Document Hack (A Technical Writer’s Journal): Document Mismanagement System

I have mentioned Documentum in this space before. Documentum is a useful, though certainly not perfect, document management system. Documentum stores files of all sorts, from graphics and desktop publishing files to applications under development. Once a file is stored in Documentum, individual users can “check out” that file (like checking a book out of a library). When they check out a file, it is then locked within Documentum. That means others cannot check the file out although they can download a copy of the file.

Locking prevents more than one person from working on the same file at the same time. This is important because if two people make different changes to the same file, then they essentially create two different files. Merging those two files back together can be a nightmare. Requiring people to check in and check out files prevents duplication of effort and lost changes.
One of the other handy aspects of Documentum is that it stores each version of a file that has been checked in. Because of this, if a major problem occurs, people can always go back to a previous version of the file. This helps prevent disasters.

Documentum allows people to copy files. This means that an individual can download a copy of the file without checking out the file. This is also handy because people often need to view or use files, but they do not need to change them. For example, a manager could download the latest version of a project tracking spreadsheet and bring it to a meeting without checking it out. Because of this, a programmer working on the project can still make updates when they finish parts of the project. If the manager checked out the file, no one on the project team would be able to update it and project tracking would come to a halt.
Documentum works fairly well. There are occasional bugs, but none as bad as a typical Microsoft product. The problem with Documentum is that human beings are allowed to use it. Human beings will screw up a system every time.

That was the case last week on my project. The new lead writer, without telling the rest of us, copied all of the project files to her hard drive to work on them. She did not check them out; she just copied them, not expecting any of the rest of us to work on the files but not telling us not to. I then came along, and in my ignorance, began copyediting the files. I did this the correct way. I checked out the files, worked on them, then checked them back in. After three days of this, our lead writer realized that I had altered about half of the files she had been working on.

On the plus side, the writer understood it was her mistake and took the blame. On the minus side, three days worth of my work had to be dumped. All of this could have been prevented if the system had been followed. It is not my intention to blame the other writer unfairly. If I had taken the time to tell her what I was planning on copyediting the files, she would have had the chance to tell me what she had done, but I trusted the system, and the work was lost because it relies on humans to follow its system.

This is not the only time that I have run into problems with the human element of Documentum. One of the typical problems is what I call file hoarding. This happens when someone checks out a file and keeps it for days or even weeks. This obviously causes a problem because it keeps others from working on a file, but it also causes a bigger problem. The key to using Documentum properly is to check files in every time there is a significant update to the file. That provides an easy path backwards for people when things go wrong. The greater the gap between backups of a file, they greater the amount of work a single error or crash can destroy.

The company policy here is that Documentum files should be checked in at least once a day, even if they are immediately checked out again. Daily use of Documentum lessens the problems associated with computer crashes and file corruption. When people hoard files, they tend not to check them in at all. They just keep the file on their hard drive. If they at least checked the file in once a day and then immediately checked it out again, disasters could be averted. The company I am currently contracting for has a series of policies regarding the use of Documentum. Unfortunately, there is no path for enforcing these policies. Violations are not merely tolerated, they are completely unacknowledged.

Because of this, problems like last week’s lost work are not just possible, they are inevitable. The keys to any system or process working are as follows:

1. The actual system must be well planned and workable.
2. The people within that system must be properly trained.
3. The policies needed for that system to function properly must be enforced.

In this case, the system itself is workable, but there is a limited amount of training and almost no policy enforcement. Because of this, accidents like last week happen on a fairly frequent basis.

Poetry Writing Tips Explained: Tip Three

Say what you want to say and let your readers decide what it means.

Most beginning poets spend too much time thinking about the intentions or themes of their poems. There are many different approaches to writing poetry. Some poets write highly structured poems. Some poets write poems about very specific subjects and have definitive goals about what they want their poem to do. While these approaches can produce great poems, I do not recommend them for beginning poets.

Young poets and those writing poetry for the first time often become frustrated because they cannot seem to say what they want to say. Many experienced poets have the same problem. Self-expression is not an easy task. The task becomes even harder when you start out with very specific goals or constraints. Writing a great sonnet is not easy. Writing a great villanelle is even harder. That does not mean you should not try, but do not expect immediate success and do not constrain yourself even further by deciding in advance exactly what to say.

You can sit down with a topic in mind. If you want to write about a certain landscape or situation, use that as a starting point. If it does not work, however, do not force it. Sometimes the poem you really want to write is sitting in the back of your mind, waiting for you to get out of its way.

This may seem to be the antithesis of the advice at the top of the page, but it must to be said before we can discuss the meat of my statement, which is that you need to feel free to write exactly what is on your mind. If you want to write about basset hounds or aluminum cans, you should write about them and say what you have to say. You may create a great poem or you may not. Not every poem you write will be great. No one writes perfectly. Even Shakespeare had off days.

Sometimes a poem will shift topics as you write it. Follow the new direction. The new direction may end up fitting your original theme in a way you did not expect, or you may decide to discard the first part of your poem to make way for the new thoughts. You may even find that the first part was right after all and what follows does not work. Whatever the situation, follow the direction a poem takes. You can always rewrite later.

Do not get trapped by worrying about whether a poem “makes sense”. If, when you finish, the poem feels right to you, then you have done what you needed to do. Feel satisfied with that. If you do not like the way the poem turned out, either rewrite it or write another poem. Do not expect perfection with every attempt.

At some point, if you are brave enough to let the world see your poems, you will discover that your readers do not recognize all the themes you intended for your poem and all the points you tried to make. They will also see things in your poem that you never intended. You need to accept that people can have different views about the same poem.

One of the great truths in creative writing is that a writer lacks the perspective to judge his or her own work. When you read your own poem, story, or any other piece of creative writing, you bring to it every thought that was in your head at the time you wrote it. When others read your work, they see the words on the page, not the thoughts you put behind the words. Your readers will also bring to your poem everything that is in their own head. Their interpretation of your poem can be valid, even if it does not agree with your interpretation.

Do not spend your time worrying about other people’s interpretations of your poetry. There will always be a difference between your intentions and other people’s interpretations. Say what you have to say. If people ask you what your poem means, feel free to tell them what was on your mind. If they try to tell you what they think your poem means, listen carefully. You do not have to agree with them, and you do not have to change anything about the way you write just because you think they got it wrong. Give their interpretation some thought and see if you think it is valid. If you do not, that is fine. Perspective is a wonderful thing. The more you have, the more you can use.

Poetry Writing Tips Explained: Tip Two

The bigger your point, the more important the details are.

Many poets choose to write poetry for political, social or philosophical reasons. These poets have a specific point-of-view that they want to express. There is nothing wrong with writing poetry to express a viewpoint, but I have found it often results in poetry I have no interest in reading.

I do not want to be told that the genocide in Sudan is deadly and awful. I already know that it is. I do not want to be told that child abuse is terrible and hurtful. I already know that it is. I know that war is terrible and I know that it is sometimes necessary. I know that people can be hurtful and they can be kind. Most people understand these things.

I am not telling you what you can or cannot choose as a subject. Write about Sudan. Write about child abuse. Write about war. Write about cruel people or happy people. I am willing to read a poem on just about any subject. The key is to focus on the details, not the general point. The poem will fly or plummet based on the details. If you want to tell a story about a war, focus on a single moment, person, or visual. Dig into the details of your subject.

I do not want to read a poem that tells me war is bad, but I might be interested in a poem about a truck that has survived a war — a poem that describes the dents, the scratches, the burn marks on the surface of the truck and how each mark got there. Those are the details of a poem. The point of a poem is usually expressed best when it goes unstated and readers draw their own conclusions.

The key is that no matter what the subject of a poem is, great or small, the goal of the poet should be to make every part of that poem as interesting to the reader as the subject is to the writer. Blanket statements can kill a poem. The same is true of overly obvious or overblown images. Often, when people think they are being dramatic, they are being melodramatic. This is another case of focusing on the subject rather than the details.

When developing an image, make it a goal to veer away from emotional descriptions and look for literal descriptions that match the emotion. Compare these two lines from my hypothetical war-torn truck poem.

The angry bullet hole was dark and frightening

An irregular circle burn surrounded a bullet hole close to the driver’s door

While I am not claiming either line is art, the first image aims for an emotional effect and (I think) fails. The second line keeps emotion from the overt description, but demonstrates the menace involved. I am not saying to keep emotion out of your poetry, just be mindful that your readers would rather feel something on their own than be told to feel something. That said, there is no doubt the second line carries emotion. The words burn and irregular evoke negative emotions and the location of the bullet demonstrates the possible consequences of the shot. The line is more subtle, but it still creates an emotional effect.

Writing a poem that sets out to express a particular idea or opinion is difficult and often unnecessary. You already have a point-of-view, and it will come out in your poetry. You do not have to set out to tell how you feel or what you want people to understand. If it is inside you, it will show up in your poetry. All you have to do is keep writing.

MFA Program Profile: Georgia State University

Department of English
Georgia State University
MSC 8R0322 33 Gilmer Street SE, Unit 8
Atlanta, Georgia 30303-3083

Phone: (404) 651-200
Email: engmay@langate.gsu.edu
Web Site:
www2.gsu.edu/~wwweng/creative_writing/graduate/mfa.html
Program Length: 3 Years
Residency: Traditional
School Funding: Public
Admissions Basis: Application, transcripts, three letters of recommendation, GRE, critical writing sample
Program: Creative Writing

Costs:
Resident tuition: $2,022 per semester
Non-resident tuition: 8,085 per semester

Key Faculty:
Michele Yulo
Assistant to the Director of Graduate Studies

Poetry
David Bottoms
Leon Stokesbury
Beth Gylys

Fiction
John Holman
Sheri Joseph
Josh Russell

Their Program Description:

It is an implicit assumption of the M.F.A. degree in creative writing that an education in and understanding of the tradition of the genre in which the student writes is a necessary component in the eventual success of that student’s creative endeavor. Toward this end, the M.F.A. student in creative writing will be required to take an approximately equal number of literature and creative writing courses as well as to pass a written examination over the traditional and contemporary areas of study in the student’s chosen genre.

The M.F.A. is a more rigorous and substantial degree than the M. A. with an emphasis in creative writing. Only students whose portfolios show exceptional promise will be admitted to the M.F.A. program, and the requirements for completion of the program are more strenuous than for the M.A. in Creative Writing.

MFA Program Profile: Pacific University - Oregon

MFA Program Office
Pacific University
2043 College Way
Forest Grove, Oregon 97116

Phone: 877.PAC.UNIV, 503.357.6151
Email: mfa@pacificu.edu
Web Site: http://www.pacificu.edu/as/mfa/index.cfm
Program Length: 2 Years
Residency: Low
School Funding: Private
Admissions Basis: Application, transcripts, manuscript, essay, Critical analysis, two letters of recommendation
Programs: Fiction, poetry, non-fiction

Costs:
Tuition for the academic year: $10,800
Residency room and board fees: $1,200
Books and supplies: $600 (estimate)

Key Faculty:
Rick Bass
Marvin Bell
Claire Davis
David James Duncan
Debra Magpie Earling
Pete Fromm
William Kittredge
Elinor Langer

Their Program Description:

The Master of Fine Arts in Writing offered by Mountain Writers Series and Pacific University strives to help writers who have already demonstrated talent, skill, and dedication to become better writers.
The program brings together Mountain Writers Series’ history of producing literary programs of excellence and Pacific University’s dedication to high quality educational programs.
In twice-yearly residency sessions, students and writer advisors participate in workshop sessions and conferences, develop study plans, and form relationships that facilitate the work that continues between residencies during the Correspondence Semester. The program features award-winning writers who work closely with students to support and inspire emerging craft and voice.
In the belief that writers can and must lead full and interesting lives, the program embraces students who have full-time jobs and other obligations.

Residency
Each semester begins with a short residency on Pacific University’s 155 year-old campus set among groves of oaks, towering redwoods and firs. Over the ten intensive days of literary events, students study with some of the best minds of the literary world. The schedule includes workshops, lectures, classes, and readings featuring core faculty and an array of guest writers. In addition to the formal sessions, each day includes time set aside for quiet contemplation, writing, and informal gatherings. Each student is paired with a writer advisor for strategy sessions to design semester plans for independent work completed during the Correspondence Semester. The residency is both a rich reward and a stimulus for the months of solo work that lie ahead.

Correspondence Semester
During the residency session, we match each student with a writer advisor to develop a Study Plan for the Correspondence Semester that will follow. These Study Plans grow from the student’s own interests, needs and developing vision. Students send work to their advisors and, in turn, receive criticism, guidance and support, including specific suggestions as well as general advice for the developing craft and course of study. Student work sent in the exchanges includes new poetry or prose, revised work, and commentaries on the readings assigned as part of the Study Plan. Students are expected to devote 20 to 25 hours each week to the semester study project, but the flexible structure of the exchanges allows them to carry out family and job commitments while still pursuing the study of the art of writing.

Program Completion
The Mountain Writers Pacific MFA degree requires successful completion of four semesters of study (four Correspondence Semesters and five Residency periods). Degree recipients will demonstrate mastery in creative writing, applied criticism, contemporary letters, and literary tradition. Students should expect to complete the following during the course of the program: read 50-80 works of literature; complete an analytical paper on a topic of literature, the writer’s craft, or contemporary letters; prepare a manuscript of fiction, non-fiction, or poetry; give a public reading; and prepare and deliver a class, presentation or lecture to fellow students during the fifth Residency.

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