growing medium. Intended as a practical resource, these guidelines are based on the best available research, theory, and practice of e-mail (see the bibliography), including our experiences as instructors in diverse business schools and corporate settings. The guidelines cover: (1) recognizing the nature of e-mail; (2) composing e-mail; and (3) processing and managing e-mail.

Recognizing the Nature of E-mail

To become a more savvy user and to avoid e-mail miscommunica-

tions, think first about recognizing the intrinsic nature of e-mail as an evolving medium with various standards for effective prac- tice, as well as distinct advantages and disadvantages.

E-mail is a Hybrid Form of Speaking and Writing

E-mail is still evolving as a new communication medium combin- ing speaking and writing. Like a conversation, e-mail is frequently a virtual dialogue, though it is &dquo;asynchronous&dquo; (not in real time) and lacks face-to-face cues. Like writing, e-mail provides a record. However, e-mail is more interactive than traditional writing and more permanent than traditional speaking, with many practices still not standardized (e.g., how much of the original message to incorporate in a reply).

E-mail Practices Vary by the Type of Message

There is no one way to use e-mail. E-mail has multiple uses- ranging from the equivalent of a casual chat to a formal tradi- tional proposal; from scheduling a meeting to expressing condo- lence ; from discussing a routine matter to debating a difficult, sensitive problem. Each of these types of e-mail differs in terms of content, structure, style, and format.

E-mail Practices Vary by Context

E-mail &dquo;rules&dquo; vary from company to company, with audiences

expecting different formats and styles and holding different

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notions about what one can and can’t say. Some companies have standardized procedures; most have unwritten organizational tradi- tions about &dquo;what people do around here&dquo; when e-mailing (e.g., conventions for greeting the reader at the top or starting right out with the message). Although trends indicate growing standardiza- tion (e.g., few messages appear in solid caps any more), the prac- tices of one firm will not necessarily be a reliable guide to those used elsewhere.

E-mail has distinct advantages and disadvantages, as shown in Table 1.

Composing E-mail

After considering its advantages and disadvantages, decide if e-mail is the best way to communicate in a particular situation. Consider reader preferences and needs, your structure and style, and then think twice before you hit &dquo;Send.&dquo;

Reader Preferences and Needs

Consider your readers’ e-mail habits and resources. Do the read- ers use e-mail regularly? Is their e-mail technology comparable to yours? In their corporate culture is e-mail preferred for this kind of message?

Visualize your readers. Writing e-mail is a solitary activity. The reader is not there to nod approval or frown misunderstand- ing. Not surprisingly, then, e-mail writers may state their messages bluntly, treating readers insensitively, or fail to explain fully, ignoring readers’ needs. To avoid these pitfalls, imagine your read- ers as if you were talking to them, both before and as you write. As you review your message, imagine your readers actually reading your e-mail, adjusting your message so that you maintain a respon- sive conversation.

Save your readers’ time. Overly speedy writing often makes for slow e-mail reading and even miscommunication. For example, writ- ing in solid caps or in a single block of text are both quicker meth- ods for writers to type their e-mail messages, but both slow readers down and cause them more confusion in getting the meaning.

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Adapt your writing procedures to the type and significance of the e-mail.

o When preparing complex, non-routine messages, take time and employ your full range of writing skills-including strategic

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planning and adapting for the audience and careful crafting, revising, and editing of drafts.

. When writing routine messages, simply glance over the message before hitting &dquo;Send.&dquo; Still, in most cases, err on the side of taking time to plan and edit (e.g., running a spell-check) so that your e-mails will be professional and easy to read.

E-mail Structure

Once your strategy is set, compose your e-mail, keeping in mind the following structural techniques that will make it more likely to be read and understood.

Select the complete distribution list before you write. E-mail makes it very easy to add readers to the CC list after you write, but the message then may not fit all these added perspectives. If you select the distribution list before you start, you can craft the e-mail to fit all the readers’ needs. You might even decide that you should send two or more messages, perhaps one to everyone and individ- ual messages to a couple readers. Or you might decide that you have two distinct issues to cover in two messages-ach focused on a single topic-with partly overlapping distribution lists.

Compose a fully functional subject line. Subject lines are extremely important in e-mail. Readers use them to decide if and when to read your message.

. Use a &dquo;talking&dquo; subject line . Tell the readers what the message is about and how it concerns them.

~ Say as much as possible about the message (e.g., rather than &dquo;Scope statement,&dquo; say &dquo;Revised scope statement&dquo; or &dquo;Scope stmt/2nd draft&dquo;).

~ Use a verb if reader action is needed (e.g., &dquo;Comment on attached&dquo; or &dquo;Need input re. slides&dquo;).

~ Put most important words first because that is what readers see in their in-box display.

~ Revise &dquo;reply&dquo; subject lines when they no longer fit the mes- sage. Don’t just leave the subject line unchanged in a series of messages, unless it’s the most appropriate identification of the topic.

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Apply the &dquo;top of the screen&dquo; test. Assume your readers will look at the first screen of your message only. Will they see your request? Will they get the information they need most? If there is important information later in the message, will they realize that at the outset?

· Tell your reader in the opening what the message is about, referring explicitly to the people, products, or issues involved.

· State up front any requests for action and information the readers must see. If you want a reply, ask for it up front. If the reader needs to do something, state what it is at the beginning. If some information is more relevant for the reader than other

information, begin with what is most relevant. . Forecast and number multiple points, requests, or steps to be

taken. Without such an overview, readers might not scroll down. State, for example, &dquo;This e-mail explains the six-point process you need to follow to install the virus protection program in your computer,&dquo; or &dquo;Here are three reasons in support of this recommendation.&dquo;

Write in short chunks. Because users tend to glance over e- mail quickly, help them to grasp your messages by using short lines, relatively short sentences, and short paragraphs.

~ Divide material into normal paragraphs. Avoid running all your ideas into huge blocks of text. Such &dquo;unmarked&dquo; text just makes the reader’s job harder.

~ Use paragraph breaks for emphasis. Every new paragraph is likely to catch the reader’s attention. Put the main point of each paragraph first, so the reader won’t miss it (which can happen if it’s buried in the middle or at the end). Double- space between paragraphs to add white space and make it easier for readers to see breaks.

~ Conclude in a straightforward way. Routine e-mails need no conclusion; non-routine e-mails may need a brief statement, perhaps something interpersonal. Avoid dragging out the ending, repeating clich6s (e.g., &dquo;Let me know if I can be of

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any more assistance.&dquo;), or implying that the reader should confirm receipt of your message (e.g., &dquo;I hope this answered your question.&dquo;). .

Design for &dquo;high skim value.&dquo; Because readers may only glance at their e-mail, use document design techniques to ensure they will notice your important points. Although some document design devices (e.g., indentation, boldface, and italics) may not cross e-mail platform to your readers’ systems, you still have some options.

~ Add headings. After you have written a long e-mail, go back and insert headings and subheadings at the beginning of each main idea.

~ Divide material into lists with numbers or with bullet points to make your e-mail easier to follow and reference later (e.g., print out for a meeting-&dquo;As you see in point three....&dquo;) Limit your lists, preferably dividing into three to seven points maximum.

~ Apply typography available in all systems (e.g., all caps for headings or a dashed line between main points). For regular text, use standard caps and lower case letters. Avoid solid

caps which are far more difficult to read and can be inter-

preted as &dquo;shouting.&dquo; Some e-mail writers use _Book T‘itle_ to show underlining and *emphasized word* to show italics.

. Avoid graphics, font changes, and color unless your reader’s system has the capability to show them.

E-mail Writing Style .

Check that your e-mail writing style suits your readers, the situation, and the type of message.

Vary your style. There is no one, magical, e-mail style. Con- sider what level of formality is appropriate and write accordingly.

. Semi-formal or conversational: For most readers, e-mail is con- versational-that is, it includes personal pronouns (e.g., I, you, we), contractions (e.g., we’re, can’t), parenthetical asides (&dquo;as you probably expected&dquo;), and active rather than

33

passive voice (&dquo;We changed the meeting time,&dquo; rather than &dquo;The meeting time was changed&dquo;). Depending on the con- text, however, it has a wide range of conventions. For exam- ple, some e-mail opens with a casual salutation (&dquo;Hi, Jim,&dquo; or &dquo;Troops:&dquo;), some with a formal one (&dquo;Dear Ms. Beason:&dquo;), and some simply goes right into the message.

~ InformaL: Certain readers expect you to treat e-mail more like a telephone conversation or a face-to-face chat or a casual note. Language may be very informal, even elliptical, with omitted words and abrupt changes of topic.

~ Formal: For other readers, however, e-mail should be more formal. In such cases, e-mail is simply the transmission mode for many paper memos, letters, reports, and other business formats. Any message that will be printed out and used as a regular written document should conform to standard conventions for the type of writing.

Compensate for the lack of nonverbal cues. When you are talking face-to-face, your gestures, facial expressions, and tone help your audience interpret your meaning. Consider using &dquo;politeness markers&dquo; such as &dquo;please&dquo; and &dquo;thank you&dquo; to express collegiality, or soft verbs such as &dquo;this might work&dquo; to show defer- ence to a superior. Although &dquo;emoticons&dquo; such as : - ) and : - ( can add nonverbal cues in very informal e-mails, they may harm your credibility with some readers. In most business e-mails it is wiser to explain your views explicitly and make your tone clear with carefully crafted words.

Use jokes and informal idioms with great caution, if at all. Casual, even off-color, language that may be accepted in a small group, might come across as inappropriate or offensive in e-mail, especially with international readers. Some employees have been downgraded on performance assessments for using the firm’s e- mail system for non-business purposes. Others have been fired for

using offensive language in e-mails-for example, language con- sidered to be sexually harassing even if it didn’t strike the writer as offensive.

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Think TWice Before You Send

After you finish your e-mail, pause before you hit &dquo;Send.&dquo; Wait to revise later or trash the message in the following

situations:

~ I f you feel angry or highly emotional. For communicating in highly charged situations where conflict might result, take time to reflect on a strategy. Save a draft to consider later, determining whether you should revise or trash it.

~ I f the message doesn’t meet the &dquo;com f ort tes t . Don’t e-mail anything unless you would be comfortable with your col- leagues, your boss, or a reporter reading it. Assume that any- thing you e-mail can be printed, forwarded or faxed, or downloaded and shown anywhere. Nothing on e-mail is con- fidential or private, even your deleted messages.

Edit before you send by reviewing the following: . Review the heading information in the &dquo;to-from box.&dquo; Is the e-mail addressed accurately to the right person(s)? Is the recipient list at a minimum, excluding names who have no

I

real need-to-know? Are the correct files attached?

~ Check the &dquo;top of the screen.&dquo; Make sure the first screen states your main message and a forecast of the main points you are making.

~ Scroll down the entire message. Make sure your main points >

stand out (e.g., with headings, bullets, or numbers). · Edit your wording and run a spell check. Edit appropriately for

the particular readers and situation. On the one hand, since most readers do not expect e-mail to be as well edited or as

formally written as paper communication, edit only as much as necessary. On the other hand, since e-mails can be for- warded and printed by others, don’t send e-mails with errors or word choices that might embarrass you.

Processing E-mail

Effective use of e-mail, of course, includes more than creating well written messages. Dealing effectively with your inbox and avoid-

35

ing e-mail overload are equally significant. Here are some suggestions to use for reading and responding by e-mail.

Reading E-mail

Check e-mail regularly, scanning the entire list, prioritizing, and processing the most recent first. Adapt to changing situations, remembering that with most e-mail systems you must assume the initiative for opening your messages.

Forward e-mail only after deliberation. Forwarding e-mail is an efficient way to disseminate information. However, because it is so easy to send messages to new readers, forwarding indiscrimi- nately can distribute material inappropriately, even betraying the confidence of the writer. If in doubt, get permission. When for- warding, provide a brief explanation to explain the message to a new reader, even a simple &dquo;FYI.&dquo;

Read and answer most e-mail online without saving or print- ing it. Archive as necessary to develop a file on special topics.

Print messages in significant situations, especially if the informa- tion is complex, lengthy, controversial, or requires an important deci- sion. In these cases, the hardcopy will be useful in formulating a reply.

Word-process your response off-line if careful review before posting is necessary. This may also prevent premature sending, either by accident or in the rush of the moment.

Timing Your Replies ’

Check your e-mail and answer your messages promptly, following the culture of your organization or group.

Acknowledge receipt if you can’t respond immediately (e.g., &dquo;Will reply Monday.&dquo;). If a response is not required or explicitly requested, some kind of acknowledgement may be wise in special situations (e.g., &dquo;Got your request and will consider it.&dquo;), but not in routine cases. Avoid overloading e-mail with unnecessary responses (&dquo;You’re welcome.&dquo;).

Recognize that &dquo;no response&dquo; is a kind of response. Except in some routine situations where your acceptance of the message is

assumed, readers may construe lack of a response negatively (e.g.,

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as a deliberate snub, a lack of engagement, or as unprofessional behavior). Failing to check e-mail regularly and respond expedi- tiously is no longer an option.

Delay responding if you react strongly to a message. Do not reply immediately to messages that anger or upset you. E-mail is conducive to rapid response in the heat of the moment, so never send a message if you still feel upset. You can avoid &dquo;flaming&dquo;(in which minor misunderstandings turn into on-line confrontations) by waiting until you calm down.

Responding to Messages :

Modify your distribution list to suit the situation. ~ Do NOT automatically &dquo;Reply to All. One of e-mail’s great

advantages is that you can reach many people in a moment. Don’t abuse that privilege and clutter up others’ e-mail so they pay scant attention when you send something impor- tant. Check the original distribution list and consider which individuals really want, need, or even should receive your message.

~ Do NOT automatically reply only to the writer, ignoring others on the distribution list. In an effort to minimize e-mail over-

load, do not heedlessly shift to reply only to the writer. When several people interact via e-mail, some may be silent for a time, but this does not warrant excluding them from the discussion.

Insert a new subject line if you change the topic or adjust the focus significantly. Readers can be misled as they glance over incoming e-mail if a message has an out-of-date subject line. Compose an effective first sentence. Designate explicitly the

topic at hand and your perspective, that is, what your reply brings to the table.

· Do not begin with a fragmentary reference (e.g., &dquo;Yes, that’s fine,&dquo; or &dquo;I agree.&dquo;). The reader may have done many things between sending you the message and receiving your reply, and may have no idea what you are referring to.

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· Begin with a fragmentary line (&dquo;No, I can’t make it.&dquo;) only if your message is short and you send the original message with your reply. In this case, put your reply at the top, followed by the original message-rather than making your reader scroll down to get to your reply.

Add your own comments to the top of a reply. If the message and reply are routine and not too lengthy, place your reply at the top of the original message; usually readers expect to see your comments first, not their own message sent back to them. Also, consider whether readers need the original at all since they already have it. Copy portions of the original message into your reply. If the

contents are complex or lengthy, consider inserting just relevant portions of the original in your reply. Rather than sending the entire original e-mail with your message, cut and paste your response, clearly identifying your words from those in the original. If you decide to insert several short messages into the original e-mail &dquo;thread,&dquo; delete all of the excess heading information.

Check for incoming messages just before sending anything significant. Avoid &dquo;passing&dquo;-that is, sending out a message that you wrote before reading an earlier reply from another participant. Checking for new e-mail just before sending a message is espe- cially important if there are several participants involved in a string of fast-moving replies.

Wait for a reply. If you do not get an immediate reply, wait a while. Avoid hastily bombarding the recipient with duplicate messages on e-mail, voice mail, fax, and telephone. If it’s an emer- gency, shift to another medium.

Managing Your E-mail ’

Establish procedures to manage your e-mail. Don’t let it manage you or diminish your credibility.

Manage e-mail absences professionally. If you are absent, arrange for automatic receipt of incoming e-mail so that others will not be left awaiting your reply. When you return after an absence, you should approach a huge in-box by &dquo;Last In, First Out&dquo;-answering

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the most recent e-mail immediately and leaving earlier messages until later. Old e-mail will likely be irrelevant and speed won’t matter much, whereas being timely will still matter with recent e-mail.

Save only important messages. Save or print significant mes- sages immediately so you can document the &dquo;conversation,&dquo; one of the advantages of e-mail. Trash most routine messages after replying. Plan periodic e-mail clean up to catch any messages that might have &dquo;fallen between the cracks.&dquo; By handling e-mail , methodically as you read and reply to messages, you will reduce time hunting for important messages among e-mail clutter and overloading your mailbox.. Add new entries into your e-mail address book. Record

e-mail addresses electronically to save time and to avoid errors caused by entering addresses manually later. Use your e-mail professionally.. ~ Send personal e-mail only as appropriate in your organization.

Unlike oral communication, electronic technology has quite clear-cut distinctions between business and personal commu- nication. Many firms allow &dquo;reasonable personal use,&dquo; with some companies leaving what is &dquo;reasonable&dquo; up to the employees’ discretion. Other firms have adopted strict e-mail policies that prohibit all personal use, though their employ- ees may pay scant attention to these rules. In organizations where policies and common practice diverge greatly, you ,. should be aware of the risks in ignoring the formal rules.

~ Remove your business e-mail address from irrelevant lists, including all junk lists, especially any with ethnic, racist, or pornographic messages.

~ Schedule your e-ma.il use. Discipline the temptation to look at your e-mail continually or to get lured into surfing the web ~~. or reading/forwarding jokes.

Bibliography This bibliography comprises a selection of articles on theory and research on busi- ness e-mail published over the last decade, as well as some detailed practical guide- lines. Business e-mail users who wish to keep abreast of changes in e-mail practices should check such publications as The Wall Street ioumal, The New York Tmes, and

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The Economist. They should also periodically check some of the numerous Web- sites devoted to e-mail and search the Internet for coverage of rapidly changing _ topics such as e-mail privacy and e-mail policies (including monitoring and legal matters), as well as business issues such as productivity and power in the organiza- tion. Instructors and trainers should also check publications such as Business Com- munication Quarterly for numerous articles on teaching e-mail practices.

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Carlson, J. R., & Zmud, R. W. (1999). Channel expansion theory and the expe- riential nature of media richness perceptions. Academy of Management Journal, 42, 153-170.

Ferrara, K., Brunner, H., & Whittemore, G. (1991). Interactive written discourse as an emergent register. Written Communication, 8, 8-34.

Fulk, J. (1993). Social construction of communication technology. Academy of Management Journal, 36, 921-950.

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Hacker, K. L., Goss, B., Townley, C., & Horton, V. J. (1998). Employee attitudes regarding electronic mail policies: A case study. Management Communication Quarterly, 11, 422-452.

Ku, L. (1996). Social and nonsocial uses of electronic messaging systems in organizations. The Journal of Business Communication, 33, 297-325.

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Murray, D. E. (1991). The composing process for computer conversation. Written Communication, 8, 35-55.

Mulholland, J. (1999). E-mail: Uses, issues, and problems in an institutional set- ting. In F. Bargiela-Chiappini & C. Nickerson (Eds.), Writing business: Genres, media and discourses (pp. 57-84). New York: Pearson.

Nickerson, C. (1999). The use of English in electronic mail in a multinational corporation. In F. Bargiela-Chiappini & C. Nickerson (Eds.). Writing business: Genres, media and discourses (pp. 35-56). New York: Pearson.

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Orlikowski, W. J., & Yates, J. (1994). Genre repertoire: Examining the structur- ing of communication practices in organizations. Administrative Science Quar- terly, 39, 541-574.

Rice, R. P. (1997). An analysis of stylistic variables in electronic mail. Journal of Business and Technical Communication, 11, 5-23.

Rogers, E. M., & Albritton, M. M. (1995). Interactive communication technolo- gies in business organizations. The Journal of Business Communication, 32, 177- 195.

Sarbaugh-Thompson, M., & Feldman, M. S. (1998). Electronic mail and organi- zational communication: Does saying "Hi" really matter? Organization Science, 9, 685-698.

Sproull, L., & Kiesler, S. (1992). Connections: New ways of working in the net- worked organization. Cambridge, MA: MIT Press.

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Whelan, J. (2000). e-mail@work: Get moving with digital communication. London: Pearson.

Wilkins, H. (1991). Computer talk: Long-distance conversations by computer. Written Communication, 8, 56-78.

Yates, J., & Orlikowski, W. J. (1992). Genres of organizational communication: A structural approach to studying communications and media. Academy of Management Review, 17, 299-326.

Yates, J., & Orlikowski, W. J. (2002). Genre systems: Structuring interaction through communicative norms. The Journal of Business Communication, 39, 13-35.

Zack, M. H., & McKenney, J. L. (1995). Social context and interaction in ongo- ing computer-supported management groups. Organization Science, 6, 394-422.

Address correspondence to Mary Munter, Amos Tuck School, Dartmouth College, Hanover NH 03755-9013 (e-mail: [email protected]).

Email and Perceived Professional Competence Knight 2018.pdf