Monday, July 25, 2016

Melania Trump in the Classroom

Last week, Melania Trump made headlines when it came to light that portions of her speech at the Republican National Convention had been "borrowed" from a 2008 speech by Michelle Obama without citation—plagiarism. Many in academic circles are using the speech as a teachable moment, including Terri Coleman, a professor at Dillard University.

In a recent Chronicle of Higher Education interview with Coleman, she unpacks her reasons and methods for using Trump in the classroom. She also dives into the root of plagiarism, the difficulty of the concept, and how she tackles it on multiple levels:
"For me, and I teach freshman composition, it’s trying to unteach the systematic five-paragraph essay, the thoughtless writing, the 'just put 500 words on the page and get it done.' So I’m trying to shift them from 'Oh, I have to write something' to 'Oh, I’m participating in a conversation and I have something I want to say.' If I can get them on the team of 'I want to have thoughtful conversations,' then it automatically fixes the other stuff. I try to shift them into a different goal."

Thursday, July 7, 2016

Keeping Time


by Kamilah Cummings
 
As much as I enjoy teaching writing, I must confess that there are times when I loathe giving written feedback to my students.  This is not to say that I do not enjoy the concept of feedback. Despite spending the last two decades as a professional editor and writing teacher, I still feel a sense of satisfaction when I assist a writer in transforming his thoughts from a rough first draft to a polished final product. However, the journey from draft to final can often be time consuming, particularly when it comes to feedback.  Last quarter I realized just how time consuming it can be. 

In researching the average times teachers spend per paper on written feedback, I could not find much beyond “a lot” or “too much.” However, I did see 10 minutes offered as the maximum time a college professor could likely afford to spend per paper in a term (Jacobs and Hyman).  I must say that I have never spent 10 minutes grading an essay. A girl can dream, but in reality I usually aim for 20 minutes per paper. After speaking with some of my writing colleagues, I learned that 20 minutes is their feedback holy grail as well. 

Last quarter I put my 20-minute average to the test when I taught two classes with a combined total of 32 actively engaged students. By actively engaged I mean students attended classes and submitted required assignments. In both classes students were required to submit a weekly writing assignment. One class was a writing course where the weekly assignment was a three-four page essay. Depending on the week, student essays were either at the first draft or revision stage of the writing process.  In the other class, students submitted a one-two page writing assignment. Although it was less demanding than the essays in the other class, it still required written feedback. 

As always, I set about providing written feedback for my classes with tried-and-true strategies in tow. Gottschalk and Hjortshoj suggest that teachers “give reading essays priority over grading them” (58). Although this is probably the most time consuming aspect of providing feedback, it is essential to helping students learn to effectively communicate their ideas. So, I allow myself time to read every writing assignment my students submit. Additionally, research dictates that a less-is-more approach to feedback is far more beneficial to students. Therefore, to assist student learning, I focus my feedback on key issues rather than correcting errors. I also try to limit my number of substantive feedback comments to five because limiting comments helps ensure that students will understand and use the feedback (Gottschalk and Hjortshoj 48). My comments align with the stage of the writing project. For example, comments on first drafts focus on global revision while comments on subsequent drafts focus on local revision.  

Best practices suggest that teachers provide written feedback within seven days of receipt. I set aside two days a week for giving feedback - one day per course to meet this timeframe. However, I soon found that I needed two days per class for grading. I never completed a set of papers in one day. Of course, I answered emails and tended to some administrative responsibilities during those days, but I was still at a loss for why I could never make it through one class on my “grading” days.
One afternoon, after seemingly making no progress despite having spent the last three hours giving feedback, I was compelled to click on my desktop calculator to calculate how much time I dedicated to providing feedback each week. I calculated 34 papers per week at an average of 15 minutes per paper. I allotted 20 minutes per paper for the writing class and 10 minutes per paper for the other one. My results - 510 minutes or 8.5 hours per week. My results suggested that I should be able to complete my grading in two days.  I was perplexed.

To test my findings, I set the stopwatch on my phone to time my feedback. To my dismay, I found that I spent 33 minutes on the first paper that I assessed. I chalked that up to the paper. Considering it an anomaly, I reset the stopwatch and moved on to the next paper – 27 minutes. Another reset – 29 minutes; so much for my imagined 20-minute-per-paper limit. No wonder it felt like I wasn’t making a dent in my grading. I wasn’t. At an average of 29 minutes per paper, I was actually spending 986 minutes or 16.4 hours per week grading. 

Feeling a bit dazed and dejected by these numbers, I realized that I needed a strategy to keep myself on track when providing feedback. I decided to switch from using my phone’s stopwatch to the timer. I set the timer at 20 minutes and continued providing feedback. I was still providing feedback when the timer sounded. This happened again and again. Each time it occurred, I continued. The faint digitized ringing was easy to ignore. However, the hours that passed were not. I knew that I could not survive the quarter grading at this rate. 

So, I went out and bought myself an old-fashioned, no frills cooking timer. It had a big dial that I had to manually reset for each paper. Its loud, jarring buzzer was just what I needed. It could not be ignored or drowned out by whatever random Prince song I listened to while grading. Initially, I found the incessant ticking of the timer exceedingly annoying. I actually considered abandoning my strategy because of it. However, I noticed that the ticking rate increased during the last five minutes of my set time. In the beginning my heart would skip a beat when the ticking rate increased, and anxiety would set in. However, after some time, I found that I was actually getting better at managing my time. This turned out to be a great checkpoint tool. The five-minute mark became a measure for where I should be in the paper at that point. After a few weeks of using the timer, I had significantly cut back on the amount of time that I exceeded the 20-minute timer. I even started to play games with the timer to improve my efficiency.  

My loud, white cooking timer revealed that I was not maximizing my feedback strategies. Although, I had prioritized reading over grading, limited and focused my comments, I was taking too long to do these things. I was reading and re-rereading the papers when I was confused instead of simply commenting on the lack of clarity and moving on. I was also overthinking the comments that I wrote or simply writing too much.  This was quite the revelation, and I put it to good use. By the end of the quarter, I was completing some papers in less than 20 minutes. Numerous voices hail the benefits of timed writing to improve writing. Therefore, the benefit of timed feedback should have come as no surprise to me. I only regret taking so much time to realize it.

Works Cited

Gottschalk, Katherine and Keith Hjortshoj. The Elements of Teaching Writing. Boston: Bedford /St. Martin's, 2004. Book.
Jacobs, Lynn F and Jeremy S Hyman. 10 Things You Didn't Know About College Grading. 4 November 2009. Article. 6 July 2016. <http://www.usnews.com/education/blogs/professors-guide/2009/11/04/10-things-you-didnt-know-about-college-grading>.

Wednesday, July 6, 2016

Summer Writing Boot Camp

Be sure your students don't miss this summer's only Writing Boot Camp, taking place in the Loop on Saturday, July 16th! Students can register for the Boot Camp by emailing SNLevents@depaul.edu and walk-ins are also welcome.
Summer Writing Boot Camp
Date: Saturday, July 16th
Time: 9 a.m. to 1 p.m.
Location: 14 E. Jackson, Lab 1325
Faculty-led Boot Camp sessions are designed for undergraduate or graduate SNL students who currently have an incomplete grade on their transcript or a current project they wish to complete. 

Please remind students to bring a flash drive, their copy of the incomplete contract (if needed), and all prior assignment preparation (including research material, assignment instructions, and assignment writing format). Students should also let their faculty mentor know that they plan to attend if they are working on an assignment for an incomplete grade.

Click on the image below for more information or email SNLwriting@depaul.edu.

Tuesday, June 14, 2016

Shut Up & Write

A week from today, consider sitting down at your computer (or notebook, or typewriter, or series of napkins...) and engaging with your writing in an active, communal, and aggressively silent way with writers all over the globe.

Shut Up & Write is a movement that began in San Francisco where writers silently share a space for an hour, write continually during that time, then share coffee and conversation afterwards. Now, it has also moved online (minus the coffee) on the first and third Tuesday of every month via Twitter.

From their website:
For academic types, who have embraced the idea, [Shut Up & Write is] a great way to carve out dedicated writing time and make progress on thesis chapters, journal articles, and grant applications. While an hour doesn’t sound like much, it’s amazing what you can get done if you really focus. The discipline and shared sense of purpose that comes from writing with others also keeps you accountable and reminds you that you aren’t alone.
Check out the Shut Up & Write website here, and be sure to visit their About page for specifics on the  virtual Twitter sessions.

Tuesday, May 31, 2016

Picking Topics, Picking Scabs: Thoughts on Student Writing On Personal Suffering

by Nicholas Hayes

Writing can be a source of much anxiety, so I encourage students to walk a thin intellectual line when choosing subjects. I ask them to find something interesting, but something that they do not feel passionate about. That may strike some readers as odd. Even though we often read passion as synonymous with desire, suffering lurks in both its etymology and experience. More than sports fanaticism or political belief, I fear for those students who want to share their personal traumas. I am concerned that in the few scant weeks we have that they will not be able to do justice to their passions. Time is what we need process our pain and produce texts that honor that pain.

I fear because writers who are still learning their craft can have trouble distinguishing criticism of essay structure and syntactic flow from criticism of content. It is hard for some students to understand that as an instructor I can be devastated by a story about a dying father while encouraging them to fix errors in verb conjugation

In essence, I have created a trap for myself. I have given advice to protect students as they develop their writing skills. But the papers many students produce can come across as competent and cold. Yet I do understand the cathartic function of writing and will often encourage students to free write during the first few minutes of class in order to practice this aspect. I encourage them to do this emotional, aerobic exercise so they can burn off the stress of life before we work on the slow stretching and endurance building practices of academic writing. 

The fragility of the novice writer can be magnified by the emotional injuries of traumatic events. Students must not only be willing to find their voice but to have their voice challenged. In my experience, this situation is even difficult for seasoned writers. Yet for some novice writers who find themselves strong enough to weather the gusts of constructive criticism, they are able to not merely emote. They are able to move beyond a cathartic gesture into a place of making sense of their loss or their injuries.

When students take my advice, I worry that many of the papers I receive may lack the spark of life that separates a strong essay from an excellent essay. In these classes, practicing the fundamentals often supersedes the development of the artistic voice. I can live with the expectation of papers that exist on the spectrum of moderately interesting to the tedious. These texts more importantly act as practice and are more emotionally safe to critique. But every so often a student pushes back on my advice. They are willing to display their passion to me and the class. After I suggest they rethink their topic, this minority of students resists because of pressing exigency. They insist we begin a perilous path. 

In writing of their injuries, these students not only risk how I and the students respond, but how their families and communities might react. Carolyn Ellis discusses her own fraught history with her controversial autoethnography Fisher Folk: Two Communities on Chesapeake Bay in which her poorly anonymized subjects recognized themselves in the writing. She explains that “Although [my subjects] knew I was writing about them, some said they thought we ‘were friends, just talkin’,’ and never thought I’d write down the things they told me” (11). Students might be find the abstraction of writing their essay cathartic. But they also need to consider the ethics of what information they are sharing and how others might respond if they read their essay. One student bravely wrote of their sexual identity only to have supportive members of their religious community warn them of the potential ramifications of sharing their essay, forcing the student to reshape their writing to meet ethical and community standards.

As hesitant as I am about students writing essays about their traumas, I do understand its importance. In writing about trauma narratives, Rachel N. Spear observes, they “…open up transformative opportunities for all course participants, and ultimately, these texts become catalysts for learning, self-actualization, and social consciousness” (53). They also provide opportunities to discuss such injuries and address healing. As writing instructors, we should be aware of the consequences of the topics students choose. While not forbidding their personal topics, we need to inform them about the scrutiny their writing will be under from us, the peers, and their communities. Ultimately, we should assure them the skills they are practicing in our classes can help them explore their traumas (even if they don’t do so in our ten-week quarter.)

Works Cited

Ellis, Carolyn. “Telling Secrets, Revealing Lives: Relational Ethics in Research with Intimate Others.” Qualitative Inquiry 31.1 (2007) : 3-29. Sage Journals. Web. 26 May 2016.

Spear, Rachel N. “Let Me Tell You a Story: On Teaching Trauma, Narrative, Writing, and Healing.” Pedagogy: Critical Approaches to Teaching, Language, Composition, and Culture 14.1 (2013) : 53-79. Project Muse. Web. 26 May 2016.

Wednesday, May 11, 2016

Spring Quarter Writing Boot Camps

Four writing boot camps have been scheduled for Spring quarter to help students complete their assignments. Faculty-led sessions are designed for undergraduate or graduate SNL students who currently have an incomplete grade on their transcript or a current project they wish to complete.

Upcoming Writing Boot Camps:
  • Saturday, May 21, 9 a.m.-1 p.m., Naperville Campus
  • Wednesday, May 25, 5:30-9 p.m., Loop Campus
  • Saturday, June 4, 9 a.m.-1 p.m., Loop Campus
  • Saturday, June 4, 9 a.m.-1 p.m., O'Hare Campus
To register, students should email SNLevents@depaul.edu with their desired session. Walk-ins are also welcome! Please remind students to bring a flash drive, their copy of the incomplete contract (if needed), and all prior assignment preparation (including research material, assignment instructions, and assignment writing format). Students should also let their faculty mentor know that they plan to attend if they are working on an assignment for an incomplete grade.

Click on the image below for more information or contact SNLwriting@depaul.edu.

Tuesday, May 10, 2016

Aloud! Open Mic this Thursday in LPC

Writers Guild, a multigenre creative writing group open to the entire DePaul community and based out of the University Center for Writing-based Learning (UCWbL), is hosting its quarterly open mic night, Aloud!, this Thursday, May 12, in Lincoln Park.

Open mic sign-up begins at 7 p.m. and the event itself will start around 7:15. Co-facilitator and DePaul instructor Jennifer Finstrom says, "We hope you'll bring some work to share with us, but we're just as happy if you come to listen, be inspired, and eat snacks." The featured reader for the evening is writer and musician Eric Hollander.

Details for the event are below. Contact Jennifer Finstrom (jfinstro@depaul.edu), co-facilitator Michele Ledbetter (mledbet1@depaul.edu), or SNLwriting@depaul.edu with any questions. Hope to see you there!

What: Aloud!, an open mic night featuring Eric Hollander
Who: Hosted by Writers Guild and open to all of DePaul
Where: LPC Writing CenterSAC 212
When: 7-9 p.m. (arrive at 7 to sign up for the open mic)
Why: An inspiring evening celebrating creativity and the written word!