CORPORATE WRITING METHODOLOGY
1.
DOCUMENT
CATEGORIES
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6.
RESEARCH
READING
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2.
RATIONALE
REFINEMENT
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4.
B/S
CONTENT
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7.
DATA
SPIRALING
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9.
POETRY
AND
ILLUSTRATIONS
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3.
RATIONAL
SENTENCES
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5.
DRAFT 1
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8.
DRAFT 2
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10.
DRAFT 3
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Corporate writing develops a corporate consensus on an issue, then communicates
the essential information concerning that consensus in the form of writing
to others.
The corporate consensus is developed as the group assembles its insights
concerning a particular issue, uses theses to articulate further creative
thinking, examines alternatives and
records one of these in written form. The necessity of choosing one particular
approach to the issue points the whole process of the group toward achieving
the consensus that will make this possible. Here, content is the main question.
The second function, that of communicating the corporate insights, raises
the question of writing style. To ground a statement in one's own experience
requires that the statement be understood, that it be clear. But understandability
is only one factor in communication. The art form methodology is based
upon the assumption that communication has four levels -- identification
of the realities being discussed, observation of the relationships between
these realities, an assessment of the possible ways of relating to those
realities and a decision as to which of those relationships to act upon.
A written document which wishes to communicate in the full sense invites
participation at each of these levels.
Identification of the realities can be accomplished through a clear description.
Poetry can be a powerful tool for evoking images within the reader, and
the skillful use of poetry can raise to consciousness images which point
to the reality. However, the cast of characters is laid out, the next step
is to define their relationships either in space, in time ,l or both. Spacial
relationships are linear, confrontational, diagrammatic, direct. Relationships
in time are curved, artistic, dramatic, a complex of emotions and interactions.
The interpretive drama is the stretching of the three dimensional forces
that create and affect human affairs over a fourth dimension of time. Similarly,
assessment of possible relationships is spacial, or the drama of space
plus time. The decision is an entering into the drama, a determination
to channel the forces of interaction or to direct the human drama.
STEP 1. DOCUMENT CATEGORIES: It is assumed that an initial structure is
provided, whether this be a triangle, a four by four, or a series of categories.
These are the realities for which the document will spell out the relationships
in order to encourage a decision with respect to relating to these relationships.
STEP 2. RATIONALE REFINEMENT: To clearly distinguish each of the categories
from each other, a series of characteristics across the categories is often
helpful. The purpose is to define each category as separate and distinct
from each other category.
STEP 3. RATIONAL SENTENCES: A sentence is written holding the thrust and
uniqueness of each of the categories. Preparing an imaginal wall charts
holding the essential data is helpful in preserving clean distinctions
during later steps.
STEP 4. BRAINSTORM CONTENT: The group wisdom as to the content of each
of the categories is brought out through a brainstorm.
STEP 5. DRAFT 1: The brainstormed content is written to expanding upon
the rational sentences.
STEP 6. RESEARCH READING: Books, articles, transcripts are combed using
the document categories as a screen. 4x6" cards are useful for recording
the data. Wall display with cards in their separate categories gives a
visual image of where further research needs to be done to fill in gaps.
STEP 7. DATA SWIRLING: The data for each category is swirled, allowing
3 to 5 groupings to emerge under each.
STEP 8. draft 2: The draft 1 document is expanded, incorporating the insights
from the data swirling. An alternative possibility is to use the swirls
which emerge as ways of arranging the material under each of the original
categories; and then feed the material from Draft 1 into this configuration.
STEP 9. POETRY AND ILLUSTRATIONS: A list of poetic images, movies, books,
biblical references, current or historical events are brainstormed for
each of the categories.
STEP 10. DRAFT 3. The document is reviewed, possible rewritten, in order
to incorporate meaningful images or illustrations and reflect the increased
clarity which grounding of the categories in concrete event creates.
STEP 11. CHARTING. The three drafts are assembled side by side for each
of the categories in turn, and the one most closely approximating the final
form chosen. This is charted. The chart is then modified to incorporate
dramatic flow or insights inadvertently omitted. Material from all three
drafts is coded as to its location in the modified chart. Perhaps initially
all three drafts are charted. It is crucial that imagination and creativity
be allowed to enter at this point. Teams of two or three work best here.
STEP 12. DRAFT 4: Draft the fourth draft is written from the modified chart
using the best of the materials. A process of cleaning and editing for
a clear style and polishing complete the writing process.
This methodology for corporate writing has the advantage of incorporating
the group wisdom, active research and poetic imagery. It uses an iron rationale
as the basis for writing, but through the process of swirling the research
data and charting the drafts, allows internal structure to emerge out of
the dramatic requirements of presentation. The use of four drafts allows
for the incorporation of different types of material, but also provides
increased opportunity for creativity to emerge during the writing process
itself.
Clair Woodbury
NB: This is a modified description of the methodology used by Guild 14
during the Summer '74 Research assembly to write the document on Ontological
Love.
Corporate Writing - Notes handwritten by Joseph W. Mathews on 12/10/72
Corporate writing is a methodology.
Format is it. line. Outside. Stopping. Line.
Corporate writing is symbol.
Whole document into one.
Format tells major introduction.
Every tract should have same form.