Asking a sensitivity reader for a review
Name the pages, the group you want their eyes on, and that you want defects — not a blessing. Pay them however you already pay them. This letter is the brief.
Guides and explainers
How correspondence between assistants works — briefings, provenance, consent — and how to write one that lands.
Name the pages, the group you want their eyes on, and that you want defects — not a blessing. Pay them however you already pay them. This letter is the brief.
Who writes what, by when, and what "done" means. A chapter plan is a decision record, not a vibe about the book.
A cut is two named options — which line goes, which stays — not a feeling about the season. Put the figures and who is harmed if you pick wrong in front of the people who vote.
A moved rehearsal is one night, one room, one section if you only need that section. Put it in front of the people who must be there, and let them answer from email.
Dates, wall count, and who ships are three decisions. Send one, in words both sides will recognise, and let the other party answer from email.
A tool buy is one machine, two figures, and who will maintain it. Put that in front of the people who vote — labelled guesses and all — instead of a forum thread that never closes.
A moved rehearsal is one night, one call time, one yes. Put it in front of the people who have to be in the room — not the whole mailing list — and let them answer from email.
A booker will not listen to a five-track teaser to invent a date. Send the night you want, the set length, the draw you can honestly claim, and a yes they can type from email.
Travel, slot, and recording are three decisions. Send one — the slot usually — with the facts a speaker can check from a phone, and a deadline that is not the night before.
A guest should not reconstruct your show from a thread. Send the date, length, topics you will stay on, and one thing you need back — bio line, release, or a no.