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Wednesday, 21 November 2007

The Rescuer Professional

Posted on 12:50 by Unknown
There’s a breed of reality TV that is particularly interesting: the “professional improvement” shows. These include home improvement and self-improvement programmes, but the theme is the same: professionals evaluate a person or thing (or sometimes both) and make dramatic improvements.

Why are these shows so popular? Is it really so compelling to see a house torn down and rebuilt, or a person getting a fashion makeover? Some say it’s so that we can learn to make similar changes in our lives, but I doubt I’ll be rebuilding my house or getting plastic surgery any time soon. (Besides, if you’re nose is too big, you can always make the rest of your face larger.)

Help - I Need Somebody!

I think these shows are popular because deep down, we all want to be helped by others who we think know better than us. As much as we strive to be independent, the idea of a professional arriving into our lives, giving us expert advice and then working to make the necessary changes is very appealing. It means less work for us and absolves us of the responsibility of doing it ourselves.

The experts who are on these shows are therefore not just professionals, but rescuers, or rescuer professionals. Rescuer professionals are not professional rescuers, the people who rescue the lives of others for a living: the firemen, paramedics, emergency room doctors, secret agents and late night hair stylists. The rescuer professional is someone who deals with non-life threatening situations in a calm, authoritative and professional manner, and who gets the job done right.

Woody and the Wolf

There’s great examples of rescuer professionals in the movies. In Toy Story 2, a toy repairman nicknamed “The Cleaner” skillfully repairs Woody, the main toy character. On a slightly more violent level, in the classic cult film Pulp Fiction, Harvey Keitel plays Winston 'The Wolf' Wolfe, the consummate rescuer professional, when he’s assigned to help gangsters get rid of a dead body and gets the gangsters to clean up the car it came in. (This inspired one of the greatest lines in film history, with one of the gangsters exclaiming: “You’re the [one] who should be on brain detail!”)

The question I come across the most in our profession is “How can I get the job at an interview?” The next most common question is “How do I keep the job I’ve got?” The answer to both questions is the same: be a rescuer professional.

Ordering: One Interview, Please

In an interview, you need to give the impression that things were not too peachy in the documentation department before you came along. You need to imply that there was little or no documentation process, that the docs were 42 years out of date and used 127 different fonts, that anarchy ruled, with hell, fire and brimstone raining down each day, with dogs and cats living together and issuing drafts; in short, that it was total chaos.

You were the rescuer professional. You brought order to the chaos. You cleaned up the templates. You created a style guide and perhaps a practices and procedures guide. You got the writers working together. You got the documents to look like they were created by one writer, and not by Sybil, with her various personalities.

You don’t want to appear arrogant, of course. You need to say it was part of team effort, but still show that you did these things on your own initiative without being asked.

And if you want to keep your job? Sorry – the only guarantees in life are death and taxes. You may be able to escape the latter if you’re richer than God; the former if you’re God himself. No job is guaranteed. The most you can do is lower the probability of you being laid off today. Don't worry about tomorrow, for it is a day whose time has not yet come.

What Have You Done For Me Lately?

At work, we must be the rescuer professionals. Ask yourself: What are you doing to further improve things? Oh yes, everyone is just so very impressed with how you turned water into wine, and made the drafts sing and dance yesterday, but what have you done today?

Do you have short, mid-range and long terms goals for your work? Are you making the time to investigate newer tools and technologies? Are you getting out of your comfort zone and working with things other than user guides, such as training materials, release notes, error messages, user interface elements, and even the names of code elements such as XML tags and class names? The more pies you can stick your fingers into, the lower the chance the company will put a pie in your face and discard you in the pie-heap of history.

Excuse Me - Do You Have the Time?

If you have the time to do these things without jeopardizing your deliverables, you need to do them. And if you don’t have the time to do these things, then that itself could be a sign of a bigger problem. The best jobs are ones which allow you the time to grow in them. If you’re not growing, and others are, where will that leave you in five years, in ten years, and beyond?

To win jobs and keep them, be the rescuer professional. Be the one willing to step into the fire to rescue the documentation dog. Be Extreme Makeover – Documentation Edition.
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Wednesday, 7 November 2007

Arts and Sciences

Posted on 12:20 by Unknown
I’ve always felt a funny feeling in my stomach whenever I’ve heard the expression “technical communication is an art and a science”, and it has nothing to do with the large corned beef sandwich I ate three days ago and am still digesting. It’s because there’s something about this expression that, although true, is meaningless.

The first clue that there’s something wrong is that you could apply it to almost any field:

Selling is an art and a science.
Teaching is an art and a science.
Business is an art and a science.

If so many professions, indeed if all professions, are both an art and a science, then does it really makes sense to single out ours? The problem runs deeper than this, though. What exactly does it mean when we say something is an art or a science? Could they, in fact, be two sides of the same coin?

I Feel the Need, the Need for Extreme

To explore this, we need to be extremist. What is the most extremely artistic profession you can think of? How about, oh, an artist?

Of course, there’s many different kinds of artists, but when I envision one, I see a French painter wearing one of those annoying puffy blue hats, and having consumed enough alcohol to knock out a small horse. (It’s a good thing I can keep my imagination in check.)

A painter certainly certainly needs to be artistic, so it’s self-evident that art is an art. Artists have to be creative, inspired, and imaginative. They have to be non-scientific and see things in an emotional, spiritual, and meta-physical way. Artists are often extremely emotional, sensitive and irrational; it’s no wonder that many of them abuse drugs, are depressed and leave this world all too soon.

Science has shown that the mind actually expends energy filtering out much of what we sense so that we don’t become overwhelmed. Artists seem to have a malfunctioning filtering system that lets in everything pour in. As a result, artists create great art, but have a nasty habit of killing themselves, which does not look too good on a resumé.

The Art of the Deal

But is art only an art? Look at the other areas that a successful artist needs to know. They have to learn about composition, colour, light, paints, brushes, and canvasses. They need to study techniques, styles, media, forms and textures. They should learn about the lives and history of other artists and artistic eras. And if they actually want to make a living as an artist, they had better learn the business of art: the gallery system, the curators and critics, and the art journal editors and writers. They must learn how to develop, schedule, package and present showings, and deal with those pesky clients. These things are not art, but the fact-based technical side of art – the science of art. Therefore, art itself is both an art and a science.

She Blinded Me With Science

Science, of course, requires enormous technical, scientific and mathematical knowledge. It requires a cold, hard analytical view of the facts, with no emotion. It requires observation and testing of readily available data. It’s not very artistic - or is it?

When Newton saw an apple drop, he “discovered” gravity. Edwin Hubble, using creative experiments, proved that the universe was expanding. Einstein, perhaps the greatest scientist of the modern area, would imagine himself riding a beam of light, and from that was able to envision his Theory of Relativity.

To say that science does not require innovative, creative thought is nonsense. A scientist who is not creative will never be able to discover new things. That’s why the history of science is one in which one model of reality being replaced with a newer one, until that one is itself replaced. Science, therefore, is also an art.

The New Math: Art = Science

If science is an art and a science, and art is an art and a science, where does that leave our profession? Right where we started, as both an art and a science.

It’s a science because it requires:
  • knowledge of the technical subjects we document
  • knowledge of technical tools
  • the ability to analyze technical requirements and create complex, technical documents
  • the ability to plan, organize, schedule, monitor and deliver projects on time
But technical communication is also an art because it requires the ability to:
  • imagine yourself as the end user to try to predict their information needs
  • creatively reword and organize information so that it is simple to understand and easy to find
  • develop creative solutions to complex documentation problems
  • work with others in a friendly, constructive, emotionally intelligent way
Technical communication: It’s an art. It’s a science. It’s a scientific art and an artistic science.
It’s both.
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