I felt that the draft editing we did in class last Wednesday was helpful and constructive. Reading, and re-reading the draft, I came to the conclusion that there are paragraphs and sentences that are redundant and the solution is to just delete them. What I noticed is that my essay read like a short story more than an essay; I am not sure if this is beneficial or not. My literacy autobiography entertains, however I want to be sure I am following the assignment that was prescribed. There are many talented writers in this class, and it is difficult to believe that so many graduate students lack confidence in their writing; I don't think any of us would be grad students if we sucked at writing papers :)
I am grateful for this opportunity to write a narrative based essay; I don't think I have written since taking creative writing as an undergrad. It is allowing me to tap into my creative side that I usually don't listen to because I am in the habit of writing academically.
Monday, February 28, 2011
Responding to Student Writing
Reading responses can often be an extremely tense situation. Growing up, I would fear the comments that teachers would write on my paper only to have that fear diminish for a period. When I would see lots of writing ion my paper, I would not want to read what the teacher because I knew that red markings could only mean that there was lots of negativity about what I had written. As I became a stronger writer, that fear left because I would see more and more positive remarks on my papers. I’, sure that this same fear still persists among students which is probably the reason that many are afraid to write. Having overcome my own fear due to my own improvements, understanding how to write non-intimidating comments is extremely important for teachers.
Lindemann explains that comments should lead students into a particular direction while maintaining a positive tone (225). I absolutely agree! She also explains the importance of helping students to become able to judge their own writing and correct their errors without the teacher having to mark up their writing line by line (242-244). Peer evaluation followed by self-evaluation can be a helpful way of getting students familiar with critiquing their own writing. Actually reading a peer’s work and finding flaws gives a new lens through which students can read their own work more critically. Lindemann’s discussion on having students write a paragraph or two about the strengths and weaknesses of their papers is also a great tool. The openness that this is supposed to promote is good, yet sometimes difficult when students do not acknowledge the flaws of their papers.
Lindemann explains that comments should lead students into a particular direction while maintaining a positive tone (225). I absolutely agree! She also explains the importance of helping students to become able to judge their own writing and correct their errors without the teacher having to mark up their writing line by line (242-244). Peer evaluation followed by self-evaluation can be a helpful way of getting students familiar with critiquing their own writing. Actually reading a peer’s work and finding flaws gives a new lens through which students can read their own work more critically. Lindemann’s discussion on having students write a paragraph or two about the strengths and weaknesses of their papers is also a great tool. The openness that this is supposed to promote is good, yet sometimes difficult when students do not acknowledge the flaws of their papers.
Caitlin and Jacob's recommendations about my draft
Caitlin and Jacob’s comments during Wednesday’s writer’s workshop about draft for my literacy autobiography were well considered and helpful. They were:
1) I know this isn’t an essay, but I wish there were a thesis or a promise as Lindemann calls it. Right now, I feel like I don’t know where this paper is headed.
2) Maybe try to cover a shorter timespan.
3) Go back to Mrs. Perry or take her out of the first paragraph.
4) “Extracted” is a great word.
David of chapter 14 writes like my students
Chapter 14 is another interesting one that suggests practical ways to improve my teaching of writing. The part of the chapter that says that there is evidence to support the theory that all feedback and comments written on students’ papers is a waste of time or a negative practice is something that I’ve thought about for many years. I think that the vast majority of my thousands of students didn’t give a crap about the comments and corrections that I’ve written on their papers. I’ve done much of my editing of students’ papers in conference settings and I think that most of them don’t give a crap about what I’ve said or written in that format either. I’m going to change the way I respond to student writing.
I’m going to use the checkmark system on the left of the line. I’m going to write positive comments that suggest ways to solve writing problems rather than pointing out errors and shortfalls. I’m going to let my students write to a broader audience by figuring out a system of peer reading and evaluation. The writing won’t just be addressed to the teacher as audience. I want to know if what Lindemann suggests about peers as audience makes the readers better writers and revisers of their own papers.
In every chapter Lindemann emphasizes the importance of pre-writing. In evaluating David’s paper she shows that some of his problems stem from using unnecessary, filler words to come up to a prescribed number of words. She suggests that by pre-writing, inventing many ideas, David would not feel the necessity to pad his essay with extra, unnecessary words; and his pre-writing would suggest possible ways to organize his ideas rather than trying to cram his thoughts into a pre-set form like the five paragraph essay.
Teaching Through Comments
Some of Lindemann's teaching methods make no sense to me, such as her idea of having students pantomime or walk around a building blind folded (mentioned somewhere in chapter 7); but her practice of making suggestions to students' papers, asking why certain words and punctuations were used over others is a wonderful way to help students feel more comfortable about writing. There couldn't be a worse way of "helping" a student than by marking up his/her paper with red marks and no explanation as to what they mean or what the student can do to correct the problems.
"Oh this word is spelled wrong! Let me put a big, fat, red X on it. This will teach 'em." This practice of teachers is something I'm as averse to as mayonnaise. But hey, some people like mayonnaise. So if this method works for teachers, then I guess there is something to it.
"Oh this word is spelled wrong! Let me put a big, fat, red X on it. This will teach 'em." This practice of teachers is something I'm as averse to as mayonnaise. But hey, some people like mayonnaise. So if this method works for teachers, then I guess there is something to it.
Some written rambles
Over the weekend I had to correct essays for my church's Black History Month essay contest. The contest was open to children 18 and under with the topic being: "Tell me what you want to be (your job) when you grow up. How will you accomplish this? How will it benefit your community?" Out of about 20 children, it was disappointing to only receive 8 essays. 3 of the 8 high school students submitted essays, one which was very good, but not one of the 5 middle school students submitted one. In their defense, we didn't tell them beforehand what the prizes were, or that there were prizes for that matter. But we did this to see how many would participate if they didn't know they were getting prizes.
Fast-forward to this morning when I realize that I haven't written my blog for class. It's only a little after 9 and I know I have to submit it by noon so that's plenty of time to get it done yet it begins to affect my mood. I slowly become irritated because I really don't feel like writing another blog. It's not an assignment I enjoy doing which is ironic because in a sense I don't enjoy writing but I'm studying to become a teacher of writing. But it's not the act of writing I don't enjoy it's the blog itself as a repeated assignment that isn't to my liking. I would rather write an essay and be done with the whole thing. Yet I still do it because I know it affects my grade. My prize.
So how am I different from the same children I was disappointed in that didn't write an essay. They didn't know that everyone who participated received a prize, but if they did I'm sure they would have submitted an essay. In my case, I know what prize I will receive so I unwillingly complete the assignment. But if the prize was removed, would I still do it? The answer is probably not. So I guess all this reflection and rambling has shown me that motivation has a lot to do with any kind of academic or formal writing.
Ending that subject, another thing that caught my attention was that when I corrected their essays I was here at home alone. I was under the impression that they were going to rewrite the essays then present them to the church the following Sunday. In between that I was going to sit down with them and discuss the changes I had suggested they make to their paper. For some reason to which I am unaware, they were handed their papers the same morning with all my scribbles and markings and asked to read them in front of the church. To say the least it was a spectacle. One by one they stumbled through a jigsaw of their words and mine. I felt ashamed that I had even wrote on their essays.
Reflecting back on my experiences as a student, I would say that this is similar to what happens in a lot of classrooms also. The students turn in the paper. The teacher goes home and corrects it. The teacher returns it to the student. The student goes home and rewrites it. Of course this is an over-simplification of things to illustrate my point that as teachers comments on a paper don't mean much if they aren't explained. In my experiences as a tutor and teaching assistant, I have learned that sitting down with students and discussing an essay is far more valuable than the red pen method employed in my story.
Fast-forward to this morning when I realize that I haven't written my blog for class. It's only a little after 9 and I know I have to submit it by noon so that's plenty of time to get it done yet it begins to affect my mood. I slowly become irritated because I really don't feel like writing another blog. It's not an assignment I enjoy doing which is ironic because in a sense I don't enjoy writing but I'm studying to become a teacher of writing. But it's not the act of writing I don't enjoy it's the blog itself as a repeated assignment that isn't to my liking. I would rather write an essay and be done with the whole thing. Yet I still do it because I know it affects my grade. My prize.
So how am I different from the same children I was disappointed in that didn't write an essay. They didn't know that everyone who participated received a prize, but if they did I'm sure they would have submitted an essay. In my case, I know what prize I will receive so I unwillingly complete the assignment. But if the prize was removed, would I still do it? The answer is probably not. So I guess all this reflection and rambling has shown me that motivation has a lot to do with any kind of academic or formal writing.
Ending that subject, another thing that caught my attention was that when I corrected their essays I was here at home alone. I was under the impression that they were going to rewrite the essays then present them to the church the following Sunday. In between that I was going to sit down with them and discuss the changes I had suggested they make to their paper. For some reason to which I am unaware, they were handed their papers the same morning with all my scribbles and markings and asked to read them in front of the church. To say the least it was a spectacle. One by one they stumbled through a jigsaw of their words and mine. I felt ashamed that I had even wrote on their essays.
Reflecting back on my experiences as a student, I would say that this is similar to what happens in a lot of classrooms also. The students turn in the paper. The teacher goes home and corrects it. The teacher returns it to the student. The student goes home and rewrites it. Of course this is an over-simplification of things to illustrate my point that as teachers comments on a paper don't mean much if they aren't explained. In my experiences as a tutor and teaching assistant, I have learned that sitting down with students and discussing an essay is far more valuable than the red pen method employed in my story.
To comment or not to comment? This is the question.
Lindemann discusses the concept of diagnostic reading, where teachers read to know how students write, what they are having difficulties with and why. Rather than slapping a grade onto a paper indicating the closing of the process, Lindemann suggests evaluating and determining a student’s weaknesses and strengths, so that they have room for improvement and revision. As a teacher, I agree that we should read to figure out the how’s, what’s, and why’s of our students’ writing. However, I do wonder how a teacher is to make time to individualize writing practices and instruction when a teacher has 5-55min classes , with an average of 38 students per class. Don’t get me wrong, I do the best I can with the time allotted. I do not simply rule it out and continue a tyrannical rule in my classroom. I just find it difficult to manage all 190 students without writing any comments on essays.
Many of my students do look at the comments, ask questions about them, and work to improve on those comments. Hillocks states that “teacher comment has little impact on student writing,” I beg to differ. I believe that students desire to see the comments with the intention of improving; however, many do not know how to use the comments in application. I agree with Lindemann’s criteria for commenting on students’ work which includes: focused comments and the opportunity to apply criteria for good writing to their own work. In addition, to these two criteria, I would like to include a third important aspect: teaching students HOW to apply the comments to their paper.
More than often, I feel as though my students do not look at my comments. Ugh! I wasted an entire weekend trying to figure out the how’s, what’s, and why’s, and for NOTHING! No one reads them, no one improves,….lalalalala. But then, students begin to improve, ask questions, look for suggestions, and when spring time comes along, I notice something, a change, an improvement. I know that as a student I seek the comments for improvements, understanding, the strong and the weak. As a teacher, I also look for immediate feedback, the good and the bad. And, as a teacher, I will continue commenting on student’s papers. As long as I am not killing their paper, or on a tyrannical rampage, I think a balance between positive and negative comments are more productive than not.
Many of my students do look at the comments, ask questions about them, and work to improve on those comments. Hillocks states that “teacher comment has little impact on student writing,” I beg to differ. I believe that students desire to see the comments with the intention of improving; however, many do not know how to use the comments in application. I agree with Lindemann’s criteria for commenting on students’ work which includes: focused comments and the opportunity to apply criteria for good writing to their own work. In addition, to these two criteria, I would like to include a third important aspect: teaching students HOW to apply the comments to their paper.
More than often, I feel as though my students do not look at my comments. Ugh! I wasted an entire weekend trying to figure out the how’s, what’s, and why’s, and for NOTHING! No one reads them, no one improves,….lalalalala. But then, students begin to improve, ask questions, look for suggestions, and when spring time comes along, I notice something, a change, an improvement. I know that as a student I seek the comments for improvements, understanding, the strong and the weak. As a teacher, I also look for immediate feedback, the good and the bad. And, as a teacher, I will continue commenting on student’s papers. As long as I am not killing their paper, or on a tyrannical rampage, I think a balance between positive and negative comments are more productive than not.
See Me After Class
Something that Dr. Cauthen said in class on Wednesday continues to ring in my head as I read Lindemann’s book. “We have to stop this I can’t write business” maybe that’s not a direct quote but its close. As writers, teachers of writing, and just plain old literature nerds; we are constantly putting ourselves against the stone wall waiting for creativity to ooze out of our pores. More often than not that wall becomes our firing wall. A place where we go to execute ourselves after each failed attempt at writing a masterpiece. I question my writing every day and nothing calms my anxiety when I am providing my words for others to view. Even this blog leaves me cringing. Will they understand what I am saying? Do I sound profound? Am I contributing to the class? Do I care, or is it just my angst getting the best of me?
I hope that one day I will leave this fear at the door when I begin teaching. After reading Lindemann’s Chapter 14 I realize that this fear can be detrimental to teaching. I envision my life as a teacher. I often day dream of walking into my class room singing a perfect Disney tune, scribbling the day’s assignment, while I eat on my shiny red apple that my students left for me on my desk. I know that won’t be the case. More than likely my future school will be in a low income neighborhood, where books are scarce, let alone apples. So my approach to teaching students should be thoughtful and precise. Lindemann reinforces the notion of teaching writing through discussion. I thoroughly enjoyed this chapter, as much as enjoying a chapter regarding grading papers can be. But she gives insight to the type of teacher I hope to be. One with new and fresh approaches to composition; one who doesn’t fret at the sight of a dangling modifier, but one who wants to pull up their sleeve and get to the root of the problem…the root of the student. Where do their strengths lie? What can the student do to improve their writing? What steps do they take to get there? All the same questions that we as “bad” writers should ask ourselves.
I hope that one day I will leave this fear at the door when I begin teaching. After reading Lindemann’s Chapter 14 I realize that this fear can be detrimental to teaching. I envision my life as a teacher. I often day dream of walking into my class room singing a perfect Disney tune, scribbling the day’s assignment, while I eat on my shiny red apple that my students left for me on my desk. I know that won’t be the case. More than likely my future school will be in a low income neighborhood, where books are scarce, let alone apples. So my approach to teaching students should be thoughtful and precise. Lindemann reinforces the notion of teaching writing through discussion. I thoroughly enjoyed this chapter, as much as enjoying a chapter regarding grading papers can be. But she gives insight to the type of teacher I hope to be. One with new and fresh approaches to composition; one who doesn’t fret at the sight of a dangling modifier, but one who wants to pull up their sleeve and get to the root of the problem…the root of the student. Where do their strengths lie? What can the student do to improve their writing? What steps do they take to get there? All the same questions that we as “bad” writers should ask ourselves.
Sunday, February 27, 2011
Positive Feedback
Chapter 14 on "Responding to Student Writing" provided great practical advice on how to respond to student writing.
"Comments that enhance learning differ from traditional methods of hunting errors and identifying what's wrong with a paper. They also must point out what the student did well, why certain problems undermine effective communication, and how to imporve the paper" (226).
The phrase that sticks out the most is, "They must also point out what the student did well."
In my opinion this concept is not practiced enough.
I've had instructors in the past who have provided me with feedback on my papers. Some provided systmeatic feedback listing all the problems from least to greatest, and others start off with the good stuff and end with the problems. I can appreciate the good and the bad, because it allows me to see that at least I am doing some things correctly. I personally do not think that I am a bad writer, however, when all you hear is the negative, you begin to believe the lie. You begin to believe that somehow you do not fit in to the circle of other writers and that your attemps at writing is somehow fradulent.
While tutoring students that I have worked with, I must be honest and say that I tend to point out the flaws without always providing positive feedback. I guess I can blame it on the fact that I have emulated this mode from past English instructors, but I will take the high road and say that I simply felt that the writing was not always good. But who am I...... right?
In the beginning of the chapter Donald M. Murray quotes that "The writing teacher must not be a judge, but a physician. His job is not punish, but to heal. It seems lika a pretty simple concept, but at times quite difficult to master. We make judgements about each other every day. Perhaps we do not mean to, but it happens just the same. I have done it. My teachers have done it me in response to my writing. However, what I hope to learn from this chapter and the point that I believe Lindemann is making:
Positive feedback not only boosts a writer's confidence, but it allows the writer to focus on the areas they do need to improve. This method will keep the writer moving forward and allows confidence to be built.
It is so easy to be a critic.
Kenneth Tyan said, "A critic is a man who knows the way but can't drive the car."
"Comments that enhance learning differ from traditional methods of hunting errors and identifying what's wrong with a paper. They also must point out what the student did well, why certain problems undermine effective communication, and how to imporve the paper" (226).
The phrase that sticks out the most is, "They must also point out what the student did well."
In my opinion this concept is not practiced enough.
I've had instructors in the past who have provided me with feedback on my papers. Some provided systmeatic feedback listing all the problems from least to greatest, and others start off with the good stuff and end with the problems. I can appreciate the good and the bad, because it allows me to see that at least I am doing some things correctly. I personally do not think that I am a bad writer, however, when all you hear is the negative, you begin to believe the lie. You begin to believe that somehow you do not fit in to the circle of other writers and that your attemps at writing is somehow fradulent.
While tutoring students that I have worked with, I must be honest and say that I tend to point out the flaws without always providing positive feedback. I guess I can blame it on the fact that I have emulated this mode from past English instructors, but I will take the high road and say that I simply felt that the writing was not always good. But who am I...... right?
In the beginning of the chapter Donald M. Murray quotes that "The writing teacher must not be a judge, but a physician. His job is not punish, but to heal. It seems lika a pretty simple concept, but at times quite difficult to master. We make judgements about each other every day. Perhaps we do not mean to, but it happens just the same. I have done it. My teachers have done it me in response to my writing. However, what I hope to learn from this chapter and the point that I believe Lindemann is making:
Positive feedback not only boosts a writer's confidence, but it allows the writer to focus on the areas they do need to improve. This method will keep the writer moving forward and allows confidence to be built.
It is so easy to be a critic.
Kenneth Tyan said, "A critic is a man who knows the way but can't drive the car."
Closed Procedure...
As I read Lindemann’s chapter 14 I came across this sentence that made a light bulb go off in my head. Lindemann states, “Grading, however, is a closed procedure,” and goes on to say that once a paper is graded the grade and/or comments on the paper can have a “destructive impact” on the student (226). As I read this chapter Cathy’s latest post came to mind about tests and how we teach students a test and not English. Where English classes and all other classes for that matter, are a means to an end and not an end in themselves. I hate tests, I truly believe that tests are a nasty joke placed on students. I remember sitting in my chemistry class junior year and having to take a test, whose contents were elusive to most of my class. I remember sitting there thinking the worst and how I would fail the test, fail the course, and thus fail in life. I remember receiving my grade and being disappointed, I was mad that I was forced to take a test which was biased. The teacher had favorites and he provided extra attention to them; thus, they got better grades. The teacher would complain about the grades, but to no avail. He didn’t reteach the lessons, nor did we have the time to “relearn” them since we were playing catch-up on the AP Chemistry exam.
I mean this was how I felt in English class too; we would have to write essays and receive grades with poor comments. As Cathy mentioned on her blog, I felt like some of my classmates were born with a writing gift that I would never be blessed with. As I looked at the grades I would receive on my essays I felt judged, I felt inferior. My grades would be good, mainly As and Bs, but the comments are what got to me. I had, and to this day I still have, run-on sentence problems and the like. I mean, how is it that I can accept and A or a B with a comment on my grammar, on my subject, or on my presentation. I would always look at my peers’ papers and see the comments such as good, like, and good point. I would look at my paper filled with comments judging me or hardly any comments and the letter grade. Either way, I had been judged and felt inferior because of it. I think that there needs to be a better way to grade papers without taking something away from the student and rather give them something back once the paper has been graded.
I mean this was how I felt in English class too; we would have to write essays and receive grades with poor comments. As Cathy mentioned on her blog, I felt like some of my classmates were born with a writing gift that I would never be blessed with. As I looked at the grades I would receive on my essays I felt judged, I felt inferior. My grades would be good, mainly As and Bs, but the comments are what got to me. I had, and to this day I still have, run-on sentence problems and the like. I mean, how is it that I can accept and A or a B with a comment on my grammar, on my subject, or on my presentation. I would always look at my peers’ papers and see the comments such as good, like, and good point. I would look at my paper filled with comments judging me or hardly any comments and the letter grade. Either way, I had been judged and felt inferior because of it. I think that there needs to be a better way to grade papers without taking something away from the student and rather give them something back once the paper has been graded.
Holistic Grading
I found a lot of quality instructional information in Chapter 14 "Responding to Student Writing" . First off, it is tragic that universities are starting to feel the pain of “teaching to the test” – I can relate and unfortunately as implied in this reading, the route “standardized” assessments are not an accurate measure of a student’s writing. Unfortunately and as anyone who works as an English teacher can attest to, a “holistic” (Lindemann 245) method of assessing a students’ writing would be so expensive that it will probably never happen in the world of numbers and logic. Although this is a downer, I found some good “holistic” grading methodologies in this reading which I can easily put to use in my classroom.
Lindemann’s approach to “diagnostic reading” stands out to me. Although I usually begin a school year with a timed-writing scenario for my students as well, I do not have the level of organization mentioned here. A point that really stuck out to me was “[w]hen I analyze a first paper, I make notes about what I’ve found on a separate sheet kept in each student’s folder. Students never see my notes, but I refer to them throughout the term” (Lindemann 229). When I read this I was thinking, Dang nebit! Why didin’t I learn strategies like this when I was training to become a high school English teacher? I intend to use this method next year. It makes a lot of sense to have a folder for each one of my students with some notes in regards to the process of their writing. That way when I start reading their writing, I can pull out their file, review my notes and know exactly what I need to be looking for. I realize it may be time consuming at first, but eventually I will become comfortable and efficient with the process – hence it will become beneficial for my students and myself. Speaking of which, I found Lindemann’s comparison of grading styles to be of interest as well.
I’ve never graded papers in manner that Lindemann elected to include in her as a first example of how not to grade “David’s” paper that uses weird abbreviations, symbols and malicious comments. Lindemann’s marks which she uses as a second example of a way to “assess” a paper is more open-ended and perhaps gives the student a more productive mode of feedback. My grading strategy falls more within the camp of Lindemann as I give students some constructive criticism hoping that it will help give them some direction, however, I must point out that Lindemann used this example as something to publish in her book and it makes me wonder if see always gives such a thorough evaluation. With my workload it would be very difficult to do this, which is probably why she goes on to talk about portfolios (250). I do not currently use portfolios, but might consider using them in the future to get a large volume of writing out of my students, but to spare me some of the late nights grading. Perhaps a final piece of writing in the students’ portfolio could be an essay about what grade they deserved ion my course and why. This may be a more holistic way for me to take a look at students’ compositional improvements throughout the course of a semester.
Rubric Ideas
Though these aren't in a fully-developed rubric, I like the following criteria (areas of emphasis) with accompanying questions to help guide formation of said rubric:
1. Focus. Does the paper stay on topic? Does it stay to the given prompt? Is the paper mired with tangents?
2. Development. Are all presented ideas fully developed, or are ideas presented and then dropped?
3. Language and style. Are the language(s) and style(s) used consistent? Are changes made to language and style that aren't substantiated (i.e. switching between dialectical spellings and "academic" language for no intended effect)?
4. Detail. Is sufficient detail provided, or are the ideas broad and generalized, creating in the reader a sense of boredom or a desire to scratch out one's own eyes?
5. Variety. Does the writer use a variety of words and sentence structure? In other words, does the paper sound like the writer is repeating him/herself?
While these are generalized categories and questions, I think they provide a decent foundation for a rubric.
1. Focus. Does the paper stay on topic? Does it stay to the given prompt? Is the paper mired with tangents?
2. Development. Are all presented ideas fully developed, or are ideas presented and then dropped?
3. Language and style. Are the language(s) and style(s) used consistent? Are changes made to language and style that aren't substantiated (i.e. switching between dialectical spellings and "academic" language for no intended effect)?
4. Detail. Is sufficient detail provided, or are the ideas broad and generalized, creating in the reader a sense of boredom or a desire to scratch out one's own eyes?
5. Variety. Does the writer use a variety of words and sentence structure? In other words, does the paper sound like the writer is repeating him/herself?
While these are generalized categories and questions, I think they provide a decent foundation for a rubric.
A New Convert
I have to admit that our workshop on the literacy autobiographies this week opened my eyes to the idea of reading my essays out loud as a means of revision. In the past when this method was mentioned, I would scoff at it, thinking to myself something along the lines of, "I basically read it out loud to myself in my mind while I write it, anyway. I don't need to actually read it out loud." Enter the workshop.
I wrote my autobiography (at least the first draft) in such a way that it would more conversational than a normal essay. Reading it out loud helped me to see spots where the language worked a lot better in my head than it did on the page. Consequently, I know places where I need to revise the language and change some of my thoughts.
I've been a fan of peer editing for quite some time, up to a point. One of my biggest pet peeves is something that I think teachers need to coach their students to avoid. One of my first classes at CSUDH will stand as an example of this unfortunate event in peer editing. An essay was assigned in one of my classes where the idea was that we would write a rough draft and then do group work for editing and revising. I ran out of time to spend fully on this particular essay, so I turned out my rough draft in about an hour or less (approximately 5 pages), so I knew that it was a pile of horse stuff and was looking forward to getting some feedback for where to go on the revisions. Fortunately for me, the responses were very helpful: "Good job! Don't change a thing!"
Bottom line, peer editing with a structured method like we were given in class is a great thing. Otherwise, people are like sheep (which means the general intelligence, especially in large groups, tends to be low), so they need to be taught how to give useful advice for their projects.
I wrote my autobiography (at least the first draft) in such a way that it would more conversational than a normal essay. Reading it out loud helped me to see spots where the language worked a lot better in my head than it did on the page. Consequently, I know places where I need to revise the language and change some of my thoughts.
I've been a fan of peer editing for quite some time, up to a point. One of my biggest pet peeves is something that I think teachers need to coach their students to avoid. One of my first classes at CSUDH will stand as an example of this unfortunate event in peer editing. An essay was assigned in one of my classes where the idea was that we would write a rough draft and then do group work for editing and revising. I ran out of time to spend fully on this particular essay, so I turned out my rough draft in about an hour or less (approximately 5 pages), so I knew that it was a pile of horse stuff and was looking forward to getting some feedback for where to go on the revisions. Fortunately for me, the responses were very helpful: "Good job! Don't change a thing!"
Bottom line, peer editing with a structured method like we were given in class is a great thing. Otherwise, people are like sheep (which means the general intelligence, especially in large groups, tends to be low), so they need to be taught how to give useful advice for their projects.
Saturday, February 26, 2011
"Your sentences are hopeless [and so are you!]"
When I first encountered this I couldn't help but laugh, considering it seemed so preposterous. And really, it is. What writing teacher would leave that kind of a comment on a student’s draft, however hopeless?
But what if my sentences are hopeless? Aren’t we doing our students (and ourselves) a disservice by not telling them the truth about their writing? Certainly we don’t have to be brutally honest with them, only with ourselves, but sometimes in order to get honest with ourselves, we need others to get honest with us.
Too often, we are oh so willing to offer the helping hand of hope, only to have it left hanging. You see, it is my experience that, unless one is really ready to receive it – i.e., unless one is truly hopeless, such altruistic gestures usually get rebuffed; on the other hand (hee hee), paradoxically, once one admits to hopelessness, there is hope.
As a first semester college student at El Camino (Fall 0f ’87) I took (false) pride in my writing. I’d enrolled in an honors history class in which all of the students were evaluated à la periodic written exams via Blue Books, and because this was an honors class, I naturally assumed that my writing was honorable. Since I was able to demonstrate an apparent mastery of the material, I received all "As" on these exams, including the final; in fact, despite its deplorableness (is that a word?), I even received an “A” on my term paper, but only because the professor undoubtedly considered my poor performance a fluke and didn’t want this to adversely affect my final grade. “A” paper in hand, I proudly offered it to my (extremely well-educated) father who was clearly disappointed and left me hanging (though he was not surprised that it was so poorly written, he was surprised that I got an “A,” and, knowing my father, I’m surprised he didn’t confront the professor!).
Of course, I figured an “A’s” an “A,” and whether he liked it or not, I was satisfied. Eventually, I dropped out of school to work and to pursue less academic, more epicurean interests (sex, drugs, and rock ‘n roll, baby!). It was only when I decided nearly a decade later to resume my studies that I discovered my writing required some serious remediation.
Perhaps if that professor had told me the truth (about my writing), I might have stayed in school, but probably not. You see, we all need to experience our own hopelessness before we can be given someone else’s hope, and it all begins (and ends) with honesty, particularly with ourselves. For if we can’t be honest with ourselves, how can we be honest with others?
“Honesty is such a lonely word.
Everyone is so untrue.
Honesty is hardly ever heard.
And mostly what I need from you.”
~Billy Joel.
Wednesday, February 23, 2011
Suggestions for rubric
These are the criterion in which I look at reflective essays:
Engages the reader by establishing a context and analyzing a situation
Expresses significance of condition, situation, and time
Uses a range of writing strategies and genres
Creates an organized structure
Demonstrates understanding of English language conventions
Engages the reader by establishing a context and analyzing a situation
Expresses significance of condition, situation, and time
Uses a range of writing strategies and genres
Creates an organized structure
Demonstrates understanding of English language conventions
Rubric for literacy autobiography
The rubric I will use to judge my literacy autobiography comes partially from ch. 9 of the Lindemann book. If my autobio were to earn full marks it should have these traits:
1. The first paragraph is a promise to the reader that a somewhat interesting topic will be illuminated in the next few pages.
2. The paper is focused mostly on one topic.
3. The paper has sensory details that allow the reader to make mind pictures while reading the text.
4. There is evidence for the assertions made in the paper.
5. Each paragraph starts with a promise or topic sentence that introduces the paragraph.
6. The sentences within the paragraph relate closely to each other by being either coordinated or subordinated to the previous sentence.
7. Linking words are used correctly to show what type of relationship a subsequent sentence has with the previous one.
8. All paragraphs transition appropriately from one to the next.
9. All paragraphs contribute to the whole narrative.
Ron's Discovery Draft (very tentative draft)
Instead of mulling over what I’m going to write about, I’m going to do try something different, something I don’t think I’ve done for an academic paper: the first-thought-best-thought philosophy. I don’t mean to pretentiously honest by this, bring a smile to Dr. Cauthen by trying something he’s stated more than once as being good, or even write something he would want to hear, although, admittedly, I know subconsciously I’ll be doing this more than what I would like to, which is something I believe all students do to some extent regardless of how original or unique they want to sound in order to get a grade they want.
So I’m supposed to write about an event that has affected me in such a way that my outlook on writing was changed? Okay, that’s an easy thing to recall - It’s been this class and English 571. Why? Mostly because the topics discussed in these classes are new to me, yet they’re intriguing. I didn’t major in English in college, so all the discussions in class about the theories on voice, writing process, clustering have all seemed like... well... foreign in a way. I majored in Classical Studies in college. This degree entailed a lot of English to Latin translation, analyzing the effects the Roman Empire had on the world, and reading a lot of literature by the great classical authors of antiquity. Free writing (even in high school) was never a part of my education. Looking back, most, if not all, the writing I did in undergraduate school was void of my “voice,” and the stylistic manner was mundane - yet I got As and was told by professors I was a good writer. Now, taking this class, I have found that what my professors for my undergraduate degree were telling me was true, but a lie at the same time. True because I can write well when it comes to using grammar, participles, complex sentences, and other syntactic tools. But a lie because a “good” writer doesn’t write mundanely, banally, or without a tone. And this is exactly what I was doing for most of my writing assignments in college. Once I decided to pursue an MA, I didn’t think my identity as a writer was going to be challenged as much as it has been in English 575 and 571. But ironically, these classes have confirmed my belief that I am a capable writer and they have made me proud of the way I write. There are so many theories about how to write effectively, how to connect with an audience, how to implement one’s tone, etc. But I find that each of these topics are as moot as the age long question “What is the meaning of life?” There are countless theories and no universal agreement.
So I’m supposed to write about an event that has affected me in such a way that my outlook on writing was changed? Okay, that’s an easy thing to recall - It’s been this class and English 571. Why? Mostly because the topics discussed in these classes are new to me, yet they’re intriguing. I didn’t major in English in college, so all the discussions in class about the theories on voice, writing process, clustering have all seemed like... well... foreign in a way. I majored in Classical Studies in college. This degree entailed a lot of English to Latin translation, analyzing the effects the Roman Empire had on the world, and reading a lot of literature by the great classical authors of antiquity. Free writing (even in high school) was never a part of my education. Looking back, most, if not all, the writing I did in undergraduate school was void of my “voice,” and the stylistic manner was mundane - yet I got As and was told by professors I was a good writer. Now, taking this class, I have found that what my professors for my undergraduate degree were telling me was true, but a lie at the same time. True because I can write well when it comes to using grammar, participles, complex sentences, and other syntactic tools. But a lie because a “good” writer doesn’t write mundanely, banally, or without a tone. And this is exactly what I was doing for most of my writing assignments in college. Once I decided to pursue an MA, I didn’t think my identity as a writer was going to be challenged as much as it has been in English 575 and 571. But ironically, these classes have confirmed my belief that I am a capable writer and they have made me proud of the way I write. There are so many theories about how to write effectively, how to connect with an audience, how to implement one’s tone, etc. But I find that each of these topics are as moot as the age long question “What is the meaning of life?” There are countless theories and no universal agreement.
My Literacy Development
My literacy and language development began at home. Though I cannot quite remember the initial structure of my language, I do recall my mother praising the way I spoke as a thing of beauty. Though from a culture of people who often discard lingual appropriateness when speaking, my family on one that is comprised of speakers bordering both sides – those who use “correct” and “incorrect” English. Within my household, it was a common requirement to use “correct” English and grammar staying away from “improper” language, such as the word “ain’t”. My mother is one who spoke in a similar way to my own while my father, having been born and raised in the South, spoke with a “southern accent”. He became the model of how not to speak which trickled down into which subjects he would help me with when doing homework. An electrical engineer by profession, my father was responsible for assisting me with learning math, science, and history (a subject he’s always loved). My mother would assume the role of Language Arts/English guru. An excellent writer, she had a strong demand of English conventions (grammar, composition, and literature).
It is through my family that I became aware of language structures which I learned to classify as “correct” or "incorrect”. We would often poke fun at my father when he used language outside of our familiar grammatically correct realm. Though around him since birth, his use of “incorrect English” never ceased to surprise me. His speech became my lifelong model of how not to speak while my mother’s language festered within me as “correct” - being virtually error free. Though often falling victim to the incorrect conventions of language, my father had an extensive vocabulary which I would draw upon for new words to look up in the dictionary and begin to practice.
It is through my family that I became aware of language structures which I learned to classify as “correct” or "incorrect”. We would often poke fun at my father when he used language outside of our familiar grammatically correct realm. Though around him since birth, his use of “incorrect English” never ceased to surprise me. His speech became my lifelong model of how not to speak while my mother’s language festered within me as “correct” - being virtually error free. Though often falling victim to the incorrect conventions of language, my father had an extensive vocabulary which I would draw upon for new words to look up in the dictionary and begin to practice.
Just A Thought on Rubrics
I am not a teacher...I am still grasping the fundamentals of Rubrics (Insert gasps here) but some things I would want to see in a literacy autobiography are:
Voice-I want to hear what this person has to say and not just read it. I should hear an authentic voice in ones personal writing. (This would mean stepping out of our academic hats and wearing our own for a while)
Connectivity-Does the author connect their specific example with change in ones view of the world, themselves?
Grammar-Self-Explanatory.
Voice-I want to hear what this person has to say and not just read it. I should hear an authentic voice in ones personal writing. (This would mean stepping out of our academic hats and wearing our own for a while)
Connectivity-Does the author connect their specific example with change in ones view of the world, themselves?
Grammar-Self-Explanatory.
Just Write Already!!!
In Chapter, 6 Lindemann taps into the consciousness of the writer, and to this point I was very much interested in the chapter I know for myself I tend to always write creatively first. I have been one of those students who chooses to be really crafty with my prose, but then when it comes to academic writing I seem to fall short. Teaching academic writing I am sure will be just as difficult, as learning it. Since I do think creatively first, I found myself being more and more interested in Lindemann’s assumptions. Why do I begin my essays with some kind of rhythm prose? How often do I read my essays and wonder if I am writing a poem or an essay on the marginalization of a particular piece. When Lindemann writes “Who we are, determines how we see. And who we are, in turn depends on how we have been socialized (90)…I had to highlight these sentences. They actually spoke to the very core, as to how I see myself as a writer. I am creative so my voice does have the capacity of being both. Finding a way to pull them off, so that they live harmoniously is the true task. As not to offend we straddle the fence when it comes to “safe writing” vs. good writing”
Often times our authentic voices (If we have found them yet) are required to be silenced. We are taught to write so abstractly that soon we are drowning in a puddle of words. These words are not new spins on old ideas. They are just old ideas. The literary theory that we ask our students to produce is void of personality. While many would argue that personality, i.e. authentic voice is not necessary for academic writing. I think it might not be necessary, but does make for better reading. Its intuitive and honest, and that honesty I feel we see in creative writing, but not in the academic. When we ask students to be creative with their assignments we are pushing them towards a discovery that can only help them in the future to finding a distinct writing personality. .”If our assignments tap subjects, purposes, and audiences familiar to students their writing can be quite powerful.” (94)
Often times our authentic voices (If we have found them yet) are required to be silenced. We are taught to write so abstractly that soon we are drowning in a puddle of words. These words are not new spins on old ideas. They are just old ideas. The literary theory that we ask our students to produce is void of personality. While many would argue that personality, i.e. authentic voice is not necessary for academic writing. I think it might not be necessary, but does make for better reading. Its intuitive and honest, and that honesty I feel we see in creative writing, but not in the academic. When we ask students to be creative with their assignments we are pushing them towards a discovery that can only help them in the future to finding a distinct writing personality. .”If our assignments tap subjects, purposes, and audiences familiar to students their writing can be quite powerful.” (94)
Tuesday, February 22, 2011
This is defenitely a rant...
I find workshops on papers to be quite a helpful technique for all of the parties involved. The students receive feedback on their papers, the students get a chance to review their peers work and gain editing knowledge, and it also gives the teacher the opportunity to let the students take charge. When we were reviewing Caitlin’s paper in class the other day I noticed that most of my concerns were also in the minds of my peers. Also, by looking at someone else’s work I was able to grasp a better understanding of what the literacy autobiography is supposed to cover and be about. Moreover, I noticed that by participating in the peer review, as a writer, you are able to gauge your writing and fix some of the problems that are present.
I’ve been having a difficult time writing my auto-literacy and am looking forward to the peer review. I am hoping to get feedback based on content and on how interesting my paper is. I am afraid that my paper might be off topic even though I am trying my hardest to keep the story intact. This is the part where Lindemann comes in, in one of her chapters she is discussing the importance of a paragraph and then explains different ways a paragraph can be organized. I find this quite interesting since I hardly remember any of these points when I was introduced to writing. All I can really remember about my writing in high school, because it was in high school where it was really developed and ingrained in me, is that I have a problem with run-ons. As I read that chapter I wondered if I was ever taught these things or if I just picked them up in college. When I am writing my auto literacy I find it difficult to use her paragraph approach simply because it requires my “voice” to be put to the side. I remember that Caitlin and I discussed the issue of following rules and most writing conventions and finding that the personal and the intimacy between you and what write gets lost…
And here is where my side story comes in. On Sunday I met a really smart six-grader, as we talked he told me how most of his teachers are making him do research reports on numerous things. He explained that most of his school work has to be done on a computer and that it is mainly expository, well he said it was “all facts”. He then explained or rather was complaining that his teachers wanted his voice to come across in his writing, but that when he did attempt to use his voice it wasn’t recognized as his. Here I was, sitting in this dinner table filled with adults who were busy playing cards or looking at the tv, talking to this 10 year old. I remember being 10 and having grown-ups telling me to mind my words and not get into adult’s conversations, and I couldn’t help but to think that the same thing was happening to this little boy. He was in a room with adults, no children, explaining to me how he needs to develop a voice; ironically, his parents and teachers are giving him the wrong message. Now, how does a six-grader develop a voice when he is made to do standards that require no thought, which after he told me that he is made to write them said “I hate writing!!” He yelled it actually and then shook his head. But the point is that when one is doing expository writing or even a story about one’s own life, how does one determine what information to use? I mean is the story about how I got my first deaf puppy better than the one where I almost drowned? Is the fact that Nevada has a large desert area more important than the fact that it is where Las Vegas is located?
---- As for the rubric, the blog format won't make it easy for me to post it up how I want it laid out.
I’ve been having a difficult time writing my auto-literacy and am looking forward to the peer review. I am hoping to get feedback based on content and on how interesting my paper is. I am afraid that my paper might be off topic even though I am trying my hardest to keep the story intact. This is the part where Lindemann comes in, in one of her chapters she is discussing the importance of a paragraph and then explains different ways a paragraph can be organized. I find this quite interesting since I hardly remember any of these points when I was introduced to writing. All I can really remember about my writing in high school, because it was in high school where it was really developed and ingrained in me, is that I have a problem with run-ons. As I read that chapter I wondered if I was ever taught these things or if I just picked them up in college. When I am writing my auto literacy I find it difficult to use her paragraph approach simply because it requires my “voice” to be put to the side. I remember that Caitlin and I discussed the issue of following rules and most writing conventions and finding that the personal and the intimacy between you and what write gets lost…
And here is where my side story comes in. On Sunday I met a really smart six-grader, as we talked he told me how most of his teachers are making him do research reports on numerous things. He explained that most of his school work has to be done on a computer and that it is mainly expository, well he said it was “all facts”. He then explained or rather was complaining that his teachers wanted his voice to come across in his writing, but that when he did attempt to use his voice it wasn’t recognized as his. Here I was, sitting in this dinner table filled with adults who were busy playing cards or looking at the tv, talking to this 10 year old. I remember being 10 and having grown-ups telling me to mind my words and not get into adult’s conversations, and I couldn’t help but to think that the same thing was happening to this little boy. He was in a room with adults, no children, explaining to me how he needs to develop a voice; ironically, his parents and teachers are giving him the wrong message. Now, how does a six-grader develop a voice when he is made to do standards that require no thought, which after he told me that he is made to write them said “I hate writing!!” He yelled it actually and then shook his head. But the point is that when one is doing expository writing or even a story about one’s own life, how does one determine what information to use? I mean is the story about how I got my first deaf puppy better than the one where I almost drowned? Is the fact that Nevada has a large desert area more important than the fact that it is where Las Vegas is located?
---- As for the rubric, the blog format won't make it easy for me to post it up how I want it laid out.
Billions and Billions
"'To create' is not beyond the capacity of any normal human being. If creativity is somehow a special ability, it is special for us all" (Lindemann 87).
When I was a teenager I overheard my family's realtor, who played the electric piano at our church, tell our former pastor that everyone should complete one creative task each year, even if that task is remodeling a bathroom.
And his point, I think, was that people should spend time creating and being creative.
Yes, he did say that people should complete their creative tasks, but what is created was less important than the creator and the talent of the creator was less important than the act of creating.
Not everyone is a master. There is only one Mark Twain, one Frank Lloyd Wright, and one Alfred Hitchcock. Not every creation is a masterpiece. There is only one Moby Dick, one Pantheon, and one Citizen Kane.
But, going by Lindemann's quote, there are millions, no billions of creative people walking around, afraid to express themselves creatively because they think that's not who they are.
Many English majors love to brag about their limited math skills. Go to dinner with a group of English majors and watch them try to split the check or figure out the tip. It's quite fun. A friend of mine here at DH wears a T-shirt that reads: "I'm an English major; you do the math."
But we know there are some things that a responsible adult just needs to know. Not everyone needs to master (or even faintly grasp) calculus, but it would behoove most people to know just enough arithmetic and quantatative reasoning to maintain a positive checking account balance.
And so, not everyone needs to be a great artist or create great art. But understanding the arts and getting a glimpse into how artistic work is created can lead to a more rewarding college experience and a richer life.
So here's what I don't know: What is (or should be) the composition course's role in fostering creativity and creative thinking?
When I was a teenager I overheard my family's realtor, who played the electric piano at our church, tell our former pastor that everyone should complete one creative task each year, even if that task is remodeling a bathroom.
And his point, I think, was that people should spend time creating and being creative.
Yes, he did say that people should complete their creative tasks, but what is created was less important than the creator and the talent of the creator was less important than the act of creating.
Not everyone is a master. There is only one Mark Twain, one Frank Lloyd Wright, and one Alfred Hitchcock. Not every creation is a masterpiece. There is only one Moby Dick, one Pantheon, and one Citizen Kane.
But, going by Lindemann's quote, there are millions, no billions of creative people walking around, afraid to express themselves creatively because they think that's not who they are.
Many English majors love to brag about their limited math skills. Go to dinner with a group of English majors and watch them try to split the check or figure out the tip. It's quite fun. A friend of mine here at DH wears a T-shirt that reads: "I'm an English major; you do the math."
But we know there are some things that a responsible adult just needs to know. Not everyone needs to master (or even faintly grasp) calculus, but it would behoove most people to know just enough arithmetic and quantatative reasoning to maintain a positive checking account balance.
And so, not everyone needs to be a great artist or create great art. But understanding the arts and getting a glimpse into how artistic work is created can lead to a more rewarding college experience and a richer life.
So here's what I don't know: What is (or should be) the composition course's role in fostering creativity and creative thinking?
Rubric
Here are some categories which may be useful for assessing a Literacy Autobiography:
- Appeal (ethos, pathos, logos)
- Mechanics, Syntax, Structure
- Narrative Quality
- Style, Tone, Setting, Characterization
- Standard Literary Devices (metaphor, simile, personification, etc...)
On Perception & Conception
On Perception
If “our perceptions [i.e. “how we see”] are influenced by the culture in which we live,” then culture is a major – if not, arguably, the primary – influence on perception. Moreover, if “who we are,[…], determines how we see” (Lindemann 90), then culture must, to a greater or lesser degree, also determine individual identity formation. But what if who we are is (also) determined by our perceptions? Don’t our perceptions, to a greater or lesser degree, (also) determine who we are? This (cognitive) dilemma suggests that cognition-via-perception is a paradoxically progressive process where the beginning of knowledge acquisition is, in fact, the end, while simultaneously the end is, in fact, the beginning. Therefore, the concept of culture is more monolithic than perhaps we’re willing to admit; that is, recognizing the myriad diversity of cultures (even within our own), ultimately there exists only one culture: the culture of humanity. And each individual human being is a unique expression of that one culture, so, too, each individual human being’s material identity (at this point, I will refrain from engaging in a discussion of the immaterial aspect of identity formation, for such a discussion would be akin to the opening of Pandora’s Box) is formed by that one culture even as it simultaneously forms the same.
On Conception
Whereas perception apparently refers to “the entrance of an idea into one’s mind” (Lindemann 93), conception is apparently synonymous with thinking (ibid.). So what does it mean to conceive? Etymologically speaking, the origins of the word have more to do with the notion of creation, creation within the womb. So what is conception? And what does it mean to conceive? Perhaps it means more than we’ve hitherto conceived. Perhaps it has to do with the creation of thoughts (or, if you prefer, the creation of first thoughts), thoughts that involve the “imposition of a pattern upon experience” ( Lindemann 94), where the “activity of the mind […] brings forth and develops ideas,[… ], not merely the entrance of an idea into one’s mind [perception].” So, whereas perception is essentially a passive process, conception is active (ibid.). Conception involves the act of creation; that is, to conceive is to create. And just as each act of creation involves the birth of yet another form of unique discourse, each individual human being represents the same. That is, each of us, however significant or insignificant we may feel ourselves to be, each of us is an essential element in the creative process that is composition.
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