Switched to Google Reader

By the way, I've switched from Bloglines to Google Reader. As one would expect from Google, it's much prettier. You can view a list of posts with snippets instead of Bloglines' clunkier view posts so-many-days old, making it look basically like Gmail. And it does have folders in addition to Gmail style tags, so you can easily condense the list. It's also an easy switch, since you can simply click "export" from Bloglines and then "import" from Google Reader.

Content Matters

The first time I discovered plagiarism in a student paper, I was pretty shook up. This student was making a D in my class and had gotten an F on his latest paper. But it hurt me when a sentence sounded off and I had to check Google. Now that was my first semester teaching, so Sara Biggs Chaney might have been a bit more hardened against the experience, but in her case she had high hopes for the paper and the A student who had written it. Where my student may have been desperate or confused about using sources, Chaney's student was likely expressing a disrespect for academic writing and Chaney herself despite being quite capable of handling the assignment (31).

In composition, we tend to focus more on presentation than content. This makes sense, because writing isn't really a content course. We need to help students work with whatever content to produce good essays. But Chaney felt she'd made a mistake by ignoring the content of Amber's paper about the irrelevance of paper writing. She felt that Amber could become academic by going through the motions of academic writing (30), but Amber still believed paper writing was not important. And Chaney didn't really listen to her ideas. She was interested in the paper, but only formally. She wanted to see the moves of academic writing, but basically ignored the content.

I'm writing a paper in another class in which I connect this deemphasis of content in composition classes to the Foucault's author function, as explained by Gail Stygall. That is, while it makes sense in a composition class to emphasize the form of writing, to talk about the moves of academic writing, we really can't neglect the actual content if we want our students to be real writers. Real writers and readers care a lot about content. If we start ignoring the actual content of our students' papers, we're basically dooming them to perpetual student-hood. I can imagine where Amber's beliefs about the irrelevance of paper writing were only strengthened by the fact that her writing teacher thought she could write a great paper which condemned the entire process--writing, then, is just an act. It doesn't do anything, it doesn't say anything, and it certainly doesn't prove anything. In the real world, Chaney would likely have made her actual disagreement with Amber's content central to her evaluation of the paper. She might have conceded that the argument was well made, but she'd have given center stage to the fact that it just didn't hold up.

Now we can't grade our students' papers on how well they fit the beliefs we already have, but we can be a little more honest about our subjectivity and the role content plays in good writing.

Works Cited

Chaney, Sara Biggs. "Study of Teacher Error: Misreading Resistance in the Basic Writing Classroom." Journal of Basic Writing 23.1 (2004): 25-38.

Writing in a Computer Lab

In "Issues of Attitude and Access: A Case Study of Basic Writers in a Computer Classroom," Catherine Matthews Pavia
is worried that computer classrooms accentuate and perpetuate differences between students. She concludes, "Being enrolled in a writing class in a computer lab when they do not have much computer knowledge may lead students to doubt their abilities when what they really need is confidence" (17). On the other hand, Amie Wolf is less concerned, saying, "The technology helps us to reach our students in many cases." Wolf, instead of simply sticking with basic typing of essays, actually incorporates more technology into the classroom with a "digital media project." To Wolf, the technology is motivating--which doesn't seem to contradict Pavia's experience with students like Matt who came to class early just to use the computers (8).

I'm not sure if Pavia's research supports her conclusion that computers might be a problem for basic writing students, because it seemed that the students who weren't adept with computers were still quite motivated, despite Pavia's worries. It would make sense to be concerned at first, but her research does not seem to actually show negative affects. Matt and Maria wrote significantly less than some of their class members, but it is hard to know if this is attributable to computers. Additionally, if the effect is not permanent--if the students are not turned off from writing, the small amount of slowing down might not really be a problem. They might do better once their typing skills and familiarity with computers improve. And they will have to, because most college writing is going to have to be printed from the computer, if not actually drafted on the computer.

Now I'm not saying that basic writing courses should be taught in a computer lab. In fact, I'm a bit uncomfortable with that, as I prefer to draft A) alone and B) longhand. Although it's good to get students to see typing as part of drafting instead of only for typing up finished drafts, we also don't want to imply that drafting should be done exclusively on computers. There should be more to class than sitting around typing. I'd like to have a little more idea what Pavia actually does in class besides journalling, but I guess she is trying to avoid using computers exclusively by assigning "writing without the computers" (19), but again, I am not sure to what extent students should be deprived of the ability to choose the medium they'd like to compose in. We want to expose them to various methods, but that can be done without specifying that students hand in handwritten documents. I'm just really uncertain that the conclusions Pavia comes to actually follow from her research, but maybe someone can help me out.

Works Cited

Pavia, Catherine Matthews. "Issues of Attitude and Access: A Case Study of Basic Writers in a Computer Classroom." Journal of Basic Writing 23.2 (2004): 4-22.

Wolf, Amie. Online chat. 16 Apr. 2007.

Is It Just a Matter of Teaching Variety?

My response to TW seemed too long for a comment. To my last post (regarding the possibility that the 110 syllabus encourages "poetic writing"), TW comments:

While this might cause some confusion regarding expectations--that's a big part of learning to write. So in a way, by providing them assignments with very different purposes, audiences, and/or expectations you are preparing them for real-life academic writing experiences where one professor might assign--oh, I don't know--a blog writing assignment and then a book review. They need to understandt that what is acceptable in one context is not necessarily going to fly in another.

Certainly--the assignments in English 110 are apparently designed to prepare students to have to write completely different kinds of papers--textual analysis vs. position paper vs. research paper--making sure the students can see the different purposes of the assignments. Despite different purposes, those are all academic (transactional) writing--and although blogging is less formal (more expressive), it doesn't usually go towards the literary (poetic).

My assumption was that "poetic" writing is generally reserved for creative writing classes--not exactly what 110 is designed to prepare students for. So I want to teach my students different modes, but I wonder if those should be mostly of the transactional sort. I should admit, however, that I recall doing four creative writing projects in my college career, and I didn't take any creative writing classes (Feminist Theory, Global Futures, Prose Fiction, and Senior Seminar). We don't see much creative writing in the writing center, either, but I think that has partly to do with students being less comfortable getting help on "creative" assignments.

It seemed to me, at least when I wrote the last post, that the memoir is easy to teach in such a way that makes it a different kind of writing than anything else they'll have to do--variety is good and all, but I don't teach my students how to write sermons or screenplays because my job is to prepare them for "academic writing." I do think, however, that the memoir can be taught as a more "transactional" piece, but that it may take some effort to do so. I guess I'm still not sure how important that effort might be.

Are We Encouraging "Poetic Writing"?

Rebecca Williams Mlynarczyk tackles the tough question of whether (and how) to incorporate personal writing in an academic writing course in "Personal and Academic Writing: Revisiting the Debate." As Dr. Cadle mentioned in class, Missouri State tends to incorporate some personal writing but not let it be the focus of the course. My class begins the semester with a memoir and incorporates reflections on the subjective research process in their I-search, although this semester I'm trying out letting them choose to write a formally objective research paper instead. Even the memoir isn't totally personal, though, because it is thesis-driven, about a life-changing event in the writer's life.

Mlynarczyk's use of James Britton is helpful here to distinguish between different kinds of writing. Britton divides writing into poetic, expressive, and transactional (Mlynarczyk 6). Expressive writing is the most natural, self-centered writing, and because it is so natural, we try to tap into these abilities before asking students to totally take on academic discourse. Transactional is communicative and includes academic writing--this is what we're training students to write for the rest of college. But we still value the poetic, or literary, writing. Unless our students are writing majors, they won't be doing a lot of poetic writing, but we like to read it. It is very tempting to grade the memoir as a piece of literary writing, to see it primarily as a story, or a work intended more for entertainment than information or persuasion. This probably isn't totally wrong, but might we be leading our students down one path, only to expect them to go in a different direction for the rest of the semester? Mlynarczyk notes that Peter Elbow says that choosing between personal and academic writing makes him "feel as though [he is] trying to walk toward two different mountains" (qtd. in Mlynarczyk 11). By assigning the memoir first, which utilizes expressive writing but often veers toward poetic, are we pointing our students toward a mountain that we won't let them approach? Perhaps Mlynarczyk's approach of assiging journal entries (you know, like these blog things we're doing) is a better approach, because it utilizes expressive writing to transactional ends without the temptation of poetic writing.

Works Cited

Mlynarczyk, Rebecca Williams. "Personal and Academic Writing: Revisiting the Debate." Journal of Basic Writing 25.1 (2006): 4-25. Communication & Mass Media Complete. 27 Feb. 2007. <http://search.ebscohost.com>.

Learning by Discovery

I think involving students in research is a great way to help them take ownership of their learning. Instead of simply being granted information from a teacher, the students are actually finding things out (and not through a particularly contrived method where a teacher asks leading questions until the student says what the teacher wants to hear). In such a class, knowledge doesn't belong to an elite group of intellectuals--the teacher is still an authority, but she's not the only (or even the best) path to knowledge.

My favorite exercise in Discovery of Competence is Shawn's "The Tether Ball Tragedy." In order to study the difference between spoken and written language, Shawn was assigned to tell his story orally to the class, which was transcribed by another student. Then Shawn read the transcript and produced a written version of the story. The students analyzed why the two were different (Kutz, Groden, and Zamel 102). The analysis is important, because although Shawn would probably learn something from telling the story in two different media, writing an analysis forces the student to explain why writing requires greater precision and explanation than speech. Moreover, by having to write a reflection on the experience, Shawn put in words what he learned, solidifying what could otherwise have remained hazy ideas about the differences in speech and writing. Rather than relying on the teacher to write on his paper "Elaborate," Shawn figured out for himself. He learned through real experience, so the understanding is deeper and more likely to stay with him than if he'd interpreted conventions in written language as simply rules imposed by teachers.

Works Cited

Kutz, Eleanor, Suzy Q Groden, and Vivian Zamel. The Discovery of Competence: Teaching and Learning with Diverse Student Writers. Portsmouth, NH: Boyton/Cook, 1993.

Even Summaries Need a Point

My group in this class is writing the "writing about reading" wikibook chapter. We've split this into summary and critique, and there's been discussion that even high school students don't do much summary--what basic writers really need to work on is critique. Now I have helped people with honest-to-goodness summary assignments in the writing center, but I also wasn't quite sure that students needed advice on writing a summary. Mina Shaughnessy anticipated our hesitance to teach summary, saying that "most composition texts--and teachers--give little attention to summarizing except to warn students that they ought not to confuse a 'mere' summary with a critical or analytical statment. Yet we find little evidence that students are able to summarize effectively" (268). Shaughnessy would be happy to know that I actually talked to my students about summary this week, covering a chapter on summary from "They Say / I Say" (Graff and Birkenstein). I was already grading the students' annotated bibliographies when we got to this chapter, and I realized I should have taught it sooner.

Summaries are not as easy as they look, and they're more important than they're given credit for. A good analysis has to start with a good, if brief, summary. And many students struggle to write a good summary. Shaughnessy points out that students may have experience summarizing narrative works, which usually telling the main events in the order they were written. However, asking a student to summarize a news article or a scholarly essay should not result in a chronological list. Hypothetical example:

This article talks about _______. It also says _______. Also, __________. Then it goes on about ________.

A summary, I pointed out to my students, is not a list. Shaughnessy advises: "they should try to state in one sentence what the main point of the work is" (269). Graff and Birkenstein tell students to make the main points support an "overall claim" about the work (33). A summary is not as easy as it looks--like any piece of writing, it has to have a point.

Works Cited

Graff, Gerald, and Cathy Birkenstein. "They Say / I Say": The Moves That Matter in Academic Writing. New York: Norton, 2006.

Shaughnessy, Mina P. Errors and Expectations: A Guide for the Teacher of Basic Writing. New York: Oxford UP, 1977.