A10: If nothing else, read this for comic relief and avoid being inspiration for this list: notalwaysright.com/tag/clients-.... 😉 2/2

A10: Agreed. Don’t be afraid to try your hand at design. Test drive the tool your designer uses. If you don’t already have it, get a free trial. You don’t have to be good at using the platform, but this will help bridge the gap in perspective. 1/2

This is one of the best parts of a long-standing relationship. If you can cultivate this with a new design partner, it is invaluable. Lauren continues to show up for me!

A9: Establish boundaries. What are you comfortable flexing and what is a non-negotiable? Provide the “why” so that the designer can support your goals with a larger lens while creating the “how” at a more granular level. Designers want to bring your copy to life! #ACESChat

Loved the teamwork on this one!

A8: She segments the content in a way that provides creative license and optimal output. Moreover, some of our best convention theme concepts often derive from early conversations about the intersection of aesthetic and narrative directions. 2/2 #ACESChat

A8: Our work together on videos – translating a script into visual storytelling – is almost seamless at this point. But Lauren’s copyediting choices in convention spreads really allow me to build the event branding as part of the [magazine production] process. 1/2

A7: That often depends on the editor’s medium; however, I’d start by developing a keen eye. Take time to observe everything on a page/screen that is NOT copy. Ask your designer WHY they made a design choice when working on your next project. It may help to think about words as design. #ACESChat

A6: Provide all assets you DO have and project a timeline for when you can commit to providing any outstanding details. 2/2 #ACESChat

A6: If there is no identified “space” to design (size, scope, medium) but you want to start the process, you can share the aesthetic direction you seek as well as any style guidelines. 1/2

A5: If you want to see the design direction before a fully fleshed-out draft, request a peek at early sketches or a mood board to make sure you are on the same page. This is especially important if you are not exactly sure what you want or you are contractually limited to minimal rounds of edits.2/2

A5: How many rounds of edits are you comfortable working through? What is your process? The goal here is to establish a cadence for collaboration and communication. 1/2 #ACESChat

A4: If the designer has the liberty to take creative license with the content to “make it work” or fit the space/medium, and especially if they do NOT, be sure to communicate that. It will reduce the impact of editorial changes if/when they happen. 2/2 #ACESChat

A4: If the copy lends itself to a pull quote or sidebar, that’s important to identify early in the process. Should this change, it is helpful if the editor has a back-up plan to either pull out alternate copy for a similar side bar or another quote of note to feature, if needed. 1/2

(Don't meant to YELL, just emphasize.)

A3: The longer you work with a designer the more seamless this becomes, but it is essential to establish a working dialogue to meet the objective(s) throughout the process. Many designers can design anything with clear direction. 2/2 #ACESChat

A3: Collaboration and transparency. What is the end goal or purpose of this communication? If there is a thematic or relational element, discuss what is important to highlight in the copy by supporting it with design. And if they are not giving you what you want, tell them WHY. 1/2

A1: Most importantly, the copy should be final – or nearly, so that the length doesn’t drastically change after design choices are made. 2/2 #ACESChat

A1: Word count makes a difference – all the difference. Editorial layout is based on how much needs to fit on a page or spread. How much room does the designer have for photos or design elements? Is there an opportunity to cut copy to accommodate design choices? 1/2