I’ve written that AI-era design work reduces to taste and judgment. Elizabeth Goodspeed’s case for designer-writers gets there from a different direction.

Elizabeth Goodspeed, writing for It’s Nice That:

You can get away with a lot in design: conceptual ideas are able to sit inside a visual piece of work without ever being fully spelled out. They’re gestured at rather than articulated. Writing forces you to figure out exactly what your idea is; if it isn’t working, you’ll know immediately. Where design is like a ballet – implicit ideas carried through form – then writing is closer to a theatre – your thinking has to be explicitly spoken.

Goodspeed’s point is that design lets you gesture at an idea without ever articulating it, and writing forces you to name it. A designer who can’t explain why a choice works has taste they can’t grow or pass on.

Goodspeed’s second point goes further:

Writing is to graphic design what clay is to pottery. It’s the material designer shape and massage into form. To work with text well, you have to really be able to read and understand what you’re setting – not just how it looks and basics like not hyphenating a word in a bad spot, but what it means on a deeper level. Just as reading makes you a better writer, writing makes you a better reader.

Product designers don’t usually think of themselves as writers. But user stories are writing, and articulating what a user should be able to do through an experience and why is essential.

Worth reading in full. She makes writing feel like a design discipline.