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One of the crucial elements in teaching, and performing, popular cultural semiotics is the identification of the larger contexts (or systems of associations and differences) in which particular popular signs may be situated. This means that one must be aware not only of current popular movies, TV shows, consumer trends, etc., in order to conduct semiotic analyses of them, but that one must also be ever attuned to what one might call, for lack of a better term, the "spirit of the age." In this vein, then, my first blog for the new year will constitute a semiotic analysis of the spirit of the digital era, beginning with what will likely appear to be a rather peculiar starting point: namely, the eighteenth-century European Enlightenment.

 

I start here due to a purely fortuitous decision to pull an old book off my shelf last week that I should have read forty years ago but didn't, until now: Garry Wills' Inventing America (1978). Now, I don't want to get involved here in the somewhat controversial thesis Wills proposed about the sources of Jefferson's thought and language when he first drafted the Declaration of Independence—that's something better left for specialists in the field. Rather, I am only interested in the extraordinary revelations of the ins and outs of Enlightenment thinking that Wills masterfully presents. In a word, Wills reveals that behind the Newtonian clockwork universe informing much of Enlightenment discourse was a veritable religion of the number. And I'm not just talking about the quantitative advances that led, towards the end of the eighteenth century, to the Industrial Revolution and the emergence of scientific modernity; I'm talking about the ecstatic belief that Newtonian methods could be applied to the explication of, and solution to, every human problem.

 

Let me offer (courtesy of Wills' ample citations) a particularly striking example. Here is Francis Hutcheson's algebraic formula for the measurement of human morality as presented in the second edition of his founding text for the Scottish Enlightenment, Inquiry into the Original of our Ideas of Beauty and Virtue (1726):

 

M = (B + S) X A = BA + SA; and therefore BA = M - SA = M - I, and B = M - I/A

[where B = Benevolence, A = Ability, S = Self Love, I = Interest, and M = Morality].

 

Actually, there's more to the formula than I've reproduced here, but you'll get the point. Here, from a Presbyterian Divine, we find dramatic evidence of the extraordinary prestige of the Newtonian method, the belief that if Newton could use mathematics to measure and explain the universe, philosophers could do the same in measuring and guiding, humanity.

 

Sound familiar? Substitute the words "big data" for "mathematics" and you've got the current zeitgeist in a nutshell. For here too, from Steven Pinker to the purveyors of AI, digital humanists to data analysts, Educause to edX, and so on and so forth ad infinitum across our cultural spectrum, we can find what is effectively a religious faith in the omnipotence of numbers.

 

The Enlightenment accordingly offers a significant point of association to which we can relate our current l’esprit de l’époque. But (and I can never repeat this often enough) the significance of a phenomenon lies not only in what it can be associated with but also in its differences from similar phenomena within its system. And there is a difference between the origins of the enormous cultural prestige enjoyed by Enlightenment mathematics and of twenty-first century data worship. For while the Enlightenment was wowed by Newton's scientific achievements (achievements, it can be added, that long preceded any large-scale commercial applications), the wow factor today (as I have noted before in my blog on the "religion" promoted by the now-defunct corporation Theranos) derives from the unimaginably huge fortunes that have been made, and will continue to be made, by the corporate masters of big data. Google effectively started it all by finding a way to monetize its free services by tracking our online behavior and selling it to marketers, making personal data the holy grail of post-industrial capitalism (Facebook, of course, is the second biggest name in this tradition). The difference, in a word, is between science and commerce, with the Googleplex and its offspring occupying the cultural role once occupied by Newtonian physics. To put it another way, here is yet another signifier of our hypercapitalist culture.

 

Whether or not this hypercapitalist faith is a good thing or not is a value judgment, and since the goal of teaching cultural semiotics is to provide students with the critical equipment necessary to make informed judgments of their own, not to dictate those judgments to them, I will withhold my own here. But I will say this much: Hutcheson's equations, as well intentioned and nobly founded as they may have been, look pretty silly to us today. And I can't help but wonder how our current data-infatuated zeitgeist will look to future culture critics.

 

 

Image Credit: Pixabay Image 3088958 by xresch, used under a Pixabay License

Asian woman working at a macintosh commercialThis term, I designed a new assignment for the major report in my technical writing course. Students focus on communicating a technical subject to an audience unfamiliar with their fields. Additionally, they must integrate readability features in their document design to give their documents a polished, professional appearance.

As with previous assignments in this series, the assignment below has some minor changes to remove specific information that is relevant only to the students in my classes. References to “Markel & Selber” in the assignment refer to chapters in Technical Communication. 

White Paper Assignment

Background

You will write an informational report for non-experts (a white paper) that presents details on a specific issue related to your company and the work that it does. Your white paper will tie directly to the incubator goal of public outreach and education. Specifically, the incubator founders want to provide a library of documents that inform readers about how science, technology, and engineering work.

You proposed the topic for your White Paper Project in your Short Proposal. Your Poster Presentation Project will provide an alternate presentation of the information in your White Paper Project.

The Scenario

This week, you received the following memo, accepting your proposal for the Incubator’s December White Paper Publication:

Ut Prosim Incubator logo Ut Prosim Incubator

   1872 Inventors Way, Blacksburg, Virginia 24060

 

   Interoffice Memo

 

 

 

To:December White Paper Authors
From:Traci Gardner, Ut Prosim Director
Manolito Reyna Bautista, Manager of the Public Outreach Office
Subject:Preparing Your White Paper
Date:October 8, 2018

 

Congratulations! We are pleased to accept your proposal for a white paper and research poster for December publication. We look forward to learning more about your topic and working with you to share the information with the public on our website.

Your white paper and poster presentation are due by November 26 [Portfolio 2 due date] and will ultimately be published as PDFs in the December 2018 release on the Incubator website.

Today, we are sharing details on the expectations for your white paper. We will send details on the research poster later this month.

White Paper Purpose and Audience

As explained in the call for proposals, your white paper will inform non-expert readers about a technical topic relevant to the work and mission of your company. These documents will share what we do and why we do it with the university, alumni, and local community. Your documents will also contribute directly to our goal of public outreach and education by adding to our growing library of documents that inform website readers about how science, technology, and engineering work.

As an objective white paper, your document will either provide knowledge or information about a subject relevant to your company or provide solutions to a problem or challenge that relates to your company—or even a combination of both goals.

The audience for the white paper is the general public and the university community Readers with no background in your field should be able to fully understand your white paper.

White Paper Content

Your report will define or explain your topic with the goal of informing your readers about it fully and with relevant, specific details. You should focus on answering questions such as these:

  • What is it?
  • When was it invented or discovered and by whom?
  • Where did it originate and why?
  • What does it involve?
  • How does it work?
  • What is its possibility or potential impact on the future?

You should present the information in your report objectively, that is, without letting opinion shape what you have to say. Do not draw conclusions, make recommendations, argue for one side or the other, or in any way take a position on the subject. Its goal is to provide a response to the question "What is [your subject] all about?" This doesn't mean you can't present opinions about it, but those opinions must come from experts in the field. For example, Expert A thinks the subject of your article is a fantastic option for reducing the need to irrigate crops, but Expert B is sure it won't work as planned. You can present these opposing viewpoints, but you must remain objective and let readers make their own decisions.

White Paper Expectations

  • Length: 25 pages or less. The length typically depends upon the document layout. If your white paper looks like a double-spaced research paper, it will be longer than a white paper that is formatted in single-spaced columns and sidebars (more like an industry magazine or journal article).
  • Document Design: Use a polished, professional layout that relies on design strategies that increase the document’s readability. You are encouraged to use a non-traditional format that incorporates sidebars, columns, and other visually-interesting design strategies. Do not include a cover page.
  • Graphics and Visual Elements: Include relevant graphical elements (e.g., photos, diagrams, graphs, tables). Avoid clipart (which typically looks unpolished or unprofessional), and use only graphical elements that directly relate to the information in the white paper. All graphical elements must be your company’s intellectual property, or you must provide complete documentation. Graphical elements that are not your own intellectual property must meet fair use guidelines.
  • Research Support: Information must be supported by fully-documented research, including relevant quotations. In addition to citing published research studies, you can take advantage of the campus community by tapping university experts on the topic you are discussing.
  • Documentation Format: APA citation style (or the appropriate style for your field, if desired—for instance, an electrical engineer can use IEEE).
  • Submission Format: *.doc, *.docx, *.pdf, or Google Document link. While your document will be published on the Incubator website, it will be published as a PDF (not as HTML).

Deadlines

To ensure that we have time to review and edit your submission, please submit your white paper by 11:59 PM on Monday, November 26. If additional time is necessary, you can take advantage of the grace period, which ends at 11:59 PM on Thursday, November 29.

Any Questions?

If you need any help with this project, please let either of us know or contact Traci’s assistant, Leslie Crow <lcrow@utprosimincubator.org>.

Relevant Details

Note: These details apply to all of the projects you include in your portfolio.

Your company’s address is [Your Company Name], Ut Prosim Incubator, 1872 Inventors Way, Suite #[you choose a number], Blacksburg, Virginia 24060. Your company’s phone number is 540-555-5555. You may create a fictional Internet domain for your company, and use that domain for a web page address and your email addresses. If you'd like, you may create other information (including a logo) for your company as appropriate. Be sure that you use the information that you create consistently across all of your projects.

The Project Assignment

Step 1: Review your notes on the topic and audiences, as established in your proposal.
Your proposal should have the basic starting information that you need to begin the research for your white paper. Be sure that you have a strong, well-focused topic before you begin your research.

Step 2: Examine the information about white papers in the readings.
Review the assigned readings for specific details on the information and details to include in your white paper.

Step 3: Begin your research, taking notes and paying attention to documentation and citation details.
The textbook provides complete details on how to conduct your research and keep track of your notes and sources. Follow the textbook as you work on your project. In particular, be sure that you do the following:

  • Follow the instructions in the “GUIDELINES: Researching a Topic” list (starting on page 119 of Markel & Selber) to gather information.
  • Identify the best kinds of sources for your research by exploring the examples in “TABLE 6.1 Research Questions and Methods” (starting on page 120 of Markel & Selber).
  • Assess your sources with the “GUIDELINES: Evaluating Print and Online Sources” (starting on page 128 of Markel & Selber) to ensure your sources meet the evaluation criteria listed in the text (e.g., that they are accurate, unbiased, comprehensive, appropriately technical, current, and clear, as stated above the guidelines). You should also consult the web resource Evaluating Web Resources: The CRAAP test from North Carolina A&T.
  • Use the “GUIDELINES: Conducting an Interview” (starting on page 137 of Markel & Selber) if you talk with experts in your field (on campus or off) who provide information for your projects.
  • Review the information in “Appendix Part A: Skimming Your Sources and Taking Notes” (starting on page 613 of Markel & Selber) to be sure that you use the notetaking strategies of paraphrasing, quoting, and summarizing accurately.
  • Use the details in “Appendix Part B: Documenting Your Sources” for information on APA citation style (starting on page 622 of Markel & Selber) and information on IEEE citation style (starting on page 639 of Markel & Selber) to gather relevant details for your documentation and citations. Note you may alternately use the citation style that is relevant for your field if you prefer.

Step 4: Write your white paper.

Work steadily on your report for the entire three-week period. Do not leave the work until the last minute!
Compose your white paper, as requested in The Scenario above, with all the details you have gathered in your research. Remember that your white paper should be a factual and objective document. Do not include fictional information about your topic. Review the assessment guidelines below to ensure you have met all the requirements for the instructions.

 

As you work, also keep the following points in mind:

  • Use plain language to make the ideas easy to find and read. Refer to the resources from Module 2 as needed.
  • Follow all relevant ethical guidelines as you work using the Writer’s Checklist at the end of Chapter 2 (on page 40 of Markel & Selber).
  • Follow the suggestions for emphasizing important information, using the Writer’s Checklist for Chapter 9 (on page 211 of Markel & Selber) to check your work.
  • Use the Writer’s Checklist for Chapter 11 (on page 288 of Markel & Selber) to ensure that your document takes advantage of design principles to make it reader-friendly.
  • Make a good impression with accuracy and correctness. Your document should be polished and professional.

Step 5: Check your draft against the Writer’s Checklist.
Be sure that you include the required features for your white paper. Review your project, using the Assessment Criteria below.

Step 6: Review your draft for design and basic writing errors.
Everything you write should use accurate/appropriate image editing, grammar, spelling, punctuation, mechanics, linking, and formatting. These are important basic writing skills that you should have developed in high school. Review your project, using the Writer’s Checklist at the end of Markel & Selber, Chapter 10 (on page 242).

You can also consult the information on “Sentence-Level Issues” in Markel & Selber, “Appendix, Part D: Guidelines for Multilingual Writers (ESL)” (on page 683 of Markel & Selber). While the section is labeled for multilingual writers, it is useful for everyone. It includes explanations and examples for many common mistakes writers make.

Step 7: Submit your draft to your Writing Group in Canvas.
Post a rough draft of your technical description to your Writing Group in Canvas in the 10/25 Draft Feedback Discussion in Canvas. Additional instructions are in the Discussion. Post a draft of your technical description by September 20. If you are late submitting a draft, your group may not have time to provide feedback.

Step 8: Provide feedback to your Writing Group in Canvas.
Provide feedback to the members of your writing group in the 10/25 Draft Feedback Discussion in Canvas, by September 24 (end of the grace period). Use the information on the Writing Groups page to provide constructive feedback that will help your group members make concrete improvements to their drafts. 

Step 9: Revise your draft.
Use the feedback that you receive from your group members to revise and improve your document. You can share your draft again with your Writing Group, if you desire. As you revise, keep in mind the advice in the steps above, as well as the Assessment Criteria below.

Step 10: Include a polished version of your project in Project Portfolio 2, due November 26.
Have your Technical Description Project finished and ready for submission in your Project Portfolio 2, which is due Monday, November 26. The grace period for Project Portfolio 2 ends at 11:59PM on Thursday, November 29.

Assessment Criteria

For All Technical Writing Projects

All technical writing projects should meet the following general criteria:

  • Makes a good first impression as a polished and professional document.
  • Meets the needs of the intended audience.
  • Demonstrates how to emphasize important information.
  • Uses layout and formatting that makes information easy for readers to find and read, and that follows the standards you have set for your company.
  • Is written in plain language, which communicates the ideas clearly.
  • Follows all relevant ethical guidelines.
  • Uses accurate/appropriate grammar, spelling, punctuation, mechanics, linking, and formatting.

For White Papers

Your project should meet the following criteria for effective instructions:

  • Has a clear, compelling title that is specific to the document.
  • Adopts a tone and approach that will appeal to readers.
  • Demonstrates a clear understanding of the research literature on this topic.
  • Provides details and explanation of the information that
    • Presents an objective summary of the facts.
    • Discusses the importance of these facts.
    • Forecasts the importance of these facts in the future.
  • Relies on sources that are accurate, unbiased, comprehensive, appropriately technical, current, and clear.
  • Uses quotations from research sources to support and strengthen the project.
  • Provides accurate and complete in-text citations for all information that is not the author’s own work (including information that is paraphrased, quoted, and summarized).
  • Includes a references section (e.g., bibliography) that does the following:
    • identifies each source cited in the white paper.
    • contains complete and accurate information for each citation.
    • uses either APA citation style or the preferred citation style for your major.
  • Demonstrates a clear relationship between the graphics and the accompanying text. 

 

This assignment was challenging for students, who were less familiar with the genre than they typically are with more generic technical reports. The demands of an audience of non-experts complicated the assignment for some students who were unaccustomed to explaining the concepts and technical lingo of their field. Those aspects made for a rewarding project. When I use the assignment again however, I want to have more supporting resources for students to draw on. Specifically, students would benefit from more examples and some explicit instruction on document design for this genre.

Based on these white papers, students next work on research posters. I’ll share that assignment in my next post, so be sure to come back for the details. If you have any feedback on this assignment or useful resources on white papers, please leave me a comment below.

 

 

Photo credit: Dawa deep in pixel thought by Juhan Sonin on Flickr, used under a CC-BY 2.0 license.

 

“I heard it on NPR” is an often-spoken truth among my friends, as we tend to listen to our local stations and compare notes. Recently, I “heard on NPR” a story about a bridal boutique in England that put a wedding-dressed mannequin sitting in a wheelchair in their window display. The store itself didn’t seem to think the display was “a big deal.” But a lot of people who saw it disagreed. One woman, who uses a wheelchair, tweeted:

Her tweet went viral as people around the world tweeted and reposted. As the shop’s co-owner said, their display had created “an absolute frenzy and this outpouring of messages on this debate that more shops should follow suit.” Indeed. I expect (and hope) that more shops everywhere will follow the lead of this bridal boutique.

 

But I was taken with this story because of a serendipitous coincidence: as I was listening to NPR in the background, I was working on a revision of one of my textbooks, The Everyday Writer, and in particular on a section dealing with language and identity. I was working with an illustration that’s been created for the new edition showing a young woman in the foreground at a protest rally—using a wheelchair. The speech bubble above her head says “I am a bilingual woman and a student activist.” I’m asking students to look at the illustration and analyze it for what it says about language and identity—and then asking them to think carefully about what words and images they would choose to illustrate their own identities—and to take a careful look at the words they tend to use to describe the identities of others: what assumptions may underlie those word choices?

 

With this particular image, I ask students to begin by observing it attentively. Then, make some notes, answering these questions: What is your eye first drawn to, and why? What is in the background of the illustration, and how does the background inform the image in the foreground? How would you describe the mood or atmosphere of the illustration? How does color contribute to establishing that mood? How would you describe the facial expression of the woman in the foreground? Look again at the speech bubbles: what words has the person chosen to describe herself? What do those words suggest about what she identifies with? How might the words differ from what you might have expected, and why? 

 

So perhaps textbooks will join Britain’s bridal shop in depicting people as people, rather than people with disabilities. If so, I’m very happy to be in their company!

 

Image Credit: Pixabay Image 2588238 by StockSnap, used under the Pixabay License

This spring I will teach a second-semester first-year writing course that engages literary studies through the lenses of rhetoric and composition. In other words, the course aims to present literary readings (poetry, prose, drama) and invites students to engage these texts rhetorically, with careful attention to language and its uses, audience, purpose, and persuasion. In creating this course syllabus, I will adhere to the writing program constraints, but will be able to choose my own readings to fashion the required assignments.

 

It helps to teach my passions, of course, but it is necessary as well to consider how to introduce students to readings and means of approaching readings that will open doors in their own living, thinking, reading, and writing. Reading and writing need to be more than school subjects and a set of strategies or commodities.

 

At the same time, I also want to include readings that will open the way to help me learn from my students. Perhaps this was the most important lesson learned from last semester’s Final Writing Project: Create Your Own Course Syllabus. Since students could choose their own subjects for this assignment, I was able to gauge a wide variety of general interests through three sets of classes of racially, ethnically, and linguistically diverse traditional-age college students at two different institutions. The most common subjects included:

 

  • Creative arts classes for non-majors (music, filmmaking, comics)
  • Health: (mental and physical health, self-help, food studies)
  • Courses in a special topic not offered by their colleges (sports science and history, religious studies and social justice,  business theory and practice)

 

My sense in planning the syllabus is to introduce literary readings through these general lenses, while keeping in mind the concerns of students. “I don’t like poems that don’t rhyme,” one student told me last semester, and then recommended that I listen to Kendrick Lamar’s “To Pimp a Butterfly,” of which, at the time, I had only passing awareness.

 

The students’ interests in comics offered additional considerations. After we finished our second writing project on Black Panther (Listening to Students: Revising an Assignment and Teaching Black Panther) last fall, and they wrote their reflections, two students included long lists of movies I needed to see to better understand Black Panther’s place in the Marvel Universe. For students who have come of age in diverse racial, ethnic, and linguistic spaces, Black Panther and other films in the Marvel Universe are not only allegorical, but also material reality.

 

In other words, in real life students have faced situations equivalent to Black Panther’s most symbolic moments, such as journeying to the ancestral plane or creating community in the aftermath of war and destruction.In transitioning to college, students often struggle with unanticipated borders between home and school communities. In choosing readings for the spring semester course, I remember that such borders can be deeply complex and contested. I also remember how my own encounters with literary works helped me to navigate and negotiate the struggles of college transitions.

 

For example, I think back on my experience of reading Rimbaud’s poetry for the first time as an undergraduate. For my advisor, a specialist in French 19th century literature, Rimbaud’s work was an exemplar of French symbolist poetry. Yet for me  Rimbaud’s poems felt as real and as full of transcendent possibilities as life itself. In “Novel,” (“Roman” in French) Rimbaud writes:

 

Night in June! Seventeen years old! —We are overcome by it all

The sap is champagne and goes to our head . . .

We talked a lot and feel a kiss on our lips

Trembling there like a small insect . . .

 

These lines felt as ethereal as the popular culture worlds in which I lived as a teenager in the 1970s.  Rimbaud’s words were as resonant as the theme from Star Wars, and as poignant as Bowie’s genderqueer teenager in Rebel, Rebel. Popular art fused with the language hidden away in literary works unknown to me before college. In the midst of that fusion, the future opened before my eyes, allowing me to reach toward language and life experiences I had never before imagined. Literature, in my experience, remains a significant means of engaging with worlds outside of my own, and of envisioning futures beyond the limited scope of everyday life.

 

My hope is that the new syllabus will create a more fluid universe and collapse the binaries between the old and the new, remixing canons and drawing connections and similarities in spaces where the mind and the heart have been trained to perceive only difference and separation. These difficult times call for nothing less.

Donna Winchell

Argument and Aesthetics

Posted by Donna Winchell Expert Jan 11, 2019

All claims, whether of fact, value, or policy, are the thesis statements that arguments support. It may seem a bit counterintuitive that claims of fact need to be supported, but keep in mind that readers or listeners may need to be convinced that a statement of fact is indeed true. Consider, for example, the resistance to the claim that global warming is changing the earth’s climate.

 

Less surprising, perhaps, is the need to support a claim of value. One of the large areas in which to support a claim of value is aesthetics. Judgments about art are value judgments and are expressed through claims of value. Any time you express an opinion about a painting, a film, a book, a concert, or any other work of art, you are making a value claim. Others don’t have to agree with you, but well-written argument supporting a claim of value will rely on clear references to specific elements of the work and try to convince others that your opinion is valid.

 

The recent Golden Globe awards elicited a flurry of responses about the values implicit in the choice of winners. Two of the big winners were Green Book and Bohemian Rhapsody. Audiences clearly liked Green Book, the story of talented black musician Dr. Don Shirley and his foray into the American South of the 1960s accompanied by his newfound chauffeur/bodyguard, rough cut Italian bouncer Tony Vallelonga. The film is a feel-good story that, while recording the animosity and blatant racism that Shirley faces in the American South, also focuses on Vallelonga’s growing realization of how ridiculous the rules are. The climax is reached when Dr. Shirley is preparing to perform for four hundred white guests, but he, in his elegant tuxedo, is not allowed to eat in the same room with them.

 

Less favorably impressed than many critics and moviegoers were the ones who knew the real Dr. Shirley best—his family. While audiences applauded the friendship that blossomed between the two men, the family denied that a friendship ever developed, arguing that it was merely a business arrangement. To his credit, Mahershala Ali, who played Shirley, acknowledged after the awards show that he was not aware that there were close family members of Shirley that he could have talked to in order to learn more about Shirley’s relationship to his family, which is presented negatively in the movie. To their credit, Shirley’s family congratulated Ali on winning the award for Best Supporting Actor for the movie, praising his acting ability. In depicting the relationship between Shirley and Vallelonga as he did, the film’s director chose a picture of racial harmony that people wanted and needed to see over fidelity to truth. As such, the value the movie is accorded depends on whether a viewer wanted accuracy or sentimentality.

 

A similar judgment call had to be made in the making of Bohemian Rhapsody. Ironically, what some view as the limitations of the movie were caused by the directors’ attempt to please surviving members of the rock band Queen featured in the film. One criticism is that director Bryan Singer and his replacement Dexter Fletcher tried to make the PG-13 movie that the remaining band members wanted by downplaying the reality of the life of lead singer Freddie Mercury. Mercury was brilliantly played by Rami Malek, and it is obvious that Mercury was bisexual, but the portrayal of his same-sex relationships is so delicate that it almost comes as a surprise when he is diagnosed with the AIDS that killed him. Some critics wanted a warts-and-all expose of Queen’s—and Mercury’s—backstory, but felt they got a sanitized stereotypical biopic instead.

 

As with most arguments, arguments about aesthetics are received differently by different audiences, as are the artworks themselves. A scene from an even more recent movie, All Is True, has Kenneth Branagh as Shakespeare state, “When I dip the ink and make the mark, all is true.” The quotation is more memorable than accurate.

 

Photo Credit: “Golden Globes Hosts Sandra Oh, Andy Samberg Preview "Crazy-Pants" Show”by Marco Verch on Flickr, 1/3/19 via a CC BY 2.0 license.

 

As always at this time of year, I’m checking to see what words have been called out as especially characteristic or indicative of the year we have just endured. The first one I came across was from Merriam-Webster, which chose “justice,” their Editor-at-Large Peter Sokolowski saying that “the pursuit of justice and the potential of obstruction of that pursuit are at the eye of the storm” today. Sokolowski goes on to note that people looked up the term “justice” in surges, especially around the time of the Kavanaugh hearings and the testimony of Christine Blasey Ford, and during President Trump’s many attacks on the Department of Justice.

 

The venerable Oxford English Dictionary opted for “toxic,” defining the word as “poisonous” and noting that it captured the atmosphere in many countries this last year. Dictionary.com went for “misinformation” for absolutely obvious reasons, as we are currently awash in what the dictionary calls “false information that is spread, regardless of whether there is intent to mislead.” And the Cambridge Dictionary chose “nomophobia”—the fear of being without a mobile phone or being able to use it—as their word of the year.

 

Others weighed in with their own nominations. In an article for the Cleburne Times Review, Steve and Cokie Roberts lamented the government’s current “amnesia” regarding two important words: “debt” and “deficit.” They argue that “rapidly rising debt payments will squeeze the government’s ability to serve as a safety net for needy Americans,” that our government will spend more money on interest than on children in the coming year, and that the fact that half of our national debt is held by China and other foreign countries all means we face “a dire threat to our economic and national security.” They then choose their word of the year, saying “But when it comes to that threat, the word of the year from most official Washington is simply ‘silence.’”

 

Of all these offerings, I gravitate most to “toxic,” which seems to capture in five letters the sense of ill-will, distrust, and sickness—both physical and mental-- that seems to permeate the air we are breathing these days. So I could certainly go with that as a word of the year. But as I’ve tried to think what one word I have heard over and over and over in the past year, another one comes to my mind: “unprecedented,” meaning something that hasn’t been done before. I believe I have heard this word at least several times on almost every newscast I have heard during 2018, most of them attached to something that our current President has done—or not done. From “unprecedented actions on asylum,” to “unprecedented actions against gun control,” to “unprecedented move to install a right-wing activist on the National Security Council,” to “unprecedented number of unfilled government positions,” and to “unprecedented unilateral decisions affecting national security”—not even to mention unprecedented tweeting. During one evening news cycle during December, I counted 18 uses of the term! Of course, unprecedented things can be good or bad, but my informal survey suggests that when this word is attached to the current government, its connotations are almost always negative.

 

Maybe teachers of writing should get in the act, naming our words of the year and asking our students to do the same. I wonder, for example, how students would evaluate the words offered here, how they would define them, and what better nominations they might have in mind. We could do a lot worse than begin the new year with a careful and thorough analysis of words that characterize our current moment. For my part, I’m going to be watching Congress closely to see if they take some unprecedented actions that will help lead to justice and to peace.

 

What is your word of the year? Leave a comment below!

 

Credit: Pixaby Image 698538 by StockSnap, used under a CC0 Creative Commons License

Typing content by Search Engine People Blog on FlickrThe last three assignments in the Incubator series of assignments that I have designed for my technical writing courses are directly related to one another. Students write a Short Proposal for the White Paper and the Research Poster projects that they will complete during the second half of the term. In today’s post, I will share the assignment for the Short Proposal.

Because I want them to focus their energy on the major report (the white paper), I ask for a short, memo-based proposal, rather than a longer document. The assignment gives students very specific guidelines to follow so that the more in-depth coverage from the textbook does not lead them to do more than they need to. My underlying goal for the activity is two-fold: I want them to learn to write a proposal, but just as importantly, I want to spot-check their topics for the white paper and research poster before they get too far into the project.

As with previous assignments in this series, the assignment below has some minor changes to remove specific information that is relevant only to the students in my classes. References to “Markel & Selber” in the assignment refer to chapters in the class textbook Technical Communication by Mike Markel and Stuart Selber.

Short Proposal Assignment

Background

You will write a short proposal that presents the topic you will explore for your white paper and poster presentation. Your proposal should explain not only what the topic is but how it relates to your company (and therefore your career field and major) and the incubator goal of public outreach and education.

The Scenario

Today, you received the following memo, asking you to submit a proposal for a white paper and related poster presentation:

Ut Prosim Incubator logo Ut Prosim Incubator

   1872 Inventors Way, Blacksburg, Virginia 24060

 

   Interoffice Memo

 

 


To: All Incubator Companies

From: Traci Gardner, Ut Prosim Director

Subject: RFP: White Papers and Poster Presentations for December Publication

Date: October 1, 2018

Our Public Outreach Office is requesting proposals for white papers and research posters that will inform non-expert readers about a technical topic relevant to the work and mission of your company. These documents will share what we do and why we do it with the university, alumni, and local community. Your documents will also contribute directly to our goal of public outreach and education by adding to our growing library of documents that inform website readers about how science, technology, and engineering work.

As an objective white paper, accepted documents will either provide knowledge or information about a subject relevant to your company or provide solutions to a problem or challenge that relates to your company—or even a combination of both goals. These white papers will also be the basis of a presentation that will be part of the quarterly poster session we sponsor for the local community in December. As an extension, additional investors and clients also attend the session, so you have the potential to make critical connections for your business.

These white papers and poster presentations are due by November 26 [Portfolio 2 due date] and will be published in the December 2018 release on the Incubator website.

White Paper Expectations

  • Length: 25 pages or less.
  • Document Design: Polished, professional layout that relies on design strategies that increase the document’s readability. You are encouraged to use a non-traditional format that incorporates sidebars, columns, and other visually-interesting design strategies. Please do not include a cover page.
  • Graphics and Visual Elements: Include relevant graphical elements (e.g., photos, illustrations, graphs, tables). All graphical elements must be your company’s intellectual property, or you must provide complete documentation. Graphical elements that are not your own intellectual property must meet fair use guidelines.
  • Research Support: Information must be supported by fully-documented research, including relevant quotations. In addition to citing published research studies, you can take advantage of the campus community by tapping university experts on the topic you are discussing.
  • Documentation Format: APA citation style (or the appropriate style for your field, if desired—for instance, an electrical engineer can use IEEE).
  • Submission Format: *.doc, *docx, *.pdf, or Google Document link.

Additional criteria and examples will be provided once proposals are accepted.

Poster Presentation Expectations

  • Size: 48" X 36", presented in landscape orientation (horizontal).
  • Document Design: Polished, professional layout that relies on design strategies that increase the document’s readability. Must use appropriately-sized headings, text, and images.
  • Graphics and Visual Elements: Include as many relevant graphical elements (e.g., photos, illustrations, graphs, tables) as necessary to present your ideas. All graphical elements must be your company’s intellectual property, or you must provide complete documentation. Graphical elements that are not your own intellectual property must meet fair use guidelines.
  • Research Support: Information must be supported by fully-documented research, including short, relevant quotations. In addition to citing published research studies, you can take advantage of the campus community by tapping university experts on the topic you are discussing.
  • Documentation Format: APA citation style (or the appropriate style for your field, if desired—for instance, an electrical engineer can use IEEE).
  • Submission Format: *.ppt, *pptx, or Google Slides link.

Additional criteria and examples will be provided once proposals are accepted.

Proposal Requirements

Your proposal should be in memo format, be no more than four pages in length, and provide the following information to help us gauge the appropriateness of the topic for December publication:

  • Background (or Introduction)
    Give some background on your topic, your experiences with it to date, what you already know, etc. Then clearly state, “[We, OR your company name, OR similar] would like to produce a white paper and poster presentation on [your topic] for the following reasons: . . . .” In your statement, explain your motivations for sharing information about the topic with the public.
  • Areas to be Studied
    Provide more details on the proposed topic for your white paper and poster presentation so that the Public Outreach Office understands the approach you will take. Consider the following questions:
    • What are the key points you will explore or explain?
    • What are some questions you will ask and try to answer in this white paper and poster presentation?
    • How do the areas to be studied relate to your company’s mission?
    • What ethical and/or intercultural and global issues will you consider as you examine the topic you have chosen?
  • Methods of Research
    Explain how you will gather the information that you present in your white paper and poster presentation. Tell the Public Outreach Office your research strategy by outlining exactly how are you planning to gather information and find answers to your questions explored in the white paper and poster presentation.
  • Timetable
    Share a calendar that includes the target dates for various milestones that will lead to completion of your white paper and poster presentation. Be sure that your schedule allows you to finish by the white paper and poster presentation due date, November 26 [Portfolio 2 due date].
  • Qualifications
    Explain why you are qualified to do this research and outline the skills you have that will help you deal with this topic effectively.
  • Request for Approval
    Ask for approval; ask for guidance, articulate your biggest concerns at this point; ask for suggestions about next right steps; provide contact information.

Due Dates

October 8, 2018: Proposal submitted as a memo, addressed to me and to Manolito Reyna Bautista, Manager of the Public Outreach Office

November 26, 2018: Finished White Paper and Poster submitted [in Canvas, as part of Portfolio 2]

Any Questions?

If you need any help with your proposal, please let me know or contact my assistant, Leslie Crow <lcrow@utprosimincubator.org>.

Relevant Details

Note: These details apply to all of the projects you include in your portfolio.

Your company’s address is [Your Company Name], Ut Prosim Incubator, 1872 Inventors Way, Suite #[you choose a number], Blacksburg, Virginia 24060. Your company’s phone number is 540-555-5555. You may create a fictional Internet domain for your company, and use that domain for a web page address and your email addresses. If you’d like, you may create other information (including a logo) for your company as appropriate. Be sure that you use the information that you create consistently across all of your projects.

The Project Assignment

Step 1: Decide on the focus for your white paper and poster presentation(which you will write as future projects).
Your focus will be to inform non-expert readers about a technical topic that is related to your company (and therefore, related to your career field and major). Try to limit yourself to topics with which you have some expertise (or at least some experience) to simplify the research process. These example white papers may help you think of appropriate topics and/or approaches:

Step 2: Examine the information about proposals in Markel & Selber.
The textbook provides complete details on how to write proposals. Follow the textbook as you work on your project. In particular, be sure that you do the following:

  • Follow the “GUIDELINES: Demonstrating Your Professionalism in a Proposal” (starting on page 430 of Markel & Selber) to ensure you adopt the appropriate tone.
  • Use the “ETHICS NOTE: WRITING HONEST PROPOSALS” (starting on page 430 of Markel & Selber) to make your proposal professionally acceptable.
  • Work through the “GUIDELINES: Introducing a Proposal” (starting on page 432 of Markel & Selber) to gather information for your proposal’s Background section.
  • Explore the information in the “Tech Tip: Why and How to Create a Gantt Chart” (starting on page 436 of Markel & Selber) to see an effective strategy for explaining your timetable.

Step 3: Write the proposals for your white paper and poster presentation.
Compose your proposal, as requested in The Scenario above, with all the details you have gathered. Review the assessment guidelines below to ensure you have met all the requirements for the proposal. As you work, also keep the following points in mind:

  • Use plain language to make the ideas in your proposal are easy to find and read. Refer to the resources from Module 2 as needed.
  • Follow all relevant ethical guidelines as you work using the Writer’s Checklist at the end of Chapter 2 (on page 40 of Markel & Selber).
  • Follow the suggestions for emphasizing important information, using the Writer’s Checklist for Chapter 9 (on page 211 of Markel & Selber) to check your work.
  • Use the Writer’s Checklist for Chapter 11 (on page 288 of Markel & Selber) to ensure that your document takes advantage of design principles to make it reader-friendly.
  • Make a good impression with accuracy and correctness. Your document should be polished and professional.

Step 4: Check your draft against the Writer’s Checklist.
Be sure that you include the required features for instructions. Review your project, using the Writer's Checklist for Chapter 16 (on page 439 of Markel & Selber) and the Assessment Criteria below.

Step 5: Review your draft for design and basic writing errors.
Everything you write should use accurate/appropriate image editing, grammar, spelling, punctuation, mechanics, linking, and formatting. These are important basic writing skills that you should have developed in high school. Review your project, using the Writer’s Checklist at the end of Markel & Selber, Chapter 10 (on page 242 of Markel & Selber).

You can also consult the information on “Sentence-Level Issues” in Markel & Selber, “Appendix, Part D: Guidelines for Multilingual Writers (ESL)” (on page 683 of Markel & Selber). While the section is labeled for multilingual writers, it is useful for everyone. It includes explanations and examples for many common mistakes writers make.

Step 6: Submit your draft to your Writing Group in Canvas.
Post a rough draft of your Proposal to your Writing Group in Canvas in the 10/04 Draft Feedback Discussion in Canvas. Additional instructions are in the Discussion. If you do not post your draft by noon on Sunday, October 7, your group may not have time to provide feedback.

Step 7: Provide feedback to your Writing Group in Canvas.
Provide feedback to the members of your writing group in the 10/04 Draft Feedback Discussion in Canvas, by October 8 (end of the grace period). Use the information on the Writing Groups page to provide constructive feedback that will help your group members make concrete improvements to their drafts. You are not obligated to provide feedback for any drafts posted after noon on Sunday, October 7.

Step 8: Revise your draft.
Use the feedback that you receive from your group members to revise and improve your document. You can share your draft again with your Writing Group, if you desire. As you revise, keep in mind the advice in the steps above, as well as the Assessment Criteria below.

Step 9: Include a polished version of your project in Project Portfolio 2, due November 26.
Have your Proposal finished and ready for submission in your Project Portfolio 2, which is due Monday, November 26. The grace period for Project Portfolio 1 ends at 11:59PM on Thursday, November 29.

Assessment Criteria

For All Technical Writing Projects

All technical writing projects should meet the following general criteria:

  • Makes a good first impression as a polished and professional document.
  • Meets the needs of the intended audience.
  • Demonstrates how to emphasize important information.
  • Uses layout and formatting that makes information easy for readers to find and read, and that follows the standards you have set for your company.
  • Is written in plain language, which communicates the ideas clearly.
  • Follows all relevant ethical guidelines.
  • Uses accurate/appropriate grammar, spelling, punctuation, mechanics, linking, and formatting.

For Proposals

Your project should meet the following criteria for effective proposals, based on the checklist at the end of Chapter 16 of Markel & Selber:

  • Meets the guidelines established in the request for proposals (see The Scenario, above).
  • Demonstrates professionalism and honesty.
  • Includes an introduction that indicates the following:
    • the problem or opportunity.
    • the purpose of the proposal.
    • the background of the problem or opportunity.
    • your sources of information.
    • the scope of the proposal.
    • the organization of the proposal.
    • the key terms that you will use in the proposal.
  • Provides a clear, specific plan for research and justifies that methodology.
  • Describes the qualifications and experience clearly outlining
    • relevant skills and past work.
    • relevant equipment, facilities, and experience.
  • Includes full documentation for all ideas, words, and visuals that the work of others (see Part B, “Documenting Your Sources,” in Markel & Selber).


This assignment has gone relatively well. The most frequent issue has been confusion about memo format. Students either didn't follow the instructions and used other formats, or they did not follow the format accurately. The most serious issue that has come up has been failure to provide enough details and development of the proposal. I wonder if the emphasis on a “short” proposal has misled some to think that general and underdeveloped ideas were adequate. When I use this activity again, I will work to address both of these issues.

My next post will share the instructions for the white paper, which is the next project students worked on. Be sure to come back to read more about that activity, and in the meantime, if you have any feedback to share, please leave a comment below.

 

Photo credit: Typing content by Search Engine People Blog on Flickr, used under a CC-BY 2.0 license.

Miriam Moore

Be It Hereby Resolved

Posted by Miriam Moore Expert Jan 9, 2019

It’s January, and I am seeing signs of resolutions everywhere: explicit declarations of relationship, health, and professional goals, along with tacit commitments indicated by images of tracking devices, fitness equipment, organic fruits and veggies, garden plans, drawers or closets awaiting organization, and booklists. 

 

Resolve—along with related forms resolution and resolute—is a rich and powerful word, brought into English as a verb from Latin and extended via functional shift to serve also as noun. We resolve (make resolutions) to address what is unresolved—dissonant, jumbled, confused, unsettled, or lacking—in music, in labs, in institutions, in government, and in ourselves. 

 

After spending a day with colleagues and workshop leader Asao Inoue reflecting on our pedagogy and, in particular, our assessment and feedback practices, I am ready to make some resolutions for my FYC and IRW co-requisite classrooms this spring. I am also inspired by Traci Gardner’s "My New School Year’s Resolutions."

 

Here are my resolutions for this semester:

 

  1. Expand use of social media/technology to support collaborative activities outside the classroom, with an overarching goal of fostering a deeper sense of community within the class. Collaborative activities—from shared reading experiences to peer review—is difficult to establish (much less sustain) in the 150 minutes we are together weekly. And all too easily, these activities within my classes can become perfunctory, not constructive. As a starting point, I want to explore joint annotations of some sections of our more difficult readings using Google Docs.
  2. Give students more options and opportunities to negotiate our classroom activities and (some) assignment parameters. One of the “big ideas” or threshold concepts that I use to structure my writing course is that all writing involves choices that affect meaning, whether words, structures, details, punctuation, or organization. But I suspect it’s difficult for students to accept the potential power of (and responsibility for) smaller writing decisions when they have little sense of agency for broader learning activities in the classroom.
  3. Make a meaningful portion of a student’s grade related to the labor the student has invested in the process of the course (see Traci Gardner's post, as well as Asao Inoue’s Labor-Based Grading Contract). I am an Alabama Crimson Tide football fan (I hope I won’t lose too many readers at this point!), and I have read a several articles about Nick Saban’s approach to coaching, which centers on what he calls “the process.” He asks his players to commit to the process—the rigorous and regular work that goes into a season and into each individual game—not to a specific outcome. Players can control the time devoted to the process, but they cannot control (not fully!) the outcome. I am going to play with an analogy to Saban’s coaching this semester, asking my students to commit to a rigorous process that requires time: completing drafts, participating in workshops, reading (and annotating readings collaboratively), and exploring language with me. I am asking them to trust this process, and a significant portion of their grade will be derived from their willingness to devote time to this process, regardless of the final outcome or product.
  4. Introduce vocabulary and concepts from rhetorical and systemic-functional grammars. I have been using a writing-about-writing foundation for my FYC and co-requisite courses for a few years now, and I am pleased with the results. But I am not yet satisfied with my approach to grammar within that framework, and I’d like to experiment with the metalanguage of rhetorical grammar and SFG as strategies for helping students re-envision their grammatical choices.  
  5. Reduce the number of major writing assignments so that students can spend more time on them, seeing their investment in the process of these assignments yield intellectual insights that encourage them to continue reading and writing. Similarly, I plan to increase opportunities for low-stakes, exploratory writing and reflective writing.

 

My resolutions come from the tensions I have been wrestling with for the past couple of years: fair, meaningful, and useful assessments; effective collaboration; grammatical instruction that empowers student choices.

 

What are your resolutions for teaching in the coming year?

Cecilia SheltonCecilia Shelton (nominated by Dr. Michelle Eble) is pursuing her PhD in Rhetoric, Writing, and Professional communication in the English department at East Carolina University. She is entering her fourth year in the fall and expects to finish in May 2019. She has more than ten years of experience teaching college writing so she has taught lots of different courses. Her favorite course was one called "Critical Writing Seminar" that married critical theories, pop culture, and writing and tried to employ a code-meshing pedagogy. Most recently, she has been teaching Writing Foundations courses (first and second year writing), Writing for Business and Industry, and Scientific Writing. Her research interests explore the intersections of cultural rhetorics and technical communication in activist work and social movement theory. She is also a 2018 CCCC Scholar for the Dream and a 2018 recipient of ECU's Diversity and Inclusion Award.

 

Students and their professors often have very different visions for what should come of a writing course, but on this we can agree: the first-year writing course is overloaded with expectations. As the single course with perhaps the most stakeholders invested in its outcomes, participating in the first-year writing classroom as a teacher or a student is a high stakes endeavor. For students who enter the classroom with 13 years of conditioning against their nonstandard cultural rhetorical practices—spoken, written, and otherwise—the stakes are even higher and the students are risk averse because of it.

 

In my time as a writing center administrator and an English instructor at an HBCU, my pedagogy became rooted in teaching students to become critical consumers and producers of language. That goal means different things to different teachers and students; for almost all Black students—regardless of their preparation for and perceived skill in writing—it means grappling with the probability that their race will likely always influence the way their language use is consumed and interpreted no matter how precisely they align themselves with standard English. I think it can also mean teaching students to see their cultural rhetorics as linguistic resources (not deficits) in producing texts that speak truth to power in the academy.  

 

The texts we hold up in our classrooms as worthy of study and the values imbued in our assignments betray our language politics. My "Soundtrack of the American Dream" assignment was my first real attempt to align my pedagogy with my language politics. In it, I ask students to "prepare a creative interpretation of the American Dream by composing an album cover and writing a track list for an album." More and more rhetoric and composition scholars are challenging the cannon and disrupting stale notions of expertise to explore new voices as models in the composition classroom. But how often are scholars willing (or allowed) to invite the same kinds of disruptions from students?

 

The Soundtrack of the American Dream assignment is, essentially, a much more interesting version of a critical analysis essay. It asks students to resist assumptions and generalizations of the “American Dream,” and it requires them to find concrete examples that consider the component parts of this myth and the significance of those parts to the whole concept (in other words, analysis). But it does this on terms that the student sets for themselves.

 

By foregrounding music as a cultural artifact that reflects the American Dream, students are free to assign importance and value to the voices that they see as credible. Although class discussions root everyone’s exploration in the same popular associations with the American Dream—money, houses, marriage, family, self-determination, etc.—students can approach these associations through the lens of their lived experience. Perhaps most importantly, students are explicitly invited to use the linguistic resources that best serve the lived experiences that they want to amplify in explaining and reflecting on the American Dream.

 

Because this assignment is now more than five years old, I often think about how it is aging. When I was much closer to it, I wrote about the pedagogical exploration that it represents here: Disrupting Authority . Having taught first-year writing less and less as I accumulate teaching experience and sharpen my pedagogy, I haven’t had many opportunities to revisit and revise the assignment. I expect that many scholars with a number of years of teaching experience share this retrospective stance. What could I do better here? How does my current research trajectory and pedagogical stance inform a project like this one?

 

The political and social urgency of this moment has brought resistance and activist rhetorics to the center of my research agenda and pedagogical commitments. Not only am I interested in students becoming critical producers and consumers of language, but I am also determined to support their advocacy and intervention in the systems they observe. Stevens (2009) offers a perspective that challenges me to see new opportunities in my Soundtrack of the American Dream assignment. She argues that “rhetors have a responsibility to choose between social reproduction and change, and part of this responsibility is to choose whether or not to accept rhetorical situations, and the social relations that construct them, as presented” (50). She goes on to argue in favor of inappropriate rhetorical strategies or even outright rejection of the rhetorical situation as potentially effective responses for students in our writing classrooms.

 

What would it look like for my students to outright reject the premise of an American Dream at all? Given the realities of the lived experiences of many people in this country, that kind of response seems to reflect not only critical thinking but also a true exigence for their writing outside my classroom and with audiences beyond the academy. Am I inviting the kind of responses that enable this sort of disruption and academic success at the same time? Shouldn’t I be? Are you? How are we preparing students to use language to break systems, not just see them? 

 

Among all of the many ways that first-year writing courses have been customized to meet specific institutional (and other) contexts, I am most heartened by those that offer students a way to think about language over strict guidelines for its usage. In a contemporary knowledge economy where technology and artificial intelligence can do more and more of the sentence level work that props up our bigoted notion of a standard variety of English—I want to give students more—preparing them to engage as active citizens of the world who use their critical thinking and composing skills to advocate for equity and justice feels right to me.

 

To view Cecilia’s assignment, visit The Soundtrack of the American Dream. To learn more about the Bedford New Scholars advisory board, visit the Bedford New Scholars page on the Macmillan English Community.

 

References

Stevens, S. M. (2009). Dreaming to change our situation: Reconfiguring the exigence for student writing. In Stevens, S. & Malesh, P. M. (Eds.) Active voices: Composing a rhetoric for social movements (47-68). Albany: Statue University New York Press.

We know that many students who enter our colleges and universities are underprepared for the various challenges they face. We also know that, for a number of these students, the more traditional forms of academic support offered to them, like pre-curriculum or remedial courses in specific subject areas, simply have not been getting the job done. It comes as little surprise, then, that institutions across the nation continue to experiment with ways to support the academic success of underprepared students. Some, for example, have implemented a co-requisite model of instruction, which eliminates remedial courses in favor of integrating developmental support (in the form of a course, a lab, or additional activities, etc.) as part of, or offered concurrent with, their corresponding college-level courses.

 

The community colleges in NC are required to implement such a co-requisite model of instruction by 2020, and there are far-reaching implications for this mandated shift for those who direct, teach, or otherwise offer support for the community colleges’ courses in English composition, including ENG 111 and 112. For a number of years now, An Insider’s Guide to Academic Writing (IGAW) has assisted ENG 111 and 112 instructors and students across the state as they worked to meet the goals and achieve the outcomes of their courses. We believe it can continue to be a valuable resource for NC community colleges' faculty and students as they transition to a co-requisite model of instruction for their courses. To that end, we’re providing some suggestions below for how IGAW might help support the co-requisite model.

 

One challenge that students in need of developmental support often face is a lack of familiarity with the college experience, including expectations for their academic work. As we indicate in our Preface, IGAW is designed specifically “to help college students, new to the world of higher education, to learn the territory, language, skills, codes, and secrets of academic writing.” Chapter 1, “Inside Colleges and Universities,” for instance, is designed to help students learn the “territory,” to investigate their local college or university context, and to position themselves as learners within their specific context. The chapter further helps students to identify college-level expectations for their research and writing and invites them to explore how writers learn to write in new contexts.

 

Additionally, Chapter 2, “Writing Process and Reflection,” is concerned with fostering students’ metacognitive awareness. Metacognitive awareness is a critical component of academic success for all students, but especially for those who may be underprepared for, or who struggle to acclimate to, college. The book supports such awareness by helping students identify and understand their own writing processes and by emphasizing the value of reflective practice through guided activities. All of these elements work together to help students identify critical parts of their own writing process, develop mechanisms and habits to support those elements, and build confidence in their approach to writing assignments moving forward.

 

Part 1 of IGAW also provides support for students’ analysis of various rhetorical situations using models that they can easily transfer from one writing situation to another. Students receive step-by-step support for the development of their own arguments, including guidance on conducting research and integrating primary and secondary sources as part of their arguments.

 

The heart of IGAW, Part 2, is its writing-in-the-disciplines approach, which, at its core, is about facilitating students’ enculturation into the various academic contexts they are likely to encounter as part of their college experience. The chapters in Part 2 attend to students’ development as “insiders” by asking them to investigate, analyze, and participate in the literate practices of professionals and other students working across the disciplines, including the humanities, the social sciences, and the natural sciences. In this way, IGAW makes students’ learning immediately applicable to their college experiences. The book’s attention to enculturation, or to the process of students’ development as academic “insiders,” is particularly important for underprepared students, who often lack familiarity with the habits of mind and “codes” of communication specific to disciplinary communities.

 

For students who struggle to see the applicability of academic writing to their futures, Part 2 also provides students with opportunities to apply the transferable skills they learn throughout the book to a variety of popular career paths, including health fields, education, business, criminal justice and law, among others.

 

Along with the material in the book itself, there is additional support in the LaunchPad for IGAW.  In the digital space, we have included comprehension quizzes for every reading in the book, so that instructors know right away whether a student is off track.  It also includes LearningCurve, which is adaptive grammar and citation quizzing. For students who already ‘get’ a given topic, they can complete the quizzing easily, moving through increasingly difficult material.  When students struggle, they are given additional questions and the questions respond to their answers, becoming easier or more difficult as they work through the material.  Guidance for finding solutions is also provided so that students are never perpetually ‘stuck.’ These resources can help to take some of the learning necessary to get on-level out of the classroom without leaving a struggling student unsupported.  

 

With its writing-in-the-disciplines approach to composition, IGAW introduces students to the communication practices of various academic and applied fields and works to make those practices less mystifying. In so doing, it welcomes students into the fold, making academia less daunting and their chosen careers more achievable. We created An Insider’s Guide with the idea that it could help all students succeed, regardless of the experience they are bringing to their composition classroom. We’d love to hear ideas that you have for how to engage with a co-requisite model, regardless of the teaching materials you’re using.